2021年湖北聯(lián)考博士研究生英語入學(xué)考試模擬題2筆記

1、Practice Examination 2Part I Reading Comprehension (40 %)Questions 1 to 4 are based on the following passage：The National Trust in Britain，together with similar voluntary organization，plays an increasingly important part inthe preservation for public enjoyment of the best that is left unspoiled of B

2、ritish countryside.Although the Trust has received practical and moral support from the government，it is not a rich government，supported by public taxes. It is a voluntary association of people who care for the unspoild countryside and the ancient sites to preserve them for the permanent enjoyment o

3、f the public. It is a charity which depends for its existence on voluntary support from members of the public. It has 160,000 members in England，Wales and Northern Ireland who pay a small subscription each year，and its primary duties are to protect for the nation places of great natural beauty and p

4、laces of historical interest andpreserve them from the dangers of modern development and extinction.英國國民托管組織，和類似志愿者組織一起，在保護(hù)公眾最愛慕未被破壞英國鄉(xiāng)村中起著越來越重要作用。盡管這個組織受到政府實際和精神上支持，但不是一種資金充裕政府，沒有公眾納稅支撐。這是一種志愿者協(xié)會，是某些關(guān)懷未被破壞鄉(xiāng)村和古物遺跡人們聯(lián)合在一起，為大眾保護(hù)這些東西。這是一種慈善團(tuán)隊，由公眾成員自愿支撐其運(yùn)轉(zhuǎn)。這個組織在英國有160,000 位成員，威爾士和白愛爾蘭每年捐款很少，她們重要責(zé)任是保護(hù)國家自

5、然景觀和名勝古跡，保護(hù)她們不被當(dāng)代開發(fā)破壞，保護(hù)她們使她們免于消逝。Walesweilz n. 威爾士（英國大不列顛島西南部地區(qū)） Northern Ireland 北愛爾蘭自治區(qū)（在愛爾蘭東北部） place of historical interest 名勝古跡The attention of the public was first drawn to the dangers threatening the great old houses and castles of Britain by the late Lord Lothian，who in 1935 said that，as a

6、result of taxation and estate duty，most of these ancient houses were under sentence of death. When he died he left his great seventh century house and all its contents to the Trust together with 4,500-acre park and estate surrounding it.This gift attracted wide publicity，and it started the Trusts “C

7、ountryHouse Scheme”. Under the scheme，with the cooperation of the government and thanks to thegenerosity of the generalpublic，the Trust has been able to save and make accessible to the public about one hundred and fifty of these old house，stogether with often very valuable contents.Whenever possible

8、，the Trust seeks to maintain continuity and to preservethese as living realities rather than as dead museums. It is the view of the Trust that the families who give them to the nation and whose ancestors created them make the best possible curators.公眾頭一次開始注意到大使洛錫安勛爵 Lord Lothian1935 年所說話，她說課稅和遺產(chǎn)稅威脅到

9、英國古房屋建筑，這些古建筑瀕臨滅絕。她去世時候，把她宏偉 7 世紀(jì)房子及里頭所有陳設(shè)，尚有周邊 4500 英畝院子都留給了國民托管管組織。這一饋贈，吸引了大量公共宣傳，促使該組織發(fā)起了“鄉(xiāng)村住宅籌劃”。按這個籌劃，與政府合伙，得益于大眾慷慨解囊，該組織能保護(hù)并且可以容許公眾參觀這些 150 年前房子了，這些房子里大都尚有貴重陳設(shè)。只要也許，該組織盡量保存這些建筑持續(xù)性，把它們作為真實生活場合來保存，而不是死氣沉沉博物館。國民托管組織以為，那些把古建筑贈送給國家人，以及這些房子建造者后人們，是管理這些古建筑最佳人選。taxation tksein n. 課稅，征稅；稅款estate duty 遺

10、產(chǎn)稅Lord Lothian 大使洛錫安勛爵publicitypblisiti n. 宣傳，宣揚(yáng)；公開；廣告；注意castle k:sl n. 城堡；車(象棋) vt. 置于城堡中；筑城堡防御curator kju reit n. 館長；監(jiān)護(hù)人；管理者generosity,den rs ti n. 慷慨，大方；寬宏大量general public 公 眾whenever possible 只要也許continuity ,kntinju:iti n. 持續(xù)性；一連串；分鏡頭劇本In addition to country houses and open spaces the Trust now

11、owns some examples of ancient wind and water mills，gardens，Roman antiquities，farms and small villages，as well as complete villages. In these villages no one is allowed to build，develop or disturb the old village environment and all houses maintain their original sixteenth-century style. The public h

12、as free access to these areas and is only asked to respect the peace ，beauty and wildlife.出了鄉(xiāng)村住宅和露天場地以外，信托組織當(dāng)前尚有了某些風(fēng)力和水力磨粉機(jī)、花園、羅馬古董、農(nóng)場、小村子，完整村莊也有。這些村莊里，不準(zhǔn)再建房屋，以免變化或影響了村莊環(huán)境，讓所有建筑保持它們 16 世紀(jì)風(fēng)格。公眾都可以免費(fèi)進(jìn)入那些場合，但她們必要尊重那里寧靜、美和野生動植物。in addition to 除之外open spaces 空地；露天場合water mill 水磨，水力磨粉機(jī)The National Trust i

13、s B.a government departmentFa charityTa group of areas of great natural beauty Fone organization of great natural beauty FNational Trust n. 國民托管組織（英國保護(hù)名勝古跡私人組織）Lord Lothian said most of the ancient houses wereD .to be protected by the government Fdecaying through lack of money for their repair Fkept

14、 in good condition for the time being Fdoomed to decay without good preservation TWho takes up the responsible managerial work of the old house? BThe directors of the local branches of the Trust FThe ex-owners of the structure. TThe members of the organization appointed for the post. FThe men who en

15、joy the prestige in the local places. Fprestige prestid n. 威望，聲望；名譽(yù)Which of the following may be not allow to be done by a visitor? BTaking pictures of the scenes. TPicking flowers in the gardens. FHaving a complete view of the area. TSinging quietly while visiting T這篇文章較為簡要，各個提問也很清晰。生詞不多?？梢砸勒赵~根推測一種

16、大概。Questions 5 to 8 are based on the following passage：Ours has become a society of employees. A hundred years or so ago only one out of every five Americans at work was employed，i. e.，worked for somebody else. Today only one out of five is not employed but working for himself. And when fifty years

17、ago “being employeed” meant working as a factory laborer or as a farmhand，the employee oftoday is increasingly a middle-class person with a substantial formal education，holding a professional or managementjob requiring intellectual and technical skills. Indeed，two things have characterized American

18、society during theselast fifty years ： middle-class and upper-class employees have been the fastest-growing groups in our working population-growing so fast that the industrial worker，that oldest child of the Industrial Revolution，has been losing in numerical importance despite the expansion of indu

19、strial production.咱們社會已成一種雇員社會。約 1 前，在美國，五個有工作人中只有一種是受雇，為她人打工。而今，每五個有工作人中只有一種是不受雇，為自己干活。50 年前，“受雇”意味著做工廠工人或者農(nóng)場幫手，而當(dāng)前受雇人，已經(jīng)越來越多是中產(chǎn)階級人士，她們接受了良好教誨，從事是需要知識和技術(shù)專業(yè)性或管理性工作。事實上，美國近來 50 年有兩個明顯特性：在咱們勞動人口增長中， 中產(chǎn)階級和上層階級雇員增長是最快，她們增長如此之快，雖然工業(yè)生產(chǎn)也在擴(kuò)張，但仍舊使產(chǎn)業(yè)工人工業(yè)革命最大孩子，在數(shù)量上已經(jīng)不占多大比例了。farmhand f:mhnd n. 農(nóng)經(jīng) 農(nóng)場工人industria

20、l worker 產(chǎn)業(yè)工人industrial production 工經(jīng) 工業(yè)生產(chǎn)Yet you will find little of anything written on what it is to be an employee. You can find a great deal of very dubious advice on how to get a job or how to get a promotion. You can find a great deal of work in a chosen field，whether it is the mechanists tra

21、de or bookkeeping. Everyone of these trades requires different skills，set different standards，and requires a different preparation. Yet they all have employeeship in common. And increasingly，especially in the large business or in government，employeeship is more important to success than the special

22、professional knowledge or skill.Certainly people fail more because they do not know the requirements of being an employee than because they do not adequately possess the skills of their trade ；the higher you climb the ladder ，the more you get into administrative orexecutive work，the greater the emph

23、asis is on ability to work within the organization rather than on technical ability orprofessional knowledge.你也許找不到任何寫什么是雇員文字資料。但你可以找到諸多教人們?nèi)绾握夜ぷ?、如何升遷叫人半信半疑資料。在求職市場，你可以找到大量工作，從事機(jī)械貿(mào)易或者當(dāng)賬房先生。各個行業(yè)需要不同技能，有不同原則，需要不同準(zhǔn)備。但是她們所需要雇員素質(zhì)相似。特別是在大型公司或者政府部門，對個人成功而言，雇員素質(zhì)越來越比專業(yè)知識和技能更重要。固然，失敗人，更多是由于她們不懂得作為雇員必要條件，而不是由于她

24、們從業(yè)所需知識和技能不夠。你爬得越高，你就越多從事行政或管理工作，與組織協(xié)同工作能力就越發(fā)顯得比專業(yè)知識技能更重要。bookkeeping buk,ki:pi n. 記帳，簿記in common 共同；共有dubious dju:bj s adj. 可疑；曖昧；無把握；半信半疑hip hip n. 臀部；薔薇果；憂郁 adj. 熟悉內(nèi)情；非常潮流employeeship 員工素質(zhì)administrative dministr tiv adj. 管理，行政executive izekjutiv adj. 行政；經(jīng)營；執(zhí)行，經(jīng)營管理 n. 經(jīng)理；執(zhí)行委員會；執(zhí)行者；經(jīng)理主管人員It is impl

25、ied that fifty years ago D .eighty percent of American working people were employed in factories Ftwenty percent of American intellectuals were employees Fthe percentage of intellectuals in the total work force was almost the same as that of industrial workers Fthe percentage of intellectuals workin

26、g as employee was not so large as that of industrial workers F50 年前受雇重要是當(dāng)工人，沒多少知識分子。50 年前知識分子最為雇員比例沒有產(chǎn)業(yè)工人作為雇員比例大。According to the passage，with the development of modern industry， D.factory laborers will overtake intellectlectual employees in number F 勞工變少了，白領(lǐng)變多了there are as many middle-class employe

27、es as factory laborers F 中產(chǎn)階級雇員增多了，沒說和過去勞工相等了employers have attached great importance to factory laborers F 沒提這事，但勞工處在下滑地位，不也許得到更注重the proportion of factory laborers in the total employee population has decreased T 勞工人數(shù)比例下降了According to the writer，professional knowledge or skill is A.less important

28、than awareness of being a good employee T 作者的確這樣說，說很明確as important as the ability to deal with public relations Fmore important than employer-employee relations F 沒提這個關(guān)系as important as the ability to cooperate with others in the organization FFrom the passage it can be seen that employeeship helps o

29、ne A .to be more successful in his career Tto solve technical problems Fto be more specialized in his field Fto develop his professional skill Fspecialize in 專門研究；專攻；專門經(jīng)營Questions 9 to 12 are based on the following passage：During the second half of the nineteenth century ，in the United States both t

30、he stimulus to produce landscape art and the subject of landscape altered appreciably as the pressure of events surrounding the Civil War witnessed the emergence of a new national consciousness. It was a time when certain fundamental religious beliefs were assaulted by new scientific theory and when

31、 new critical writing，particularly those of John Ruskin，exercised an important influence on art. The landscape painting from the Ganz collection provides an opportunity to examine the shifts in taste and the pluralities of style that characterized American landscape painting，especially in the latter

32、 part of the century.19 世紀(jì)下半頁，在美國，與美國內(nèi)戰(zhàn)南北戰(zhàn)爭有關(guān)種種事件，產(chǎn)生了逼人形勢，使人們親眼目睹了新民族意識浮現(xiàn)，風(fēng)景畫創(chuàng)作和風(fēng)景畫主題均有明顯變化。這個時期，新科學(xué)理論抨擊人們基本宗教信奉，批判性著作，特別是像作家約翰羅金斯作品，對藝術(shù)創(chuàng)作有重大影響。從甘茨 Ganz 收集風(fēng)景畫藏品，人們可以鑒別出美國風(fēng)景畫風(fēng)格和情趣轉(zhuǎn)變，以及成為美國風(fēng)景畫特色流行風(fēng)格， 特別是對 19 世界下半頁。The Civil War南北戰(zhàn)爭（美國內(nèi)戰(zhàn)）national consciousness 民族意識；國族意識appreciably pri:bli adv. 明顯地；相本地；

33、可察覺地produce landscape art 創(chuàng)作風(fēng)景畫fundamental religious beliefs 基本宗教信奉critical writing 批判性寫作John Ruskin (英國作家)約翰羅斯金landscape painting 風(fēng)景畫，山水畫pressure of events逼人形勢(指局勢驟變，規(guī)定人從速抉擇) landscape art 風(fēng)景畫assault s:lt n. 襲擊；襲擊 vt. 襲擊；襲擊；抨擊 vi. 襲擊；動武In the early years of the nineteenth century American landscape

34、 painting was closely associated with the republicanideals of the new nation and took on significance in the popular imagination as a form of national propaganda. Landscape painting was conceived of as a vehicle for the presentation of the new republics unique historical and moral position in world

35、history. This position was supported byThomas Cole，the dean of the Hudson River School，and was based on a religious interpretation of wilderness themes. While the American concern for the founding of a school of historical landscape was most assertive in the first half of the century and was confirm

36、ed in such grandly ambitious paintings as Cafes famous instructive moral one portraying the COURSE OF EMPIRE，the interest in creating a national art based on American nature continued to influence the formal evolution of landscape painting.19 世紀(jì)初，美國風(fēng)景畫藝術(shù)與嶄新國家共和抱負(fù)緊密有關(guān)，對把風(fēng)景畫作為國家宣傳資料來說具備重大意義。風(fēng)景畫被看作一種載體

37、，體現(xiàn)了嶄新共和國在世界歷史上獨特歷史地位與道德地位。哈德遜河學(xué)院院長托馬斯 Thomas Cole 支持這種地位，建立在對荒野主題宗教解釋之上。19 世紀(jì)上半頁，美國對開辦一所歷史風(fēng)景學(xué)院是很期待，像卡菲 Caf 知名畫，具備道德教誨意義，對“帝國之路“恢弘描繪，是很受美國關(guān)注。人們對創(chuàng)立基于美國特性民族藝術(shù)興趣繼續(xù)影響著風(fēng)景畫形式上變革。republican ideals 共和黨抱負(fù)，共和抱負(fù)national propaganda 國家宣傳presentation ,prez ntein n. 描述，陳述；簡介；贈送conceive of 設(shè)想；想象national art 民族藝術(shù)Tho

38、mas Cole 托 馬斯American nature 美國特性Hudson river 哈德遜河（位于紐約州東部）wilderness wild nis n.大量，茫茫一片；荒野；荒原assertive s :tiv adj. 必定；獨斷；堅定而自信found faund v. 找到（find 過去分詞）vt. 創(chuàng)立，建立；開辦the founding of a school 一所學(xué)校開辦concern for 關(guān) 懷portray p:trei vt. 描繪；扮演formal adj. 正式；形式上republican ripblik n adj. 共和國；共和政體；共和主義；擁護(hù)共和政

39、體 n. 共和主義者；共和黨With what topic is the passage primarily concrned? DThe moral position of the Unite States in world history F 不 是John Ruskins influence on the nineteenth-century art.F 只但是是一種例子而已，不是主旨A religious interpretation of wilderness themes. FThe evolution of landscape painting in the United Sta

40、tes. TWhat phenomenon does the author mention as occurring at the time of the Civil War? DThe revival of fundamental religious beliefs.An increased interest in nation geography(地理).FA period of depression on the arts and sciences.FThe emergence of a new national consciousness.TAccording to the autho

41、r，why is the Ganz collection significant? AIt reflects changes in American landscape painting. TIt includes many critical writings of the era. FIt appeals to the popular imagination of republicans. FIt documents the painting of the Hudson River School.FAccording to the author，landscape painting earl

42、y in the nineteenth century was used to C.finance a school of historical landscape painting Ffurther the ambitions of young politicians Frepresent and reaffirm a new nation Trealistically portray the physical beauty(人體美) FQuestions 13 to 16 are based on the following passage：The earliest controversi

43、es about the relationship between photography and art centered on whether photographys fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century，the defense of photography was identical with the struggle

44、 to establish it as afine art. Against the charge that photography was a soulless，mechanical copying of reality，photographers asserted that it was instead a privileged way of seeing，a revolt against commonplace vision，and no less worthy an art than painting.照相與藝術(shù)之間關(guān)系爭論最早是環(huán)繞如下問題展開：照相與否真實再現(xiàn)事物外觀，照相是一種精

45、細(xì)藝術(shù)還是一種實用藝術(shù)取決于所使用相機(jī)。整個19 世紀(jì)，為照相辯護(hù)人強(qiáng)調(diào)：照相是可以與藝術(shù)相媲美。反對者以為，照相沒有靈魂，只是機(jī)械地復(fù)制現(xiàn)實場景。照相家以為：照相是一種看方式特權(quán)，是對毫無創(chuàng)立想象一種反叛，稱得上是與繪畫不相上下藝術(shù)形式。controversy kntr ,v :si n. 爭論；論戰(zhàn)；辯論photography f tr fi n. 照相；照相術(shù)center on集中在；覺得中心fidelity fideliti n. 保真度；忠誠；精準(zhǔn)；盡責(zé)be identical with與相似，與一致struggle to 競 爭revolt against 反感；厭惡；對反叛no

46、less 依然；不相上下；仍舊soulless s ullis adj. 沒有靈魂；沒有精神；卑鄙；無情commonplace km npleis adj. 平凡；陳腐 n. 老生常談；司空見慣事；普通東西；毫無創(chuàng)見vision vin vt. 想象；顯現(xiàn)；夢見 n. 視力；美景；眼力；幻象；想象力Ironically，now that photography is securely established as a fine art ，many photographers find it pretentious or irrelevant to label it as such. Serio

47、us photographers variously claim to be finding ，recording，impartially observing， witnessing events ， exploring themselves anything but making works of art.In the nineteenth century ， photographys association with the real world placed it in an ambivalent relation to art； late in the twentieth centur

48、y ， an ambivalent relation exists because of the Modernist heritage in art. That important photographers are no longer willing to debate whether photography is or is not a free art，except to proclaim that their own work is not involved with art，shows the extent to which they simply take for granted

49、the concept of art imposed by the triumph of Modernism： the better the art，the more subversive it is of the traditional aims of art.具備諷刺意味是，當(dāng)前照相已經(jīng)牢固地樹立了自己作為精細(xì)藝術(shù)地位，諸多照相家卻以為如此標(biāo)榜照相很做作或者無關(guān)緊要。嚴(yán)肅照相家以為，照相就是發(fā)現(xiàn)、記錄、公正地觀測、見證某些事件、親自探究絕不是什么藝術(shù)創(chuàng)作。在 19 世紀(jì)，照相與現(xiàn)實世界聯(lián)系使照相與藝術(shù)之間關(guān)系矛盾。20 世紀(jì)晚些時候，矛盾是由于藝術(shù)中當(dāng)代主義遺風(fēng)。某些重要照相家聲明自己工作

50、與藝術(shù)無關(guān)， 不再樂意去爭論照相與否是一種自由藝術(shù)。她們僅僅想固然地以為是當(dāng)代主義勝利把藝術(shù)概念強(qiáng)加給人們，藝術(shù)越好，就越是老式藝術(shù)顛覆目的。securely sikju li adv. 安全地；牢固地；安心地；有把握地pretentious pritens adj. 自命不凡；炫耀；做作impar imp: adj. 不成對，奇數(shù)impartially impa:li adv. 公平地；無私地works of art 藝術(shù)品irrelevant to 與.不有關(guān)ambivalent ,mbiveil nt adj. 矛盾；好惡相克the Modernist heritage 當(dāng)代主義遺產(chǎn) l

51、abel it as 標(biāo)記為proclaim pr ukleim vt. 宣布，發(fā)布；聲明；表白；贊揚(yáng)take for granted 以為理所固然；對不予以注重modernism md niz m n. 當(dāng)代主義；當(dāng)代思想；當(dāng)代作風(fēng)subversive sbv :siv n. 危險分子；顛覆分子 adj. 破壞性；從事顛覆anything but 主線不，決不For example，those photographers who suppose to that，Photographers disclaimers of any interest in making art tell us mo

52、re about the harried status of the contemporary notion of art than about whether photography is or is not art.by taking pictures，they are getting away from the pretensions of art as exemplified by painting remind us of thoseAbstract Expressionist painters who imagined they were getting away from the

53、 intellectual austerity of classicalModernist painting by concentrating on the physical art of painting. Much of photographys prestige today derives from the convergence of its aims with those of recent art，particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting du

54、ring the 1960s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist paintingthat is，abstract art as developed in different waysby Picasso，Kandinsky，and Matissepresupposes highly developed skills of looking and a familiarit

55、y with otherpaintings and the history of art.Photography，like Pop painting， reassures viewers that art is not hard；photography seems to be more about its subjects than about art.照相家放棄這個爭論更多是告訴咱們當(dāng)代藝術(shù)概念紛亂，而不是照相究竟是不是藝術(shù)。例如，有照相家，通過拍照，她們掙脫了藝術(shù)做作，被繪畫舉為例證，提示咱們那些抽象體現(xiàn)主義畫家，覺得她們集中注意關(guān)注人體繪畫藝術(shù)，就脫離了典型當(dāng)代繪畫知識性樸素。諸多照相家

56、威望來自把目的集中在近來藝術(shù)，特別不考慮在 1960 年代流行繪畫藝術(shù)中暗藏抽象藝術(shù)。欣賞照片可以緩和欣賞抽象藝術(shù)帶來心理勞頓。典型當(dāng)代繪畫抽象藝術(shù)朝幾種不同方向發(fā)展了，畢加索 Picasso，康定斯基 Kandinsky，馬蒂斯 Matisse假定她們有高超觀測能力，并且對其她繪畫流派和繪畫歷史都很了如子掌。照相，就像流行繪畫藝術(shù)，是人們確信藝術(shù)不難，照相比藝術(shù)讓讀者看到更多東西。disclaimer diskleim n. 不承諾，免責(zé)聲明；放棄，回絕，棄權(quán)，棄權(quán)者convergence with 匯聚于harriedhrid adj. 被掠奪；受折磨the contemporary no

57、tion of art 藝術(shù)當(dāng)代概念pretension pritenn n. 自負(fù)；規(guī)定；主張；借口；驕傲get away from 避免，掙脫；逃離exemplify izemplifai vt. 例證；例示take pictures 拍照；照相Abstract Expressionist 【繪畫】；抽象體現(xiàn)主義畫家austerity ster tin. 緊縮；樸素；苦行；嚴(yán)肅prestige prestid n. 威望，聲望；名譽(yù)derive from 源出，來自，得自；衍生于convergence k nv :dns n. 數(shù) 收斂；會聚，集合dismissal dismis l n.

58、 解雇；撤職；不予考慮sensibility ,sensibiliti n. 情感；敏感性；感覺；辨認(rèn)力exertion iz :n n. 發(fā)揮；運(yùn)用；努力presuppose ,pri:s p uz vt. 假定；預(yù)料；覺得先決條件familiarity f ,miliriti n. 熟悉，精通；密切；隨便highly developed skills 精湛技術(shù)手法reassure ,ri: u vt. 使安心，使消除疑慮ManyPhotography，however，has develop ed all the anxieties and self-consciousness of a c

59、lassic Modernist fessionals privatelyhave begun to worry that the promotion of photography as an activity subversive of thetraditional pretensions of art has gone so far that the public willforget that photography is a distinctive and exaltedactivityin short，an art.然而，照相已經(jīng)讓典型當(dāng)代主義藝術(shù)全面形成焦急和自覺意識

60、。諸多專業(yè)人員私下開始緊張：照相藝術(shù)發(fā)展，顛覆老式藝術(shù)驕傲， 公眾會忘了照相是獨具特色、崇高活動簡言之，藝術(shù)。anxietyzai ti n. 焦急；渴望；掛念；令人焦急事privately praivitli adv. 私下地；秘密地self-consciousness ,selfknsnis n. 自覺意識distinctive distiktiv adj. 有特色，與眾不同develop divel p vt. 開發(fā)；進(jìn)步；使成長；使顯影 vi. 發(fā)育；生長；進(jìn)化；顯露exaltedez:ltid v. 高舉；贊揚(yáng)；使激動（exalt 過去分詞）adj. 崇高；尊貴；興奮subversi