2022年研究生入学考试英语一真题及解析.pdf
2022年全国硕士研究生招生考试英语（一）试题Section I Use of EnglishDirections:Read the following text.Choose the best word(s)for each numbered blank and mark A,B,Cor D on the ANSWER SHEET.(10 points)The idea that plants have some degree of consciousness first took root in the early 2000s;thetenn“plant neurobiology was around the notion that some aspects of plant behaviorcould be 2 to intelligence in animals.3 plants lack brains,the firing of electricalsignals in their stems and leaves nonetheless triggered responses that 4 consciousness,researchers previously reported.But such an idea is untrue,according to the authors of the new article.Plant biology is plex andfascinating,but it 5 so greatly from that of animals that so-called 6 of plants9 intelligence isinconclusive,the authors wrote.Beginning in 2006,some scientists have 7 that plants possess neuron-like cells thatinteract with hormones and neurotransmitters,8 a plant nervous system,9 to thatin animals,“said lead study author Lincoln Taiz,“They 10 claimed that plants have brainlike mand centers at their roottips.This 11 makes sense if you simplify the workings of a plex brain,12 it to anarray of electrical pulses;cells in plants also municate through electrical signals.1 3,thesignaling in a plant is only 14 similar to the firing in a plex animal brain,which is more than“a mass of cells that municate by electricity,Taizsaid.“For consciousness to evolve,a brain with a threshold 15 of plexity and capacity isrequired,n he 16.“Since plants dont have nervous systems,the 17 that they have consciousnessare effectively zero.”And whafs so great about consciousness,anyway?Plants cant run away from 18,soinvesting energy in a body system which 19 a threat and can feel pain would be a very20 evolutionary strategy,according to the article.1.A coinedB discovered2.A attributedB directed3.A unlessB when4.A coped withB consisted of5.A suffersB benefits6.A acceptanceB evidence7.A doubtedB deniedC collectedD issuedC paredD confinedC onceD thoughC hinted atD extendedC developsD differsC cultivationD creationC arguedD requested1 /228.A adaptingB fbnningC repairingD testing9.A analogousB essentialC suitableD sensitive10.A justB everC stillDeven11.A restrictionB experimentC perspectiveD demand12.A attachingB reducingC returningD exposing13.A HoweverB MoreoverC ThereforeD Otherwise14.A temporarilyB literallyC superficiallyD imaginarily15.A listB levelC labelD local16.A recalledB agreedC questionedDadded17.A chancesB risksC excusedD assumptions18.A dangerB failureC warningD control19.A representsB includesC revealsD recognizes20.A humbleB poorC practicalD easySection II Reading prehensionPart ADirections:Read the followingfour texts.Answer the questions after each text by choosing A,B,C or D.Mark your answers on the ANSWER SHEET.(40 points)Text 1People often plain that plastics are too durable.Water bottles,shopping bags,and other trashlitter the planet,from Mount Everest to the Mariana Trench,because plastics are everywhere anddont break down easily.But some plastic materials change over time.They crack and frizzle.They weep”out additives.They melt into sludge.All of which creates huge headaches forinstitutions,such as museums,trying to preserve culturally important objects.The variety of plasticobjects at risk is dizzying:early radios,avant-garde sculptures,celluloid animation stills fromDisney films,David Bowie costumes,the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic art didnt alwaysknow how to mix ingredients properly,says Thea van Oosten,a polymer chemist who,until retiringa few years ago,worked for decades at the Cultural Heritage Agency of the Netherlands.Its likebaking a cake:If you dont have exact amounts,it goes wrong,“she says.The object you make isalready a time bomb.And sometimes,its not the artists fault.In the 1960s,the Italian artist Piao Gilardi began tocreate hundreds of bright,colorful fbam pieces.Those pieces included small beds of roses and otheritems as well as a few dozen“nature carpetslarge rectangles decorated with fbam pumpkins,2/22cabbages,and watermelons.He warned viewers to walk around on the carpetswhich meant theyhad to be durable.Unfortunately,the polyurethane foam he used is inherently unstable Its especially vulnerableto light damage,and by the mid-1990s,Gilardis pumpkins,roses,and other figures were splittingand crumbling.Museums locked some of them away in the dark.So van Oosten and her colleagues worked to preserve Gilaidis sculptures.They infused somewith stabilizing and consolidating chemicals.Van Oosten calls those chemicals sunscreens”because their goal was to prevent further light damage and rebuild worn polymer fibers.She is proudthat several sculptures have even gone on display again,albeit sometimes beneath protective cases.Despite success stories like van Oosten9s,preservation of plastics will likely get harder.Oldobjects continue to deteriorate.Worse,biodegradable plastics designed to disintegrate,areincreasingly mon.And more is at stake here than individual objects.Joana Lia Ferreira,an assistant professor ofconservation and restoration at the NOVA School of Science and Technology,notes thatarchaeologists first defined the great material ages of human history-Stone Age,Iron Age,and soon-after examining artifacts in museums.We now live in an age of plastic,she says,and whatwe decide to collect today,what we decide to preserve.will have a strong impact on how in thefuture well be seen.,21.According to Paragraph 1,museums are faced with difficulties in.A maintaining their plastic itemsB obtaining durable plastic artifactsC handling outdated plastic exhibitsD classifying their plastic collections22.Van Oosten believes that certain plastic objects are.A immune to decayB improperly shapedC inherently flawedD plex in structure23.Museums stopped exhibiting some of Gilardis artworks to.A keep them from hurting visitors.B duplicate them for future display.C have their ingredients analyzed.D prevent them from further damage.24.The author thinks that preservation of plastics is.3/22A costlyB unworthyC unpopularD challenging25.In Ferreiras 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 todays cultural lifeText 2As the latest crop of students pen their undergraduate application form and weigh up theiroptions,it may be worth considering just how the point,purpose and value of a degree has changedand what Generation Z need to consider as they start the third stage of their educational joumey.Millennials were told that if you did well in school,got a decent degree,you would be set upfor life.But that promise has been found wanting.As degrees became universal,they becamedevalued.Education was no longer a secure route of social mobility.Today,28 per cent of graduatesin the UK are in non-graduate roles;a percentage which is double the average among OECDcountries.This is not to say that there is no point in getting a degree,but,rather stress that a degree is notfbr everyone,that the switch from classroom to lecture hall is not an inevitable one and that otheroptions are available.Thankfully,there are signs that this is already happening,with Generation Z seeking to learnfrom their millennial predecessors,even if parents and teachers tend to be still set in the degreemindset.Employers have long seen the advantages of hiring school leavers who often provethemselves to be more mitted and loyal employees than graduates.Many too are seeing theadvantages of scrapping a degree requirement fbr certain roles.For those fbr whom a degree is the desired route,consider that this may well be the first ofmany.In this age of generalists,it pays to have specific knowledge or skills.Postgraduates nowearn 40 per cent more than graduates.When more and more of us have a degree,it makes sense tohave two.It is unlikely that Generation Z will be done with education at 18 or 21;they will need to beconstantly up-skilling throughout their career to stay employable.It has been estimated that thisgeneration,due to the pressures of technology,the wish fbr personal fulfilment and desire fordiversity,will work fbr 17 different employers over the course of their working life and have fivedifferent careers.Education,and not just knowledge gained on campus,will be a core part ofGeneration Zs career trajectory.4/22Older generations often talk about their degree in the present and personal tense:I am ageographer or I am a classist.,Their sons or daughters would never say such a thing;its as ifthey already know that their degree wont define them in the same way.26.The author suggests that Generation Z s houl 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 ef l ect.A MillenniaPs 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 that.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 houl 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 35/22Exhilarating,challenging,enlightening,stimulating,inspiring,fun.These were some of thewords that Nature readers used to describe their experiences of art-science collaborations in a seriesof articles on partnerships between artists and researchers.Nearly 40%of the roughly 350 peoplewho responded to an acpanying poll said they had collaborated with artists;and almost all saidthey would consider doing so in future.Such an encouraging result is not surprising.Scientists are increasingly seeking out visualartists and designers to help them to municate their work to new audiences.Artists help scientistsreach a broader audience and make emotional connections that enhance learning,one respondentsaid.One example of how artists and scientists have together rocked the senses came last monthwhen the Sydney Symphony Orchestra in Australia performed a reworked version of AntonioVivaldis The Four Seasons.They reimagined the 300-year-old score by injecting the latest climateprediction data for each seasonprovided by Monash Universitys Climate Change municationResearch Hub in Melbourne.The performance was a creative call to action ahead of NovembersUnited Nations Climate Change Conference in Glasgow,UK.But a genuine partnership must be a two-way street.Fewer artists than scientists responded tothe Nature poll;however,several respondents noted that artists do not simply assist scientists withtheir munication requirements.Nor should their work be considered only as an object of study.Thealliances are most valuable when scientists and artists have a shared stake in a project,are able tojointly design it and can critique each others work.Such an approach can both prompt newresearch as well as result in powerful art.More than half a century ago,the Massachusetts Institute of Technology(MIT)opened itsCenter fbr Advanced Visual Studies(CAVS)in Cambridge to explore the role of technology inculture.Its founders deliberately focused their projects around light-hence the visual studies*inthe name.Light was a something that both artists and scientists had an interest in,and thereforecould form the basis of collaboration As science and technology progressed,and divided into moresub-disciplines,the centre was simultaneously looking to a time when leading researchers couldalso be artists,writers and poets,and vice versa.Natures poll findings suggest that this trend is as strong as ever,but,to make a collaborationwork,both sides need to be prepared to be surprised and challenged,to invest time in getting toknow one another and to trust their different expertise.The reach of art-science tie-ups needs to gobeyond the necessary purpose of research munication,and participants must not fall into the trapof stereotyping each other.Artists and scientists alike are immersed in discovery and invention,andchallenge and critique are core to both,too.31.According to Paragraph 1,art-science collaborations have.A caught the attention of criticsB received favorable responses6/22C promoted academic publishingD sparked heated public disputes32.The reworked version of the Four Seasons is mentioned to show that.A 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 that in the art-science p a r t n e r s h i p.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 C A VS?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 c o l l a b o r a t i o n s.A are likely to go beyond public expectationsB will intensify interdisciplinary petitionC should do more than municating scienceD are being more popular than beforeText 4The personal grievance provisions of the Employment Relations Act 2000(ERA)prevent anemployer from firing an employee without good cause.Instead,dismissals must be justified.Employers must both show cause and act in a procedurally fair way.Personal grievance procedures were designed to guard the jobs of ordinary workers from“unjustified dismissals.The premise was that the mon law of contract lacked sufficientsafeguards for workers against capricious or arbitrary conduct by management.Long gone are thedays when a boss could simply give an employee contractual notice.But these provisions create difficulties for businesses when applied to highly paid managersand executives.As countless boards and business owners will attest,constraining firms from firingpoorly performing,high-earning managers is a handbrake on boosting productivity and overallperformance.The difference between C-grade and A-grade managers may very well be the7/22difference between business success or failure.Between preserving the jobs of ordinary workers orlosing them.Yet mediocrity is no longer enough to justify a dismissal.Consequent
