1、GRE（ VERBAL）模拟试卷 14及答案与解析 SECTION 1 Directions: Each sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five lettered or sets of words. Choose the word or set of words for each blank that best fits the meaning of the sentence as a wh
2、ole. 1 People worship capital, adore its aura, _before Porsches and Tokyo land values. （ A） flutter （ B） genuflect （ C） reprise （ D） propagate （ E） smolder 2 To survive, a non-human species must be too_to be thoroughly captured, too _to be noticed, or too immutable to be changed. （ A） resilient aggr
3、essive （ B） diffuse trivial （ C） intractable conspicuous （ D） concentrated camouflaged （ E） mercurial minute 3 At one time few judges were friendly to unions, as demonstrated by a steady stream of decisions_strikes, boycotts, picket lines, and other collective actions. （ A） permitting （ B） attenuati
4、ng （ C） intensifying （ D） proscribing （ E） remitting 4 We ought not suppose that “social“ and “governmental“ are_, for the differences in the two terms are both manifest and_. （ A） homonymous established （ B） insidious lucid （ C） antonymous considerable （ D） synonymous unique （ E） coterminous eviden
5、t 5 Taylor was always_by temperament and desire, and his sensitivity to others enabled him to bring together and work with people of very diverse views. （ A） conciliatory （ B） bibulous （ C） boisterous （ D） obsequious （ E） mendacious 6 Although the television medium is under stricter control than in
6、the past, it still constitutes a major way of_bad news, which may_from America to Asia overnight. （ A） concealing leap （ B） proliferating spread （ C） presenting diminish （ D） expatiating mutate （ E） disregarding disappear 7 Although demographers cannot_that live TV broadcasting has a considerable im
7、pact on judges, it seems unconceivable to them that the judges will be_of the public attention. （ A） intimate chary （ B） deny respectful （ C） admit worthy （ D） abide reticent （ E） prove unaware SECTION 2 Directions: In each of the following questions, a related pair of words or phrases is followed b
8、y five lettered pairs of words or phrases. Select the lettered pair that best expresses a relationship similar to that expressed in the original pair. 8 PREVARICATE : TRUTH : （ A） expound : incoherence （ B） invent : exculpation （ C） involve : disclosure （ D） equivocate : commitment （ E） substantiate
9、 : fabrication 9 MORTIFIED : EMBARRASS : （ A） reverent : dignify （ B） distraught : trouble （ C） disheartened : arrogate （ D） offensive : aggravate （ E） prophetic : forebode 10 CENSORSHIP : INFORMATION : （ A） exemplification : standard （ B） quarantine : disease （ C） benefaction : liberality （ D） expe
10、nditure : expression （ E） culture : extinction 11 TRICKLE : GUSH : （ A） gale : hurricane （ B） dampening : deluge （ C） sand : sediment （ D） blizzard : avalanche （ E） inadequacy: sufficiency 12 HESITANCY : ALACRITY : （ A） weather : danger （ B） torpor : vigor （ C） adulation : attraction （ D） indifferen
11、ce : tedium （ E） yearning : conception 13 BUILDING: FOUNDATION: （ A） apparatus : mesh （ B） structure : pedestal （ C） cosmos : earth （ D） hill : grotto （ E） pennant: pillar 14 SINFULNESS : PECCADILLO : （ A） depravity: distortion （ B） solicitude: apprehension （ C） paucity : vacuity （ D） criminality: m
12、isdemeanor （ E） stimulation : incitement 15 GRAIN :CHAFF : （ A） product : dross （ B） seed : pip （ C） refresher: dregs （ D） maize : core （ E） composite : adulteration 16 RETARD : BRAKE : （ A） raise : crane （ B） crash : shatter （ C） estimate : adjust （ D） examine : distend （ E） document : compare SECT
13、ION 3 Directions: Each passage in this group is followed by questions based on its content. After reading a passage, choose the best answer to each question. Answer all questions following a passage on the basis of what is stated or implied in the passage. 16 Although the dance critic Connerton defi
14、nes social memory as composed of the recollections and images of the past that a particular social group considers worthy of preservation, he does not properly account for its development. By Line highlighting the role of dances ritual enactment in conveying and sustaining (5) social memory, he emph
15、asizes dance performances unconscious communications, rather than the conscious transmission of the communitys folklore and history. While he successfully establishes that “bodily social memory of dance“ is a highly conservative force that creates an inertia in societys structures and may be implica
16、ted in the legitimization of the present (10) social order, he does not adequately account for the complexities in the processes of bodily inscription, for it is precisely because bodily automatism limits the scope for critical evaluation, or readability, that the body is a site of intense struggle
17、over the control of what is inscribed upon it. Nor does Connerton acknowledge that the very physical violence he describes as (15) perpetrated upon bodies, especially subordinate bodies, to habituate them to submissive dance postures, attests in reality to their unwillingness to submit to inscriptio
18、n, and not vice-versa. Thus his theory is helpful in articulating the nature of social memory, but ultimately fails to explain how such memories are acquired. 17 According to the passage, which of the following does Connerton exclude from his conception of the cultural role of dance? （ A） The role o
19、f physical violence in establishing submissive dance postures （ B） The notion that dance preserves and ossifies social structures （ C） The function of dance in providing a conscious reminder of a community history （ D） The role of dance in sustaining social memory （ E） The process of bodily inscript
20、ion in creating bodily social memory 18 The passage suggests that an assumption underlying Connertons theory of dance and social memory is that （ A） the automatic nature of dance tends to restrict the extent to which dances can be “read“ （ B） the value and effectiveness of dance performance lies in
21、transmitting social memory through unconscious means （ C） the legitimization of most social orders stems from social memory transmitted through dance （ D） folklore and community history are the principal narratives dance is capable of expressing （ E） social structures would most likely be more conse
22、rvative if dance did not transmit social memory 19 It can be inferred that the author believes which of the following concerning dances? （ A） Few involve inscription on subordinate bodies through violence. （ B） Few are involved in the recollection of images, and in transmitting folklore. （ C） Few cr
23、eate an inertia and conservatism in social structures. （ D） They rarely involve an inscription process that is readily welcomed by their performers. （ E） Bodily inscription is seldom a complicated process, ore one that involves physical violence. 20 Which of the following best describes the organiza
24、tion of the passage? （ A） Factual data are presented and a hypothesis is proposed. （ B） A distinction is introduced then shown not to be a true distinction. （ C） A thesis is paraphrased, and two assumptions on which it is based are clarified. （ D） A definition is challenged, and two reasons for the
25、challenge are given. （ E） An opinion is offered and then placed within a historical framework. 20 The distinction between making art and thinking and writing about it should imply neither a mutual exclusiveness nor a hierarchic differentiation of these processes. Leonardo demonstrated that producing
26、 art and theorizing about Line it need not be antithetically opposed activities and that meaningful contributions (5) can be achieved successfully in more than one field. Inexplicably, few theorists have built as memorable architectural structures as his and even fewer artists have been entrusted wi
27、th the directorship of an influential art institution. Unfortunately, as theory and practice became more specialized in the modern era and their operational framework clearly defined both in the cultural milieu (10) and the educational process, their independent paths and boundaries have curtailed p
28、ossibilities of interaction. The creations of categories and divisions have further emphasized highly individualized idiosyncrasies and, by exposing differences, diminished the value of a unifying artistic vocabulary. The transformative cultural process of the last decades has critically examined th
29、e (15) artificial separations between theoretical and studio practices and disclosed viable connections between making, writing, thinking, looking and talking about art. The recent dialogue between the various components of the artistic discourse has recognized the common denominators shared by theo
30、retical analyses and artistic production, one of which is clearly exposed by the (20) argument that the central objective of the theorist and artist is to unmask and understand artistic meanings in painting or text. The notion that “true“ art is the product of individuals who are incapable of in-dep
31、th understanding, in stark contrast to erudite, restrained and controlled scholars, is an outdated model. The assumption that artists make art but cannot (25) or do not have to talk or write about it and that theorists rarely know anything about the creative process, has been consistently refuted by
32、 the many texts written from Leonardo da Vinci to Mary Kelly. Even van Gogh, a martyr of the stereotypical “misunderstood genius,“ whose artistic career has been distorted by scores of films and books, wrote with lucidity and insight about art and his (30) work. Apparently, the “mystery“ of the crea
33、tive process, jealously protected by artists but also selectively cultivated by some art historians has been both a fascination and frustration for those extrinsic to the process and artists have exposed the intimacy of creativity while acknowledging the role of cognition in creativity. (35) Even th
34、e ironic and subversive demise of authorship of the post-modern and electronic age acknowledges, at least indirectly, the value of the artists individual participation. However, many contemporary artists have abandoned the hierarchic segregation of the inner realm of the creator and, by combining th
35、eoretical and studio practices, brought a reconciliatory tone to the processes (40) of making art and analyzing it. Their works, which are often simultaneously artistic productions and critique of the artistic discourse, make use of visual and textual forms to expose the connection between looking a
36、nd thinking as the essential attribute to both creating and understanding art. 21 According to the passage, the specialization of art and theory has tended to （ A） reduce the level of control artists have over artistic institutions （ B） increase the usefulness of creating a unifying artistic vocabul
37、ary （ C） permit a greater level of development of knowledge concerning both （ D） curtail interactions and establish false boundaries between the two fields （ E） complicate the educational process of artists in an unfortunate manner 22 It can be inferred from the passage that prior to the modern era
38、artistic practice was regarded as （ A） a hermetic field without potential for collaboration, given that it was almost exclusively populated by “misunderstood geniuses“ （ B） a field less isolated from the practice of critical analysis than the artistic process of the present era （ C） more meaningful
39、and useful as a self-critical force than the aesthetic judgments of non-artists, especially art historians （ D） primarily concerned with the masking and concealment of artistic meanings from the general public （ E） seldom times as specialized as the various branches of science from which art has tra
40、ditionally been distinguished 23 The passage suggests that the mystification of the artistic process by certain art historians and artists can be traced to （ A） the necessity of protecting artistic meaning from a general public who would most likely misunderstand and object to it （ B） an unconscious
41、 tendency of non-artists to lionize those artists whom the public admires but fails to understand （ C） a desire to protect and maintain the isolation between those who make art and those who analyze it, so as to reinforce the creative/critical distinction （ D） a movement to expunge the challenging t
42、exts of dual artist/critics like Leonardo da Vinci and Mary Kelly from the critical canon （ E） a distinction between the methodology of scholars, who tend to be erudite, and that of artists, who are more intuitive in their thinking processes 24 The passage suggests that the post-modernist relegation
43、 of an artworks author to a minor and irrelevant post （ A） has resulted in a greater embrace of art forms that are sometimes wholly electronic （ B） has failed to entirely counter the notion that art-making originates at some point with an individual （ C） has enabled artists to demonstrate the visual
44、 and textual connections between art and art criticism （ D） has tended to increase the intimacy of creation at the expense of the cognition of artists （ E） has tended to subtly reinforce the ways in which artists are perceived as martyrs 25 The authors primary purpose in mentioning van Gogh is most
45、likely to （ A） cite the case of an artist whose intention was to increase the mystification of the artistic process （ B） discuss an artist whose life has been consistently distorted by biographers and filmmakers （ C） give an example of an artist depicted as incapable of comprehending his own art wor
46、k but able to do so in fact （ D） provide an instance of an artist whose work can scarcely be understood without the assistance of art critics （ E） mention the example of an artist whose critical faculties were rightly overshadowed by his artistic abilities 26 Which of the following persuasive device
47、s is NOT used in the passage? （ A） An example of an artist whose work critics misunderstand （ B） The contrast of different points of view （ C） The repetition of key ideas and expressions （ D） A mention of the most recent trends in art-making （ E） Evaluative or judgmental words 27 Which of the follow
48、ing best states the authors main point about artists who have abandoned the hierarchical distinction between art and theory? （ A） Theirs is a sterile, abstract practice, unlikely to produce few lasting works. （ B） They have demonstrated that critics are less important to the art-making process than
49、the public commonly believes. （ C） They have laudably focused their energy on exposing the extent to which theory informs their own practice. （ D） They have, to the detriment of their work, lost track of inner realm of the creator. （ E） They have demonstrated a positive alternative to critics who have abandoned their field to become artists. SECTION 4 Directions: Each question below consists of a word printed in capital letters followed by five lettered words o
