SAT真题 09 01 打印版.doc

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1、SECTION 7The passages below are followed by questions based on their content; questions following a pair of related passages may also be based on the relationship between the paired passages. Answer the questions on the basis of what is stated or implied in the passages and in any introductory mater

2、ial that may be provided. Questions 9-11 are based on the following passages.Passage 1Caves have always haunted the imagination. The ancient Greeks shuddered at tales of Cerberus, the three-headed dog guarding the entrance to Hades, and countless legends and Hollywood fantasies include a spine-tingl

3、ing staple: unknown creatures lurking in the next claustrophobic corridor, hungry and waiting for visitors. Now it turns out that bizarre, voracious denizens of the underworld arc not wholly imaginary. Biologists slithering into ever deeper, tighter recesses are coming face-to-face with a fast-growi

4、ng list of cave-dwelling spiders, centipedes, leeches, mites, scorpions, beetles, fish, snails, worms, and salamanders, along with thick beds of bacteria and fungi that sometimes make a living off the very rocks.Passage 2Five hundred feet below the bright-green rain forest, my fellow cave diver slip

5、s into the dark-green waters of a Hooded cave passage called Tunkul Sump. Loaded with lights and two scuba tanks, he unreels a thin white nylon cord, his lifeline back from the unexplored passage. I sit near the sump and wait. Its April 30. 1999. my sixth expedition to the Chiquibul cave system in B

6、elize and Guatemala. On each trip Heel Im opening books in an underground library that has preserved records of dramatic climate change over time, of the lives of the ancient Maya who once used these caves, and of numerous animal species, living and extinct.9. Both Passage 1 and Passage 2 indicate t

7、hat caves are home to(A)fossilized remains(B)sedimentary rocks(C)mythological creatures(D)ancient human artifacts(E)multiple animal species10.The authors of both passages would most likely agree that caves(A)were left unexplored due to the dangers involved(B)are threatened by excessive exploration(C

8、)continue to yield new discoveries(D)provide information about ancient civilizations(E)fuel peoples fears about the underworld11.The last sentence of Passage 2 serves primarily to(A)show the extent to which the climate of the area has changed(B)point out that the cave was once home to species that a

9、re now extinct(C)indicate the danger associated with an expedition of this kind(D)convey the idea that the cave serves as a historical chronicle(E)suggest that underwater cave exploration is more productive than scholarly research SECTION 7 Questions 12-23 are based on the following passage.The pass

10、age below was adapted from a novel published in 1987.I am a painter. I paint portraits and townscapes views of the inner city, of shabby streets, small, dusty parks, crumbling tenements. That is my art, my reason for living. Unhappily, it is not productive in the crude sense. In spite 5of kindly rev

11、iews of my occasional exhibitions and the loyal response of old friends who attend the private views and buy the smaller paintings, my work only brings in a pittance. The trade that I live by. that pays the bills and the mortgage, that gives my mother the necessary allowance to |0 keep her in reason

12、able comfort in her small house, is that of a copyist.I am (I mast make this clear an honest craftsman; not a cheat, not a forger. I am no Tom Keating, aging a picture with a spoonful of instant coffee, spraying on fly specks15 with a mixture of asphalt and turpentine, pretending to have come upon a

13、n unknown Old Master in a junk shop or attic. I paint copies of famous paintings, sometimes for private persons or institutions, but mostly for the directors of companies who want an impressive decoration to hang in20 their boardrooms. Deception of an innocent kind is their intention; asked if the p

14、icture is genuine, few of them. I imagine, would lie. Nor would they be wise to. Whether they know it or not (and in some cases 1 am sure that they do know, collaborating with me in a further, minor25 deception out of pleasure and a shared sense of humor), my copies are never exact.That is where van

15、ity comes in. One wants to leave ones mark on the world. Like many another craftsman, like an apprentice stonecutter carving a gargoyle on a cathedral.30 I want to make my individual contribution to the grand design, t copy the painting with all the skill at my disposal, all the tricks; squaring up,

16、 measuring with calipers, using photographs, a projector, a light box for transparencies to get as near as I can to the true color. I try to match the35 pigments used by the artist, grinding my own Naples yellow, or buying it in a tube from Budapest where ii is still legal to sell it ready made with

17、 Lead and antimony. But instead of adding my signature, I change some insignificant feature. I alter the expression of a man in o crowd, add40 a tiny animal face in a dim corner, a mouse or a weasel, replace the diamond on a womans hand with a ruby, paint a watch on a wrist in an eighteenth-century

18、portrait. How many casual observers would notice? Or care if they did* Most people chortle to see experts confounded.45 All art. of course, is full of deception. Nature, too, and human behavior, but more of that later. Remember thestory of Zeuxis? No? Then Ill tell you. (Bear with me. The tale will

19、develop, I hope, when I can find my way into it. but I am only a painter, unused to the art of narrative flow.)50 This Zeuxis lived in Athens in the fourth century B.C. He painted a picture of grapes with such skill that sparrows Hew in and tried to peck al the fruit. Amused, Zeuxis invited another

20、painter lo witness a repeat performance. A rival, whose name was Parrhasius. HE affected to be55 unimpressed. To cheat sparrows was nothing extraordinary. Bird brained was his buzzword. The birth of a clich?Parrhasius went home and brooded. His turn to ask his friend Zeuxis to inspect a painting. It

21、 was concealed behind a curtain. Zeuxis tried lo unveil it and failed: the draperies60 had been painted. Zeuxis. who was either a fool, or a very nice man. or simply somewhat shortsighted, was generous with praise. I was only able to deceive a few sparrows, but you have deceived me. a man and an art

22、ist. This hoary old legend has its quirky, private significance65 for me. Ever since I first heard it. at school, it made me want to be an artist good enough to fool the experts.Tom Keating (1018-1984) was an art restorer and famous art forcer who claimed to have forged over 2000 paintings by over 1

23、00 different artists.12.hi line 4, Unhappily most nearly means(A)Inappropriately(B)Mournfully(C)Unfortunately(D)Awkwardly(E)Unexpectedly13.The narrator portrays the friends” (line 6) as generally being(A)imaginative(B)artistic(C)amusing (D) reflective (E) supportive14.The narrators attitude toward T

24、om Keating (line 13) is primarily one of(A)sympathy(B)fascination(C)regret(D)disdain(E)exasperation15.In line 16, the narrator uses the phrase an unknown Old Master to refer to(A)a forgotten teacher who once wielded great influence(B)a formerly prominent artist who has now become obscure(C)any paint

25、ing found in an out-of-the-way place(D)an artwork so damaged that it has lost its aesthetic appeal(E)a painting by a famous artist that had previously been unrecognized16.The attitude of those people collaborating (line 24) in the deception (line 25) is one of(A)feigned innocence(B)ironic detachment

26、(C)wry amusement(D)naked ambition(E)unmitigated greed17.As described in lines 31-37 (I copy . antimony), the narrators approach to copying is best characterized as(A)painstaking(B)grudging(C)innovative(D)simplistic(E)slipshod18. Thewatch (line 42) is best characterized as(A)an allegory(B)an anachron

27、ism(C)a metaphor(D)a symbol(E)a conundrum19.The statement in line 45 (All art. deception) signals a shift from(A)a discussion about a vocation to a discussion about private life(B)a description of a person to a description of a community(C)an analysis of a deception to a rumination on that deception

28、s consequences(D)an account of a particular individuals actions to an explanatory anecdote(E)a historical consideration of a trade to a mythical tale of that trades origins20.In line 55, cheat most nearly means(A)mislead(B)swindle(C)deprive(D)elude(E)victimize21.In lines 54-57 (He affected . brooded

29、), the narrator implies that Parrhasius was(A)annoyed at having been summoned to judge Zeuxis work(B)regretful that he had not worked harder to perfect his own artistic skills(C)proud that a fellow artist had created such a realistic work(D)secretly jealous of Zeuxis accomplishment(E)more knowledgea

30、ble about the behavior of birds than Zeuxis was22- In lines 60-61 (Zeuxis. . Shortsighted”), the narrator offers(A)unusual examples of a particular technique(B)alternative explanations for a certain action(C)humorous excuses for a grave situation(D)cynical reasons for a heroic gesture(E)unfair dismi

31、ssals of a scholarly tradition23. The narrator implies that the legend (line 64) served to(A)inspire the narrator with a lifetime goal(B)solidify the narrators ethical beliefs as an artist(C)suggest to the narrator that the life of an artist would ultimately prove to be profitable(D)discourage the n

32、arrator from attempting to become a prominent artist(E)help teach the narrator the technical skill needed to become a copyistQuestions 7-20 arc based on the following passages.These passages are excerpts from two different histories of rock-and-roll musk in the United States. Both passages were writ

33、ten in the I$8Qs.Passage 1As I was passing as unconsciously as possible through one of humanitys most insidious institutions, junior high school, something dramatic yet subtle was taking place in my teenage consciousness. I didnt recognize it for what5 it was at the time. Nobody did. But it was happ

34、ening to all of us, just the same. It didnt take long for adults to tell us what it was, however, and they werent very happy. They called it primitive, communistic, filthy, smutty, and obscene; we called it rock and roll. We were both right.10 Today, with over 30 years of hindsight available, the wh

35、ole phenomenon seems relatively clear and, if possible, even more provocative than it seemed at its inception. What I and my fellow sufferers were experiencing was the beginning of Americas first genuine cultural revolution.15 This statement may seem exaggerated for two somewhat contradictory reason

36、s. First, weve always been taught that Americas war of independence from England was a true revolution, something of an exaggeration in itself. Second, and more important, were reluctant to give up the20 American myth of a slow and steady (but inevitable) progress toward an earthly perfection. Ameri

37、cans have always tolerated many more disagreements over the nature of their goals than over how they could be achieved. The process was expected to be rational, well ordered, and25 continuous. So even to suggest the possibility of a cultural revolution in America must appear not only factually absur

38、d but blasphemous as well. Revolution is as heretical a doctrine in America as abolishing the monarchy would be in England. Nevertheless, despite the overwhelmingly30 conservative assumptions of most Americans, we are in fact in the throes of a genuine and dramatic revolution in our culture, and it

39、behooves us to understand it before passing judgment. From its beginnings, rock music has challenged the35 basic values of the culture in which it emerged: not all at once, not always self-consciously, certainly not programmatically. but surely and steadily nevertheless. First came challenges to the

40、 accepted beliefs about sex, race, and work; then nationalism, war, and economics40 came under attack. By implication, of course, the entire conception of reality that supported these values was negated. Essentially, what was being rejected was a particular view of the American tradition, with its f

41、irmconvictions about destiny, inevitable progress, absolutist 45 morality, and fixed social positions. Sociologists had been studying and criticizing this value scheme. Rock and roll, however, didnt propose to study it; rock and roll proposed to abolish it.Passage 2In its beginnings, rock and roll w

42、as the music of teens50 and very young adults. But as we entered the 1970s, an inevitable fact became obvious: those 1950s teenagers were entering middle age and they still liked rock. A baby born in 1940 was fifteen years old when Rock Around the Clock hit number one; in 1970 that same person turne

43、d55 thirty but very likely still liked Elvis, the Beach Boys. Dylan, and the Beatles. And in 1985 that baby was solidly middle-aged and in all probability still liked those artists as well as a few newer onesestablished groups and performers such as Chicago, Fleetwood Mac, and60 Lionel Richie. Notic

44、e the number of classic rock and adult rock radio stations on your FM dial? Those are aimed at a relatively affluent segment of the adult population that is roughly thirty-five to fifty years old. These people are hitting their peak earning years (a fact65 of considerable interest to radio advertise

45、rs), and they want to hear their favorite artists from the 1950s and 1960s, as well as a few of the more conservative acts of the 1970s and 1980s. Indeed, the rock market now extends to people in their fifties.70 At the other end of this demographic expansion are the preteens. The lowering of the ag

46、e of rock consumerism has accelerated with the coming of MTV and other televised rock video formats. It should come as no surprise to anyone that children little childrenlike television.75 While parents and older siblings are at work, at school, or elsewhere, younger kids have a choice of cartoons,

47、reruns, game shows, or the most up-to-date rock videos. The television rock videos have brought an increasingly younger population into the world of rock and roll.80 What this means is that rock and roll is no longer ateen-oriented countercultural phenomenon. It now pervades much of American culture

48、. It cuts across economic groups, social levels, and ethnic groups. The rock style permeates movie music, music for television, advertising music, jazz,85 music at athletic events, church music, and country music. Granted, within rock there are countercultural trends, but as a generic entity, rock so permeates our entire culture that other styles of musicsuch as j