2022年全国硕士研究生招生考试英语（一）试题.docx

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1、2022 年全国硕士研究生入学统一考试英语（一）试题Section Use of EnglishDirections:Read the following text. Choose the best word(s) for each numbered blank and mark A, B, C or D on the ANSWER SHEET. (10 points)The idea that plants have some degree of consciousness first took root in the early 2000s; the term “plant neurobi

2、ology” was 1 around the notion that some aspects of plant behavior could be 2 to intelligence in animals. 3 plants lack brains, the firing of electrical signals in their stems and leaves nonetheless triggered responses that 4 consciousness, researchers previously reported.But such an idea is untrue,

3、 according to a new opinion article. Plant biology is complex and fascinating, but it 5 so greatly from that of animals that so-called 6 of plants intelligence is inconclusive, the authors wrote.Beginning in 2006, some scientists have 7 that plants possess neuron-like cells that interact with hormon

4、es and neurotransmitters, 8 “a plant nervous system, 9 to that in animals,” said lead study author Lincoln Taiz, “They 10 claimed that plants have brain-like command centers at their root tips.”This 11 makes sense if you simplify the workings of a complex brain, 12 it to an array of electrical pulse

5、s; cells in plants also communicate through 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 cells that communicate by electricity,” Taiz said.“For consciousness to evolve, a brain with a threshold 15 of compl

6、exity and capacity is required,” he 16 . “Since plants dont have nervous systems, the 17 that they have consciousness are effectively zero.”And whats so great about consciousness, anyway? Plants cant run away from 18 , so investing energy in a body system which 19 a threat and can feel pain would be

7、 a very 20 evolutionary strategy, according to the article.1.A coined2.A attributedB discoveredB directedC collectedC comparedD issuedD confined3.A UnlessB WhenC OnceD Though4.A cope withB consisted ofC hinted atD extended in5.A suffersB benefitsC developsD differs6.A acceptanceB evidenceC cultivati

8、onD creation7.A doubtedB deniedC arguedD requested8.A adaptingB formingC repairingD testing119.A analogousB essentialC suitableD sensitive10.A justB everC stillD even11.A restrictionB experimentC perspectiveD demand12.A attachingB reducingC returningD exposing13.A HoweverB MoreoverC ThereforeD Other

9、wise14.A temporarilyB literallyC superficiallyD imaginarily15.A listB levelC labelD local16.A recalledB agreedC questionedD added17.A chancesB risksC excusesD assumptions18.A dangerB failureC warningD control19.A representsB includesC revealsD recognizes20.A humbleB poorC practicalD easySection Read

10、ing ComprehensionPart A Directions:Read the following four texts. Answer the questions below each text by choosing 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, shopping bags, and other trash litter the plane

11、t, from Mount Everest to the Mariana Trench, because plastics are everywhere and dont 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 for institutions, such as museums, tryin

12、g to preserve culturally important objects. The variety of plastic objects at risk is dizzying: early radios, avant-garde sculptures, celluloid animation stills from Disney films, the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic art didnt always

13、 know how to mix ingredients properly, says Thea van Oosten, a polymer chemist who, until retiring a few years ago, worked for decades at the Cultural Heritage Agency of the Netherlands. “Its like baking a cake: If you dont have exact amounts, it goes wrong.” she says. “The object you make is alread

14、y a time bomb.”And sometimes, its not the artists fault. In the 1960s, the Italian artist Picro Gilardi began to create hundreds of bright, colorful foam pieces. Those pieces included small beds of roses and other items as well as a few dozen “nature carpets”large rectangles decorated with foam pump

15、kins, cabbages, and watermelons. He wanted viewers to walk around on the carpetswhich meant they had to be durable.Unfortunately, the polyurethane foam he used is inherently unstable. Its especially vulnerable to light damage, and by the mid-1990s, Gilardis pumpkins, roses, and other figures were sp

16、litting and crumbling.Museums locked some of them away in the dark.So van Oosten and her colleagues worked to preserve Gilardis sculptures. They infused some with stabilizing and consolidating chemicals.Van Oosten calls those chemicals “sunscreens” because their goal was to prevent further light dam

17、age and rebuild worn polymer fibers. She is proud that several sculptures have even gone on display again, albeit sometimes beneath protective cases.Despite success stories like van Oostens, preservation of plastics will likely get harder. Old objects continue to deteriorate. Worse, biodegradable pl

18、astics designed to disintegrate, are increasingly common.And more is at stake here than individual objects. Joana Lia Ferreira, an assistant professor of conservation and restoration at the nova School of Science and Technology, notes that archaeologists first defined the great material ages of huma

19、n history Stone Age, Iron Age, and so on after examining artifacts in museums. We now live in an age of plastic, she says, “and what we decide to collect today, what we decide to preserve.will have a strong impact on how in the future well be seen.”21. According to Paragraph 1, museums are faced wit

20、h 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 complex in structure23

21、. Museums stopped exhibiting some of Gilardis artworks to.A 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 Fe

22、rreiras opinion, preservation of plastic artifacts .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 u

23、p their options, it may be worth considering just how the point, purpose and value of a degree has changed and what Generation Z need to consider as they start the third stage of their educational journey.Millennials were told that if you did well in school, got a decent degree, you would be set up

24、for life. But that promise has been found wanting. As degrees became universal, they became devalued. Education was no longer a secure route of social mobility. Today, 28 percent of graduates in the UK are in non-graduate roles, a percentage which is double the average among OECD countries.This is n

25、ot to say that there is no point in getting a degree, but rather stress that a degree is not for everyone, that the switch from classroom to lecture hall is not an inevitable one and that other options are available.Thankfully, there are signs that this is already happening, with Generation Z seekin

26、g to learn from their millennial predecessors, even if parents and teachers tend to be still set in the degree mindset. Employers have long seen the advantages of hiring school leavers who often prove themselves to be more committed and loyal employees than graduates. Many too are seeing the advanta

27、ges of scrapping a degree requirement for certain roles.For those for whom a degree is the desired route, consider that this may well be the first of many. In this age of generalists, it pays to have specific knowledge or skills. Postgraduates now earn 40 percent more than graduates. When more and m

28、ore 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 will need to be constantly up- skilling throughout their career to stay employable. It has been estimated that this generation, due to the pressures of technology, the w

29、ish for personal fulfillment and desire for diversity, will work for 17 different employers over the course of their working life and have five different careers. Education, and not just knowledge gained on campus, will be a core part of Generation Zs career trajectory.Older generations often talk a

30、bout their degree in the present and personal tense: I am a geographer. or I am a classist. Their sons or daughters would never say such a thing; its as if they already know that their degree wont define them in the same way.26. the author suggests that Generation Z should A be careful in choosing a

31、 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 reflect .A Millennials opinions about workB the shrinking value of a degreeC public discontent with education

32、D the desired route of social mobility28. The author considers it a good sign that .A Generation Z are seeking to earn a decent degree.B School leavers are willing to be skilled workers.C Employers are taking a realistic attitude to degrees.D Parents are changing their minds about education.29. It i

33、s advised in Paragraph 5 that those with one degree should .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 Lifelo

34、ng 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 that Nature readers used to describe their experience of art-science collab

35、orations in a series of articles on partnerships between artists and researchers. Nearly 40% of the roughly 350 people who responded to an accompanying poll said, they had collaborated with artists, and almost all said they would consider doing so in future.Such an encouraging results is not surpris

36、ing. Scientists are increasingly seeking out visual artists to help them communicate their work to new audiences. “Artists help scientists reach a broader audience and make emotional connections that enhance learning.” One respondent said.One example of how artists and scientists have together rocke

37、d the scenes came last month when the Sydney Symphony Orchestra performed a reworked version of Antonio Vivaldis The Four Seasons. They reimagined the 300-year-old score by injecting the latest climate prediction data for each season provided by Monash Universitys Climate Change Communication Resear

38、ch Hub. The performance was a creative call to action ahead of Novembers United Nations Climate Change Conference in Glasgow, UK.But a genuine partnership must be a two-way street. Fewer artist than scientists responded to the Nature poll, however, several respondents noted that artists do not simpl

39、y assist scientists with their communication requirements. Nor should their work be considered only as an object of study. The alliances are most valuable when scientists and artists have a shared stake in a project, are able to jointly design it and can critique each others work. Such an approach c

40、an both prompt new research as well as result in powerful art.More than half a century ago, the Massachusetts Institute of Technology opened its Center for Advanced Visual Studies(CAVS) to explore the role of technology in culture. The founders deliberately focused theirprojects around light-hance t

41、he “visual studies” in the name. Light was a something that both artists and scientists had an interest in and therefore could form the basis of collaboration. As science and technology progressed, and divided into more sub-disciplines, the centre was simultaneously looking to a time when leading re

42、searchers could also be artists, writers and poets, and vice versa.Natures poll findings suggest that this trend is as strong as ever, but, to make a collaboration work both sides need to invest time and embrace surprise and challenge. The reach of art-science tie-ups needs to go beyond the necessar

43、y purpose of research communication, and participants. Artists and scientists alike are immersed in discovery and invention, and challenge and critique are core to both, too.31. According to paragraph 1,art-science collaborations have A caught the attention of criticsB received favorable responsesC

44、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 future Dart is effect

45、ive in facilitating scientific innovations33. Some artists seem to worry about in the art-science partnership .A their role may be underestimatedB their reputation may be impairedC their creativity may be inhibitedD their work may be misguided 34.What does the author say about CAVS?A It was headed a

46、lternately by artists and scientistsB It exemplified valuable art-science alliancesC Its projects aimed at advancing visual studies D1 Its founders sought to raise the status of artists35. In the last paragraph, the author holds that art-science collaborations Al are likely to go beyond publicexpect

47、ationsB will intensify interdisciplinary competitionC should do more than communicating scienceD are becoming more popular than beforeText 4The personal grievance provisions of New Zealands Employment Relations Act 2000(ERA) prevent an employer from firing an employee without good cause. Instead, dismissals must be justified. Employers must bothshow cause an