2021年GRE考试真题卷（8）.docx

2021年GRE考试真题卷（8）本卷共分为2大题50小题，作答时间为180分钟，总分100分，60分及格。一、单项选择题（共25题，每题2分。每题的备选项中，只有一个最符合题意） 1.Since her own era, Christina Rossettis devout Christianity has often been seen as a characteristic setting her apart from the other avowedly non-Christian members of the Pre-Raphaelite circle. In designating their movement a form of"aesthetic mysticism", one established critic, Alice Law described the place Pre-Raphaelitism holds in the development of Victorian artistic culture as a movement away from a predominantly religious and moralizing function toward a culture of aestheticismprecisely what Rossettis work has long been thought to reject. The Pre-Raphaelites attention to picturesque detail, the medievalist atmosphere and settings, the pervasive melancholy of their works, and their awareness of their arts primarily Christian literary and pictorial originsall these have been traditionally downplayed in their similarity to the characteristics of Christina Rossettis poetry.This belief persists, despite the distinctly religious "atmosphere" of much of the work produced by both generations of Pre-Raphaelites: its employment of biblical images and typology; of religious figural language; and, more especially and pervasively, of medievalist backgrounds and settings that were seen by their early audiences to have clearly devotional, if not dangerously "Romanist", associations. When discussing Pre-Raphaelitism as an historical movement, we must remember that the first brotherhood was inspired largely by a sacramental aesthetic that tended to alienate Victorian society, which generally abhorred the notion of sacrifice. It is true that Rossettis traditional solution to the Romantic and Victorian literary problem of alienation from nature and the more characteristically Victorian problem of despair at lifes meaninglessness, was fundamentally Christian. But with few exceptions, Rossetti relied on the colloquial and angst-ridden language of both generations of Pre-Raphaelites. Even Swinburne, the Pre-Raphaelite whose anti-orthodoxy and iconoclasm seem to conflict most profoundly with Rossettis values, enthusiastically hailed her. That most Victorians themselves perceived Christina Rossetti as unequivocally Pre-Raphaelite in her poetic affinities is clear, for throughout her poetry and much of her prose Christina Rossetti demonstrated true and deep affinities with Pre-Raphaelite aesthetic values, in both innovative and traditional ways. We must not forget her "pictorial" modes of representation, the medieval atmosphere and settings that appear repeatedly in her poems, her appreciation of the worlds physical beauty and its expression in lush images, the intensity of her poems, which seems inseparable from their "sincerity", and not least her preoccupation with love. To a greater extent than figures more peripheral to the Pre-Raphaelite circle, Christina Rossetti produced works that appear to be dominated by the same aesthetic consciousness and literary values that make Pre-Raphaelitism the central movement which unintentionally spawned the aestheticism of the 1880s and 1890s. Pre-Raphaelitism, in fact, influenced aesthetic thought in a way that made the movement central to the transition from the sentimental moral idealism of the Victorian mainstream to the variously nihilistic, skeptical, and ironic value systems that dominate modern poetry.Which of the following, if true, would most likely weaken the significance of Mignot and Aldrichs researchAThe numbers of neurotransmitters and receptor levels differs widely between dog brains and human brains.BAlterations in neurotransmitter and receptor levels might be the result of sleep disturbances, not the cause of it.CA particular site in the brains frontal lobe is isolated where the bulk of the neurological damage occurs.DToo few acetylcholine, dopamine and norepinephrine neurotransmitters exist in dog brains to establish their role in narcolepsy.EAn autoimmune dysfunction is conclusively proven to be the cause in a large but incomplete majority of narcolepsy cases. 2.Since her own era, Christina Rossettis devout Christianity has often been seen as a characteristic setting her apart from the other avowedly non-Christian members of the Pre-Raphaelite circle. In designating their movement a form of"aesthetic mysticism", one established critic, Alice Law described the place Pre-Raphaelitism holds in the development of Victorian artistic culture as a movement away from a predominantly religious and moralizing function toward a culture of aestheticismprecisely what Rossettis work has long been thought to reject. The Pre-Raphaelites attention to picturesque detail, the medievalist atmosphere and settings, the pervasive melancholy of their works, and their awareness of their arts primarily Christian literary and pictorial originsall these have been traditionally downplayed in their similarity to the characteristics of Christina Rossettis poetry.This belief persists, despite the distinctly religious "atmosphere" of much of the work produced by both generations of Pre-Raphaelites: its employment of biblical images and typology; of religious figural language; and, more especially and pervasively, of medievalist backgrounds and settings that were seen by their early audiences to have clearly devotional, if not dangerously "Romanist", associations. When discussing Pre-Raphaelitism as an historical movement, we must remember that the first brotherhood was inspired largely by a sacramental aesthetic that tended to alienate Victorian society, which generally abhorred the notion of sacrifice. It is true that Rossettis traditional solution to the Romantic and Victorian literary problem of alienation from nature and the more characteristically Victorian problem of despair at lifes meaninglessness, was fundamentally Christian. But with few exceptions, Rossetti relied on the colloquial and angst-ridden language of both generations of Pre-Raphaelites. Even Swinburne, the Pre-Raphaelite whose anti-orthodoxy and iconoclasm seem to conflict most profoundly with Rossettis values, enthusiastically hailed her. That most Victorians themselves perceived Christina Rossetti as unequivocally Pre-Raphaelite in her poetic affinities is clear, for throughout her poetry and much of her prose Christina Rossetti demonstrated true and deep affinities with Pre-Raphaelite aesthetic values, in both innovative and traditional ways. We must not forget her "pictorial" modes of representation, the medieval atmosphere and settings that appear repeatedly in her poems, her appreciation of the worlds physical beauty and its expression in lush images, the intensity of her poems, which seems inseparable from their "sincerity", and not least her preoccupation with love. To a greater extent than figures more peripheral to the Pre-Raphaelite circle, Christina Rossetti produced works that appear to be dominated by the same aesthetic consciousness and literary values that make Pre-Raphaelitism the central movement which unintentionally spawned the aestheticism of the 1880s and 1890s. Pre-Raphaelitism, in fact, influenced aesthetic thought in a way that made the movement central to the transition from the sentimental moral idealism of the Victorian mainstream to the variously nihilistic, skeptical, and ironic value systems that dominate modern poetry.According to the passage, scientists have positively confirmed that the brains of narcoleptics differ from those of normal brains in which of the following waysANarcoleptic brains tend to remove degenerative tissue at a more prolific rate than that of nonnarcoleptics.BNarcoleptics are less responsive to drugs which treat neural autoimmune dysfunction than are nonnarcoleptics.CNonnarcoleptics do not possess the same neurological immune antigens as narcoleptics.DNeurons that control muscle tone are damaged in the brains of narcoleptics, but not in those of non-narcoleptics.ENarcoleptics experience greater neural degeneration as a result of aging than do nonnarcoleptics. 3.Since her own era, Christina Rossettis devout Christianity has often been seen as a characteristic setting her apart from the other avowedly non-Christian members of the Pre-Raphaelite circle. In designating their movement a form of"aesthetic mysticism", one established critic, Alice Law described the place Pre-Raphaelitism holds in the development of Victorian artistic culture as a movement away from a predominantly religious and moralizing function toward a culture of aestheticismprecisely what Rossettis work has long been thought to reject. The Pre-Raphaelites attention to picturesque detail, the medievalist atmosphere and settings, the pervasive melancholy of their works, and their awareness of their arts primarily Christian literary and pictorial originsall these have been traditionally downplayed in their similarity to the characteristics of Christina Rossettis poetry.This belief persists, despite the distinctly religious "atmosphere" of much of the work produced by both generations of Pre-Raphaelites: its employment of biblical images and typology; of religious figural language; and, more especially and pervasively, of medievalist backgrounds and settings that were seen by their early audiences to have clearly devotional, if not dangerously "Romanist", associations. When discussing Pre-Raphaelitism as an historical movement, we must remember that the first brotherhood was inspired largely by a sacramental aesthetic that tended to alienate Victorian society, which generally abhorred the notion of sacrifice. It is true that Rossettis traditional solution to the Romantic and Victorian literary problem of alienation from nature and the more characteristically Victorian problem of despair at lifes meaninglessness, was fundamentally Christian. But with few exceptions, Rossetti relied on the colloquial and angst-ridden language of both generations of Pre-Raphaelites. Even Swinburne, the Pre-Raphaelite whose anti-orthodoxy and iconoclasm seem to conflict most profoundly with Rossettis values, enthusiastically hailed her. That most Victorians themselves perceived Christina Rossetti as unequivocally Pre-Raphaelite in her poetic affinities is clear, for throughout her poetry and much of her prose Christina Rossetti demonstrated true and deep affinities with Pre-Raphaelite aesthetic values, in both innovative and traditional ways. We must not forget her "pictorial" modes of representation, the medieval atmosphere and settings that appear repeatedly in her poems, her appreciation of the worlds physical beauty and its expression in lush images, the intensity of her poems, which seems inseparable from their "sincerity", and not least her preoccupation with love. To a greater extent than figures more peripheral to the Pre-Raphaelite circle, Christina Rossetti produced works that appear to be dominated by the same aesthetic consciousness and literary values that make Pre-Raphaelitism the central movement which unintentionally spawned the aestheticism of the 1880s and 1890s. Pre-Raphaelitism, in fact, influenced aesthetic thought in a way that made the movement central to the transition from the sentimental moral idealism of the Victorian mainstream to the variously nihilistic, skeptical, and ironic value systems that dominate modern poetry.The passage supplies information to answer which of the following questionsAWhich species, human or dog, has greater numbers of the neurotransmitters that have been hypothetically linked to narcolepsyBAt what age do human beings first experience the degenerative effects of narcolepsyCWhat role do human leukocyte antigens perform for the human immune systemDWhy did Honda initially suspect that HLAs played a role in narcolepsyEWhich of the researchers named in the passage isolated narcolepsy as a distinct syndrome 4.Since her own era, Christina Rossettis devout Christianity has often been seen as a characteristic setting her apart from the other avowedly non-Christian members of the Pre-Raphaelite circle. In designating their movement a form of"aesthetic mysticism", one established critic, Alice Law described the place Pre-Raphaelitism holds in the development of Victorian artistic culture as a movement away from a predominantly religious and moralizing function toward a culture of aestheticismprecisely what Rossettis work has long been thought to reject. The Pre-Raphaelites attention to picturesque detail, the medievalist atmosphere and settings, the pervasive melancholy of their works, and their awareness of their arts primarily Christian literary and pictorial originsall these have been traditionally downplayed in their similarity to the characteristics of Christina Rossettis poetry.This belief persists, despite the distinctly religious "atmosphere" of much of the work produced by both generations of Pre-Raphaelites: its employment of biblical images and typology; of religious figural language; and, more especially and pervasively, of medievalist backgrounds and settings that were seen by their early audiences to have clearly devotional, if not dangerously "Romanist", associations. When discussing Pre-Raphaelitism as an historical movement, we must remember that the first brotherhood was inspired largely by a sacramental aesthetic that tended to alienate Victorian society, which generally abhorred the notion of sacrifice. It is true that Rossettis traditional solution to the Romantic and Victorian literary problem of alienation from nature and the more characteristically Victorian problem of despair at lifes meaninglessness, was fundamentally Christian. But with few exceptions, Rossetti relied on the colloquial and angst-ridden language of both generations of Pre-Raphaelites. Even Swinburne, the Pre-Raphaelite whose anti-orthodoxy and iconoclasm seem to conflict most profoundly with Rossettis values, enthusiastically hailed her. That most Victorians themselves perceived Christina Rossetti as unequivocally Pre-Raphaelite in her poetic affinities is clear, for throughout her poetry and much of her prose Christina Rossetti demonstrated true and deep affinities with Pre-Raphaelite aesthetic values, in both innovative and traditional ways. We must not forget her "pictorial" modes of representation, the medieval atmosphere and settings that appear repeatedly in her poems, her appreciation of the worlds physical beauty and its expression in lush images, the intensity of her poems, which seems inseparable from their "sincerity", and not least her preoccupation with love. To a greater extent than figures more peripheral to the Pre-Raphaelite circle, Christina Rossetti produced works that appear to be dominated by the same aesthetic consciousness and literary values that make Pre-Raphaeliti