2022年考研英语（一）真题及答案.pdf
2022年全国硕士研究生考试考研英语(一)试题及答案Section I Use of EnglishDirections:Translate the following text into Chinese.Write your translation on theANSWER SHEET.(15 points)The idea that plants have some degree of consciousness first took root in theearly 2000s;the term plant neurobiology was_1_around the notion thatsome aspects of plant behavior could be_2_to intelligence in animals._3_plants lack brains,the firing of electrical signals in their stems and leavesnonetheless triggered responses that_ 4_consciousness,researcherspreviously reported.But such an idea is untrue,according to a new opinion article.Plant biology iscomplex and fascinating,but it_5_so greatly from that of animals thatso-called_6_of plants1 intelligence is inconclusive,the authors wrote.Beginning in 2006,some scientists have_7_that plants possessneuron-like cells that interact with hormones and neurotransmitters/_8_ aplant nervous system,_9_to that in animals/said lead study author LincolnTaiz,They_10_claimed that plants have brain-like command centers attheir root tips.”This_11_makes sense if you simplify the workings of a complex brain,_12_it to an array of electrical pulses;cells in plants also communicatethrough electrical signals._13_,the signaling in a plant is only_14_similar to the firing in a complex animal brain,which is more than a mass of cellsthat communicate by electricity/Taiz said.“For consciousness to evolve,a brain with a threshold_15_ofcomplexity and capacity is required/he_16_ Since plants dorf t havenervous systems,the_17_that they have consciousness are effectively zero.”And whaf s so great about consciousness,anyway?Plants can t run awayfrom_18_,so investing energy in a body system which_19_a threat andcan feel pain would be a very_20_evolutionary strategy,according to thearticle.1.A coined B discovered C collected D issued2.A attributed B directed C compared D confined3.A Unless B When C Once D Though4.A coped with B consisted of C hinted at D extended to5.A suffers B benefits C develops D differs6.A acceptance B evidence C cultivation D creation7.A doubted B denied C argued D requested8.A adapting B forming C repairing D testing9.A analogous B essential C suitable D sensitive10.A just B ever C still D even11.A restriction B experiment C perspective D demand12.A attaching B reducing C returning D exposing13.A However B Moreover C Therefore D Otherwise14.A temporarily B literally C superficially D imaginarily15.A list B level C label D load16.A recalled B agreed C questioned D added17.A chances B risks C excuses D assumptions18.A danger B failure C warning D control19.A represents B includes C reveals D recognizes20.A humble B poor C practical D easySection II Reading ComprehensionPart ADirections:Read the following four texts.Answer the questions after each text bychoosing A,B,C or D.Mark your answers on the ANSWER SHEET.(40 points)Text 1People often complain that plastics are too durable.Water bottles,shoppingbags,and other trash litter the planet,from Mount Everest to the Mariana Trench,because plastics are everywhere and don t break down easily.But some plasticmaterials change over time.They crack and frizzle.They weep out additives.They melt into sludge.All of which creates huge headaches for institutions,such asmuseums,trying to preserve culturally important objects.The variety of plasticobjects at risk is dizzying:early radios,avant-garde sculptures,celluloid animationstills from Disney films,the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic artdidn t always know how to mix ingredients properly,says Thea van Oosten,apolymer chemist who,until retiring a few years agoz worked for decades at theCultural Heritage Agency of the Netherlands.It s like baking a cake:If youdon t have exact amounts,it goes wrong/1 she says.The object you make isalready a time bomb.”And sometimes,it*s not the artist s fault.In the 1960sz the Italian artist PieroGilardi began to create hundreds of bright,colorful foam pieces.Those piecesincluded small beds of roses and other items as well as a few dozen nnaturecarpets”large rectangles decorated with foam pumpkins,cabbages,andwatermelons.He wanted viewers to walk around on the carpets-which meant theyhad to be durable.Unfortunately,the polyurethane foam he used is inherently unstable.It sespecially vulnerable to light damage,and by the mid-1990s,Gilardi7 s pumpkins,roses,and other figures were splitting and crumbling.Museums locked some ofthem away in the dark.So van Oosten and her colleagues worked to preserve Gilardi1 s sculptures.They infused some with stabilizing and consolidating chemicals.Van Oosten callsthose chemicals“sunscreens“because their goal was to prevent further lightdamage and rebuild worn polymer fibers.She is proud that several sculptures haveeven gone on display again,albeit sometimes beneath protective cases.Despite success stories like van Oosten s,preservation of plastics will likelyget harder.Old objects continue to deteriorate.Worse,biodegradable plastics,designed to disintegrate,are increasingly common.And more is at stake here than individual objects.Joana Lia Ferreira,anassistant professor of conservation and restoration at the NOVA School of Scienceand Technology,notes that archaeologists first defined the great material ages ofhuman historyStone Age,Iron Age,and so onafter examining artifacts inmuseums.We now live in an age of plastic,she says,“and what we decide tocollect today,what we decide to preserve.will have a strong impact on how in thefuture we II be seen/21.According to Paragraph 1,museums are faced with difficulties inA maintaining their plastic itemsB obtaining durable plastic artifactsC handling outdated plastic exhibitsD classifying their plastic collections22.Van Oosten believes that certain plastic objects ar e.A immune to decayB improperly shapedC inherently flawedD complex in structure23.Museums stopped exhibiting some of Gilardi s artworks toA keep them from hurting visitorsB duplicate them for future displayC have their ingredients analyzedD prevent them from further damage24.The author thinks that preservation of plastics is.A costlyB unworthyC unpopularD challenging25.In Ferreira s opinion,preservation of plastic a r t i f a c t s.A will inspire future scientific researchB has profound historical significanceC will help us separate the material agesD has an impact on today s cultural lifeSection II Reading ComprehensionText 2As the latest crop of students pen their undergraduate application form andweigh up their options,it may be worth considering just how the point,purposeand value of a degree has changed and what Generation Z need to consider as theystart the third stage of their educational journey.Millennials were told that if you did well in school,got a decent degree,youwould be set up for life.But that promise has been found wanting.As degreesbecame universal,they became devalued.Education was no longer a secure routeof social mobility.Today,28 per cent of graduates in the UK are in non-graduateroles,a percentage which is double the average among OECD countries.This is not to say that there is no point in getting a degree,but rather stressthat a degree is not for everyone,that the switch from classroom to lecture hall isnot an inevitable one and that other options are available.Thankfully,there are signs that this is already happening,with Generation Zseeking to learn from their millennial predecessors,even if parents and teacherstend to be still set in the degree mindset.Employers have long seen the advantagesof hiring school leavers who often prove themselves to be more committed andloyal employees than graduates.Many too are seeing the advantages of scrappinga degree requirement for certain roles.For those for whom a degree is the desired route,consider that this may wellbe the first of many.In this age of generalists,it pays to have specific knowledge orskills.Postgraduates now earn 40 per cent more than graduates.When more andmore of us have a degree,it makes sense to have two.It is unlikely that Generation Z will be done with education at 18 or 21;they willneed to be constantly up-skilling throughout their career to stay employable.It hasbeen estimated that this generation,due to the pressures of technology,the wishfor personal fulfilment and desire for diversity,will work for 17 different employersover the course of their working life and have five different careers.Education,andnot just knowledge gained on campus,will be a core part of Generation T s careertrajectory.Older generations often talk about their degree in the present and personaltense:I am a geographer*or ZI am a ciassist.Their sons or daughters wouldnever say such a thing;if s as if they already know that their degree won t definethem in the same way.26.The author suggests that Generation Z s h o u l d.A be careful in choosing a collegeB be diligent at each educational stageC reassess the necessity of college educationD postpone their undergraduate application27.The percentage of UK graduates in non-graduate roles r e f l e c t.A MillenniaT s opinions about workB the shrinking value of a degreeC public discontent with educationD the desired route of social mobility28.The author considers it a good sign t hat.A Generation Z are seeking to earn a decent degreeB school leavers are willing to be skilled workersC employers are taking a realistic attitude to degreesD parents are changing their minds about education29.It is advised in Paragraph 5 that those with one degree s h o u l d.A make an early decision on their careerB attend on the job training programsC team up with high-paid postgraduatesD further their studies in a specific field30.What can be concluded about Generation Z from the last two paragraphs?A Lifelong learning will define them.B They will make qualified educators.C Degrees will no longer appeal them.D They will have a limited choice of jobs.Text 3Enlightening,challenging,stimulating,fun.These were some of the words thatNature readers used to describe their experience of art-science collaborations in aseries of articles on partnerships between artists and researchers.Nearly 40%of theroughly 350 people who responded to an accompanying poll said they hadcollaborated with artists;and almost all said they would consider doing so in future.Such an encouraging result is not surprising.Scientists are increasinglyseeking out visual artists to help them communicate their work to new audiences.“Artists help scientists reach a broader audience and make emotional connectionsthat enhance learning/One respondent said.One example of how artists and scientists have together rocked the sensescame last month when the Sydney Symphony Orchestra performed a reworkedversion of Antonio Vivaldi s The Four Seasons.They reimagined the 300-year-oldscore by injecting the latest climate prediction data for each seasonprovided byMonash University7 s Climate Change Communication Research Hub.Theperformance was a creative call to action ahead of November s United NationsClimate Change Conference in Glasgow,UK.But a genuine partnership must be a two-way street.Fewer artists thanscientists responded to the Nature poll;however,several respondents noted thatartists do not simply assist scientists with their communication requirements.Norshould their work be considered only as an object of study.The alliances are mostvaluable when scientists and artists have a shared stake in a project,are able tojointly design it and can critique each other s work.Such an approach can bothprompt new research as well as result in powerful art.More than half a century ago,the Massachusetts Institute of Technologyopened its Center for Advanced Visual Studies(CAVS)to explore the role oftechnology in culture.The founders deliberately focused their projects aroundlight-hence the“visual studies“in the name.Light was a something that bothartists and scientists had an interest inz and therefore could form the basis ofcollaboration.As science and technology progressed,and divided into moresub-disciplines,the centre was simultaneously looking to a time when leadingresearchers could also be artists,writers and poets,and vice versa.Nature s poll findings suggest that this trend is as strong as ever,but,tomake a collaboration work,both sides need to invest time,and embrace surpriseand challenge.The reach of art-science tie-ups need to go beyond the necessarypurpose of research communication,and participants must not fall into the trap ofstereotyping each other.Artists and scientists alike are immersed in discovery andinvention,and challenge and critique are core to both,too.31.According to Paragraph lz art-science collaborations h a v e.A caught the attention of criticsB received favorable responsesC promoted academic publishingD sparked heated public disputes32.The reworked version of The Four Seasons is mentioned to show thatA art can offer audiences easy access to scienceB science can help with the expression of emotionsC public participation in science has a promising futureD art is effective in facilitating scientific innovations33.Some artists seem to worry about in the art-science p a rtn e rs h ip.A their role may be underestimatedB their reputation may be impairedC their creativity may be inhibitedD their work may be misguided34.What does the author say about CAVS?A It was headed alternately by artists and scientists.B It exemplified valuable art-science alliances.C Its projects aimed at advancing visual studies.D Its founders sought to raise the status of artists.35.In the last paragraph,the author holds that art-science collaborationsA are likely to go beyond public expectationsB will intensify interdisciplinary competitionC should do more than communicating scienceD are becoming more popular than beforeText 4The personal grievance provisions of New Zealand1 s Employment RelationsAct 2000(ERA)prevent an employer from firing an employee without good cause.Instead,dismissals must be justified.Employers must both show cause and act in aprocedurally fair way.Personal grievance procedures were designed to guard the jobs of ordinaryworkers from“unjustified dismissals*.The premise was that the common law ofcontract lacked sufficient safeguards for workers against arbitrary conduct bymanagement.Long gone are the days when a boss could simply give an employeecontractual notice.But these provisions create difficulties for businesses when applied to highlypaid managers and executives.As countless boards and business owners will attest,constraining firms from firing poorly performing,high-earning managers is ahandbrake on boosting productivity and overall performance.The differencebetween C-grade and A-grade managers may very well be the difference betweenbusiness success or failure.Between preserving the jobs of ordinary workers orlosing them.Yet mediocrity is no longer enough to justify a dismissal.Consequently-and paradoxicallylaws introduced to protect the jobs ofordinary w
