1、大学英语六级改革适用（阅读）模拟试卷 40及答案与解析 Section C 0 There was a time when big-league university presidents really mattered. The New York Times covered their every move. Presidents, the real ones, sought their counsel. For Woodrow Wilson and Dwight Eisenhower, being head of Princeton and Columbia, respectively,
2、was a stepping-stone to the White House. Today, though, the job of college president is less and less removed from that of the Avon lady(except the house calls are made to the doorsteps of wealthy alums). Ruth Simmons, the newly installed president of Brown University and the first African American
3、to lead an Ivy League school, is a throwback to the crusading campus leaders of the old. She doesnt merely marshal funds; she invests them in the great educational causes of our day. With the more than $300 million she raised as president of Smith College from 1995 to 2001, Simmons established an en
4、gineering program(the first at any women s school)and added seminars focused on public speaking to purge the ubiquitous “likes“ and “urns“ from the campus idiom. At a meeting to discuss the future of Smiths math department, one professor timidly requested two more discussion sections for his course.
5、 Her response: “Dream bigger.“ Her own dream was born in a sharecropper s shack in East Texas where there was no money for books or toys she and her 11 siblings each got an apple, an orange and 10 nuts for Christmas. Though she was called Negro on her walk to school, entering the classroom, she says
6、, “was like waking up.“ When Simmons won a scholarship to Dillard University, her high school teachers took up a collection so shed have a coat. She went on to Harvard to earn a Ph.D. in Romance languages. Simmons has made diversity her No. 1 campus crusade. She nearly doubled the enrolment of black
7、 freshmen at Smith, largely by travelling to high schools in the nations poorest ZIP codes to recruit. Concerned with the lives of minority students once they arrived at school, she has fought to ease the racial standoffs that plague so many campuses. At Smith she turned down a request by students t
8、o have race-specific dorms. In 1993, while vice provost at Princeton, she wrote a now famous report recommending that the university establish an office of conflict resolution to defuse racial misunderstandings before they boiled over. Her first task at Brown will be to heal one such rupture last sp
9、ring after the student paper published an incendiary ad by conservative polemicist David Horowitz arguing that blacks economically benefited from slavery. “Theres no safe ground for anybody in race relations, but campuses, unlike any other institution in our society, provide the opportunity to cross
10、 racial lines,“ says Simmons. “And even if youre hurt, you cant walk away. You have to walk over that line.“ 1 What does the “ones“(Line 2, Para.l)refer to? （ A） Counsellors in the White House （ B） Famous people in a country （ C） Presidents of universities （ D） Presidents of nations 2 Which one of t
11、he following is NOT TRUE on how Simmons spend with the funds she had raised? （ A） She enlarged the number of those students who can win scholarship. （ B） She paid more attention on public speaking by adding more seminars. （ C） An engineering program was established by her. （ D） She encouraged profes
12、sors to practice their ideas. 3 What can we infer from “was like waking up“ in paragraph 3? （ A） Simmons is realistic. （ B） Simmons is creative. （ C） Simmons is coward. （ D） Simmons is optimistic. 4 Why did Simmons reject the request to allow students with same race to live together in one dormitory
13、? （ A） She intended to allow students to make more friends. （ B） She expected students from different races to know more about each other, thus reducing racial misunderstanding. （ C） Students from the same race would be isolated. （ D） She anticipated avoiding quarrels of students from diverse backgr
14、ound. 5 What is a typical role played by colleges from the perspective of Simmons? （ A） A safe ground for students. （ B） A remote area for entertainment. （ C） A place with less discrimination. （ D） A small society for students to get prepared for the future. 5 Roger Rosenblatt s book Black Fiction,
15、in attempting to apply literary rather than sociopolitical criteria to its subject, successfully alters the approach taken by most previous studies. As Rosenblatt notes, criticism of Black writing has often served as a pretext for expounding on Black history. Addison Gayles recent work, for example,
16、 judges the value of Black fiction by overtly political standards, rating each work according to the notions of Black identity which it propounds. Although fiction assuredly springs from political circumstances, its authors react to those circumstances in ways other than ideological, and talking abo
17、ut novels and stories primarily as instruments of ideology circumvents much of the fictional enterprise. Rosenblatt s literary analysis discloses affinities and connections among works of Black fiction which solely political studies have overlooked or ignored. Writing acceptable criticism of Black f
18、iction, however, presupposes giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the facial identity of the authors, to group together works by Black authors? Second, how does Black fiction make itself distinct from other modern fictions with
19、which it is largely contemporaneous? Rosenblatt shows that Black fiction constitutes a distinct body of writing that has an identifiable, coherent literary tradition. Looking at novels written by Black over the last eighty years, he discovers recurring concerns and designs independent of chronology.
20、 These structures are thematic, and they spring, not surprisingly, from the central fact that the Black characters in these novels exist in a predominantly white culture, whether they try to conform to that culture or rebel against it. Black Fiction does leave some aesthetic questions open. Rosenbla
21、tts thematic analysis permits considerable objectivity; he even explicitly states that it is not his intention to judge the merit of the various works yet his reluctance seems misplaced, especially since an attempt to appraise might have led to interesting results. For instance, some of the novels a
22、ppear to be structurally diffuse. Is this a defect, or are the authors working out of, or trying to forge, a different kind of aesthetic? In addition, the style of some Black novels, like Jean Toomers Cane, verges on expressionism or surrealism; does this technique provide a counterpoint to the prev
23、alent theme that portrays the fate against which Black heroes are pitted, a theme usually conveyed by more naturalistic modes of expression? In spite of such omissions, what Rosenblatt does included in his discussion makes for an astute and worthwhile study. Black Fiction surveys a wide variety of n
24、ovels, bringing to our attention in the process some fascinating and little-known works like James Weldon Johnsons Autobiography of an Ex-Colored Man. Its argument is tightly constructed, and its forthright, lucid style exemplifies levelheaded and penetrating criticism. 6 In what ways is the book Bl
25、ack Fiction different from traditional ones? （ A） The opinions the author holds. （ B） The rhetorics used in the book. （ C） The way that it adopts literary standard to study its topic. （ D） The background of black peoples social life. 7 The word “affinities“(Line 4, Para.2)is closet in the meaning to
26、_. （ A） relationship （ B） affability （ C） concentration （ D） vigilance 8 It is generally acknowledged that the Black characters in literary works_. （ A） live in a white-dominated environment （ B） attempt to fight against white culture （ C） become more independent than before （ D） suffer from severe
27、competition 9 What is the authors attitude to the book Black Fiction? （ A） Indifferent. （ B） Argumentative. （ C） Positive. （ D） Critical. 10 The author of the text employs all of the following in the discussion of Rosenblatt s book EXCEPT_. （ A） rhetorical questions （ B） definition of terms （ C） com
28、parison and contrast （ D） specific examples 10 “I want to criticize the social system, and to show it at work, at its most intense.“ Virginia Woolf s provocative statement about her intentions in writing Mrs. Dalloway has regularly been ignored by the critics, since it highlights an aspect of her li
29、terary interests very different from the traditional picture of the “poetic“ novelist concerned with examining states of reverie and vision and with following the intricate pathways of individual consciousness. But Virginia Woolf was a realistic as well as a poetic novelist, a satirist and social cr
30、itic as well as a visionary: literary critics cavalier dismissal of Woolf s social vision will not withstand scrutiny. In her novels, Woolf is deeply engaged by the questions of how individuals are shaped(or deformed)by their social environments, how historical forces impinge on people s lives, how
31、class, wealth, and gender help to determine people s fates. Most of her novels are rooted in a realistically rendered social setting and in a precise historical time. Woolf s focus on society has not been generally recognized because of her intense antipathy to propaganda in art. The pictures of ref
32、ormers in her novels are usually satiric or sharply critical. Even when Woolf is fundamentally sympathetic to their causes, she portrays people anxious to reform their society and possessed of a message or program as arrogant or dishonest, unaware of how their political ideas serve their own psychol
33、ogical needs.(Her Writers Diary notes: “the only honest people are the artists,“ whereas “these social reformers and philanthropists . Harbour . discreditable desires under the disguise of loving their kind .“)Woolf detested what she called “preaching“ in fiction, too, and criticized novelist D. H.
34、Lawrence(among others)for working by this method. Woolf s own social criticism is expressed in the language of observation rather than in direct commentary, since for her, fiction is a contemplative, not an active art. She describes phenomena and provides materials for a judgment about society and s
35、ocial issues; it is the readers work to put the observations together and understand the coherent point of view behind them. As a moralist, Woolf works by indirection, subtly undermining officially accepted mores, mocking, suggesting, calling into question, rather than asserting, advocating, bearing
36、 witness: hers is the satirists art. Woolf s literary models were acute social observers like Chekhov and Chaucer. As she put it in The Common Reader, “It is safe to say that not a single law has been framed or one stone set upon another because of anything Chaucer said or wrote; and yet, as we read
37、 him, we are absorbing morality at every pore.“ Like Chaucer, Woolf chose to understand as well as to judge, to know her society root and branch a decision crucial in order to produce art rather than polemic. 11 The authors attitude toward the literary critics in the first paragraph, can be describe
38、d as_. （ A） disapproving （ B） ironic （ C） resigned （ D） sceptical 12 What is the role of reformers portrayed by Woolf in her literary works? （ A） Ironical but humorous. （ B） Pride, dishonest and selfish. （ C） Radical and creative. （ D） Intelligent and ambitious. 13 What is the main writing style of
39、Woolfs literary works? （ A） Ironic. （ B） Argumentative. （ C） Satire. （ D） Asserting. 14 What reasons can we infer from the last paragraph that why Woolf chose Chaucer as a literary example? （ A） Chaucer was the first English author to pay attention to both society and individuals. （ B） Chaucer was a
40、n honest author, whereas other novelists are extremely radical. （ C） Chaucer was more concerned with those disadvantaged groups in society. （ D） Chaucers writing was greatly effective in influencing the moral attitudes of his readers. 15 Which of the following would be the most appropriate title for
41、 the text? （ A） Chaucers Influences on the Novels of Virginia Woolf （ B） Virginia Woolf: Critic and Commentator on Social Reformers （ C） Virginia Woolf s Novels: Critical Reflections on the Individual and on Society （ D） Stream of Unconsciousness as a Key to Understanding Virginia Woolf s Novels 15
42、Too much television can be detrimental for kids development, even when they re not plopped directly in front of the screen. And your kids might be getting more exposure to such background TV than you think, a new study finds. The researchers found that the average American kid was exposed to 232.2 m
43、inutes of background television per day when the TV was on, but the child was engaged in another activity. Younger children and African-America children were exposed to the most background television on average. “We were ready and willing to accept that the exposure would be high, but we were kind o
44、f shocked at how high it really was,“ says study author Matthew Lapierre, a doctoral candidate and lecturer at the University of Pennsylvania s Annenberg School for Communication. “The fact that kids are exposed to about four hours on average per day definitely knocked us back on our heels a bit.“ P
45、revious research has found that exposure to background television is linked to lower attention spans, fewer and lower-quality parent-child interactions and reduced performance in cognitive tasks, the authors said in the study. The current findings came from data gathered in a nationally representati
46、ve telephone survey of 1,454 American parents with at least one child between the ages of 8 months and 8 years. The parents were asked about how often their TV was on when no one was watching and whether their child had a TV in their bedroom. “For every minute of television to which children are dir
47、ectly exposed, there are an additional 3 minutes of indirect exposure, making background exposure a much greater proportion of time in a young childs day,“ the authors say in the study. What they found even more concerning was that kids under 2 and African-American children are exposed to 42% and 45
48、% more background TV, respectively, than the average child. “Its particularly concerned because there is an evidence this exposure has negative consequences for development,“ says Lapierre. According to the authors, these high rates could be the result of parents not counting background TV as exposu
49、re or thinking their kids are too young to be affected by it. “This study should be a warning to parents and day-care providers to shut off the television when no one is watching, and certainly to consider the consequences of having a television in a child s bedroom no matter how young they may be,“ said Cynthia Stohl, the International Communication Association president and professor of communication at the University of California, Santa Barbara, in a statement. The researchers are hopeful their findings will further the und
