SAT历年真题：SAT真题OG-Test06.docx

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1、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 sent

2、ence 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

3、 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

4、 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 amas

5、sing 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

6、 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 r

7、esearch 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 f

8、ollowed 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.Question

9、s 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 contribution to natural history163Questions 10-15 are based on the following passage.The

10、 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. T

11、hey 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

12、 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

13、. 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 emotio

14、nal 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

15、.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 busines

16、s 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

17、 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 the

18、y 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 t

19、he 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

20、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-

21、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

22、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

23、 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.umptiooswere fearful that it would have serious effects on their continued employment14. The as

24、pect 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 operat

25、e15. 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 peop

26、les 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 foc

27、uses on the use of space and gesture in dance.I am not an adept aesthetician, and I could nx presume to analyze Manhas 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 th

28、eir 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

29、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 aw

30、ay, 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 th

31、e 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.T

32、urning 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

33、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(

34、 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

35、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 spe

36、ctators 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 an

37、d 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

38、 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) apolo

39、gy 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 authors recogniuon of the-(A) choreographers need for spectacular effects 雪(B) choreographers use of mathefnarical forms .覆|(C) chor

40、eographersestrangemeat 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