Section 1

Questions 1 and 2 are based on this passage. 

radial velocity / spectral analysis

Sciences/astronomy

通过光谱分析恒星的径向速度 ★★

①Astronomers can measure any given star’s radial velocity by examining its spectrum — light spread out into its constituent wavelengths. ②If an object is moving toward us, its spectral lines shift to shorter wavelengths; if it’s moving away, the lines swing to longer wavelengths. ③The higher the velocity, the greater the shift. ④Although 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. ⑤Even large telescopes can’t gather enough of their light. ⑥For this reason, astronomer Ulrich Heber conjectures that there are probably several low-mass hypervelocity stars yet to be discovered. ⑦Although these diminutive objects live longer than their 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。

生词摘录：

conjecture 推测

diminutive 小的

1. Which of the following best describes the function of the highlighted sentence in the context of the passage as a whole?

句子功能题，问高亮句子的功能。考察句间关系。这一句话顺承上一句解释为什么光谱分析法对于遥远星体的分析比较困难。

C

A. It suggests why a technique discussed in the passage is becoming outmoded. 

没有becoming outmoded的证据

B. It confirms the existence of dimmer stars in the Milky Way’s outer halo.

没有证据/无关。不是为了证明这件事。

C. It explains a shortcoming of a commonly used technique. 正确

D. It supports the arguments of astronomers who challenge Heber’s conjecture.

没有证据。文中没有出现这类天文学家。

E. It bolsters the passage’s claim that larger telescopes need to be built.

没有证据。无中生有。

2. The passage suggests that Herber would be most likely to agree with which statement about low-mass hypervelocity stars?

间接细节+态度，问Herber怎么看low-mass stars. 对应文章倒数第二句话。原文说，因为技术不到位，应该还有很多没被发现的。

D

A. The spectral lines of low-mass hypervelocity stars are subject to constant fluctuation.

没有fluctuation的证据。

B. Methods other than spectral analysis have failed to confirm the existence of low-mass hypervelocity stars. 没有其他方法的证据。

C. Low-mass hypervelocity stars are more numerous in the Milky Way than B-type stars.

没有数量的比较。

D. There are more low-mass hypervelocity stars than currently available methods are capable of detecting. 正确

E. The light from low-mass hypervelocity stars cannot be distinguished from the light of brighter, B-type stars. 没有证据。并不是不能区分，而是接收不足。

背景拓展

径向速度：物体运动速度在观察者视线方向的速度分量（即目标相对参考点的速度在二者连线上的分量）。又称视向速度。在习惯上，正的视向速度表示物体在退行，如果是负值，物体则是在接近。

B-type stars

A B star is a large, luminous, blue-white star of spectral type B with a surface temperature of 10,200 to 30,000°C. The spectrum is characterized by absorption lines of neutral or singly ionized helium, with lines of a'tomic hydrogen evident, especially at the cooler end of the range.

光谱型为B的恒星。光谱主要特征为中性氦吸收线和氢吸收线。

Questions 3 to 6 are based on this passage.

Indian films / mythological 

印度神话电影 ★★★★☆

Arts

先看题干，批量审题：

3. It can be inferred from the passage that when analyzing the appeal of early-twentieth-century Indian mythological films, Dewan Sharar 间接细节

4. The author of the passage would most likely agree with which of the following statements regarding the original audiences of Phalke's mythological films? 作者态度

5. The highlighted sentence mainly serves to 句子功能

6. The passage suggests that Kracauer's ideas are applicable to the original audiences of Phalke's mythological films because of the films' 间接细节

可大概定做题优先级：5 3/4/6 

①In 1939, Dewan Sharar emphasized the appeal of Indian films depicting legends of gods and goddesses to a devoutly Hindu mass audience. ②The audiences of 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 Brother’s Arrival of a Train at the Station, who reportedly reared back in terror upon perceiving the cinematic train as the real thing. ③It 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. ④It is also undoubtedly true that many spectators did assume this particular viewing position. ⑤However, we need to be careful about assuming that this was the only spectatorial position or about ascribing to the Indian mass public a naïve readiness to believe in the divinity and reality of the screen image. ⑥To 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. ⑦Phalke himself called his films new plays or silent plays, contrasting them with the old or stage plays. ⑧A 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. 

①Moreover, these early films' mode of presentation would have undermined any naively realist or purely religious reading. ②Contemporary 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. ③[Phalke's film] Roja 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. ④The discontinuity and variety of this form of cinema program were typical of exhibition practices in the first decades of cinema across the world. ⑤In 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. ⑥Extending Kracaucer’s logic to the exhibition context of the early mythologicals, one can argue that the variety format would have had a similar effect.

生词摘录：

devoutly 衷心地，虔诚地

darshan 印度教见圣人的场合/机会

reenactment 再扮演

①1939年，Dewan Sharar强调了印度神话电影对虔诚的印度观众的魅力。②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。③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）。④诚然，很多观众确实采取了这种视角。⑤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。⑥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。⑦Phalke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。⑧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。

①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。②当代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。③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”。 ④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。⑤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。⑥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。

第一视角阅读体验：

第一段：

①找主干，DS观点，印度电影魅力。

②找主干，这些观众很像first audiences：看神话电影的时候会吓一跳。

③④it is true都表明是作者的让步。③太长读不懂，可以借助④来理解：观众确实采取这类观影视角。“this particular viewing position”向前找指代：the manner of a devotee before an idol。简言之，就是粉丝第一次见爱豆的感觉（一副没见过世面的样子）。

⑤However转折，同时这句话是作者观点。作者不认为我们应该把印度观众看得这么的没见过世面。

⑥看到“to begin with”，加上下一段①的“moreover”可以预判。第⑥往后直到全文结束，作者从两方面支持⑤的观点。这样一来，从⑥开始，后面的内容都很容易读了，不论细节是否能理解，反正都是在说“印度观众见过世面”。 ⑥的“not unfamiliar”、“ an immediate context for the mythological films”都说明印度观众对于神话电影其实是很熟悉的。

⑦是Phalke的观点，他认为自己的电影是新的。

⑧的主干是“audiences would probably have regarded”，所以是观众们的想法。Albeit表示“尽管”，albeit之后的内容说电影是新的，所以albeit前面是主句，认为这些电影其实不新。

第一段总结：作者观点——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。

第二段：

①电影的呈现形式会“undermined any naively realist or purely religious reading”。这里需要判断出“naively realist”和“purely religious reading”指的是前一段2-4句里面观众没见过世面的样子。加上“undermine”，所以这一句想表达的还是印度观众见过世面。

②具体列举印度观众在其他媒介中见过类似的神话电影。

③句列了一堆表演，都是上句的例证支持。

④说前一句的表演形式很常见。

⑤中有个“or”并列前后内容。or之前不容易读懂，但是or之后的内容相对容易，重点是“undermined an illusionistic absorption in the images”，这里要意识到“illusionistic”对应前文所说神话电影中那些宗教和神学的东西，而这个被undermine了，也就意味着电影中的宗教元素会被稀释。

⑥“Extending Kracauer’s logic to the exhibition context of the early mythologicals”这里可以意识到，3-5句都读的云里雾里，是因为者三句话都是类比，而我们的关注重点是借助于3-5句，作者在第6句得出的结论：“one can argue that the variety format would have had a similar effect”。重点是“similar effect”，对应前一句“undermined an illusionistic absorption in the images”。

第二段总结：这一段说明印度观众见过世面的论证方式是，印度观众可以在很多媒体中见识和宗教有关的表演，而这么多的艺术形式就会削弱观众看到神话电影时的那种陌生感。

全文总结：这篇文章其实唯一的难点就是那些斜体字的印度词汇，以及大量的人名、作品名。但是读完全文，会发现，这些专业术语对于文章理解并没有产生任何影响。文章真正核心的就是第一段3、4句的让步句子承认道第2句这一被反驳观点的合理性，第5句However之后作者的观点，然后在关注到“to begin with”和“moreover”划分的两个层次。

3. It can be inferred from the passage that when analyzing the appeal of early-twentieth-century Indian mythological films, Dewan Sharar

间接细节题。推断DS在分析20世纪早期印度神话电影的时候做了什么。

与题干信息相关的定位只在第一句，而第一句的信息是肯定不够解题的。这道推断题需要结合全文论证结构来看。文章开头说DS认为神话电影很吸引印度人民，并且用DGP的电影举例。但从第三句开始，作者开始切入自己观点：③④it is true都表明是作者的让步。③太长读不懂，可以借助④来理解：观众确实采取这类观影视角。“this particular viewing position”向前找指代：the manner of a devotee before an idol。简言之，就是粉丝第一次见爱豆的感觉（一副没见过世面的样子）。⑤However转折，同时这句话是作者观点。作者不认为我们应该把印度观众看得这么的没见过世面。看到后面的“to begin with”，加上下一段的“moreover”可以知道，往后直到全文结束，作者从两方面支持这个的观点。所以作者用DS描述的现象引入，但又不能只看到这种表象。这一题较难，可以借助排除法打好错误标签。

E

A. emphasized the applicability of Siegfried Kracauer’s theories 无关。不在答题区间。SK这个人在第二段结尾，这二者之间建立不起关系。

B. emphasized the similarities between early Indian films and early French films 强干扰项。会被第二句带走（卢米埃尔兄弟的确是法国人。。）但并没有电影之间similarities的证据。最多是观众的反应接近。

C. did not focus on the cinematic devices used to invite the spectator to idolize the screen image 没有cinematic devices的证据。不必无中生有。

D. did not focus on the films of Dhundiraj Govind Phalke 相反。就是拿这哥们的电影举的例子。

E. did not focus on the contexts in which the films were screened 很容易被当作没有证据而排除。作者认为不是因为神话、神明内容本身吸引了观众，因为印度观众没那么没见过市面，而DS只关注到了电影内容本身，没有关注到电影放映的环境（形式）。

4. The author of the passage would most likely agree with which of the following statements regarding the original audiences of Phalke’s mythological films?

态度题。问作者怎么看P的神话电影的早期观众。

作者认为他们并不傻，不会仅仅被神明吸引。正如第一段最后一句所说，人们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。

D

A. The original audiences’ experiences influenced Siegfried Kracauer’s theoretical ideas about audience reaction. 无关，且没有influenced的证据。

B. The original audiences were more interested in the noncinematic features accompanying Phalke’s films than in the films themselves. 没有这个比较关系的证据。

C. The original audiences of Phalke’s films had greater experience of live theater than did the audiences of the Lumiere Brother’s early films. 没有比较的证据。尽管可能实际上如此。

D. The role of religion in attracting the original audiences to early Indian films has been exaggerated. 符合文章意思

E. Critics are mistaken in thinking the original audiences preferred earlier theatrical presentations to cinematic presentations of the pauranika myths. 没有mistaken和prefer的证据。

5. The highlighted sentence mainly serves to

句子功能题。

前面两句针对现象给出让步观点，However转折，同时这句话是作者观点。作者不认为我们应该把印度观众看得这么的没见过世面。

B

A. offer a clarification of the meaning of a term 没有term

B. warn against accepting a particular analysis 符合前后句间关系

C. caution against discounting a particular theory 注意不要忽视一个特定的观点。直译看好像对。但是这个theory是前两句的让步观点。作者要我们注意不要被前面观点影响，而不是要关注它们。C和B的方向正好相反，好好体会下。

D. emphasize the role of religion in early Indian film 并不是。功能相反。

E. illustrate how a belief became widely held 没有illustrate和widely held证据且功能相反

6. The passage suggests that Kracauer’s ideas are applicable to the original audiences of Phalke’s mythological films because of the films’

间接细节题。

这一题好定位，在文章最后。题干中的applicable对应最后一句的Extending Kracaucer’s logic to ... the variety format would have had a similar effect. 所以只要找到variety format的对应就是答案了。也就是二段分论点中的mode of presentation.

A

A. mode of presentation

B. style of reenactment 无关。非答题区间。

C. thrilling supernatural displays 无关。同上。

D. evident popular appeal 无关。

E. distinctive visual imagery 没有证据

背景拓展：

卢米埃尔兄弟，哥哥是奥古斯塔·卢米埃尔（Auguste Lumière，1862年10月19日—1954年4月10日），弟弟是路易斯·卢米埃尔（Louis Lumière，1864年10月5日—1948年6月6日），是法国的一对兄弟，是电影和电影放映机的发明人。兄弟俩改造了美国发明家爱迪生所创造的“西洋镜”，将其活动影像能够借由投影而放大，让更多人能够同时观赏。

【高清修复版】【路易斯 · 卢米埃尔】火车进站 L'arrivée d'un train à La Ciotat (1897)_哔哩哔哩_bilibili

《火车进站》（法语：L'arrivée d'un train à La Ciotat）是法国卢米埃尔兄弟执导的一部黑白无声短纪录片。 这部约50秒的无声电影展现了一辆火车在蒸汽机车的牵引下，驶进法国沿海小镇拉西奥塔一处火车站的情景。这不是卢米埃尔兄弟最早的电影，但它以电影放映时前排观众因为恐慌而四散而逃的轶事而闻名。观众被直冲而来的列车吓得惊慌失措，尖叫着跑到放映室的后面。

Question 7 is based on this passage.

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______。

GULL＜CROW

SPARROW +GULL ＜ SPARROW - GULL

7. Which of the following most logically completes the argument?

逻辑补全，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，受到Z的威胁就小一点。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 to 10 are based on this passage.

Willa Cather / modernity / modernist 

Arts/literature

小说家WC到底是现实主义还是现代主义★★★★

①Many 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. ②While Cather's preoccupation with nineteenth-century agrarian culture has won her the respect of readers and critics, her distrust of modernity left her with a historically unstable position in the modernist canon.  ③Resistance to the changes wrought by the twentieth century, of course, does not necessarily disqualify one from the "modernist" label. ④The 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. ⑤Yet 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 nostalgical elegiac."  ⑥In effect, in modernist studies she has been treated as a romantic regional writer, unconcerned with the international 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. ⑦Today 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.

生词摘录：

canon 规则，标准

wrought 特定风格的

disenchanted 幻灭的

more often than not 通常

elegiac /ˌelɪˈdʒaɪək/ 忧伤的

 

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 primary purpose of the passage is to

主旨题。难题。考框架。那我们就来看框架。

①Many 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. ②While Cather's preoccupation with nineteenth-century agrarian culture has won her the respect of readers and critics, her distrust of modernity left her with a historically unstable position in the modernist canon.  ③Resistance to the changes wrought by the twentieth century, of course, does not necessarily disqualify one from the "modernist" label. ④The 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. ⑤Yet 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 nostalgical elegiac."  ⑥In effect, in modernist studies she has been treated as a romantic regional writer, unconcerned with the international 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. ⑦Today 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.

①

↓

② ↔ ③

          ↓

          ④ ↔ ⑤ ↔ ⑥

                             ↓

                            ⑦

文章是在讨论一个小说家到底是现实主义者还是现代主义者。通过行文过程发现，人们开始越来越倾向于认为WC属于后者而非前者。

C

A. illustrate the inadequacy of a label used by literary scholars to describe a particular author

无关。在X/Y两种角色中选一个。文章更多在找Y的证据，而不是挑X的问题。

B. advocate that the criteria used to evaluate a particular author’s work be revised

没有证据。并不是在讨论评价作品的标准。

C. illustrate a shift in how a particular author’s work has been classified by scholars

D. trace an evolution in scholars’ understandings of the primary influences on a particular author 没有influence的证据。

E. challenge the usefulness of a distinction that dominates critical discussions of a particular author  没有usefulness的证据。更谈不上challenge了。

9. The author mentions the "resistance to the changes" primarily to

信息目的题。③句开头，转折上句信息，但不要因为拒绝变化，就给打上非现代化的标签。这一题可能BD干扰较强。所以先形成自己的判断，然后再做选择。

C

A. cite evidence to support as assertion made earlier in the passage

相反。对前一句是取反。

B. identify a theme that runs through much of Cather’s fiction

没有证据。并没提Cather的大部分小说。

C. challenge an overly narrow view of the features that define modernism 

D. explain why some critics have failed to appreciate the quality of Cather’s writing 

没有appreciate quality的证据。并不是在讨论作品的好坏，而是她的归属。

E. trace the emergence of a stylistic innovation adopted by modernist writers 

没有trace innovation证据。

10. According to the passage, “the historical record”

直接细节题。定位+同义改写。定位倒数第二句，定位信息的完整一句话要看完整。until表示时间终点，这些历史文献表现出了脱离19世纪小说的创新之处。对应的句子很长，要注意破折号后的until交代的前文的时间终点。不明白的地方看文章大意。

D

A. explains why Cather has been considered a romantic regional writer 相反。

B. was less important to Cather scholars prior to the 1980s than it was in later decades

没有重要性比较的证据。

C. offers conflicting evidence about Cather’s attitude toward the modern world 没有conflicting evidence的证据

D. provided some scholars with a basis for challenging a long-standing view of Cather 

E. reveals that Cather was relatively uninterested in international affairs 相反，这是在发现这些历史文献之前的观点/没有uninterested证据

文章难度体现（信息矩阵）：

①Many 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. ②While Cather's preoccupation with nineteenth-century agrarian culture has won her the respect of readers and critics, her distrust of modernity left her with a historically unstable position in the modernist canon.  ③Resistance to the changes wrought by the twentieth century, of course, does not necessarily disqualify one from the "modernist" label. ④The 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. ⑤Yet 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 nostalgical elegiac."  ⑥In effect, in modernist studies she has been treated as a romantic regional writer, unconcerned with the international sointegral 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. ⑦Today 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.

背景拓展：

Willa Cather

薇拉·凯瑟_百度百科 (baidu.com)

https://baike.baidu.com/item/%E8%96%87%E6%8B%89%C2%B7%E5%87%AF%E7%91%9F/9690631

薇拉凯瑟于1873年生于弗吉尼亚州。9岁那年，她随父母搬到中西部内布拉斯加州大草原的一个小镇上。这次搬迁对她在心灵与艺术上的影响持续了一生。她在那里接触到从欧洲各国涌来的新移民，这些后来成了她文学创作的素材。

1912年开始专事写作。早期作品受亨利·詹姆斯的影响。后来听从女作家沙拉·奥纳·裘维特的劝告，以自幼所熟悉的西部边疆生活为题材，创作富有地方特色的作品。1944年，她作为美国文学艺术院院士，获该院最高金奖。

凯瑟曾指出：一切艺术的提高过程全在于单纯化的过程，砍掉一切俗套和细枝末节而又不影响整个作品的精神。她强调只要给出暗示，而不进行阐述说明。她不大强调作品情节的离奇，而是靠一种抒情的力量把整个故事串起来。

凯瑟的作品结构匀称，节奏舒缓从容，文字清新优美。近年美国批评界认为她是20世纪美国最杰出的小说家之一。