2022 年全國(guó)碩士研究生入學(xué)統(tǒng)一考試英語(yǔ)(一)試題及答案

1、 PAGE PAGE 732022 年全國(guó)碩士研究生入學(xué)統(tǒng)一考試英語(yǔ)（一）試題SectionUse of EnglishDirections: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 first took root in the early 2000s; the term “p

2、lantneurobiology”was1around the notion that some aspects of plant behavior could be2to intelligenceinanimals.3plants lack brains, the firing of electrical signals in their stems and leaves nonetheless triggeredresponsesthat4consciousness, researchers previouslyreported.Butsuchanideaisuntrue,accordin

3、gtoanewopinionarticle.Plantbiologyiscomplexandfascinating,butit5sogreatlyfromthatofanimalsthatso-calledBeginning in 2006, some scientists have6ofplantsintelligenceisinconclusive,theauthorswrote.7that plants possess neuron-like cells that interact withhormones andneurotransmitters,“a plant nervous to

4、 that in animals,” said lead study authorLincolnTaiz,“They10claimed that plants have brain-like command centers at their roottips.”This11makes sense if you simplify the workings of a complex brain,12it to an array of electricalpulses; cells in plants also communicate through electrical signals.13 ,

5、the signaling in a plant is only14similar to the firing in a complex animal brain, which is more than “a mass of cells that communicate byelectricity,” Taiz said.“For consciousness to evolve, a brain with a threshold15of complexity and capacity is required,” he16. “Since plants dont have nervoussyst

6、ems, the17that they have consciousness are effectively zero.”And whats so great about consciousness, anyway? Plants cant run away from18, so investing energy ina body systemwhichthe article.a threat and can feel pain would be averyevolutionary strategy, accordingto1.A coined2.A attributed3.A Unless4

7、.A cope with5.A suffers6.Aacceptance7.A doubted8.A adaptingB discoveredB directedB WhenB consistedofB benefitsB evidenceB deniedformingcollectedC comparedC OnceC hintedatCdevelopsCcultivationC arguedrepairingissuedD confinedD ThoughD extended inD differsD creationD requestedD testing9.A analogous 10

8、.A just 11.A restriction 12.A attaching 13.A However14.Atemporarily 15.A list16.A recalled 17.A chances 18.A danger 19.Arepresents 20.A humbleB essentialB everBexperimentB reducingB MoreoverB literallyB levelB agreedB risksB failureB includespoorsuitableC stillC perspectiveC returningC ThereforeCsup

9、erficiallyC labelC questionedC excusesC warningC revealspracticalsensitiveD evenD demandD exposingD OtherwiseD imaginarilyD localD addedD assumptionsD controlD recognizesD easySection Reading ComprehensionPart ADirections:Readthefollowingfourtexts.AnswerthequestionsbeloweachtextbychoosingA,B,CorD.Ma

10、rkyour answers on the ANSWER SHEET. (40 points)Text 1People often complain 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 everywhere and dont break down easily. But some plastic materials cha

11、nge over time. They crack and frizzle. They “weep” out additives. They melt into sludge. All of which creates huge headaches for institutions, such as museums, trying to preserve culturally important objects. The variety of plastic objects at risk is dizzying: early radios, avant-garde sculptures, c

12、elluloid animation stills from Disney films, 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 decades

13、at the Cultural Heritage Agency of the Netherlands. “It s like baking a cake: If you dont have exact amounts,itgoeswrong.”shesays.“Theobjectyoumakeisalreadyatimebomb.”And sometimes, its not the artists fault. In the 1960s,the Italian artist Picro Gilardi began to create hundreds of bright, colorful

14、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 bedurable.Unfortunately, the polyurethane foa

15、m 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 her colleagues worked to preserve Gilardis sculptures.They infuse

16、d some with 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 is proud that several sculptures have even gone on display again,albeit sometimes beneath protective cases.Desp

17、itesuccessstorieslikevanOostens,preservationofplasticswilllikelygetharder.Oldobjectscontinue todeteriorate.Worse,biodegradableplasticsdesignedtodisintegrate,areincreasinglycommon.And more is at stake here than individual objects. Joana Lia Ferreira,an assistant professor of conservation and restorat

18、ion at the nova School of Science and Technology, notes that archaeologists first defined the great material ages of human history Stone Age,Iron Age,and so on after 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 pres

19、erve.will have a strong impact on how in the future well beseen.”AccordingtoParagraph1,museumsarefacedwithdifficultiesin.maintaining their plasticitemsobtainingdurableplasticartifactshandlingoutdatedplasticexhibitsclassifying their plasticcollectionsVanOostenbelievesthatcertainplasticobjectsare.immu

20、ne todecayimproperlyshapedinherentlyflawedcomplex instructureMuseumsstoppedexhibitingsomeofGilardisartworksto.keep them from hurtingvisitorsduplicate them for futuredisplayhave their ingredientsanalyzedprevent them from furtherdamageTheauthorthinksthatpreservationofplasticsis.costlyunworthyunpopular

21、challengingInFerreirasopinion,preservationofplasticartifacts.will inspire future scientificresearchhas profound historicalsignificancewill help us separate the materialageshas an impact on todays culturallifeText 2Asthelatestcropofstudentspentheirundergraduateapplicationformandweighuptheiroptions,it

22、maybe worthconsidering justhowthepoint,purposeandvalueofadegreehaschangedandwhatGenerationZneedto considerastheystartthethirdstageoftheireducationaljourney.Millennialsweretoldthatifyoudidwellinschool,gotadecentdegree,youwouldbesetupforlife.Butthat promisehasbeenfoundwanting.Asdegreesbecameuniversal,

23、theybecamedevalued.Educationwasnolongera securerouteofsocialmobility.Today,28percentofgraduatesintheUKareinnon-graduateroles,apercentage which is double the average among OECDcountries.Thisisnottosaythatthereisnopointingettingadegree,butratherstressthatadegreeisnotforeveryone, thattheswitchfromclass

24、roomtolecturehallisnotaninevitableoneandthatotheroptionsareavailable.Thankfully, there are signs that this is already happening, with Generation Z seeking to learn from their millennial predecessors, even if parents and teachers tend to be still set in the degree mindset. Employers have long seen th

25、e advantages of hiring school leavers who often prove themselves to be more committed and loyal employeesthangraduates.Manytooareseeingtheadvantagesofscrappingadegreerequirementforcertainroles.Forthoseforwhomadegreeisthedesiredroute,considerthatthismaywellbethefirstofmany.Inthisage of generalists, i

26、t pays to have specific knowledge or skills. Postgraduates now earn 40 per cent more than graduates.Whenmoreandmoreofushaveadegree,itmakessensetohavetwo.It is unlikely that Generation Z will be done with education at 18 or 21; they will need to be constantly up-skilling throughout their career to st

27、ay employable. It has been estimated that this generation, due to the pressures of technology, the wish for personal fulfilment and desire for diversity, will work for 17 different employersoverthecourseoftheirworkinglifeandhavefivedifferentcareers.Education,andnotjustknowledge gainedoncampus,willbe

28、acorepartofGenerationZscareertrajectory.Older generations often talk about their degree 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.the a

29、uthor suggests that Generation Zshould be careful in choosing acollegebe diligent at each educationalstagereassess the necessity of collegeeducationpostpone their undergraduateapplicationThepercentageofUKgraduatesinnon-graduaterolesreflect.Millennials opinions aboutworkthe shrinking value of adegree

30、public discontent witheducationthe desired route of socialmobilityTheauthorconsidersitagoodsignthat.GenerationZareseekingtoearnadecentdegree.School leavers are willing to be skilledworkers.Employers are taking a realistic attitude todegrees.Parents are changing their minds abouteducation.Itisadvised

31、inParagraph5thatthosewithonedegreeshould.make an early decision on theircareerattend on the job trainingprogramsteamupwithhigh-paidpostgraduatesfurthertheirstudiesinaspecificfieldWhatcanbeconcludedaboutGenerationZfromthelasttwoparagraphs?Lifelong learning will definethem.Theywillmakequalifiededucato

32、rs.Degreeswillnolongerappealthem.They will have a limited choice ofjobs.Text 3Enlightening, challenging, stimulating, fun.These were some of the words that Nature readers used to describe their experience of art-science collaborations in a series of articles on partnerships between artists and resea

33、rchers. Nearly 40% of the roughly 350 people who responded to an accompanying poll said, they had collaborated with artists, and almost all said they would consider doing so in future.Such an encouraging results is not surprising. Scientists are increasingly seeking out visual artists to help them c

34、ommunicate their work to new audiences. “Artists help scientists reach a broader audience and make emotional connections that enhance learning.” One respondentsaid.OneexampleofhowartistsandscientistshavetogetherrockedthescenescamelastmonthwhentheSydney SymphonyOrchestraperformedareworkedversionofAnt

35、onioVivaldisTheFourSeasons.Theyreimaginedthe 300-year-oldscorebyinjectingthelatestclimatepredictiondataforeachseason-providedbyMonashUniversitys Climate Change Communication Research Hub. The performance was a creative call to action ahead of NovembersUnitedNationsClimateChangeConferenceinGlasgow,UK

36、.But a genuine partnership must be a two-way street. Fewer artist than scientists responded to the Nature poll, however, several respondents noted that artists do not simply assist scientists with their communication requirements. Nor should their work be considered only as an object of study. The a

37、lliances 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 powerfulart.More than half a century ago, the Massachusetts Institute of Techno

38、logy opened its Center for Advanced Visual Studies(CAVS) to explore the role of technology in culture. The founders deliberately focused theirprojectsaroundlight-hancethe“visualstudies”inthename.Lightwasasomethingthatbothartistsandscientists hadaninterestinandthereforecouldformthebasisofcollaboratio

39、n.Asscienceandtechnologyprogressed,and dividedintomoresub-disciplines,thecentrewassimultaneouslylookingtoatimewhenleadingresearcherscould alsobeartists,writersandpoets,andviceversa.Naturespollfindingssuggestthatthistrendisasstrongasever,but,tomakeacollaborationworkbothsides need to invest time and e

40、mbrace surprise and challenge. The reach of art-science tie-ups needs to go beyond the necessary purpose of research communication, and participants. Artists and scientists alike are immersed in discoveryandinvention,andchallengeandcritiquearecoretoboth,too.Accordingtoparagraph1,art-sciencecollabora

41、tionshave caught the attention ofcriticsreceived favorableresponsespromotedacademicpublishingsparkedheatedpublicdisputesThereworkedversionofTheFourSeasonsismentionedtoshowthat art can offer audiences easy access tosciencescience can help with the expression ofemotionspublicparticipationinsciencehasa

42、promisingfuture DartiseffectiveinfacilitatingscientificinnovationsSomeartistsseemtoworryaboutintheart-sciencepartnership.their role may beunderestimatedtheir reputation may beimpairedtheir creativity may beinhibitedtheir work may bemisguidedWhat does the author say aboutCAVS?It was headed alternatel

43、y by artists andscientistsIt exemplified valuable art-sciencealliancesIts projects aimed at advancing visual studies D1ItsfounderssoughttoraisethestatusofartistsInthelastparagraph,theauthorholdsthatart-sciencecollaborations Alarelikelytogobeyondpublicexpectationswill intensify interdisciplinarycompe

44、titionshould do more than communicatingscienceare becoming more popular thanbeforeText 4The personal grievance provisions of New Zealands Employment Relations Act 2000(ERA) prevent an employerfromfiringanemployeewithoutgoodcause.Instead,dismissalsmustbejustified.Employersmustbothshow cause and act i

45、n a procedurally fair way.Personal grievance procedures were designed to guard the jobs of ordinary workers from “unjustified dismissals” The premise was that the common law of contract lacked sufficient safeguards for workers against arbitrary conduct by management. Long gone are the days when a bo

46、ss could simply give an employee contractual notice.Buttheseprovisionscreatedifficultiesforbusinesseswhenappliedtohighlypaidmanagersandexecutives. As countless boards and business owners will attest, constraining firms from firing poorly performing, high-earningmanagersisahandbrakeonboostingproducti

47、vityandoverallperformance.Thedifferencebetween C-grade and A-grade managers may very well be the difference between business success or failure. Between preservingthejobsofordinaryworkersorlosingthem.Yetmediocrityisnolongerenoughtojustifyadismissal.Consequently-and paradoxically - laws introduced to

48、 protect the jobs of ordinary workers may be placing those jobs at risk.If not placing jobs at risk, to the extent employment protection laws constrain business owners from dismissing under-performing managers, those laws act as a constraint on firm productivity and therefore on workers wages. Indee

49、d, in “An International Perspective on New Zealands Productivity Paradox” (2014), the Productivity Commission singled out the low quality of managerial capabilities as a cause of the countrys poor productivity growth record.NorarehighlypaidmanagersthemselvesimmunefromtheharmcausedbytheERAsunjustifie

50、ddismissal procedures. Because employment protection laws make it costlier to fire an employee, employers are more cautiousabouthiringnewstaff.Thismakesitharderforthemarginalmanagertogainemployment.Andfirmspay stafflessbecausefirmscarrytheburdenoftheemploymentarrangementgoingwrong.Society also suffe

51、rs from excessive employment protections. Stringent job dismissal regulations adversely affect productivity growth and hamper both prosperity and overall well-being.Across the Tasman Sea, Australia deals with the unjustified dismissal paradox by excluding employees earning above a specified “high-in

52、come threshold” from the protection of its unfair dismissal laws. In New Zealand, a 206 private members Bill tried to permit firms and high-income employees to contract out of the unjustified dismissal regime. However, the mechanisms proposed were unwieldy and the Bill was voted down following the c

53、hange in government later thatyear.ThepersonalgrievanceprovisionsoftheERAareintendedto.punish dubious corporatepracticesimprove traditional hiringproceduresexemptemployersfromcertaindutiesprotecttherightsofordinaryworkersItcanbelearnedfromparagraph3thattheprovisionsmay.hinder businessdevelopmentunde

54、rmine managersauthorityaffect the public image of thefirmsworsen labor-managementrelationsWhichofthefollowingmeasureswouldtheProductivityCommissionsupport?Imposing reasonable wagerestraints.Enforcing employment protectionlaws.Limiting the powers of businessowners.Dismissing poorly performingmanagers

55、.WhatmightbeaneffectofERAsunjustifieddismissalprocedures?Highly paid managers lose theirjobsEmployees suffer from salarycuts.Society sees a rise in overallwell-being.Employers need to hire newstaff.It can be inferred that the “high-income threshold” inAustraliahas secured managersearningshas produce

56、d undesiredresultsis beneficial to businessownersis difficult to put intopracticePart B Directions:Readthefollowingtextandanswerthequestionsbychoosingthemostsuitablesubheadingfromthelist A-Gforeachnumberedparagraphs(41-45).Therearetwoextrasubheadingswhichyoudonotneedtouse. Mark your answers on ANSWE

57、R SHEET . (10points)TeriByrdIwasazooandwildlifeparkemployeeforyears.Boththewildlifeparkandzooclaimedtobeoperatingfor the benefit of the animals and for conservation purposes. This claim was false. Neither one of them actually participated in any contributions whose bottom line is much more important

58、 than the condition of the animals. Animalsdespisebeingcaptivesinzoos.Nomatterhowyouenhanceenclosures,theydonotallowforfreedom,a naturaldietoradequatetimefortransparencywiththeseinstitutions,anditspasttimetoeliminatezoosfromour culture.Karen R.SimeAs a zoology professor, I agree with Emma Marris tha

59、t zoo displays can be sad and cruel. But she underestimates the educational value of zoos.The zoology program at my university attracts students for whom zoo visits were the crucial formative experience that led them to major in biological sciences. These are mostly students who had no opportunity a

60、s children to travel to wilderness areas, wildlife refuges or national parks.AlthoughgoodTVshowscanhelpstirchildrensinterestinconservation,theycannotreplacetheexcitementofa zoo visit as an intense, immersive and interactive experience. Surely there must be some middle ground that balances zoos treat