1、阅读理解模拟试卷 11及答案与解析 0 Ragtime and Its Performers Seven performers from the Washington-Baltimore area who were east in the Kennedy Centers April revival of “Ragtime“ remained with the show when it was remounted on Broadway at the Neil Simon Theatre in the fall. And though its producers have announced t
2、hat the show will close Sunday due to poor ticket gales, the actors said “Ragtime“ had given them much more than their Broadway debuts. “It reaffirmed my faith in myself as an actor. “Donna Migliaccio told “Backstage“ via e-mail after news of the closing became official. A veteran of numerous shows
3、at the Kennedy Center and Signature Theatre in Arlington. Migliaccio plays early-20th-century radical Emma Goldman in “Ragtime“ and is also an ensemble member. She continued. “It showed me that Im not too old a dog to learn some new tricks. . . that commercial theatre isnt always all about the money
4、 sometimes its about people who believe passionately -enough in a project to lose money on it.“ Ali.a trained opera singer, has decided to relocate to New York. A product of the Duke Ellington School of the Arts in Washington, Spelman College and the New England,she says doing “Ragtime“ has been “li
5、ke Im living a fairy tale. “She credits the good feelings backstage which all seven actors describe to a “special spirit“ that flows from director-choreographer Marcia Milgrom Dodge. Tracy Lynn 0livera said she was never “actively trying to he on Broadway,“ having made up her mind in her late 20s to
6、 “live and make my career in Washington.“ But, she added, “You cant pass up an opportunity like this.“ She and Migliaccio have known each other for years, having worked together often. But the “Ragtime“ experience has been special. “I remember looking at Donna on the first night and being totally ov
7、erwhelmed. We both started crying.“ Three child actors in “Ragtime“ are from the Washington-Baltimore region. Theyve been living in rented digs(出租房 ) with at least one parent, and continued their schooling online or at New Yorks Professional Performing Arts School for kids in theater. Theyre supervi
8、sed backstage by a “kid wrangler“ to assure they dont miss cues or costume changes. “Its been a huge experience for me,“ said Christopher Cox, a 12-year-old from Columbia, who plays The Little Boy and gets to narrate part of the story. Christopher wants to be “ either a movie actor or a movie direct
9、or“ and he adores his “ Ragtime“ cohorts: “its like one big huge happy family. I dont want to say goodbye for a very long time.“ But hell have to a downside of theater life. Sarah Rosenthal, from Pikesville near Baltimore, plays The Little Girl, who comes to America from Latvia with her immigrant fa
10、ther, Tateh. “Kennedy Center was actually my first professional production of anything ever, and when I got it, I didnt even know about Broadway“ as a possibility, said Rosenthal. She added, “Now that Ive clone it, the happiest Ive been is when Im on stage. . . It sounds kind of cheesy, but I love i
11、t a lot.“ 1 What can NOT be inferred from Paragraph 1 ? （ A） Ragtime is not a newly composed drama but has been created for years. （ B） None of the seven performers has ever been on the stage of Broadway before. （ C） The drama itself is more meaningful than the chance to perform on Broadway. （ D） Ra
12、gtime has been refused to perform on Broadway right at the beginning. 2 What can we learn from Donna Migliaccios e-mail to “Backstage“? （ A） Migliaccio may have once lost faith in being a performer. （ B） The commercial theater lacks the passion and love for art. （ C） Donnas performance is too good t
13、o get any improvement. （ D） Ragtime was Migliaccios debut at Kennedy Center. 3 According to Ali,_is the source of “good feelings backstage“. （ A） Migliaccio （ B） Dodge （ C） Olivera （ D） Goldman 4 Coxs feeling towards the “Ragtime“ cast can be best described with the word_. （ A） admiration （ B） intim
14、acy （ C） adulation （ D） awe 5 What is the main idea of the passage? （ A） Actors all cherish the chance of performing on Broadway and view it as an honor. （ B） People who were cast in “Ragtime“ give more credit to Kennedy Center than Broadway. （ C） Ragtime has aroused or kindled most of its actors fa
15、ith and passion in performance. （ D） Ragtime is not that kind of drama which can be appreciated by all sorts of people. 5 The Luxury Consumes One feature of newfound wealth in the developing world has been the embrace of Western luxury labels. But since the global economy fell apart, the rich classe
16、s have cooled their spending on Chanel handbags and Gucci shoes. That doesnt mean theyve given up luxury fashion altogether. They are turning to smaller, local designers who are using the market depression to develep homemade luxury brands and compete with Armani by providing high-quality luxury pro
17、ducts at a fraction of the price. In India, the crisis has translated into an unexpected opportunity for Manish Arora and Rajesh Pratap Singh, two of the countrys most talented designers. Both translate aspects of Indian culture and taste into unique contemporary collections, combining Indian color
18、sense and decoration with strict Western tailoring. Their pieces have global appeal but also speak specitically to Indian customers. For as little as $350, Indian shoppers can purchase a dress at either designers main store in Mumbai, indulging their inner pursuit of fashion without feeling guilty.
19、“Indian designers have been sensitive to market conditions and have adjusted both their product and prices, allowing customers to have a sense of getting a good bargain even at the top end.“ Says luxury retail consultant Sabina Chopra. These markets all share certain traits: cheap, highly skilled cr
20、aft labor; interest in abundant color and ornament; and a new class of millionaires still discovering the pleasures of distince cosumption. Their consumers are dilighted to buy a statement piece by one of their own designers for a third of the price of a comparable Western creation. It goes beyond s
21、avings; theres an element of pride at work, too. No longer content to simply contribute cheap labor for Western articles, theyre developing luxury in their own image. This sense of power is the start of a shift that promises to transform the luxury business into a truly globalized (全球化的 ) marketplac
22、e. Today, Western brands are learning to exist together with local brands in foreign markets. Tomorrow, theyre likely to face serious competition from these upstarts(后起之秀 ) on their home range of London, Milan, Paris or New York. 6 Why did the newfound wealth spend less money on Chanel handbags? （ A
23、） They have bought too many of them, which cost too much money. （ B） The situation of the global economy was very good for the time being. （ C） They decided to get rid of luxury fashion from their daily life. （ D） They found there were local products with the same quality. 7 What do the two designer
24、s share in their designs? （ A） Combining India culture and styles with western techniques. （ B） Speaking a lot for the Indians in the world stage. （ C） Selling the products at a high price without feeling guilty. （ D） Collecting Indian culture and taste into a book. 8 Which of the following led to I
25、ndian designers success according to Sabina? （ A） Several main stores in Mumbai and many customers. （ B） Lower price combined with good quality and services. （ C） Sharp insight and proper reactions to the market conditions. （ D） Ability to convince customers to purchase their products. 9 Why do the
26、customers feel delighted after buying a statement piece? （ A） Because it only costs a third of a comparable product in western countries. （ B） Because it is very cheap and has perfect quality. （ C） Because they can feel proud of their designers and countries. （ D） Because it can lead to both savings
27、 and a sense of pride. 10 What will be the future of the local brands? （ A） They wil cooperate with each other to make truly globalized marketplace. （ B） They will exist in their local market peacefully with the Western brands. （ C） They wil face serious competition from Western brands in the local
28、market. （ D） They will become the serious rivals against the Western. 10 Gene Analytical the Substitute Organize Examination A blood test that analyzes genetic activity could let heart transplant patients avoid many of the invasive (有扩散危害的 ) and uncomfortable biopsies (活组织检查 ) now used to monitor wh
29、ether their immune systems are rejecting their new organs. The study found that patients who were monitored for rejection using the blood test had outcomes roughly equivalent to those of patients who were given frequent heart biopsies. The test, called AlloMap, was developed by XDx. Still, the autho
30、rs of the study acknowledged that the trial was too small and too brief to allow for firm conclusions. It also excluded very recent transplant recipients, who have the highest risk of rejection. Despite the use of immune-suppressing drugs, about one-quarter of heart transplant recipients have a reje
31、ction episode requiring treatment in the first year after the transplant. While such episodes can be treated by drugs, they may damage the heart, especially if the treatment is not started soon enough. In some cases the rejections prove fatal. Some transplant centers perform biopsies as often as onc
32、e a week after the transplant, and as often as every few months for the next several years. A tube is inserted into a vein in the neck and threaded to the heart to pick up pieces of heart tissue to be examined under a microscope. Efforts have been made to develop less invasive approaches to detect r
33、ejection, including use of imaging, and the AlloMap test was approved for this use by the Food and Drug Administration in 2008. The study involved 602 patients at 13 American transplant centers who had received a transplant from six months to five years earlier. Half were given periodic biopsies and
34、 the others the blood test at the same frequency. The least expensive approach might be to conduct less testing of either type. Only 6 of the 34 episodes of rejection in the group getting the genetic test were found solely by the test. The rest were detected by echocardiogram (超声心动图 ) or because of
35、symptoms. Dr. Jarcho, in his commentary, said those results raised the question of whether routine screening for rejection was even needed. Some transplant centers have already scaled back the number of biopsies they do. 11 What can we learn from the study? （ A） Blood test is used to analyze genetic
36、 activity of the new transplanted organs. （ B） Heart transplant patients have to take invasive and uncomfortable biopsies. （ C） For transplant patients, their immune systems reject all the new organs. （ D） The outcomes of blood test and biopsy are approximately the same to patients. 12 By using immu
37、ne-suppressing drugs,_. （ A） a rejection episode for some heart transplant patients can be avoided （ B） one-quarter of heart transplant recipients will have a rijection episode （ C） the hearts of the transplant tecipients are heavily damaged （ D） a fatal rejection is unavoidable for most heart trans
38、plant recipients 13 Which is TRUE about the biopsies? （ A） It is usually carried out frequently after the transplant. （ B） The piees of heart tissue are taken out from throat. （ C） A tube is threaded to the heart by hand. （ D） The examination is carried out by using magnifying glass. 14 Which of the
39、 following statements is TRUE according to the passage? （ A） The study collects enough evidence to reach a final conclusion. （ B） Only a minority of heart transplant recipients dont have a rejetion episode. （ C） 301 of the patients in the study received a transplant over six months. （ D） Routine scr
40、eening is not so necessary to detect rejection by doctors. 15 Why do some transplant centers reduce to do biopsies? （ A） It proves to be less useful than routine screening. （ B） It proves to do more harm than good to patients. （ C） It proves to be not so necessary in detecting rejection. （ D） it pro
41、ves to be too expensive for patients to afford. 15 How to Face Distress and Frustration Thirty years ago, Hugues de Mon-talembert was enjoying life in New York City as a painter and a filmmaker when he burst in on two thieves trashing his apartment. One of them threw paint remover in his face. By th
42、e next morning, the 35-year-old artist was totally blind. He plunged as deeply into despair as he did into the darkness that greeted him each morning when he awoke in the hospital after dreaming that he could see. When his mother wanted to rush from France to his bedside, he said no he knew he would
43、 end up consoling (安慰 ) her. “People hate tragedy. “He writes simply. Yet those he didnt know doctors, nurses, other patients would talk to him, often confiding intimate details of their lives. He realized it was because they knew he couldnt see them. They would be as anonymous as if he were a pries
44、t (牧师 ) in a darkened confessional. Whats inspiring he would hate that word, too is how ferociously de Montalem-bert leapt back into the world, a world made more enormous by his blindness. He forced himself to journey solo to Bali, a place he had loved when he could see. Later he went alone to India
45、, including a trek to the Himalayas, in pursuit of a ballerina (芭蕾舞女 ) with whom hed fallen in love. Love wasnt just a consolation but the act that reignited (重新激起 ) the idea of being alive. Still, he had to face what was lost. De Montalembert is clear about the good fortune in his life. He lives in
46、 Paris, Denmark, and Majorca. He writes and has a host of internal friendships. “The fact that I lost my sight is very spectacular,“ he says, “but there are things which are much more terrible.“ In Paris one day, a Cambodian taxi driver extended his sympathy for de Monta-lemberts obvious plight (困境
47、). The author thanked him but remarked that there were “people much more wounded than me“. The cabbie was silent and then said that his wife and children had been killed before his eyes in Cambodia. “So there he was,“the author writes, “driving his cab in Paris with this huge wound that noboby could
48、 see. “ Except, of course, for the man who was blind. 16 Which of the following about Hugues de Montalembert is TRUE? （ A） He burst into an apartment with two thieves. （ B） He was hurt to be blind at the age of 35. （ C） He lived in Paris with his mother and wife. （ D） He became a priest after he was
49、 blind. 17 Why would the doctors, nurses, other patients talk intimate details of their lives to Hugues? （ A） Because he was a priest then, people liked to confess to him. （ B） Because he was a good listener and was friendly to others. （ C） Because he was blind and could never saw them. （ D） They wanted to comfort him for his misfortune. 18 Why does the author say “he would hate that word“ in the second paragraph? （ A） Although he leapt back to society, yet his being blind was still a misfortu
