1、翻译硕士英语模拟试卷 7及答案与解析 一、 Proofreading 0 Rupert Brooke Rupert Brooke, one of the leading poets of his generation, was renowned as a romantic, unlike many of his contemporaries who 1. _ specialized in writing about the pointless of war. 2. _ He was born in 1887, the son of a House Master at Rugby, where
2、Rupert attended both the preparatory and main schools. When he went up to Cambridge in 1906 as a classics scholar, he fared badly 3. _ in his examinations as his interests laid in literature and theater. 4. _ During his time at Cambridge, his wit and good looks ensured his place as a member of the e
3、lite circle of intellectuals study there. 5. _ After university he went to study German in Munich, falling in love with a sculptress there and working feverishly to begin his first 6. _ volume of poetry, which produced a profit within a few weeks of its publication in 1911. With his early success, B
4、rooke often felt unsettled as he 7. _ struggled to come to term with the underlying contradictions in his 8. _ character. Many times his free spirits and bohemianism conflicted 9. _ directly with the innate Puritanism he inherited from his mother. 10. _ Because of these he would sometimes distance h
5、imself from his fellows and adopt an irrational suspicious attitude towards them. 二、 Diction 11 You _ hurt his feelings by saying that, even if“ you thought it. （ A） didnt need to （ B） neednt to （ C） hadnt needed to （ D） neednt have 12 At first she accused me of being a political fanatic, but she so
6、on came round to _ that my ideas were not so ridiculous as she had supposed. （ A） realize （ B） realizing （ C） have realized （ D） being realizing 13 All was confusion around him; _ he remained calm and unruffled. （ A） nonetheless （ B） consequently （ C） otherwise （ D） furthermore 14 A brilliant writer
7、 can _ a whole scene effortlessly. （ A） invoke （ B） provoke （ C） evoke （ D） stimulate 15 I couldnt help but _ when I heard his story. （ A） buckle （ B） dilute （ C） chuckle （ D） bruise 16 The Royal Museum contains a _ of the kings famous declaration. （ A） facsimile （ B） humbug （ C） wager （ D） congeal
8、17 Aged just four, Josephine Hawkins is already at ease with her computer and the internet, _ clicking her mouse on Disney sites to download images of her favorite characters. （ A） confidentially （ B） confidently （ C） appreciatively （ D） conscientiously 18 Just as its more than OK to work overtime w
9、hen its appropriate, its also more than OK to be alert _ other work that needs to be done. （ A） at （ B） to （ C） towards （ D） on 19 If pride in a good name keeps families and neighborhoods straight, a sense of shame is the _ side of that coin. （ A） diverse （ B） perverse （ C） reverse （ D） converse 20
10、It is often a mistake to _ appearance: that poor-looking individual is anything but poor. In fact, there is the President of a large multinational corporation with a fortune of 10 billion dollars. （ A） go over （ B） go by （ C） go for （ D） go with 21 A _ of the long report by the budget committee was
11、submitted to the mayor for approval. （ A） short hand （ B） scheme （ C） schedule （ D） sketch 22 In order to increase the number of female representatives, the selection committee decided to _ in favor of women for three years. （ A） contradict （ B） discriminate （ C） criticize （ D） distain 23 The subjec
12、t of safety must be placed at the top of the _. （ A） timetable （ B） bulletin （ C） routine （ D） agenda 24 I speak, of course, of free men who have a choice, not condemned criminals whose sphere of activities is strictly _. （ A） delimited （ B） loomed （ C） fostered （ D） accumulated 25 A middle-aged wom
13、an of tremendous _ sat down beside the other patients in the waiting room. （ A） retrogress （ B） tabac （ C） girth （ D） saber 26 Crimes of violence appear to be quite _, but psychologists can usually find a motive hidden away in the criminals childhood. （ A） senseless （ B） sensational （ C） nonsensical
14、 （ D） sensitive 27 I had no _ about speaking the language when I was in Greece; it was driving on the other side of the road which bothers me. （ A） panic （ B） quake （ C） nervousness （ D） qualms 28 Researchers discovered that plants infected with a virus give off a gas that _ disease resistance in ne
15、ighboring plants. （ A） contracts （ B） maintains （ C） prescribes （ D） activates 29 Whoever formulated the theory of the origin of the universe, it is just _ and needs proving. （ A） spontaneous （ B） hypothetical （ C） intuitive （ D） empirical 30 As a way of _ domestic harmony and creating a manageable
16、routine, some couple choose one of the three different styles of household role division : traditional, egalitarian or cooperative. （ A） fostering （ B） conferring （ C） breeding （ D） establishing 三、 Reading Comprehension 30 The world is going through the biggest wave of mergers and acquisitions ever
17、witnessed. The process sweeps from hyperactive America to Europe and reaches the emerging countries with unsurpassed might. Many in these countries are looking at this process and worrying: “Wont the wave of business concentration turn into an uncontrollable anti-competitive force?“ Theres no questi
18、on that the big are getting bigger and more powerful. Multinational corporations accounted for less than 20% of international trade in 1982. Today the figure is more than 25% and growing rapidly. International affiliates account for a fast-growing segment of production in economies that open up and
19、welcome foreign investment. In Argentina, for instance, after the reforms of the early 1990s, multinationals went from 43% to almost 70% of the industrial production of the 200 largest firms. This phenomenon has created serious concerns over the role of smaller economic firms, of national businessme
20、n and over the ultimate stability, of the world economy. I believe that the most important forces behind the massive M its root was Latin littera, a letter of the alphabet. Litterature, in the common early spelling, was then in effect a condition of reading: of being able to read and of having read.
21、 It was often close to the sense of modem literacy, which was not in the language until the late nineteenth century, its introduction in part made necessary by the movement ofliteratureto a different sense. The normal adjective associated with literature was literate. Literary appeared in the sense
22、of reading ability and experience in the seventeenth century, and did not acquire its specialized modem meaning until the eighteenth century. Literature as a new category was then a specialization of the area formerly categorized as rhetoricand grammar: a specialization to reading and, in the materi
23、al context of the development of printing, to the printed word and especially the book. It was eventually to become a more general category than poetry or the earlier poesy, which had been general terms for imaginative composition, but which in relation to the development of literature became predom
24、inantly specialized, from the seventeenth century, to metrical composition and especially written and printed metrical composition. But literature was never primarily the active composition the “ making“ which poetry had described. As reading rather than writing, it was a category of a different kin
25、d. The characteristic use can be seen in Bacon “learned in all literature and erudition, divine and humane“ and as late asJohnson “he had probably more than common literature, as his son addresses him in one of his most elaborate Latin poems.“ Literature, that is to say, was a category of use and co
26、ndition rather than of production. It was a particular specialization of what had hither to been seen as an activity or practice, and a specialization, in the circumstances, which was inevitably made in terms of social class. In its first extended sense, beyond the bare sense of “literacy,“ it was a
27、 definition of “polite“ or “humane“ learning, and thus specified a particular social distinction. New political concepts of the “nation“ and new valuations of the “vernacular“ interacted with a persistent emphasis on “literature“ as reading in the “classical“ languages. But still, in this first stag
28、e, into the eighteenth century, literaturewas primarily a generalized social concept, expressing a certain (minority) level of educational achievement. This carded with it a potential and eventually realized alternative definition of literatureas “printed books:“ the objects in and through which thi
29、s achievement was demonstrated. It is important that, within the terms of this development, literature normally included all printed books. There was not necessary specialization to “imaginative“ works. Literature was still primarily reading ability and experience, and this included philosophy, hist
30、ory, and essays as well as poems. Were the new eighteenth century novels literature? That question was first approached, not by definition of their mode or content, but by reference to the standards of “polite“ or “humane“ learning. Was drama literature? This question was to exercise successive gene
31、rations, not because of any substantial difficulty but because of the practical limits of the category. If literature was reading, could a mode written for spoken performance be said to be literature, and if not, where was Shakespeare? At one level the definition indicated by this development has pe
32、rsisted. Literature lost its earliest sense of reading ability and reading experience, and became an apparently objective category of printed works of a certain quality. The concerns of a “literary editor“ or a “literary supplement“ would still be defined in this way. But three complicating tendenci
33、es can then be distinguished: first, a shift from “learning“ to “taste“ or “sensibility“ as a criterion defining literary quality; second, an increasing specialization of literature to “creative“ or “imaginative“ works; third, a development of the concept of “tradition“ within national terms, result
34、ing in the more effective definition of “a national literature.“ The source of each of these tendencies can be discerned from the Renaissance, but it was in the eighteenth and nineteenth centuries that they came through most powerfully, until they became, in the twentieth century, in effect received
35、 assumptions. 36 When did the modern concept of “literature“ emerge? （ A） In the seventeenth century. （ B） In the eighteenth century. （ C） In the nineteenth century. （ D） In the twentieth century. 37 What did literature mean in its earliest sense? （ A） Reading ability （ B） Reading ability and experi
36、ence （ C） Writing ability （ D） Reading and writing 38 What is the earliest adjective associated with literature? （ A） Literary. （ B） Literate. （ C） Literacy. （ D） Literal. 39 What challenged the definition of literature as reading in the eighteenth century? （ A） The emergence of novels. （ B） The eme
37、rgence of dramas. （ C） The emergence of poems. （ D） The emergence of essays. 40 Which of the following can best serve as the title of this passage? （ A） The Development of the Concept of Literature. （ B） The Development of the Modern Concept of Literature. （ C） The Development of Literature. （ D） Th
38、e Development of Literacy. 40 “A writers job is to tell the truth,“ said Hemingway in 1942. No other writer of our time had so fiercely asserted, so pugnaciously defended or so consistently exemplified the writers obligation to speak truly. His standard of truth telling remained, moreover, so high a
39、nd so rigorous that he was ordinarily unwilling to admit secondary evidence, whether literary evidence or evidence picked up from other sources than his own experience. “I only know what I have seen,“ was a statement which came often to his lips and pen. What he had personally done, or what he knew
40、unforgettably by having gone through one version of it, was what he was interested in telling about. This is not to say that he refused to invent freely. But he always made it a sacrosanct point to invent in terms of what he actually knew from having been there. The primary intent of his writing, fr
41、om first to last, was to seize and project for the reader what he often called “the way it was.“ This is a characteristically simple phrase for a concept of extraordinary complexity, and Hemingways conception of its meaning subtly changed several times in the course of his career always in the direc
42、tion of greater complexity. At the core of the concept, however, one can invariably discern the operation of three aesthetic instruments ; the sense of place the sense of fact and the sense of scene. The first of these, obviously a strong passion with Hemingway, is the sense of place. “Unless you ha
43、ve geography, background,“ he once told George Anteil, “You have nothing. “ You have, that is to say, a dramatic vacuum. Few writers have been more place-conscious. Few have so carefully charted out the geographical ground work of their novels while managing to keep background so conspicuously unobt
44、rusive. Few, accordingly, have been able to record more economically and graphically the way it is when you walk through the streets of Paris in search of breakfast at corner caf or when, at around six Os clock of a Spanish dawn, you watch the bulls running from the corrals at the Puerta Rochapea th
45、rough the streets of Pamplona towards the bullring. “When I woke it was the sound of the rocket exploding that announced the release of the bulls from the corrals at the edge of town. Down below the narrow street was empty. All the balconies were crowded with people. Suddenly a crowd came down the s
46、treet. They were all running, packed close together. They passed along and up the street toward the bullring and behind them came more men running faster, and then some stragglers who were really running. Behind them was a little bare space, and then the bulls, galloping, tossing their heads up and
47、down. It all went out of sight around the corner. One man fell, rolled to the gutter, and lay quiet. But the bulls went right on and did not notice him. They were all running together. “ This landscape is as morning-fresh as a design in India ink on clean white paper. First is the bare white street,
48、 seen from above, quiet and empty. Then one sees the first packed clot of runners. Behind these are the thinner ranks of those who move faster because they are closer to bulls. Then the almost comic stragglers, who are “really running. “ brilliantly behind these shines the “little bare space,“ a des
49、perate margin for error. Then the clot of running bulls closing the design, except of course for the man in the gutter making himself, like the designers initials, as inconspicuous as possible. 41 According to the author, Hemingways primary purpose in telling a story was _. （ A） to construct a well-told story that the reader would thoroughly enjoy （ B） to construct a story that would refl
