SAT历年真题：SAT真题OG-Test06.docx

SAT备考资料SECTION 3Time - 25 minutes24 QuestionsTurn to Section 3 (page 4) of your answer sheet to answer the questions in this section.Directions: For each question in this section, select the best answer from among the choices given and fill in the corresponding circle on the answer sheet.:闺Each sentence below has one or two blanks, each blank indicating that something has been omioed. Beneath the sentence are five words or sets of words labeled A through E. Choose the word or set of words that, when inserted in the sentence. best fits the meaning of the sentence as a whole.Example:Hoping tothe dispute, negouators proposeda compromise mat tncy ren wouia oe to bothlabor and management.(A) enforce . useful(B) end . divisive(C) overcome . unattractive(D) extend . satisfactory(E) resolve . acceptable® ® © ® ®The rebels saw the huge sutue of the dictator asof the toulitarian regime and swiftly toppled the monument.(A) an indictment (B) an illusion (C) a copy (D) a symbol (E) a mockeryX Residents of the isolated island were forced to master the an of navigation, becoming the ocean,s mostsailors.(A) adept (B) lemperamenul (C) congenial (D) vulnerable (E) reclusiveThe sponed bowerbird has afor amassing the ;bright shiny objects it needs for decoraiing its bower it will enter houses tocutlery, coins, thimbles,:nails, screws, even car keys.二.(A) knack . assess(B) penchant. pilfer(C) purpose . dispense_i'(D) predilection . disturbT(E) remedy. raidNot only was the science of Hildegard of Bingen -三 her theology, but her religious visions helped give her scientific worksby winning her the support ofmedieval church authorities.4(A) inseparable from . legitimacy<(B) unconcerned with . prestigev(C) derived from. profundity:(D) related to . accuracy' v(E) diminished by . detachmentOpponents of the research institute label itanachronism; its scholars, they allege, haverivaling those of pre-Revoluuonary French nobility.(A) an elitist. perquisites(B) a monarchical. cribulauons (C) an irreproachable . luxuries(D) a reprehensible . afflictions(E) a commendable . pnvileges162The passages beiow are followed by questions based on their content: questions following a pair of related passages may also be based cn die relationship between the paired passages. Answer ihe questions on the basis of what is smed or implied in the ! passages and in any introduciory material (hut may be provided.Questions 6-9 are based on the following passages.Passage 1The eighieenrh-centurj- botanist Carolus Linnaeus, enormous and esseniial conuibuiion to natural history was(o devise a system of classification whereby any lin< plant or animal could be identified and slotted into5 an overall plan. Yet Linnaeus himself would probably have been the first to admit that classification is only a tool, and not the ultimate purpose, of biological inquiry. Unfortunately, this truth was not apparent to his immediate successors, who for the next hundred 10 yean were to concern themselves almost exclusively Vtt S -lee： U-c w IU1：Passage 2I am a heretic about Linnaeus. I do not dispute the value of the tool he gave natural science, but I am wary about the change it has effected on humans, relationship Z5 to the world. From Linnaeus on. much of science has been devoted to sorting masses into individual entities and arranging the entities neatly. The cost of having so successfully itemized and pigeonholed nature is to limit certain possibilities of seeing and apprehending. For ：o example, the modem human thinks that he or she can best understand a tree (or a species of tree) by examining a single tree. But trees are not intended to grow in isolation. They are social creatures, and their society in (urn suppons other species of plants, insects, birds, mammals, and micro- 25 organisms, ail of which make up the whole experience of the woods.3. Compared to the author of Passage 2. the author of Passage I regards Linnaeus with more»Ai cynicism(B)bafflemem«C) appreciationID) nostalgia(E) resemmentUnlike the author of Passage I. the author of Passage 2 makes use of(A) scientific data(B) literary allusion(C) historical research(D) personal voice(E) direct citationBoth passages emphasize which of the following aspects of Linnaeus' work?(A) The extent to which it contributed to natural science(B) The way in which it limits present-day science(C) The degree to which it revived interest in biologyThe decisiveness with which it settled scientific disputes(D) The kinds of scientific discoveries on which it builtThe author of Passage 1 would most likely respond to the opening of Passage 2 (lines 12-17) by arguing (hat the author of Passage 2 has(A) demonstrated that Linnaeus should be bener known as a scientist than he currently isminimized the achievements of those scientists who built on Linnaeus' work(B) refused to appreciate the importance of proper classification to scientific progressfailed to distinguish the ideas of Linnaeus from those of his followers(C) misunderstood Linnaeus' primar>> contribution to natural history163Questions 10-15 are based on the following passage.The following is an excerpt from a translation of a novel written in Spanish by an author from Colombia. In a fanciful manner, ihe novelist portrays the townspeople of an isolated village.DazzJed by so many and such marvelous inventions, the people of Macondo did not know where their amazement began. They stayed up all night looking at the pale electric Lint bulbs fed by the electric plant that AureFiano Triste had 5 brought back when the train made its second trip, and it took time and effort for them to grow accustomed to its obsessive noise.They became indignant over the living images that the prosperous merchant Brono Crespi projected on the screen io in the theater with the lion-head ticket windows, for the character who bad died and was buried in one film, and for whose misfonuoe tears of affliction had been shed, would reappear alive and transfonned into an Arab sheik in the next one. The audience, who paid two cents apiece io share 15 the difficulties of the actors, would not tolerate such an oudandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that 20 discouraging explanation many felt that they had been the victims of some new trickery and they decided not to return to the movies, considering that they already had too many (roubles of their own to weep over (he acted-out misfortunes of imaginary beings.25 Something similar happened with cylinder phonographs brought from France aod intended as a subsutute for che antiquated hand organs used by the band of musicians. For a time the phonograph records had serious effects on the livelihood of the musicians. At first curiosity increased the 30 business on the street where they were sold and there was even word of respectable penons who disguised ihcm- sehxs as workers in order io observe the novelty of the phonograph a: firsthand, but from so much and such close observation they soon reached the conclusion that it was 35 not an enchanted mill as everyone had thought and as some had said, but a mechanical trick that could not be compared with something so moving, so human, and so full of everyday truth as a band of musicians. It was such a serious disappointment that when phonographs became so popular J。that there was one in every house they were not considered objects for amusement fbr adults but as something good for children to take apartOn the other hand, when someone from the town had the opportunity to test the crude reality of the telephone 45 installed in the railroad station, which was thought co be a rudimentary version of the phonograph because of its crank, even the most incredulous were upset. It was as if God had decided to put to the test every capacity for surprise and was keeping the inhabiunts of Macondo in a 亢 permanent alternation between excitement and disappointment doubt and revelation, to such an extreme that no one knew for certain where the limits of reality lay.10. The word -obsessive" (line 7)most nearly means(A) (B) (C) (D) '回enthusiastic persistent obvious infatuated hardworkingH. The (line 16) that upset the citizens of Macondo was related to the(C)(D)(E)164沼 va.尸excessive charge for admission-Aoutlandish adventures of the characters on thescreen闿fact that the events depicted on the screen did/ not actually occurtypes of difficulties the actors facedimplausible plots of (he stories that were told、12. The citizens lost interest in their phonographs(B)(C)(D)(E)the machines lacked the heart and soul of true musiciansfew people were able to operate themthe machines were too difficult to observe firsthandmany musicians lost their jobs because ofthe children were breaking them faster than tbey were mack13. The citizens of Macondo were distressed by the ini of the telephone because theydid not know where it had come fromhad expected a more socially beneficial invention could envision the changes ic would bring to(D)(E)village lifedo longer felt able to make the usual assi about their world.umptioos"were fearful that it would have serious effects on their continued employment14. The aspect of the new inventions that most disappointed the citizens was (hat these inventions(A) were noc all fashioned with a crank(B) did not have any real educational value(C) were not at all what they seemed to be(D)were meant purely for entenainment(E) were so intricate they were difficult to operate15. The major purpose of the passage is to(A)(B)(O (D) (E)Uiustrate the influence che distinguished residents of Macondo had on che ocher citizensdescribe the new scientific inventions that were introduced to Macondodepict a diverse crowd reacting in unison to aImagical performancedescribe the people's responses to the influx oftechnical advances delineate old-fashionbd ideas about the vinue ofnature over technology5560Questions 16-24 are based on the Following passage.Titis passage is by a choreographer who worked with the injluenrial dancer and choreographer Martha Graham (1894-1991). It focuses on the use of space and gesture in dance.I am not an adept aesthetician, and I could n<x presume to analyze Manha's sense of design or approach toward design. But I believe she dealt with the elements of line and Lne direction with the instincts of a mathematician or physicist.5 adding to each their emotional relations. For example, a straight line rarely, if ever, occurs in nature, but it does occur in art, and it is used in an with various telling effects. Direction works similar magic. An approaching * body produces one kind of emotional line, a receding or io deponing body another; the meeting of two forces produces visuaL kinesthetic, and emotional effects, with a world of suggestibility around them like a penumbra that evokes many ideas and emotions whenever these tonns are manipulated. Basic hun:a 工*therefore, an almost15 mystic power. The simple maneuver of turning the face away, for example, removes personality, relationship. Not only that, it seems to alter the relation of the individual to present time and present place, to make here-and-aow other-where and other-time. It also shifts the particular：0 personality to the general and the symbolic. This is the power of the human face and the human regard, and the meeting of the eyes is probably as magic a connection as can be made on this eanh. equal to any aniount of electrical shock or charge. It represent the hean of dynamism, life：5 itself The loss of that regard reduces all connections to nothingness and void.'Turning one s back" has become a common figure of speech. It means withholding approval, disclaiftiing. negating; and. in fact, m common conduct the physical turning ：Q of ihe back is equated with absolute negation and insult.No back is turned on a royal personage or a figure of high respect. Phis is linked with the loss of visual contact and regard. One cuts dead by not meeting the eyes.We know much about emotional symbols. Those used 35 by the medieval and Renaissance painters were understood by the scholars and mists of the timebut more wonderful. they mean to us today spontaneously just wha( they meant then; they seem(o be permanent. We dream. Jung* tells us. in terms and symbols of classic mythology. And j。since, according to Jung, all people share a ''collective unconscious." people from disparate traditions nonetheless dream in the same terms. Is i( not also likely, (hen, that certain space relations, rhythms, and stresses have psychological significance, that some of these patterns are5 universal and the key to emotional response, (hat iheir deviations and modifications can be meaningful to anises in tenns of (heir own life experiences and that these overtones are grasped by spectators without conscious analysis?These matters arc basic to cur wei|-b：ng as hnd and air SO animals. As plants will turn to sunlighc or rocks or moisture according to iheir nature, so we bend toward or escape from spatial arrangements according to our emotional needs. Look around any restaurant and see how few people will sit at a center table unless the sides arc filled up. Yet monarchs of old always dined dead center and many timestn public.*The individual as a personality, then, has a particular 二 code in space and rhythm, evolved from his or her life 二 history and from the history of the human race. It is just Z the manipulation of these suggestions through time-space 丫 that is the material of choreography.4A Swiu psyebotogist (1875-1961)-cThe first two sentences (lines 1-5) are characterized, 5 respectively, by二工(A) disclaimer and assertion:第j(B) invocation and definition(C) apology and confession媪(D) authority and hypothesis(E) rebuttal and analysis/In lines 5-6. the statement “a straight line rarely, if 富 ever, occurs io nature" emphasizes the author's recogniuon of the-(A) choreographer's need for spectacular effects 雪(B) choreographer's use of mathefnarical forms .覆|(C) choreographer'sestrangemeat from nature S (D) impossibility of performing certain choreograpt司 motionsju(E) universality of geometrical forms* 5By saying chat the meeting of two forces produces .，: effects that have “a world of suggesubtlity around :; them * dines 11-12). the author means that the physical.event(A) provokes unwarranted suspicions(B) reveals ±e motives of the arusc(C) acts on the gullibility of the audience(D) lulls ihe audience into complacent acceptanc