2023年山东GRE考试模拟卷（9）.docx

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1、2023年山东GRE考试模拟卷（9）本卷共分为1大题50小题，作答时间为180分钟，总分100分，60分及格。一、单项选择题（共50题，每题2分。每题的备选项中，只有一个最符合题意） 1.Economics can render service in the area of exchange, but its tools find less purpose when applied to paradigms dominated by alternative models of transactions and social relationships. In small groups gift

2、-giving is substituted Line for the role of exchange, which entails obligation: people receiving gifts are expected to reciprocate in the future and this reciprocity binds small groups together, whereas exchange rarely does so. Two people exchange only when both benefit, neither incurring a social o

3、bligation as a result, and where social obligations exist, exchange may not work well. Exchange nevertheless allows for extremely complex interactions among strangers: when employing a product, a consumer benefits from the efforts of hundreds of anonymous people who have contributed to that commodit

4、y. Such analysis also has its limits in the case of an area such as government, for economics seeks regularities in social life, which are more likely to occur when no one individual has an appreciable effect on the group.Which of the following best describes the organization of the passageAA descri

5、ption of a problem in one area of economics, followed by a revision of the description for two other areas.BA description of a problem in one area economics, followed by a successful counter-example, then the description of a problem in a second area.CA description of the successful application of e

6、conomics to one subject, followed by a description of its limitations in two other areas.DA description of one area Of economics, whose problems are compared with those of two other areas of economics.EA critical distinction between problems in two separate areas of economics. 2.Feminist critics hav

7、e long debated the extent to which gender plays a role in the creation and interpretation of texts. Androgynist poetics, rooted in mid-Victorian womens writing, contends that the creative mind is sexless, but Line from the 1970s on, many feminist critics rejected the idea of the genderless mind, fin

8、ding that the imagination cannot evade conscious or unconscious structures of gender which is part of culture-determination where separating imagination from the self is impossible.The Female Aesthetic, expressing a unique female consciousness in literature, spoke of the female vernacular, the Mothe

9、r Tongue, a powerful but neglected womens culture. Virginia Woolf discusses how a woman writer seeks within herself the pools, the depths, the dark places where the largest fish slumber, inevitably colliding against her own sexuality to Confront something about the body, about the passions. Accessib

10、le to men and women alike, but representing female sexual morphology, this method sought a way of writing which literally embodied the female, thereby fighting the subordinating, linear style of classification or distinction. It must be admitted that there are problems with the Female Aesthetic that

11、 feminist critics themselves recognized. For instance, they avoided defining exactly what constituted their writing style, as any definition would then categorize it and safely subsume it as a genre under the linear patriarchal structure its very restlessness and ambiguity defied identification as p

12、art of its identity. Some feminists and women writers could feel excluded by the surreality of the Female Aesthetic and its stress on the biological forms of female experience, which also bear close resemblance to essentialism. Men may try their hand at writing womans bodies, but according to the fe

13、minist critique, only. a woman whose very biology gave her an edge could read these texts successfullya position which, worst of all, risked marginalization of womens literature and theory.Later, Gynocritics attempted to resolve some of these problems, by agreeing that womens literature lay as the c

14、entral concern for feminist criticism but rejecting the concept of an essential female identity and style, while simultaneously seeking to revise Freudian structures by emphasizing a Pre-Oedipal phase wherein the daughters bond to her mother inscribes the key factor in gender identity. Matriarchal v

15、alues dissolve intergenerational conflicts and build upon a female tradition of literature rather than the struggle of Oedipus and Lais at the crossroads. Lastly and most promising in its achievement of a delicate balance are developments of an over-arching gender theory, which considers gender, bot

16、h male and female, as a social construction built on biological differences. Gender theory proposes to explore ideological inscription and the literary effects of the sex/gender system, opening up the literary theory stage and bringing in questions of masculinity into feminist theory. Taking gender

17、as a fundamental analytic category brings feminist criticism from the margin to the center, though it risks depoliticizing the study of women.It can be inferred from the passage that the Female Aesthetic school of literary criticism espoused which of the following views . The greatest womens and men

18、s writing are indistinguishable in quality and style. Womens writing is characterized by an essential style that male writers are unlikely to achieve. A womens writing style is more likely to be politically effective if it is precisely defined.A onlyB onlyC and onlyDII and onlyE, , and 3.Feminist cr

19、itics have long debated the extent to which gender plays a role in the creation and interpretation of texts. Androgynist poetics, rooted in mid-Victorian womens writing, contends that the creative mind is sexless, but Line from the 1970s on, many feminist critics rejected the idea of the genderless

20、mind, finding that the imagination cannot evade conscious or unconscious structures of gender which is part of culture-determination where separating imagination from the self is impossible.The Female Aesthetic, expressing a unique female consciousness in literature, spoke of the female vernacular,

21、the Mother Tongue, a powerful but neglected womens culture. Virginia Woolf discusses how a woman writer seeks within herself the pools, the depths, the dark places where the largest fish slumber, inevitably colliding against her own sexuality to Confront something about the body, about the passions.

22、 Accessible to men and women alike, but representing female sexual morphology, this method sought a way of writing which literally embodied the female, thereby fighting the subordinating, linear style of classification or distinction. It must be admitted that there are problems with the Female Aesth

23、etic that feminist critics themselves recognized. For instance, they avoided defining exactly what constituted their writing style, as any definition would then categorize it and safely subsume it as a genre under the linear patriarchal structure its very restlessness and ambiguity defied identifica

24、tion as part of its identity. Some feminists and women writers could feel excluded by the surreality of the Female Aesthetic and its stress on the biological forms of female experience, which also bear close resemblance to essentialism. Men may try their hand at writing womans bodies, but according

25、to the feminist critique, only. a woman whose very biology gave her an edge could read these texts successfullya position which, worst of all, risked marginalization of womens literature and theory.Later, Gynocritics attempted to resolve some of these problems, by agreeing that womens literature lay

26、 as the central concern for feminist criticism but rejecting the concept of an essential female identity and style, while simultaneously seeking to revise Freudian structures by emphasizing a Pre-Oedipal phase wherein the daughters bond to her mother inscribes the key factor in gender identity. Matr

27、iarchal values dissolve intergenerational conflicts and build upon a female tradition of literature rather than the struggle of Oedipus and Lais at the crossroads. Lastly and most promising in its achievement of a delicate balance are developments of an over-arching gender theory, which considers ge

28、nder, both male and female, as a social construction built on biological differences. Gender theory proposes to explore ideological inscription and the literary effects of the sex/gender system, opening up the literary theory stage and bringing in questions of masculinity into feminist theory. Takin

29、g gender as a fundamental analytic category brings feminist criticism from the margin to the center, though it risks depoliticizing the study of women.It can be inferred from the passage that the author would most likely describe the evolution of feminist literary theory as_.Aa gradual movement from

30、 the idea of genderless writing to a writing that originates in the womans bodyBa shift between adversarial criticism to more tolerant varieties of criticismCa regular fluctuation between the idea of genderless and gendered writing that gradually settles on a compromiseDa more or less constant pursu

31、it of the goal of establishing a unique niche for women s literatureEan initial vehement rejection of the notion of genderless writing, which has steadily attenuated 4.Feminist critics have long debated the extent to which gender plays a role in the creation and interpretation of texts. Androgynist

32、poetics, rooted in mid-Victorian womens writing, contends that the creative mind is sexless, but Line from the 1970s on, many feminist critics rejected the idea of the genderless mind, finding that the imagination cannot evade conscious or unconscious structures of gender which is part of culture-de

33、termination where separating imagination from the self is impossible.The Female Aesthetic, expressing a unique female consciousness in literature, spoke of the female vernacular, the Mother Tongue, a powerful but neglected womens culture. Virginia Woolf discusses how a woman writer seeks within hers

34、elf the pools, the depths, the dark places where the largest fish slumber, inevitably colliding against her own sexuality to Confront something about the body, about the passions. Accessible to men and women alike, but representing female sexual morphology, this method sought a way of writing which

35、literally embodied the female, thereby fighting the subordinating, linear style of classification or distinction. It must be admitted that there are problems with the Female Aesthetic that feminist critics themselves recognized. For instance, they avoided defining exactly what constituted their writ

36、ing style, as any definition would then categorize it and safely subsume it as a genre under the linear patriarchal structure its very restlessness and ambiguity defied identification as part of its identity. Some feminists and women writers could feel excluded by the surreality of the Female Aesthe

37、tic and its stress on the biological forms of female experience, which also bear close resemblance to essentialism. Men may try their hand at writing womans bodies, but according to the feminist critique, only. a woman whose very biology gave her an edge could read these texts successfullya position

38、 which, worst of all, risked marginalization of womens literature and theory.Later, Gynocritics attempted to resolve some of these problems, by agreeing that womens literature lay as the central concern for feminist criticism but rejecting the concept of an essential female identity and style, while

39、 simultaneously seeking to revise Freudian structures by emphasizing a Pre-Oedipal phase wherein the daughters bond to her mother inscribes the key factor in gender identity. Matriarchal values dissolve intergenerational conflicts and build upon a female tradition of literature rather than the strug

40、gle of Oedipus and Lais at the crossroads. Lastly and most promising in its achievement of a delicate balance are developments of an over-arching gender theory, which considers gender, both male and female, as a social construction built on biological differences. Gender theory proposes to explore i

41、deological inscription and the literary effects of the sex/gender system, opening up the literary theory stage and bringing in questions of masculinity into feminist theory. Taking gender as a fundamental analytic category brings feminist criticism from the margin to the center, though it risks depo

42、liticizing the study of women.The author specifically mentions all of the following as issues that have beer considered in the evolution of feminist literary criticism EXCEPT_.AThe place of women in the literary canonBThe question of culture in determining genderCThe role of Freud in theorizing gend

43、er identityDThe effect of biological differences on textual styleEThe political dangers of isolating womens texts 5.Feminist critics have long debated the extent to which gender plays a role in the creation and interpretation of texts. Androgynist poetics, rooted in mid-Victorian womens writing, con

44、tends that the creative mind is sexless, but Line from the 1970s on, many feminist critics rejected the idea of the genderless mind, finding that the imagination cannot evade conscious or unconscious structures of gender which is part of culture-determination where separating imagination from the se

45、lf is impossible.The Female Aesthetic, expressing a unique female consciousness in literature, spoke of the female vernacular, the Mother Tongue, a powerful but neglected womens culture. Virginia Woolf discusses how a woman writer seeks within herself the pools, the depths, the dark places where the

46、 largest fish slumber, inevitably colliding against her own sexuality to Confront something about the body, about the passions. Accessible to men and women alike, but representing female sexual morphology, this method sought a way of writing which literally embodied the female, thereby fighting the

47、subordinating, linear style of classification or distinction. It must be admitted that there are problems with the Female Aesthetic that feminist critics themselves recognized. For instance, they avoided defining exactly what constituted their writing style, as any definition would then categorize i

48、t and safely subsume it as a genre under the linear patriarchal structure its very restlessness and ambiguity defied identification as part of its identity. Some feminists and women writers could feel excluded by the surreality of the Female Aesthetic and its stress on the biological forms of female experience, which also bear close resemblance to essentialism. Men may try their hand at writing womans bodies, but according to the feminist critique, only. a woman whose very biology gave her an edge could read these texts successfullya position which, worst of all, risked marginalization o