1、北京航空航天大学考博英语真题 2013 年及答案解析(总分：80.00，做题时间：90 分钟)一、Part Listening Com(总题数：0，分数：0.00)二、Part Reading Compr(总题数：0，分数：0.00)三、Passage 1(总题数：1，分数：7.50)Printmaking is the generic term for a number of processes, of which woodcut and engraving are two prime examples. Prints are made by pressing a sheet of pape
2、r (or other material) against an image-bearing surface to which ink has been applied. When the paper is removed, the image adheres to it, but in reverse. The woodcut had been used in China from the fifth century A.D. for applying patterns to textiles. The process was not introduced into Europe until
3、 the fourteenth century, first for textile decoration and then for printing on paper. Woodcuts are created by a relief process; first, the artist takes a block of wood, which has been sawed parallel to the grain, covers it with a white ground, and then draws the image in ink. The background is carve
4、d away, leaving the design area slightly raised. The woodblock is inked, and the ink adheres to the raised image. It is then transferred to damp paper either by hand or with a printing press. Engraving, which grew out of the goldsmith“s art, originated in Germany and northern Italy in the middle of
5、the fifteenth century. It is an intaglio process (from Italian intagliare, “to carve“). The image is incised into a highly polished metal plate, usually copper, with a cutting instrument, or burin. The artist inks the plate and wipes it clean so that some ink remains in the incised grooves. An impre
6、ssion is made on damp paper in a printing press, with sufficient pressure-being applied so that the paper picks up the ink. Both woodcut and engraving have distinctive characteristics. Engraving lends itself to subtle modeling and shading through the use of fine lines. Hatching and cross-hatching de
7、termine the degree of light and shade in a print. Woodcuts tend to be more linear, with sharper contrasts between light and dark. Printmaking is well suited to the production of multiple images. A set of multiples is called an edition. Both methods can yield several hundred good-quality prints befor
8、e the original block or plate begins to show signs of wear. Mass production of prints in the sixteenth century made images available, at a lower cost, to a much broader public than before.（分数：7.50）(1).What does the passage mainly discuss?（分数：1.50）A.The origins of textile decorationB.The characterist
9、ics of good-quality printsC.Two typesof printmakingD.Types of paper used in printmaking(2).The word “prime“ in line 2 is closest in meaning to _.（分数：1.50）A.principalB.complexC.generalD.recent(3).The author“s purposes in paragraph 2 is to describe _.（分数：1.50）A.the woodcuts found in China in the fifth
10、 centuryB.the use of woodcuts in the textile industryC.the process involved in creating a woodcutD.the introduction of woodcuts to Europe(4).According to the passage, all of the following are true about engraving EXCEPT that it _.（分数：1.50）A.developed from the art of the goldsmithsB.requires that the
11、 paper be cut with a burinC.originated in the fifteenth centuryD.involves carving into a metal plate(5).According to the passage, what do woodcut and engraving have in common?（分数：1.50）A.Their designs are slightly raisedB.They achieve contrast through hatching and cross-hatchingC.They were first used
12、 in EuropeD.They allow multiple copies to be produced from one original四、Passage 2(总题数：1，分数：7.50)The French word renaissance means rebirth. It was first used in 1855 by the historian Jules Michelet in his History of France, then adopted by historians of culture, by art historians, and eventually by
13、music historians, all of whom applied it to European culture during the 150 years spanning 1450-1600. The concept of rebirth was appropriate to this period of European history because of the renewed interest in ancient Greek and Roman culture that began in Italy and then spread throughout Europe. Sc
14、holars and artists of the fifteenth and sixteenth centuries wanted to restore the learning and ideals of the classical civilizations of Greece and Rome. To these scholars this meant a return to humanas opposed to spiritualvalues. Fulfillment in lifeas opposed to concern about an afterlifebecame a de
15、sirable goal, and expressing the entire range of human emotions and enjoying the pleasures of the senses were no longer frowned on. Artists and writers now turned to secular as well as religious subject matter and sought to make their works understandable and appealing. These changes in outlook deep
16、ly affected the musical culture of the Renaissance periodhow people thought about music as well as the way music was composed, experienced, discussed, and disseminated. They could see the architectural monuments, sculptures, plays, and poems that were being rediscovered, but they could not actually
17、hear ancient musicalthough they could read the writings of classical philosophers, poets, essayists, and music theorists that were becoming available in translation. They learned about the power of ancient music to move the listener and wondered why modem music did not have the same effect. For exam
18、ple, the influential religious leader Bernardino Cirillo expressed disappointment with the learned music of his time. He urged musicians to follow the example of the sculptors, painters, architects, and scholars who had rediscovered ancient art and literature. The musical Renaissance in Europe was m
19、ore a general cultural movement and state of mind than a specific set of musical techniques. Furthermore, music changed so rapidly during this century and a half-though at different rates in different countriesthat we cannot define a single Renaissance style.（分数：7.50）(1).What is the passage mainly a
20、bout?（分数：1.50）A.The musical compositions that best illustrate the developments during the European RenaissanceB.The musical techniques that were in use during the European RenaissanceC.The European Renaissance as a cultural development that included changes in musical styleD.The ancient Greek and Ro
21、man musical practices used during the European Renaissance(2).It can be inferred from the passage that thinkers of the Renaissance were seeking a rebirth of _.（分数：1.50）A.communication among artists across EuropeB.spirituality in everyday lifeC.a cultural emphasis on human valuesD.religious themes in
22、 art that would accompany the traditional secular themes(3).According to the passage, Renaissance artists and writers had all of the following intentions EXCEPT _.（分数：1.50）A.using religious themesB.portraying only the pleasant parts of human experienceC.producing art that people would find attractiv
23、eD.creating works that were easily understood(4).The word “disseminated“ in line 16 is closest in meaning to “_“.（分数：1.50）A.playedB.documentedC.spreadD.analyzed(5).Which of the following is mentioned in the passage as a reason for the absence of a single Renaissance musical style?（分数：1.50）A.The musi
24、cal Renaissance was defined by technique rather than styleB.The musical Renaissance was too short to give rise to a new musical styleC.Renaissance musicians adopted the styles of both Greek and Roman musiciansD.During the Renaissance, music never remained the same for very long五、Passage 3(总题数：1，分数：7
25、.50)The energy contained in rock within the earth“s crust represents a nearly unlimited energy source, but until recently commercial retrieval has been limited to underground hot water and/or steam recovery systems. These systems have been developed in areas of recent volcanic activity, where high r
26、ates of heat flow cause visible eruption of water in the form of geysers and hot springs. In other areas, however, hot rock also exists near the surface but there is insufficient water present to produce eruptive phenomena. Thus a potential hot dry rock (HDR) reservoir exists whenever the amount of
27、spontaneously produced geothermal fluid has been judged inadequate for existing commercial systems. As a result of recent energy crisis, new concepts for creating HDR recovery systemswhich involve drilling holes and connecting them to artificial reservoirs placed deep within the crestare being devel
28、oped. In all attempts to retrieve energy from HDRs, artificial stimulation will be required to create either sufficient permeability or bounded flow paths to facilitate the removal of heat by circulation of a fluid over the surface of the rock. The HDR resource base is generally defined to include c
29、rustal rock that is hotter than 150, is at depths less than ten kilometers, and can be drilled with presently available equipment. Although wells deeper than ten kilometers are technically feasible, prevailing economic factors will obviously determine the commercial feasibility of wells at such dept
30、hs. Rock temperatures as low as 100 may be useful for space heating; however, for producing electricity, temperatures greater than 200 are desirable. The geothermal gradient, which specifically determines the depth of drilling required to reach a desired temperature, is a major factor in the recover
31、ability of geothermal resources. Temperature gradient maps generated from oil and gas well temperature-depth records kept by the American Association of Petroleum Geologists suggest that tappable high-temperature gradients are distributed all across the United States. (There are many areas, however,
32、 for which no temperature gradient records exist.) Indications are that the HDR resource base is very large. If an average geothermal temperature gradient of 22 per kilometer of depth is used, a staggering 13,000,000 quadrillion B.T.U. “s of total energy are calculated to be contained in crustal roc
33、k to a ten-kilometer depth in the United States. If we conservatively estimate that only about 0.2 percent is recoverable, we find a total of all the coal remaining in the United States. The remaining problem is to balance the economics of deeper, hotter, more costly wells and shallower, cooler, les
34、s expensive wells against the value of the final product, electricity and/or heat.（分数：7.50）(1).The primary purpose of the passage is to _.（分数：1.50）A.alert readers to the existence of HDRs as an available energy sourceB.document the challenges that have been surmounted in the effort to recover energy
35、 from HDRsC.warn the users of coal and oil that HDRs are not an economically feasible alternativeD.encourage the use of new techniques for the recovery of energy from underground hot water and steam(2).The passage would be most likely to appear in a _.（分数：1.50）A.petrological research report focused
36、on the history of temperature-depth records in the United StatesB.congressional report urging the conservation of oil and natural gas reserves in the United StatesC.technical journal article concerned with the recoverability of newly identified energy sourcesD.consumer report describing the extent a
37、nd accessibility of remaining coal resources(3).According the passage, an average geothermal gradient of 22 per kilometer of depth can be used to _.（分数：1.50）A.balance the economics of HDR energy retrieval against that of underground hot water or steam recovery systemsB.determine the amount of energy
38、 that will be used for space heating in the United StatesC.provide comparisons between hot water and HDR energy sources in United StatesD.estimate the total HDR resource base in the United States(4).It can be inferred from the passage that the availability of temperature-depth records for any specif
39、ic area in the United States depends primarily on the _.（分数：1.50）A.possibility that HDRs may be found in that areaB.existence of previous attempts to obtain oil or gas in that areaC.history of successful hot water or steam recovery efforts in that areaD.failure of inhabitants to conserve oil gas res
40、erves in that area(5).Which of the following would be the most appropriate title for the passage?（分数：1.50）A.Energy from Water Sources: The Feasibility of Commercial SystemsB.Geothermal Energy Retrieval: Volcanic Activity and Hot Dry RocksC.Energy Underground: Geothermal Sources Give Way to Fossil Fu
41、elsD.Tappable Energy for America“s Future: Hot Dry Rocks六、Passage 4(总题数：1，分数：7.50)Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they de
42、pict an individual photographer“s temperament, discovering itself through the camera“s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is
43、the instrument of intrepid, questing subjectivity and the photographer is all. These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in “taking“ a picture. Accordingly, the ideal of a photographer as
44、an observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or th
45、e other is always being rediscovered and championed. An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography“s means. Whatever the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextr
46、icably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton“s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stro
47、ke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought
48、to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modem equipment. These photographers have come to doubt the value of the cam
49、era as an instrument of “fast seeing.“ Cartier-Bresson, in fact, claims that the modem camera may see too fast. This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer pastwhen images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century
