1、GRE（ VERBAL）模拟试卷 3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 who
2、le. 1 The primary impulse of each human being is to _ himself, but the secondary impulse is to venture out of the self, to correct its provincialism and heal its loneliness. （ A） sully （ B） actualize （ C） reject （ D） declare （ E） withdraw 2 The teacher has _ catering to some students, but to retain
3、his tenure, which effects only after a teacher has unanimously gratified his students, he offers his complaints _ . （ A） a hesitancy about . carelessly （ B） an aptitude for . sparingly （ C） a repugnance toward . tactfully （ D） an enthusiasm about . zealously （ E） a blitheness about . carefully 3 Cur
4、rent estimates put thirteen percent of global flora at risk of extinction, but this number does not include _ plants from tropical regions, where the majority of the worlds plants grow. （ A） apocryphal （ B） deciduous （ C） rare （ D） innumerable （ E） vanished 4 Although scientists have long _ the huma
5、n appendix as _ organ, there is a growing body of evidence indicating that the appendix does in fact have a significant function as a part of the bodys immune system. （ A） overestimated . a minor （ B） discounted . a vestigial （ C） valued . a major （ D） ignored . a pivotal （ E） studied . an inaccessi
6、ble 5 It is difficult to conceive how, even for those people well disposed to rule themselves, the attempt to achieve happiness should be rendered so _ by one single curse, that of a bad form of government. （ A） laudatory （ B） ineffectual （ C） corrupt （ D） disorganized （ E） ill-tempered 6 The monarc
7、h and his followers thought of the court as _ how the kingdom ought to be, the harmonious expression of a larger social order centred on the monarch. （ A） a miscalculation of （ B） irrelevant to （ C） a microcosm of （ D） recognizable as （ E） isometric to 7 Even if the public ate up every _ detail abou
8、t their leaders, that same public grew offended that the news media would actually pander to their baser impulses. （ A） mesmeric （ B） lofty （ C） supine （ D） resonant （ E） lubricious SECTION 2 Directions: In each of the following questions, a related pair of words or phrases is followed by five lette
9、red pairs of words or phrases. Select the lettered pair that best expresses a relationship similar to that expressed in the original pair. 8 RATIOCINATION: LOGIC ： （ A） comprehension： pedagogy （ B） interpretation： language （ C） orthography ： philately （ D） badminton： athletics （ E） oration： elocutio
10、n 9 ATOMS: CRYSTAL： （ A） substance： air （ B） water： density （ C） level： ramification （ D） numbers： matrix （ E） agents： reaction 10 SOUND: ECHO ： （ A） sight： rainbow （ B） episode： television （ C） light： reflection （ D） affection： attachment （ E） observation： microscope 11 ROE: FISH ： （ A） skin： whale
11、 （ B） shell： mollusk （ C） pincer： crab （ D） egg： bird （ E） web： seal 12 SCRUTINIZE: ADMIRE ： （ A） imprison： host （ B） forewarn： rage （ C） vacillate： resolve （ D） duplicate： imitate （ E） impel： push 13 SCHOOL: FISH ： （ A） television： programs （ B） pride： lions （ C） committee： organization （ D） fowl：
12、birds （ E） corral： livestock 14 FLAX: LINEN ： （ A） cinder： coal （ B） clay： china （ C） bar： gold （ D） mud： deposit （ E） porcelain： mosaic 15 VERIFY: DOUBTFUL ： （ A） embellish： austere （ B） depurate： rare （ C） vary： conspicuous （ D） compress： volatile （ E） instruct： awkward 16 PERFIDY: LOYAL ： （ A） ex
13、orbitance： moderate （ B） perjury： ardent （ C） affection： faithful （ D） precision： accurate （ E） loathing： comely SECTION 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 foll
14、owing a passage on the basis of what is stated or implied in the passage. 17 Electronic computer speeds are restricted not only by the speed of electrons in matter but also by the escalating density of interconnections necessary to connect the electronic gates on microchips. Electrical engineers and
15、 physicists have been developing and augmenting the technologies of analog and digital (5) optical computing, in which the information is primarily carried by photons rather than by electrons. Optical computing could, in principle, generate much higher computer speeds, but one of the problems it has
16、 encountered lies in accuracy, for these devices have practical limits of 8 to 11 bits of accuracy in basic operations. Recent research has evinced that digital partitioning (10) algorithms in tandem with error-correction codes, can substantially enhance the accuracy of optical computing operations.
17、 In the near term optical computers will most likely be hybrid optical/electronic systems that preprocess input data for computation and post-process output data via electronic circuits, but nevertheless, the prospect of all-optical computing remains highly attractive. 17 According to the passage, w
18、hich of the following is true concerning optical computers? （ A） Researchers have not yet discovered a means of transporting photons more efficiently. （ B） Their primary limitation is the density of connections required between electronic microchip gates. （ C） Their accuracy level is poor at 8 to 11
19、 bits, but still superior to that Of electronic computers. （ D） They invariably rely on electronic circuits to preprocess input data for computation. （ E） Both analog and digital forms of optic computing are presently being developed by scientists. 18 It can be inferred from the passage that the aut
20、hor would be more optimistic about optical computing if which of the following were true? （ A） Digital partitioning algorithms could be applied to electronic, and not just optical circuits. （ B） The speed of photons could be shown to be significantly greater than that of electrons. （ C） The precisio
21、n level in basic operations can be substantially increased without great expense. （ D） The accuracy of electronic circuits used to preprocess input data and post- process data could be greatly increased. （ E） The microchips optical computer systems were shown to require an increasing density of inte
22、rconnections. 19 Which of the following can be inferred from the passage about the technology employed in optical computing? （ A） The technology is more expensive to develop than the technology that was required in electronic computing. （ B） The search for technology necessary for all-optical comput
23、ing is considered unfeasible and has been largely abandoned. （ C） Optical computers systems that rely on digital partitioning algorithms in tandem with error-correction codes are considered hybrid technology. （ D） The technology necessary for digital optical computing appears within closer reach tha
24、n the technology for analog optical computing. （ E） The most feasible version of optical computing at present is a synthesis of electronic and optical technology. 20 The passage suggests that the author would most probably agree with which of the following assessments of optical computing in its pre
25、sent form? （ A） Although the future of optical computing is impressive, its applications are too limited in scope to justify much optimism. （ B） The outlook of its development is positive on the surface, but many claims made about it are misleading. （ C） Efforts to develop the technology have been s
26、ufficiently positive to maintain the interest of electrical engineers and physicists. （ D） Because of design flaws, the task of developing optical computing will require greater resources than are presently available. （ E） The state of development of optical computing is too contradictory to allow f
27、or an easy assessment of its future. 21 McClarys position, concerning the process by which music is gendered as masculine or feminine, is that socially-grounded codes are “composed into“ the music, that they are immanent to the text, there to be discovered. McClary has traced narratives of power and
28、 sexual differences in sonata forms by mapping (5) the gendered terms in which theorists have described them onto pieces which variously appear to enact or resist such constructions. Rieger has likewise traced the inchoate differentiation of musical affects by gendered characters in late-eighteenth-
29、century opera, and charted their much heightened divergence in contemporary film music. Both of these approaches (10) share a common assumption of a degree of awareness of such gendered codes at the point of composition, an awareness which, if not fully reflective, at least shows a composers “practi
30、cal consciousness“ of how musical expression works within his or her culture. This conception permits music to participate fully in cultural processes, thereby allowing us to bring cultural contexts to bear in our (15) explanatory models of musical styles and forms, but its critics rightly argue tha
31、t it carries an extreme risk: it is all too easy for this approach to re-inscribe the values it would aim to critique. We may accuse McClary of adopting the very stereotypes she deplores, and similarly we may regard her identification of musical difference with cultural difference to be an overinter
32、pretation, though (20) unless we limit our focus to some extreme of the avant-garde, we must concede that some kind of contrast between masculinity and femininity will always exist in any music. It is perhaps best to argue the possibility that such gender metaphors are merely functions of our interp
33、retational frameworks, imposed on music from the (25) outside. Treitler describes the way in which scholars from the eighteenth to the twentieth centuries have differentiated between Old Roman and Gregorian chant repertories in gendered terms, and argues that these metaphors relate entirely to a pro
34、ject of Western cultural supremacy, and not to any immanent musical characteristics of the actual chants. We may make the same point about all (30) repertories: gender is encoded not in the music, but in the critical language we use, much like Pigmalions chisel, to bring the music to life. While thi
35、s position is weaker than McClarys in an explanatory capacity it cannot use social values to account for why a piece was written the way it was rather than any other, aesthetically speaking-its value is ultimately greater in that it (35) allows us to develop fresh listening strategies which invest f
36、amiliar and well- loved music with new and arguably more positive values. Hence, it is more attractive for the development of a politically responsible critical strategy, though even in this respect, the position is not without shortcomings, most of which become apparent when we examine the relation
37、ship between musical (40) material and cultural meaning. 21 The author considers the metaphors of masculinity and femininity we associate with certain pieces of music to be （ A） external to the music, imposed in most cases by the interpretational criteria of critics and listeners （ B） interesting bu
38、t unnecessary for the enjoyment of these pieces of music by most listeners （ C） evidence that socially-grounded codes are composed into music, and not simply the product of interpretation （ D） a means by which familiar and well-loved music can be invested with new and arguably more positive values （
39、 E） evidence for a fundamental difference between the music of the avant-garde and more traditional varieties 22 The author implies that late-eighteenth-century opera differs from contemporary film music in that late-eighteenth-century opera （ A） relied more heavily on gender codes in fashion at the
40、 time of its composition than does contemporary film music （ B） contain gender affects incipiently, whereas contemporary film music contains them in a more salient form （ C） evidences a deeper “practical consciousness“ of how musical expression works than contemporary film music does （ D） tends neit
41、her to enact nor resist the gender constructions which have traditionally applied to the sonata form （ E） provides a more critically accessible framework for mapping gender codes than contemporary film music does 23 The passage states that Old Roman and Gregorian chant repertories are （ A） less prai
42、seworthy because of the absence of new listening strategies that allows listener to perceive their original context （ B） evidence of the musical supremacy of Western musical culture in virtue of their interesting use of gender metaphors （ C） wholly devoid of immanent musical characteristics, includi
43、ng but not limited to gender （ D） usually given interpretations that reveal more about the mindset of musical critics throughout history than the compositions themselves （ E） incapable of being explained, aesthetically speaking, by any form of musical criticism 24 The passage supplies information fo
44、r answering all of the following questions EXCEPT （ A） Has the theory of musical codes inherent to musical composition allowed us to incorporate cultural contexts in criticism? （ B） Does the notion that gender metaphors are functions of interpretational frameworks carry any shortcomings? （ C） Does M
45、cClarys theory of the immanence of gender in musical codes carry any sort of risk? （ D） What are the substantive differences between the ways that Roman and Gregorian musical chants employ gender codes? （ E） In which musical forms, besides late-nineteenth-century-opera, has gender difference in musi
46、cal codes been observed? 25 The author regards the idea that gendering stems from a composers “practical consciousness“ of how musical expression works with （ A） serious caution （ B） strong indignation （ C） marked indifference （ D） moderate amusement （ E） sharp derision 26 The author implies that an
47、 advantage of McClarys form of musical criticism over that favored by the author is that it （ A） tends to deny that some kind of contrast between masculinity and femininity will inevitably exist in any music （ B） employs social values to account for the aesthetic choices involved a pieces compositio
48、n more efficiently than the theory advocated by the author （ C） re-inscribes models of gender difference for the most part identical to those it seeks to critique （ D） pays closer attention to avant-garde music that may form the model for non-gendered musical forms （ E） carries assumptions that for
49、the basis of a more politically responsible strategy for criticizing the gendering of music 27 The passage would be most likely to appear as part of （ A） a book review summarizing an innovative new approach to analyzing the source of gender codes in music （ B） an essay describing broad trends in the practice of musical criticism （ C） a textbook on the application of new critical methods to older forms of music （ D） a report to musicologists on the relationship between gendered music and the avant-garde （ E） an articl
