K400V2S09/S10 S1Q1-Q10解析
Questions 1 and 2 are based on this passage.
文章重复S01S1Q1-2
Astronomers can measure any given star's radial velocity by examining its spectrum-light spread out into its constituent wavelengths. If an object is moving toward us, its spectral lines shift to shorter wavelengths; if it's moving away, the lines swing to longer avelengths. The higher the velocity, the greater the shift. Although this sort of spectral analysis is straightforward for nearby stars, it becomes far more difficult for distant stars in the Milky Way's outer halo. Even large telescopes can't gather enough of their light. For this reason, astronomer Ulrich Heber conjectures that there are probably several low-mass hypervelocity stars yet to be discovered. Although these diminutive objects live longer than B-type stars, which are extremely luminous and blue, they radiate much less light.
天文学家可以通过光谱来测定恒星的径向速度。天体向我们靠近时，光谱波长会变短；反之亦然。天体速度越快，这种波长的变化越大。尽管这种方法测量附近的恒星很直接，但是对于银河系外围的遥远星体来说变得更加困难。即使是大型望远镜也无法获得外围星体足够的光线。因此，天文学家UH推测，还有一些超高速的恒星有待被发现。尽管这些小天体比它们的B型星长寿，它们却释放出更少的光线。
1. Which of the following statements best describes the organization of the passage?
结构题 易
E
A. An astronomical phenomenon is described, then an exception to that phenomenon is identified. 不是在描述现象及例外，而是研究方法
B. A method of data collection is outlined, then its accuracy is challenged. 准确度并未被质疑，只能说是能力不足
C. An innovative method of analysis is described, then new findings based on this method are summarized. 没有new findings，只是推测
D. A problem with an instrument is identified, then a suggestion for correcting that problem is presented. 没有suggestiong的证据
E. A technique and its limitations are explained, then a prediction is stated. 符合
2. The passage indicates that compared to low-mass hypervelocity stars, B-type stars
细节题 易
B
A. are less numerous in the Milky Way's outer halo 没有numerous的证据
B. burn out more quickly and are more luminous 符合
C. are in closer proximity to Earth's solar system 没有证据
D. are larger in size but emit light at similar wavelengths 没有证据
E. emit a more complex spectrum 没有证据
Questions 3 to 6 are based on this passage:
文章重复S01S1Q3-6
In 1939, Dewan Sharar emphasized the appeal of Indian films depicting legends of gods and goddesses to a devoutly Hindu mass audience. The audiences for these early-twentieth-century mythological or pauranika films of pioneering filmmaker Dhundiraj Govind Phalke were assumed to resemble cinema’s mythical first audiences-the terrified spectators of the Lumiere Brothers' Arrival of a Train at the Station, who reportedly reared back in terror upon perceiving the cinematic train as the real thing. It is true that Phalke invited the spectator, through means such as the reactions of an on-screen audience, to relate to the image in the manner of a devotee before an idol, as in the Hindu religious practice of darshan. It is also undoubtedly true that many spectators did assume this particular viewing position. However, we need to be careful about assuming that this was the only spectatorial position or about ascribing to the Indian mass public a naive readiness to believe in the divinity and reality of the screen image. To begin with, Indian viewers were not unfamiliar with the reenactment of the pauranika myths; folk performances and Parsi theater provided an immediate context for the mythological films. Phalke himself called his films new plays or silent plays, contrasting them with the old or stage plays. A significant percentage of his audiences would probably have regarded a mythological film as another performance based on religious myth, albeit a relatively novel one, and one in which the absent presence of the performers added a uniquely thrilling dimension to the supernatural spectacles on display.
Moreover, these early films' mode of presentation would have undermined any naively realist or purely religious reading. Contemporary audiences would have customarily encountered these films in a less-than-spiritual exhibition context, watching them in conjunction with topical newsreels, American serials, or live performances such as magic shows, comic skits, or exotic dances. [Phalke's flm] Raja Harishchandra, for instance, was first screened at Bombay's Coronation Cinema as part of an hour-and-a-half-long variety show featuring a dance by Miss Irene Delmar; a "comical sketch" by the McClements; and the talents of Alexandroff, "The Wonderful Foot Juggler," in addition to the film. The discontinuity and variety of this form of cinema program were typical of exhibition practices in the first decades of cinema across the world. In his essay, "The Cult of Distraction: On Berlin's Picture Palaces," Siegfried Kracauer writes about the role of the variety format of the cinema program in creating "a fragmented sequence of splendid sense impressions" or an aesthetic of distraction that undermined an illusionistic absorption in the images. Extending Kracauer's logic to the exhibition context of the early mythologicals, one can argue that the variety format would have had a similar effect.
1939年，Dewan Sharar强调了印度神话电影对虔诚的印度观众的魅力。先锋派电影制作人Dhanraj Govind Phalke的二十世纪早期神话电影（或被称为pauranika）的观众被认为很像电影院第一批神秘观众——那些因为观看Lumiere Brother的Arrival of a Train at the Station而受到惊吓的观众，他们据说把电影里的火车当成了真火车而吓得往后仰。诚然，Phalke通过荧幕上的观众的反映来让现场观众有一种神灵面前信徒的感觉，就像是一种印度宗教行为（darshan）。诚然，很多观众确实采取了这种视角。然而，我们也应该对如下观点保持警惕：这是唯一的视角，或者认为印度观众就是非常天真的以为荧幕上呈现的凸显是神圣和真实的。首先，印度观众对于神话电影的再现并不是陌生的；民俗表演和Parsi剧场提供了最直接的神话电影的环境。Phalke自己将他的电影称之为新剧或者默剧，与老剧或舞台剧构成对比。他的观众里很大一部分人有可能会认为神话电影是另一种基于宗教神话的表演，尽管是一个相对新颖的表演形式，并且在这个表现形式中，缺少现场演员的存在，这给电影的场面增添了一种独特的恐怖维度。
除此之外，这些早期电影的呈现模式会削弱任何天真的现实主义和单纯宗教化的解读。当时的观众经常会在一些没那么神秘的展出环境下见到这些电影，比如在话题新闻、美国期刊，或者如魔术表演、喜剧小品、怪异舞蹈之类的现场表演。比如[Phalke’s film] Raja Harishchandra，是第一个在孟买Coronation Cinema上映的电影，是Miss Irene Delmar的长达一个半小时的舞蹈表演中的一部分；除了这部电影之外，还有McClements的“comical sketch”、 Alexandroff的才艺表演“The Wonderful Foot-Juggler”。 这类电影院节目的不连续和多样性是全世界电影业前十年的典型行为。在他的文章“The Cult of Distraction: On Berlin’s Picture Palaces”中，Siegfried Kracauer写道：电影院节目的多样性目的是产生一种“上乘的感官印象的碎片化的次序”，或者是一种审美的分散，这削弱了人们对于影片抽象性的关注。将Kracauer的逻辑延伸到早期的神话电影，我们可以认为形式的多样性有类似的效果。
3. The primary purpose of the passage is to
功能题 主旨题 难
作者在讨论的是神话电影并不新鲜，给的证据是印度观众对于这种电影形式其实是熟悉的。
B
A. situate certain early-twentieth-century Indian films in the wider context of international cinema 没有wider context的证据
B. argue against a particular theory regarding the reception of certain early-twentieth-century Indian films 符合
C. discount the argument that the way in which certain early-twentieth-century Indian films were presented influenced how they were received 否定一个观点：20世纪早期某些印度电影的呈现方式会影响人们对它们的接受方式。不是在讨论呈现方式
D. compare the reception of certain early-twentieth-century Indian films with that of contemporary works in other countries 没有与其他国家作品的比较
E. present evidence documenting how certain early-twentieth-century Indian films were typically produced 没有说电影制作
4. Which of the following circumstances is mentioned in the passage as a reason to doubt the assumption that the original audiences for Phalke's mythological films resembled "cinema's mythical first audiences"?
细节题 难
文章中的那种情况被用来否定神话电影的观众类似影院的首批观众。就是在问，文章里什么地方说到其实那些观众并不是像以前那样没见过世面。
D
A. The absence from Phalke's films of nonreligious material such as comic interludes or exotic dances 无关
B. The absence from Phalke's films of alarming subject matter such as an approaching train 没有证据
C. The exposure of Phalke's audiences to an on-screen audience evoking the practice of darshan 无关/相反，这个信息在it is true的让步中，不能用来否定
D. The exposure of Phalke's audiences to similar subject matter presented in other forms 接触到以其他形式呈现的类似主题 。符合，对应二段2句。
E. The exposure of Phalke's audiences to similar reenactments of other subject matter 接触到其他题材的类似重演。干扰。不能看到reenactment就选，与一段6句信息并不一致。没有other subject的证据
5. Which of the following statements best describes the function of the highlighted sentences in the context of the passage as a whole?
功能题 目的题 中
it is true两句都表明是作者的让步，说明观众好像的确是一副没见过世面的样子。
A
A. They provide evidence that supports a claim presented earlier in the passage. 符合
B. They offer support of the author's primary conclusion drawn late in the passage. 相反
C. They suggest similarities between two seemingly distinct artistic formats. 没有证据
D. They highlight problems with an assumption supporting an established theory. 相反
E. They introduce the author's rationale for proposing a new theory. 相反
6. The passage suggests that the heterogeneity of the material accompanying the premiere of Raja Harishchandra
细节题 推断题 难
关于Raja Harishchandra的首演能推出什么。该句信息主要是为上一句举例，表明观众在其他媒介中见过类似的神话电影。服务段落主旨
D
A. increased the likelihood of its audience seeing all of the features on the program 没有证据
B. increased the likelihood of its audience attending future film screenings 没有证据
C. reduced the likelihood of its audience reacting in a manner similar to audience reactions described by Siegfried Kracauer 无关/相反
D. reduced the likelihood of its audience confusing the film's cinematic images with reality 符合
E. reduced the likelihood of its audience thinking that the production of films and that of stage plays was similar 相反/无关
Question 7 is based on this passage.
重复
crows / sparrow population / gulls
Sciences/biology
倒霉的麻雀
Crows, herring gulls, and sparrows all live on the island of Firsten. Crows feed on sparrow eggs and therefore pose a threat to the sparrow population. Although gulls are not nearly as good at finding sparrow nests as crows are, sparrows typically also lose some eggs to gull predation. Nevertheless, sparrows that nest near gull nests tend to lose fewer eggs to predators than sparrow nesting far away from gull nests, since ________.
乌鸦、银鸥都吃麻雀蛋。但是麻雀的巢穴如果离银鸥的巢穴比较近的话，受到的威胁就小一点，因为______。
7. Which of the following most logically completes the argument?
逻辑单题 逻辑支持 易
这是道逻辑补全题。给前面的表述找个原因就成。逻辑单题建议大家先自己想好可能的理由之后再去看选项，避免被选项带走。这一题的逻辑框架比较简单：X受到Y和Z的影响。但离Y近一点的话，危险就小一点。问为什么。只在这个逻辑框架内考虑的话，不考虑其他的因素，一般就是Y和Z之间有制约。题目就好做了。
A
A. the presence of gulls frightens away crows
B. crows pose no threat to adult sparrows 没有证据。与麻雀成不成年没有关系
C. gulls find sparrow nests by watching female sparrows enter the nest 没有证据。与麻雀性别建立不起联系
D. there are far more crows on Firsten than there are sparrows 没有证据。数量多少与巢穴远近构不成因果关系。
E. sparrows on Firsten typically hide their nests very carefully 没有证据。巢穴隐藏程度与巢穴远近没有关系。
生词摘录：
herring gulls 银鸥（产于北大西洋，体大，翼端为黑色）
Questions 8 - 10 are based on this passage:
文章重复S01S1Q8-10
Many scholarly discussions of novelist Willa Cather (1873-1947) debate whether Cather belongs more to the nineteenth-century realist tradition or to the modernist revolution of the early twentieth century. While Cather's preoccupation with nineteenth-century agrarian culture has won her the respect of readers and critics, her dismast of modernity left her with a historically unstable position in the modernist canon. Resistance to the changes wrought by the twentieth century, of course, does not necessarily disqualify one from the "modernist" label. The impulse to reconnect with more primitive, earlier times is a hallmark of modernist aesthetics, shaping the search for meaning in a fragmented, disenchanted, mechanized world. Yet more often than not, [literary critic] Phyllis Rose explains, the early twentieth-century atmosphere of experimentation and "making it new" and an attendant critical discourse that "valued complexity, ambiguity, even obscurity" resulted in Cather 's labeling as "naively traditional " and "essentially nostalgic and elegiac." In effect, in modernist studies she has been treated as a romantic regional writer, unconcerned with the international terrain so integral to modern thinking-at least until scholars, in the 1980s and 1990s, began reevaluating the historical record, demonstrating her innovative departures from nineteenth-century fiction, including antiheroism, gender-bending, episodic narrative, antirealism, simple prose, emphasis on memory and time, and the exploration of immigration, empire, and race. Today it is not uncommon to encounter critics announcing Cather's newfound canonical status as a modernist-indicated most clearly by her inclusion in works such as The Cambridge Companion to American Modernism published in 2005.
关于小说家WC的讨论主要在于她是更多属于19世纪的传统现实主义还是20世纪早期变革的现代主义。尽管Cather对于19世纪耕种文化的关注使她获得读者和评论家们的尊重，她对于现代主义的不信任让她在现代主义者看来很难评价。当然，拒绝20世纪的变化，也不能说一个人不是现代主义者。想与过去的时代重新建立联系，在破碎的、幻灭的、 呆板的世界中找寻意义，是现代主义美学的特征。但是文学评论家PR常常解释说，20世纪早期的实证氛围，求新，追求复杂和朦胧美等特征导致了Cather被打上“天真传统”、“怀旧忧伤”的标签。实际上，在现代主义研究中，她被作为一个浪漫的地方作家来对待，不关注国际化对于现代思考的重要性；至少直到20世纪八九十年代，当学者们开始重新评价文献资料时，发现她表现出脱离19世纪小说的创新之处，比如反英雄主义，性别偏移，等等。 今天我们对评论界中认为Cather是现代主义者的声音已经不陌生了，正如2005年出版的《美国现代主义比较》等作品体现的那样。
8. The author would be most likely to agree with which of the following claims about Cather's "preoccupation with nineteenth-century agrarian culture"?
态度题 难
原文信息：尽管Cather对于19世纪耕种文化的关注使她获得读者和评论家们的尊重，她对于现代主义的不信任让她在现代主义者看来很难评价。
A
A. It is regarded by some as evidence of an attitude toward the modern world that is characteristic of many modernist writers. 它被一些人认为是许多现代主义作家对现代世界的一种态度的证据。 GRE不讲人话的又一力证。
B. Its definitive role in Cather's writing distinguishes Cather from most authors who were considered to be central to the modernist literary tradition. 没有distinguish的证据
C. It was clearly an important element of Cather's early fiction but played little role in her later, more mature novels. 没有证据
D. It has frequently been misinterpreted by the very readers and critics who are most strongly drawn to Cather's fiction. 没有misinterpreted 证据
E. Divergent interpretations of it have led critics to form diametrically opposed conclusions about the overall quality of Cather's literary output. 没有证据
9. The author mentions the "critical discourse" primarily to
功能题 目的题 难
这是一个与Cather对立、相反的阵营的观点
E
A. explain why some critics rejected the idea that any particular literary style was uniquely modernist 没有证据，表述过于绝对
B. challenge an assumption about the extent to which Cather's novels express a nostalgic view of the past 相反，不是challenge，nostalgic与这个discourse是相同阵营
C. suggest that most of Cather's readers have little in common with the scholarly commentators who have written about her work 没有读者啥事儿
D. demonstrate that literary critics' views about Cather's fiction diverge widely on certain points 没有证据
E. introduce an explanation of criteria used to determine whether Cather belonged in a particular literary category 符合
10. The reference to the highlighted work serves primarily to
功能题 目的题 中
最后一句话认可了Cather的现代主义身份。
B
A. suggest that no major advances in Cather scholarship have been made since 2005 没有证据
B. describe an important milestone in a scholarly trend that began in the 1980s 符合。这个trend就是认为Cather是现代主义者
C. cite a publication that has significantly influenced many scholars’ views of Cather 没有influenced证据
D. question the current critical consensus regarding a defining quality of modernism 相反
E. acknowledge that an author’s canonical status can be subject to arbitrary shifts 没有证据
