2022-年考研英语(一)真题及答案.pdf

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1、2022年考研英语(一)真题及答案Section I Use of EnglishDirections:Read the following text.Choose the best word(s)fbr each numbered blank and mark A,B,CorDon the ANSWER SHEET.(10points)The idea that plants have some degree of consciousness first took root in the early 2000s;theterm uplant neurobiology”was(1)coined

2、 around the notion that some aspects of plant behaviorcould be(2)compared to intelligence in animals.(3)Though plants lack brains,the firing ofelectrical signals in their stems and leaves nonetheless triggered responses that(4)hinted atconsciousness,researchers previously reported.But such an idea i

3、s untrue,according to a new opinion article.Plant biology is complex andfascinating,but it(5)differs so greatly from that of animals that so-called(6)evidence of plants*intelligence is inconclusive,the authors wrote.Beginning in 2006,some scientists have(7)argued that plants possess neuron-like cell

4、s thatinteract with hormones and neurotransmitters,(8)forming ua plant nervous system,(9)analogousto that in animals/5 said lead study author Lincoln Taiz,“They(10)even claimed that plantshave”brain-like command centers uat their root tips.MThis(11)perspective makes sense if you simplify the working

5、s of a complex brain,(12)reducing it to an array of electrical pulses;cells in plants also communicate through electricalsignals.(13)However,the signaling in a plant is only(14)superficially similar to the firing in acomplex animal brain,which is more than“a mass of cells that communicate by electri

6、city,HTaizsaid.Tor consciousness to evolve,a brain with a threshold(15)level of complexity and capacityis required,he(16)added.Since plants dont have nervous systems,the(17)chances thattheyhave consciousness are effectively zero.”And whafs so great about consciousness,anyway?Plants cant run away fro

7、m(18)danger,so investing energy in a body system which(19)recognizes a threat and can feel pain wouldbe avery(20)poor evolutionary strategy,according to the article.I .A.coined B.discovered C.collected D.issued答案：A2.A.attributed B.Directed C.compared D.confined答案：C3.A.unless B.when C.once D.though答案

8、：D4.A.cope with B.consisted of C.hinted at D.extended O答案：C5.A.suffers B.benefits C.develops D.differs答案：D6.A.acceptance B.evidence C.cultivation D.creation答案：B7.A.doubted B.denied C.argued D.requested答案：C8.A.adapting B.forming C.repairing D.testing答案：B9.A.analogous B.essential C.suitable D.sensitiv

9、e答案：AW.A.just B.ever C.still D.even答案：D11.A.restriction B.experiment C.perspective D.demand答案：C12.A.attaching B.reducing C.returning D.exposing答案：B13.A.However B.Moreover C.Therefore D.Otherwise答案：A14.A.temporarily B.literally C.superficially D.imaginarily答案：C15.A.list B.level C.label D.local答案：B16.

10、A.recalled B.agreed C.questioned D.added答案：D17.A.chances B.risks C.excuses D.assumptions答案：A18.A.danger B.failure C.warning D.control答案：A19.A.represents B.includes C.reveals D.recognizes答案：D2O.A.humble B.poor C.practical D.easy答案：BSection II Reading ComprehensionPart ADirections:Read the following f

11、our texts.Answer the questions below each text by choosing A,B.CorD.Mark your answers on the ANSWER SHEET.(40 points)Text 1People often complain that plastics are too durable.Water bottles,shopping bags,and othertrash litter the planet,from Mount Everest to the Mariana Trench,because plastics areeve

12、rywhereand dont break down easily.But some plastic materials change over time.They crack andfrizzle.They“weep”out additives.They melt into sludge.All of which creates huge headaches forinstitutions,such as museums,trying to preserve culturally important objects.The variety ofplasticobjects at risk i

13、s dizzying:early radios,avant-garde sculptures,celluloid animation stills fromDisney films,the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic art didnt alwaysknow how to mix ingredients properly,says Thea van Oosten,a polymer chemist who,untilreti

14、ring a few years ago,worked for decades at the Cultural Heritage Agency of theNetherlands.“Its like baking a cake:If you dont have exact amounts,it goes wrong,*she says.The objectyoumake is already a time bomb.”And sometimes,its not the artists fault.In the 1960s,the Italian artist Piero Gilardi beg

15、an tocreate hundreds of bright,colorful foam pieces.Those pieces included small beds of roses andother items as well as a few dozen“nature carpets”-large rectangles decorated with foampumpkins,cabbages,and watermelons.He wanted viewers to walk around on the carpets-whichmeant they had to be durable.

16、Unfortunately,the polyurethane foam he used is inherently unstable.Its especially vulnerableto light damage,and by the mid-1990s,Gilardis pumpkins,roses,and other figures weresplittingand crumbling.Museums locked some of them away in the dark.So van Oosten and her colleagues worked to preserve Gilar

17、dis sculptures.They infused somewith stabilizing and consolidating chemicals.Van Oosten calls those chemicals“sunscreens”because their goal was to prevent further light damage and rebuild worn polymer fibers.She isproud that several sculptures have even gone on display again,albeit sometimes beneath

18、protective cases.Despite success stories like van Oostens,preservation of plastics will likely get harder.Oldobjects continue to deteriorate.Worse,biodegradable plastics designed to disintegrate,areincreasingly common.And more is at stake here than individual objects.Joana Lia Ferreira,an assistant

19、professor ofconservation and restoration at the NOVA School of Science and Technology,notes thatarchaeologists first defined the great material ages of human history-Stone Age,Iron Age,and soon-after examining artifacts in museums.We now live in an age of plastic,she says,andwhatwe decide to collect

20、 today,what we decide to preserve.will have a strong impact on how inthe future well be seen.21.According to Paragraph 1,museums are faced with difficulties in _A _.A maintaining their plastic items.B obtaining durable plastic artifacts.C handling outdated plastic exhibits.D classifying their plasti

21、c collections.22.Van Oosten believes that certain plastic objects are_ B _.A immune to decay.B improperly shaped.C inherently flawed.D complex in structure.23.Museums stopped exhibiting some of Gilardis artworks to_ D_.A keep them from hurting visitors.B duplicate them for future display.C have thei

22、r ingredients analyzed.D prevent them from further damage.24.The author thinks that preservation of plastics is_ D_.A costly,B unworthy.C unpopular.D challenging.25.In Ferreira*s opinion,preservation of plastic artifacts B_.A will inspire future scientific research.B has profound historical signific

23、ance.C will help us separate the material ages.D has an impact on todays cultural life.Text 2As the latest crop of students pen their undergraduate application form and weigh up theiroptions,it may be worth considering just how the point,purpose and value of a degree haschanged and what Generation Z

24、 need to consider as they start the third stage of theireducationaljourney.Millennials were told that if you did well in school,got a decent degree,you would be set upfor life.But that promise has been found wanting.As degrees became universal,they becamedevalued.Education was no longer a secure rou

25、te of social mobility.Today,28 per cent ofgraduates in the UK are in non-graduate roles,a percentage which is double the averageamongOECD countries.This is not to say that there is no point in getting a degree,but rather stress that a degree isnot for everyone,that the switch from classroom to lectu

26、re hall is not an inevitable one and thatother options are available.Thankfully,there are signs that this is already happening,with Generation Z seeking to learnfrom their millennial predecessors,even if parents and teachers tend to be still set in thedegreemindset.Employers have long seen the advan

27、tages of hiring school leavers who often provethemselves to be more committed and loyal employees than graduates.Many too are seeingtheadvantages 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 ofmany.In th

28、is age of generalists,it pays to have specific knowledge or skills.Postgraduatesnowearn 40 per cent more than graduates.When more and more of us have a degree,it makessense tohave two.It is unlikely that Generation Z will be done with education at 18 or 21;they will need to beconstantly up-skilling

29、throughout their career to stay employable.It has been estimated thatthisgeneration,due to the pressures of technology,the wish for personal fulfilment and desire fordiversity,will work for 17 different employers over the course of their working life and have fivedifferent careers.Education,and not

30、just knowledge gained on campus,will be a core part ofGeneration Zs career trajectory.Older generations often talk about their degree in the present and personal tense:I am ageographer*or I am a ciassist.Their sons or daughters would never say such a thing;its as iftheyalready know that their degree

31、 won*t define them in the same way.26.the author suggests that Generation Z should_C_A be careful in choosing a 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

32、 reflect_B_A M川ennials opinions about workB the shrinking value of a degreeC public discontent with educationD the desired route of social mobility28.The author considers it a good sign th at_C _A Generation Z are seeking to earn a decent degree.B School leavers are willing to be skilled workers.C E

33、mployers are taking a realistic attitude to degreesD Parents are changing their minds about education.29.It is advised in Paragraph 5 that those with one degree should_ D_A make an early decision on their careerB attend on the job training programsC team up with high-paid postgraduatesD further thei

34、r studies in a specific field3O.What can be concluded about Generation Z from the last two paragraphs?_A_A Lifelong learning will define them.B They will make qualified educators.C Degree will no longer appeal them.D They will have a limited choice of jobs.Text 3Enlightening,challenging,stimulating,

35、fun.These were some of the words that Naturereaders used to describe their experience of art-science collaborations in a series of articles onpartnerships between artists and researchers.Nearly 40%of the roughly 350 people whoresponded to an accompanying poll said,they had collaborated with artists;

36、and almost all saidthey would consider doing so in future.Such an encouraging results is not surprising.Scientists are increasingly seeking out visualartists to help them communicate their work to new audiences.HArtists help scientists reach abroader audience and make emotional connections that enha

37、nce learning.n One respondentsaid.One example of how artists and scientists have together rocked the scenes came last monthwhen the Sydney Symphony Orchestra performed a reworked version of Antonio Vivaldi*s TheFour Seasons.They reimagined the 300-year-old score by injecting the latest climatepredic

38、tiondata for each season-provided by Monash Universitys Climate Change CommunicationResearchHub.The performance was a creative call to action ahead of Novembers United NationsClimateChange Conference in Glasgow,UK.But a genuine partnership must be a two-way street.Fewer artist than scientists respon

39、ded tothe Nature poll,however,several respondents noted that artists do not simply assist scientistswiththeir communication requirements.Nor should their work be considered only as an object ofstudy.The alliances are most valuable when scientists and artists have a shared stake in a project,areable

40、to jointly design it and can critique each others work.Such an approach can both promptnewresearch as well as result in powerful art.More than half a century ago,the Massachusetts Institute of Technology opened its Center forAdvanced Visual Studies(CAVS)to explore the role of technology in culture.T

41、he foundersdeliberately focused their projects around light hence the visual studies in the name.Lightwas a something that both artists and scientists had an interest in,and therefore could formthebasis of collaboration.As science and technology progressed,and divided into moresub-disciplines,the ce

42、ntre was simultaneously looking to a time when leading researcherscouldalso be artists,writers and poets,and vice versa.Natures poll findings suggest that this trend is as strong as ever,but,to make a collaborationwork,both sides need to invest time,and embrace surprise and challenge.The reach ofart

43、-sciencetie-ups needs to go beyond the necessary purpose of research communication,andparticipants.Artists and scientists alike are immersed in discovery and invention,and challenge and critiquearecore to both,too.31.According to paragraph 1,art-science collaborations have _ B_.A caught the attentio

44、n of criticsB received favorable responsesC promoted academic publishingD sparked heated public disputes32.The reworked version of The Four Seasons is mentioned to show that_A _.A art can offer audiences easy access to scienceB science can help with the expression of emotionsC public participation i

45、n science has a promising futureD art is effective in facilitating scientific innovations33.Some artists seem to worry about in the art-science partnership_A_.A their role may be underestimatedB their reputation may be impairedC their creativity may be inhibitedD their work may be misguided34.What d

46、oes the author say about CAVS?_ B_A It was headed alternately by artists and scientistsB It exemplified valuable art-science alliancesC Its projects aimed at advancing visual studiesD Its founders sought to raise the status of artists35.In the last paragraph,the author holds that art-science collabo

47、rations_C_.A are likely to go beyond public expectationsB 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 f

48、iring an employee without good cause.Instead,dismissals must bejustified.Employers must both show cause and act in a procedurally fair way.Personal grievance procedures were designed to guard the jobs of ordinary workers fromunjustified dismissals.The premise was that the common law of contract lack

49、ed sufficientsafeguards for workers against arbitrary conduct by management.Long gone are the dayswhen a bosscould simply give an employee contractual notice.But these provisions create difficulties for businesses when applied to highly paid managersand executives.As countless boards and business ow

50、ners will attest,constraining firms fromfiringpoorly performing,high-earning managers is a handbrake on boosting productivity and overallperformance.The difference between C-grade and A-grade managers may very well be thedifference between business success or failure.Between preserving the jobs of o