2022年考研英语一真题及参考答案.pdf

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1、2022 2022 年全国硕士研究生入学统一考试年全国硕士研究生入学统一考试英语（一）试题英语（一）试题Section I Section I Use of English Use of English Directions:Directions: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

2、 first took root in the early 2000s;the term“plant neurobiology”was1 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,resear

3、chers previously reported.But such an idea is bunk,according to the authors of the new article.Plant biology is plex and fascinating,but it 5 so greatly from that of animals that so-called 6 of plants intelligence is intriguing but inconclusive,the scientists wrote.In animals,neurobiology refers to

4、the biological mechanisms through which a nervous system regulates behavior,according to Harvard Universitys Mind Brain Behavior Interfaculty Initiative.Over millions of years,brains in diverse animal species have evolved to produce behaviors that experts identify as intelligent:Among them are reaso

5、ning and problem-solving,tool use and self-recognition.Beginning in 2006,some scientists have 7 that plants possess neuron-like cells that interact with hormones and neurotransmitters,8“a plant nervous system,9 to that in animals,”said lead study author Lincoln Taiz,a professor emeritus of molecular

6、,cell and developmental biology at the University of California Santa Cruz.“They 10 claimed that plants have brain-like mand centers at their root tips,”Taiz told Live Science in an email.This 11 makes sense if you simplify the workings of a plex brain,12 it to an 1/24 array of electrical pulses;cel

7、ls in plants also municate through electrical signals,according to the article.13 ,the signaling in a plant is only 14 similar to the billions of synapses firing in a plex animal brain,which is more than a mass of cells that municate by electricity,”Taiz said.“For consciousness to evolve,a brain wit

8、h a threshold15 of plexity and capacity is required,”he 16.Other researchers who recently investigated the neuroscience of consciousness awareness of ones world and a sense of self found that in animals,only vertebrates,arthropods and cephalopods had brains plex enough to enable them to be conscious

9、.“If the lower animals which have nervous systems lack consciousness,the 17 that plants without nervous systems have consciousness are effectively nil,”Taiz said.And whats so great about consciousness,anyway?Plants cant run away from 18,so investing energy in a body system that 19 a threat and can f

10、eel pain would be a very 20 evolutionary strategy,according to the article.1.2.3.4.5.6.7.8.9.A.coinedA.attributed A.UnlessA.coped withB.discoveredB.directed B.When C.collectedC.pared C.Once D.issuedD.confined D.Though B.consisted ofB.benefitsB.evidenceB.deniedB.formingB.essentialB.everB.experimentB.

11、reducingB.MoreoverC.hinted atC.developsC.cultivationC.arguedC.repairingC.suitableC.stillC.perspectiveC.returningC.ThereforeD.extended toD.differsD.creationD.requestedD.testingD.sensitiveD.evenD.demandD.exposingD.OtherwiseA.suffersA.acceptanceA.doubtedA.adaptingA.analogous10.A.just11.A.restriction12.

12、A.attaching13.A.However2/24 14.A.temporarily B.literally C.superficially D.imaginarily15.A.list 16.A.recalled 17.A.chances 18.A.danger 19.A.represents 20.A.humble B.level B.agreed B.risks B.failure B.includes B.poor C.label C.questioned C.excuses C.warning C.reveals C.practical D.load D.added D.assu

13、mptions D.control D.recognizes D.easy Section II Reading prehension Section II Reading prehension Part A Part A Directions: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 1 Text 1 People often

14、grumble that plastics are too durable.Water bottles,shopping bags,and other trash litter the planet,from Mount Everest to the Mariana Trench,because plastics are ubiquitous and dont break down easily.But some plastic materials change over time.They crack and frizzle.They“weep”out additives.They melt

15、 into sludge.All of which creates huge headaches for institutions,such as museums,trying to preserve culturally important objects.Until recently,museums only had to worry about traditional materials.The variety of plastic objects at risk is dizzying:early radios,avant-garde sculptures,celluloid anim

16、ation stills from Disney films,David Bowie costumes,the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic art didnt always know how to mix ingredients properly,says Thea van Oosten,a polymer chemist who,until retiring a few years ago,worked for decad

17、es at the Cultural Heritage Agency of the Netherlands(RCE).“Its like baking a cake:If you dont have exact amounts,it goes wrong,”she says.“The object you make is already a time bomb.”3/24 And sometimes,its not the artists fault.In the 1960s,the Italian artist Piero Gilardi began to create hundreds o

18、f 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 pumpkins,cabbages,and watermelons.He wanted viewers to walk around on the carpetswhich meant they had to be durable.Unfortunately,the pol

19、yurethane foam he used is inherently unstable.Its especially vulnerable to light damage,and by the mid-1990s,Gilardis pumpkins,roses,and other figures were splitting and crumbling.Museums locked some of them away in the dark.So van Oosten and colleagues at RCE began to study ways to protect polyuret

20、hane.First,they took foam samples similar to the nature carpets and infused some with stabilizing and consolidating chemicals that modern manufacturers often use.Van Oosten calls those chemicals“sunscreens”because their goal was to prevent further light damage and rebuild worn polymer fibers.Then th

21、e team used xenon lamps to artificially age both treated and untreated samples,and examined them under high-powered microscopes.The results were encouraging.Samples that lacked sunscreen had withered under the barrage of photons:The molecular“struts”shoring up the foam were 42%thinner and notably mo

22、re brittle than before the lamp treatment.The struts in samples with sunscreen decreased by as little as 12.5%.Armed with that knowledge,conservators working with RCE infused several Gilardi sculptures,including two nature carpets,with the sunscreen to stabilize them.Van Oosten is proud that several

23、 have even gone on display again,albeit sometimes beneath protective cases.Long called the“queen of plastics,”in 2012,van Oosten was knighted in the Netherlands for her efforts to preserve plastic objects and spread knowledge to other institutes.Despite such success stories,preservation of plastics

24、will likely get harder.Old objects continue to deteriorate.Worse,biodegradable plastics,designed to disintegrate,are increasingly mon.And more is at stake here than individual objects.Ferreira notes that archaeologists first defined the great material ages of human historyStone Age,Iron Age,and so o

25、nafter 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.”4/24 21.According to paragraph 1,museums are faced with difficulties in A.maintaining their pla

26、stic itemsB.obtaining durable plastic artifacts C.handling outdated plastic exhibits D.classifying their plastic collections.22.Van Oosten holds certain plastic are A.immune to decay B.improperly shaped C.inherently flawed D.plex in structure.23.Museums stopped exhibiting artworks of Gilardis to A.k

27、eep them from hurting visitors B.duplicate them for future display C.have ingredients for future analyzed D.prevent them from further damage.24.The author thinks that preservation of plastics is A.costly B.unworthy C.unpopular D.challenging.25.In Ferreisias opinion,the preservation ofplastic artifac

28、ts A.will inspire future scientific research B.has profound historical significance C.will help us separate the material ages D.has the impact on todays cultural life.5/24 Text 2 As the latest crop of students pen their UCAS form and weigh up their options,it may be worth considering just how the po

29、int,purpose and value of a degree has changed and what Gen Z(and their parents)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 for life.But that promise has been found wanting.As

30、degrees became universal,they became devalued(just as governments hiked up the cost of getting one).Education was no longer a secure route of social mobility.Today,28 per cent of graduates in the UK are in non-graduate roles;a percentage which is double the average amongst the OECD.This is not to sa

31、y 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 Gen Z seeking to learn from the

32、ir 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 mitted and loyal employees than graduates.Many too are seeing the advantages of scrapping a degree

33、 requirement for certain roles-just as Penguin did in 2016.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 per cent more than graduates.When more and mo

34、re of us have a degree,it makes sense(albeit expensive)to have two.6/24 It is unlikely that Gen Z will be done with education at 18 or 21;they will need to be constantly up-skilling throughout their career to stay agile,relevant and employable.It has been estimated that this generation due to the pr

35、essures of technology,the wish for personal fulfilment 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.I have o

36、ften heard older generations talk about their degree(even if it was gained decades ago)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 aut

37、hor suggests that Generation Z should A.be careful in choosing college B.be diligent at each educational stage C.reassess the necessity of college education D.postpone their undergraduate application.27.The percentage of UK graduates in non-graduate roles reflects A.millennials opinions about work B

38、.the shrinking value of degree C.public discount with education D.the desired route of social mobility.28.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 degr

39、ees 7/24 D.parents are changing their minds about education 29.It is advised in paragraph 5 that those with one degree should A.make an early decision on their career B.attend on-the-job training programs C.team up with high-paid post graduates.D.further their studies in the specified field 30.What

40、can be concluded about Generation Z from last two paragraphs?A.Lifelong learning will define them B.They will make qualified educators C.Degrees will no longer appeal to them D.They will have a limited choice of jobs Text 3 Enlightening,stimulating,inspiring,fun.These were some of the words that Nat

41、ure readers used to describe their experiences of artscience collaborations in a series of articles on partnerships between artists and researchers.Nearly 40%of the roughly 350 people who responded to an acpanying poll said they had collaborated with artists;and almost all said they would consider d

42、oing so in future.Such an encouraging result is not surprising.Public engagement has bee essential to many research projects.Scientists are increasingly seeking out visual artists and designers to help them to municate their work to new audiences.“Artists help scientists reach a broader audience and

43、 make emotional connections that enhance learning,”one respondent said.“The experience is very liberating for me,as a scientist,”said another.“Theres often a visual aspect to my science that8/24 generating and publishing data does not convey.”One example of how artists and scientists have together r

44、ocked the senses came last month when the Sydney Symphony Orchestra in Australia 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 seasonprovided by Monash Universitys Climate Change munic

45、ation Research Hub in Melbourne.The work was entitled The(Uncertain)Four Seasons,and variations of the score containing local data were sent to every major orchestra in the world.The performance was a creative call to action ahead of Novembers United Nations.But a genuine partnership must be a two-w

46、ay street.Fewer artists than scientists responded to the Nature poll;however,several respondents noted that artists do not simply assist scientists with their munication requirements.Nor should their work be considered only as an object of study even if these are reasons why scientists seek opportun

47、ities to work with artists.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 can both prompt new research as well as result in powerful art.More than half a century ago,the Mas

48、sachusetts Institute of Technology(MIT)opened its Center for Advanced Visual Studies(CAVS)in Cambridge to explore the role of technology in culture.The centre was established during the Vietnam War,when many scientists in the United States were being criticized for working on defence contracts.Its f

49、ounders believed that artists and scientists could,together,create a vision for a more humane world.They deliberately focused their projects around light hence the visual studies in the name.Light was a something that both artists and scientists had an interest in,and therefore could form the basis

50、of collaboration,says Seth Riskin,a visual-arts researcher at the MIT Museum who previously worked at CAVS.The reach of artscience tie-ups needs to go beyond the necessary purpose of research 9/24 munication,and participants must not fall into the trap of stereotyping each other.Artists and scientis