2021考研英语考试模拟卷（9）.docx

2021考研英语考试模拟卷（9）本卷共分为1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50题，每题2分。每题的备选项中，只有一个最符合题意） 1.Text 4 Picture-taking is a technique both for reflecting the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all. These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in taking a picture. Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed. An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of fast seeing. Cartier Bresson, in fact, claims that the modern camera may see too fast. This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. Notes: crop vt.播种,修剪(树木)收割。 count for little 无关紧要。predatory 掠夺成性的。champion n.军；vt.支持。benevolent好心肠的，ambivalence矛盾心理。make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡。cult 狂热崇拜。daguerreotypes (初期的)银板照相法。The author mentions the work of Harold Edgerton in order to provide an example of（）Athe relationship between photographic originality and technology.Bhow the content of photographs has changed from the nineteenth century to the twentieth.Cthe popularity of high-speed photography in the twentieth century.Dhow a controlled ambivalence toward photography's means can produce outstanding pictures.2.Text 4 Picture-taking is a technique both for reflecting the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all. These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in taking a picture. Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed. An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of fast seeing. Cartier Bresson, in fact, claims that the modern camera may see too fast. This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. Notes: crop vt.播种,修剪(树木)收割。 count for little 无关紧要。predatory 掠夺成性的。champion n.军；vt.支持。benevolent好心肠的，ambivalence矛盾心理。make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡。cult 狂热崇拜。daguerreotypes (初期的)银板照相法。According to paragraph 2, the interest among photographers in each of the photography's two ideals can be described as（）Asteadily growing.Bcyclically recurring.Ccontinuously altering.Dspontaneously occurring.3.Text 4 Picture-taking is a technique both for reflecting the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all. These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in taking a picture. Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed. An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of fast seeing. Cartier Bresson, in fact, claims that the modern camera may see too fast. This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. Notes: crop vt.播种,修剪(树木)收割。 count for little 无关紧要。predatory 掠夺成性的。champion n.军；vt.支持。benevolent好心肠的，ambivalence矛盾心理。make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡。cult 狂热崇拜。daguerreotypes (初期的)银板照相法。The text states all of the following about photographs EXCEPT:（）AThey can display a cropped reality.BThey can convey information.CThey can depict the photographer's temperament.DThey can change the viewer's sensibilities.4.Section Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on 4NSWER SHEET I. Text 1 If you intend using humor in your talk to make people smile, you must know how to identify shared experiences and problems. Your humor must be relevant to the audience and should help to show them that you are one of them or that you understand their situation and are in sympathy with their point of view. Depending on whom you are addressing, the problems will be different. If you are talking to a group of managers, you may refer to the disorganized methods of their secretaries; alternatively if you are addressing secretaries, you may want to comment on their disorganized bosses. Here is an example, which I heard at a nurses’ convention, of’ a story which works well because the audience all shared the same view of doctors. A man arrives in heaven and is being shown around by St. Peter. He sees wonderful accommodations, beautiful gardens, sunny weather, and so on. Everyone is very peaceful, polite and friendly until, waiting in a line for lunch, the new arrival is suddenly pushed aside by a man in a white coat, who rashes to the head of the line, grabs his food and stomps over to a table by himself. Who is that the new arrival asked St. Peter. Oh, that’s God, came the reply, but sometimes he thinks he’s a doctor. If you are part of the group which you are addressing, you will be in a position to know the experiences and problems which are common to all-of you and it’ll be appropriate for you to make a passing remark about the inedible canteen food or the chairman’s notorious bad taste in ties. With other audiences you mustn’t attempt to cut in with humor as they will resent an outsider making disparaging remarks about their canteen or their chairman You will be on safer ground if you stick to scapegoats like the Post Office or the telephone system. If you feel awkward being humorous, you must practice so that it becomes more natural. Include a few casual and apparently off - the - cuff remarks which you can deliver in a relaxed and unforced manner. Often it’s the delivery which causes the audience to smile, so speak slowly and remember that a raised eyebrow or an unbelieving look may help to show that you are making a light -hearted remark. Look for the humor. It often comes from the unexpected. A twist on a familiar quote If at first you don’t succeed, give up or a play on words or on a situation. Search for exaggeration and understatements. Look at your talk and pick out a few words or sentences which you can turn about and inject with humor.To make your humor work, you should ()Atake advantage of different kinds of audienceBmake fun of the disorganized peopleCaddress different problems to different peopleDshow sympathy for your listeners5.Section Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on 4NSWER SHEET I. Text 1 If you intend using humor in your talk to make people smile, you must know how to identify shared experiences and problems. Your humor must be relevant to the audience and should help to show them that you are one of them or that you understand their situation and are in sympathy with their point of view. Depending on whom you are addressing, the problems will be different. If you are talking to a group of managers, you may refer to the disorganized methods of their secretaries; alternatively if you are addressing secretaries, you may want to comment on their disorganized bosses. Here is an example, which I heard at a nurses’ convention, of’ a story which works well because the audience all shared the same view of doctors. A man arrives in heaven and is being shown around by St. Peter. He sees wonderful accommodations, beautiful gardens, sunny weather, and so on. Everyone is very peaceful, polite and friendly until, waiting in a line for lunch, the new arrival is suddenly pushed aside by a man in a white coat, who rashes to the head of the line, grabs his food and stomps over to a table by himself. Who is that the new arrival asked St. Peter. Oh, that’s God, came the reply, but