2008年10月SAT真題全解析

2008年10月SAT真題解析閱讀Section21.此題為簡(jiǎn)單同義重復(fù)，空格處因填寫與“significantimpact”同方向的詞會(huì)，答案C（influential）正確。2.此題邏輯關(guān)系為同義重復(fù)，二空與“someoneshroudedinmystery”同方向，故答案B正確。3.題干中冒號(hào)提示本題邏輯關(guān)系為同義重復(fù)?？崭裉幰蛱钆c“shewrotemorethan…”同方向詞匯。答案C（aprolific）正確。4.題干中一共三重邏輯關(guān)系。借助于邏輯關(guān)系詞even，一空與conventional同義重復(fù)，二空借助that從句同義重復(fù)。一二空之間借助nevertheless反義重復(fù)。故答案E正確。5.題干中兩個(gè)for均提示本題為同義重復(fù)中因果關(guān)系?？崭裉帒?yīng)填“implementingsweeping…”內(nèi)容同方向的詞匯。答案D（precipitately）正確。Questions6-10arebasedonthefollowingpassages.Passage1Everyage,afterhisown,hasgoneinsearchofShakespeare.Thefirstbiographywaswrittenin1709.NowitisapooryearfortheShakespearebusinesswhentwoorthreemoredonotshowuponbookstoreshelves.Wewanttoknowwhohewashopingthatthenarrativeofhislifewillsomehowexplainthegeniusofhiswriting.Butitneverdoes.Wefindhimbutwhowefindonlyaddstothemystery.Howisitthatamanwithoutauniversityeducation,aglover'ssonfromasmallWarwickshiremarkettown,couldhavewrittentheplaysandpoemsthathavespokentogenerationsofreadersandtheatergoers?Passage2Stratford.Shakespeare'shometown,hasbecomeanalmostsacredplaceofpilgrimage,withtouristswaddlingreverentlyaroundthespectacularlytastelesscathedraloftheShakespeareMemorialTheatre.Animpressionablefewofthemareevenmovedtodofftheircapsordiscardtheiricecreams.Shakespeare'sfamiliarhigh-domedhead,animagethatisquitepossiblynothimatall,hasadornedeverythingfromTVbeercommercialstoBritishcurrency.Heisthepresidinggeniusofthenationalspirit,akindofheroinaneckruff.Withouthimindustrieswouldcrashandideologiescrumble.Itisevenrumoredthathealsowroteplays.分析：Passage1對(duì)Shakespeare是正面的態(tài)度。而Passage2對(duì)Shakespeare是負(fù)面的態(tài)度。從首句的tastelesscathedral就可以看出。整個(gè)P2比P1要難以看懂些。P2的每一句都是對(duì)Shakespeare的一個(gè)諷刺，不明白為什么去悼念他，諷刺整個(gè)經(jīng)濟(jì)對(duì)他的依賴，諷刺人們對(duì)關(guān)于他評(píng)論的盲從。6.TheauthorofPassage1wouldlikelyclaimthatStratford'shavingbecome"analmostsacredplaceofpilgrimage"(lines12-13.Passage2)is(A)inappropriategivenShakespeare'shumblebeginnings(B)atoddswithShakespeare'scurrentstatusamongliteraryscholars(C)unsurprisinggiventheintensecuriosityShakespeareinspires(D)unusualinanagethatcommercializesShakespeare(E)puzzlingconsideringhowsmallthetownofStratfordis分析：P1觀點(diǎn)對(duì)Shakespeare正面態(tài)度，選擇一個(gè)符合P1想法的就為答案。7.ComparedwiththetoneofPassage1.thetoneofPassage2ismore求異/態(tài)度(A)optimistic(B)appreciative(C)impartial(D)uncertain(E)irreverent分析：P2對(duì)Shakespeare是負(fù)面態(tài)度及諷刺。選表達(dá)負(fù)面的選項(xiàng)。8.Inline17,"familiar"mostnearlymeans詞匯題(A)sociable(B)presumptuous：ofapersonortheirbehaviour)failingtoobservethelimitsofwhatispermittedorappropriate(C)ordinary(D)closelyacquainted(E)easilyrecognized分析：Familiar：wellknownfromlongorcloseassociation；(familiarwith)havingagoodknowledgeof9.ThefinalsentenceinPassage2isbestinterpretedas推理題(A)aself-deprecatingacknowledgmentthattheauthorisnotanexpertonShakespeare(B)afactualobservationabouttheextentofthepublic'sknowledgeofliterature(C)ahumorousadmissionthatagreatdealremainsunknownaboutShakespeare'slife(D)aderisivecommentaboutthepublic'slackofrealengagementwithShakespeare'swork(E)asnidecommentaryonthepublic'swillingnesstobelieverumors10.Bothpassagessupportthepointthat求同題(A)manyofthegenerallyaccepteddetailsaboutShakespeare'slifeareprobablyinaccurate(B)Shakespearewasageniusofthehighestmagnitude(C)fewpeopletodayactuallyreadShakespeare'swork(D)verylittleisknownaboutcertainperiodsofShakespeare'slife(E)athrivingindustryisdependentonShakespeare'slifeandwork分析：第一篇文章NowitisapooryearfortheShakespearebusinesswhentwoorthreemoredonotshowuponbookstoreshelves.第二篇文章Shakespeare'sfamiliarhigh-domedhead,animagethatisquitepossiblynothimatall,hasadornedeverythingfromTVbeercommercialstoBritishcurrency.分別都提到Shakespeare對(duì)經(jīng)濟(jì)的重要性。Questions11-16arebasedonthefollowingpassage.Thispassageisadaptedfromacontemporarybookaboutjewelry.InthewakeoftheIndustrialRevolution,whenmassproductionbecametheprideandjoyofnineteenth-centuryentrepreneurs,afast-growingmiddleclassreveledintheluxuryofconsumergoods,includingjewelry,madeavailableateconomicalprices.Prosperoussegmentsofthepopulationwantedtodemonstratetheiraffluence,adevelopmentthatprovidedapowerfulstimulustothejewelryindustryinbothEuropeandtheUnitedStates.在工業(yè)革命蘇醒之際，大規(guī)模生產(chǎn)變成了十九世紀(jì)企業(yè)家的驕傲和自豪?？焖侔l(fā)展的中產(chǎn)階級(jí)讓奢侈品變成了大眾消費(fèi)品。百姓中富裕的人們想要顯示自己的富裕。而這一因素的存在也快速激勵(lì)了美國(guó)及歐洲的珠寶行業(yè)。Inthisavalancheofmassproduction,manyartistsandartisansoftheArtsandCraftsmovementfeltthatthehumantouch,respectformaterials,andthesatisfactionofafinefinishwerebeinglost.Jewelry,likeotherarticles,wasbecomingimpersonal,carelesslyconstructed,unimaginativelydesigned.Thoughlabeledromanticandidealistic,someartistssoughttoproduceindividuallyconceivedandexecutedpiecesinworkshopsituationssimilartothoseofmedievalguilds.Theywantedtoproduce,handmadejewelryfromless-expensivematerialsforthegeneralpublic,yetwiththesamecareandcommitmentacourtjewelermightapplytoworkforaristocraticclientele.Inmedievaltimestherehadbeenartisansintownsandvillages,workingforordinarypeopleonaone-to-onebasis;theadherentsofthemovementfelttherewasanurgencytoreturntothisspecialrelationship.Itwasconsideredparticularlyimportantthatartistsbeinvolvedtoensuretheproductionofmoremeaningfulobjects,whethertheybepottery,furniture,or,especially,jewelry.Thematerialusedinjewelrywasprizedforitsdecorativeandsymboliceffects,notforitsintrinsicvalue.Rejectingtheclutteredoverornamentationofthepast,artistsinfluencedbyArtNouveausoughttodrawpopularinterestawayfrommachine-madeproductsbyincorporatingmoredelicateandfluidnaturalforms—peacockfeathers,flowerstalks,vinetendrils,eveninsectwings.在這個(gè)大規(guī)模生產(chǎn)的爆發(fā)中，在這場(chǎng)藝術(shù)手工變革的很多藝術(shù)家和手工制作者覺(jué)得人們內(nèi)心的觸動(dòng)，對(duì)物質(zhì)的高要求，和完成品的完美感都全部丟失。珠寶，就如同其它的商品一般，變得不再是個(gè)人化（而是大眾消費(fèi)化）變得粗糙的做工，乏味的涉及。盡管有些藝術(shù)家依然保留那些浪漫主義情懷和完美主義的心境，但是大多數(shù)的他們?cè)诠S所造就的珠寶盒在那些中世紀(jì)的商會(huì)中所造的珠寶沒(méi)什么兩樣。（這里強(qiáng)調(diào)這時(shí)候工廠的藝術(shù)者和中世紀(jì)的商會(huì)所造的珠寶都不好。）他們（應(yīng)該指的是那些工作的藝術(shù)家）想要造出為大眾設(shè)置的廉價(jià)材料的珠寶，但是一個(gè)皇家的珠寶設(shè)計(jì)師獲取用同樣的關(guān)注和承諾在為貴族做珠寶。在中世紀(jì)時(shí)期，在城市和村莊有很多手工制造者，為基層百姓工作。那些這種運(yùn)動(dòng)的執(zhí)著者覺(jué)得很有必要回歸這種原始的手工對(duì)應(yīng)個(gè)人需要的關(guān)系。覺(jué)得非常重要的是：讓藝術(shù)者確保產(chǎn)品的意義是很重要的，無(wú)論這個(gè)產(chǎn)品是瓷器，家具，還是珠寶。珠寶中所運(yùn)用的材料為一只被贊譽(yù)它裝飾性和象征性的效果而并不是內(nèi)在的價(jià)值。藝術(shù)家反對(duì)過(guò)去風(fēng)格中的復(fù)雜的過(guò)于裝飾，他們受新藝術(shù)形式的影響追求優(yōu)雅的自然形式來(lái)吸引大眾，讓大眾原來(lái)大規(guī)模生存。11.Accordingtothepassage,mass-producedjewelryandthatproducedbyfollowersoftheArtsandCraftsmovementwerealikeinthatboth細(xì)節(jié)題(A)couldbemadequicklyoilalarge-scalebasis(B)couldbecustom-designedforaparticularindividual(C)wereintendedtobeaffordable(D)wereaswellcraftedasthejewelryofthewealthy(E)werecarefullymarketedproducts分析：文章首句講到madeavailableateconomicalprices和第二段Theywantedtoproduce,handmadejewelryfromless-expensivematerialsforthegeneralpublic都表示想讓產(chǎn)品是能讓大眾消費(fèi)得起的。12.ForadherentsoftheArtsandCraftsmovement,theguildconceptrepresented推理題(A)avulgardistortionofartisticprinciples(B)aregressivethrowbacktomedievaltimes(C)apracticalmeanstorealizetheirideals(D)asymboloftheprivilegethatonlyroyaltycouldenjoy(E)aninnovativeapproachtomanufacturingluxuryitemsonawidescale分析：此題屬于難題。得確定題干中的adherents其實(shí)就是原文中的manyartistsandartisansoftheArtsandCraftsmovement。。。和someartistssought。。。再看有g(shù)uild的句子：someartistssoughttoproduceindividuallyconceivedandexecutedpiecesinworkshopsituationssimilartothoseofmedievalguilds。從次句會(huì)發(fā)現(xiàn)這里將medievalguild和workshop做了類別。那么medievalguild和workshop具備同樣是性質(zhì)。Atthesametime,theArtNouveaustylewasinspiringartistsandartisansalloverEurope,acrosstheAtlanticandbackagain.Itsflowinglinesandgracefulforms,drawingnatureinitsperfectionandportrayingidealizedimages,pervadedallareasofdesign,fromfabricsandfurnituretocutlery,aswellaspaintingandsculpture.Bornoutofadirectoppositiontounbridledmassproduction,ArtNouveauwasintendedtobringaestheticvalueswithinthereachofthepublicandintofunctionalareas.PerhapsitwasinjewelrythatArtNouveaureacheditspinnacle.Herethestylerepresentedareactionagainsttheimitationofstylesfromearlierperiodsandtheemphasisgiventopreciousstones.Thematerialusedinjewelrywasprizedforitsdecorativeandsymboliceffects,notforitsintrinsicvalue.Rejectingtheclutteredoverornamentationofthepast,artistsinfluencedbyArtNouveausoughttodrawpopularinterestawayfrommachine-madeproductsbyincorporatingmoredelicateandfluidnaturalforms—peacockfeathers,flowerstalks,vinetendrils,eveninsectwings.與此同時(shí)，新藝術(shù)風(fēng)格正在激烈整個(gè)歐洲的手工制造者和藝術(shù)家恢復(fù)過(guò)去的樣子。完美的流線，優(yōu)雅的格調(diào)，畫出物質(zhì)本來(lái)美的一面侵襲這這個(gè)設(shè)計(jì)風(fēng)尚。這個(gè)風(fēng)尚蔓延著從布料，到家具，到畫幅，到雕塑。新藝術(shù)的產(chǎn)生是由于大規(guī)模生存的驅(qū)使，新藝術(shù)想將新的美學(xué)感注入一定領(lǐng)域?？赡苁窃谥閷氼I(lǐng)域，讓新藝術(shù)到底了頂峰。在這個(gè)領(lǐng)域的風(fēng)格代表了反感模仿的反應(yīng)。pinnaclenounahighpointedpieceofrock尖錐形巖石■asmallpointedturretbuiltasanornamentonaroof（屋頂上作裝飾的）小尖塔；尖頂■themostsuccessfulpoint;theculmination頂峰，巔峰，極點(diǎn)，頂點(diǎn)13.Inlines28-46,theauthorindicatesthatthedesignsofArtNouveauobjectswereinspiredby細(xì)節(jié)題(A)naturalimages(B)mythicalfigures(C)abstractideas(D)functionalobjects(E)elaboratedevices分析：第三段最后一句話drawpopularinterestawayfrommachine-madeproductsbyincorporatingmoredelicateandfluidnaturalforms—peacockfeathers,flowerstalks,vinetendrils,eveninsectwings.表達(dá)是重自然現(xiàn)象中吸取創(chuàng)造靈感。14.Lines40-42("Thematerial...value")indicatethatthematerialsthatweremosthighlyprizedforArtNouveaujewelrywerethosethat細(xì)節(jié)題(A)werethemostconvenienttoobtain(B)werebothfashionableandprecious(C)hadbeentreasuredoverthecenturies(D)couldbemass-producedeconomically(E)werebeautifulandmeaningful分析：有定位句子字面意思可理解prizedforitsdecorativeandsymboliceffects是為美感。TheidealsoftheArtsandCraftsmovementwereincompletesympathywiththeconceptsofArtNouveau,andartistsandartisansimplementedtheminpracticalwaysbyformingsmallgroups,guilds,andworkshopsinBritain,Germany,andAustria.Yetinspiteofallefforts,theArtsandCraftsmovementcouldnotsurviveitslackofwidecommercialappeal.Becausethemovementreliedonanunaggressiveand"uncommercial"approachtobusiness,itnevercaughtonwiththepeopleforwhomitsproductswereintended.Still,themovementproducedfar-reachingrepercussionslongafteritsuntimelydeath.Itsinternationalassociations,itsidealsofartists'involvementwiththecrafts,oftheintegrityofartistsandartisans,andofsocialawarenessweretoinspireentiregenerationstocome.藝術(shù)和手工運(yùn)動(dòng)和新藝術(shù)風(fēng)的理念是一致的，藝術(shù)家們切實(shí)的貫徹這樣的風(fēng)尚。但是盡管他們很努力，這個(gè)運(yùn)動(dòng)和還是確定經(jīng)濟(jì)誘惑而以失敗告終。因?yàn)檫@個(gè)運(yùn)動(dòng)依靠于非激進(jìn)非商業(yè)化的首段進(jìn)軍商業(yè)，他從來(lái)沒(méi)有被他們的消費(fèi)者所吸引。但是，在這個(gè)運(yùn)動(dòng)完結(jié)后，它還是造成了深遠(yuǎn)的影響。它的國(guó)際化聯(lián)盟，它的理念深入了手工業(yè)，藝術(shù)家，手工制作者，社會(huì)的意識(shí)，這種理念激勵(lì)這全新一代的來(lái)臨。15.Lines53-55("Bended")primarilyindicatethat細(xì)節(jié)題(A)artistsofthedayyieldedtooeasilytoprofit-makingmotives(B)ArtsandCraftsartistsdidnoteffectivelymarkettheirproducts(C)theArtsandCraftsmovementwascompromisedbytheIndustrialRevolution(D)thewealthywerenotopentoexperimentingwithinnovativedesignsinjewelry(E)anincreasinglyculturedmiddleclassweakenedtheinfluenceoftheArtsandCraftsmovement分析：定位句的上一句話theArtsandCraftsmovementcouldnotsurviveitslackofwidecommercialappeal.和定位句都表明沒(méi)有在市場(chǎng)上奏效16.ThepassageimpliesthatwhattheArtsandCraftsmovementandArtNouveauhadincommonwastheir推理題(A)purposeofinstructingpeoplehowtocrafttheirownjewelry(B)purposeofproducingalternativestomass-producedgoods(C)desiretoattractpatronswhowouldfundtheirprojects(D)plantoproduceaccessoriestomatchpeople'swardrobes(E)hopeofproducingjewelrythatreplicatedclassicaldesigns分析：全文來(lái)看，兩種形式是理念想切合的藝術(shù)觀，同時(shí)也是為了出臺(tái)一種去當(dāng)下（大規(guī)模的生產(chǎn)）不同的產(chǎn)品理念。Questions17-24arebasedonthefollowingpassage.Inthispassageadaptedfromanovel,aCanadianwomanrecallsherchildhoodduringthe1960s.OriginallyfromChina,thefamilytraveledtoIrvine,Ontario,Canada,wheretheparentsopenedarestaurant,theDragonCafe.AsayoungchildIneverreallythoughtaboutmyparents'livesinIrvine,howsmalltheirworldmusthaveseemed,neverextendingbeyondtheDragonCafe.Everydaymyparentsdidthesamejobsintherestaurant.Iwatchedthesamecustomerscomeformeals,formorningcoffee,forafternoonsoftdrinksandFrenchfries.Formyparentsonedaywaslikethenext.Theysettledintoanuneasyanddistantrelationshipwitheachother.Theirlove,theirtenderness,theygavetome.17.Intheopeningparagraph,thenarratoremphasizesprimarilywhichofthefollowingaboutherparents?主旨題(A)Theirworkethic(B)Theirevolvingrelationship(C)Theirroutinelives(D)Theirresourcefulness(E)Theirdependability分析：根據(jù)第一段字面意思可選擇出答案。并且文章的Formyparentsonedaywaslikethenext.表達(dá)出作者觀察的生活每一天都是日復(fù)一日的過(guò)著的。18.Thesentenceinline10("But...changing")servesprimarilyto目的題/句子(A)lamentasituation(B)introduceacontrast(C)challengeaclaim(D)emphasizeadesire(E)reiterateapoint分析：聯(lián)系下文，下文表達(dá)，生活變化了，特別是后文表達(dá)自己的逐漸的變化和千萬(wàn)促成鮮明對(duì)比。Butmylifewaschanging.Ibecametallerandbigger,mysecondteethgrewinwhiteandstraight.AtschoolIbegantolearnaboutmyadoptedcountry.IspokeEnglishlikeanative,withoutatraceofanaccent.Iplayed,thought,anddreamedinthelanguageofourIrvineneighbors.AfewyearslaterandIwouldnolongerrememberatimewhenIdidn'tspeaktheirwordsandreadtheirbooks.ButmyfatherandUncleYatstillspokethesamehaltingEnglish.Mymotherspokeonlyafewwords.Ibegantotranslateconversationstheyhadwiththecustomers,switchingbetweenEnglishandChinese.WheneverIsteppedoutsidetherestaurantitseemedIwasenteringaworldunknowntomyfamily:school,church,friends'houses,thetownbeyondMainStreet.Ifoundithardtoimagineayearwithoutwinteranymore,ahomeotherthanIrvine.19.Theprimarypurposeofthesecondparagraph(lines10-24)isto目的題/段落(A)provideinsightintothemotivationsofthenarrator'sparentsanduncle(B)recapturethepleasurethenarratorexperiencedinlearninganewlanguage(C)emphasizetheextentofthetransformationthenarratorundergoes(D)describethecomplexinterrelationshipsinthenarrator'sfamily(E)revealthenarrator'spreferenceforacoldclimateoverawarmone分析：作者在此段表達(dá)，自己慢慢的逐步改變，逐步融入新的文化里。Formymother,though,homewouldalwaysbeChina.InIrvineshelivedamongstrangers,unabletospeaktheirlanguage.Whenevershetalkedabouthappytimes,theywereduringherchildhoodinthatdistantland.Awistfulsmilewouldsoftenherfaceasshetoldmeaboutsleepingandplayingwithhersisterintheatticaboveherparents'bedroom.Sheonceshowedmeapieceofjade-greensilkcloththatwasfrayedandwornaroundtheedge.Inthecenterwasawhitelotusfloatinginvaryingshadesofbluewater,theembroiderysofinethatwhenIhelditatarm'slengththepetalslookedreal.IhadbeenhelpingherstoreawaymysummerclothesinthebrownleathersuitcasefromHongKongwhenInoticedapieceofshinymaterialinthecornerandaskedherwhatitwas.Shelookitoutandspreaditonherlap."Mymotherembroideredthisherself.Iwasgoingtohaveitmadeintoacushion,butthenmylifechangedandoverherethereseemstobenoplaceforlovelythings.It'sallIhavethatremindsmeofher,"shesaid."Maybe,Su-Jen,onedayyouwilldosomethingwithit."Iadmiredtheclothsomemore,thenshecarefullyfoldeditandstoreditbackinhersuitcase.20.Thesentenceinline25("For...China")servesto目的題(A)introduceakeyideadevelopedlaterinthepassage(B)initiateabriefdigressionfromthestoryline(C)illustrateageneralizationmadeinthepreviousparagraph(D)pointtoasituationanalogoustooneexperiencedbythenarrator(E)foreshadowanunexpectedincident21.Lines25-27("Formy...language")suggestprimarilythatinhernewcountrythemotherexperiencedfeelingsof態(tài)度題(A)dread：anticipatewithgreatapprehensionorfear(B)confusion(C)intrigue(D)isolation：theprocessorfactofisolatingorbeingisolated(E)irritationTherewassolittleleftfromheroldlife.Shesaiditwassolongagothatsometimesitfeltasifithadneverhappened.ButshedescribedherlifewithsuchclarityandvividnessthatIknewallthosememorieslivedoninsideher.Therewassolittleinthisnewcountrythatgaveherpleasure.ThegoodthingsshefoundwererelatedinsomewaytoChina:anariafromaChineseopera,aletterfromarelativebackhomeorfromAuntHai-LaninToronto,writteninChinese,afamiliar-lookingscriptthatIcouldn'treadandthathadnothingtodowithmylifeinCanada.ThereweretimeswhenIfeltguiltyaboutmyownhappinessinIrvine.WehadcometoCanadabecauseofme,butIwastheonlyonewhohadfoundahome.22.Inlines46-50('Therewas...insideher"),themother'smemoriesofChinaareportrayedas變相態(tài)度題(A)distantyetenduring(B)occasionalyetoverwhelming(C)livelybutconfused(D)joyousandhopeful(E)wistfulandindistinct分析：定位句子表達(dá)母親舊時(shí)的記憶越來(lái)越稀少，但是對(duì)她而言是彌足珍貴的。23.Theitemsmentionedinlines52-55hadmeaningforthemotherbecausethey原因推理(A)introducedhertoaworldrichinculture(B)suppliedherwithfamiliarassociations(C)werethefewremainingkeepsakesfromherlifeinChina(D)helpedconnectthenarratorandhermother(E)providedrelieffromthemonotonyofherworkroutine分析；物品對(duì)母親有意義是因?yàn)檫@些母親非常熟悉的東西。24.Whichofthefollowingbestcharacterizesthenarrator'sdevelopmentoverthecourseofthepassage?結(jié)構(gòu)題(A)Shegrowsapartfromtheculturaltraditionofherparents.(B)Sheovercomestheguiltshefeltabouthernewfoundhappiness.(C)ShebeginstoviewtheinhabitantsofIrvinefromhermother'sperspective.(D)Shebecomeslessandlessinterestedinhermother'sstories.(E)Shecommunicateslessandlesswithherparents.分析：全文宏觀來(lái)看，答案選A。Section61.題干中beconsideredto提示此題為同義重復(fù)關(guān)系。故空格處應(yīng)填discovery的同方向詞匯。答案D（accomplishments）正確。2.題干中無(wú)明顯邏輯反義詞，此題應(yīng)為同義重復(fù)題目。一二空所填詞匯方向相同。分析選項(xiàng)得出，答案B正確。3.題干中because提示本題為同義重復(fù)中因果關(guān)系?？崭裉帒?yīng)填“involvedintellectualstimulation”同方向的詞匯。故答案B（cerebral）正確。4.題干中無(wú)明顯邏輯反義詞，此題應(yīng)為同義重復(fù)題目。一二空所填詞匯方向相同。分析選項(xiàng)得出，答案C正確。5.題干中冒號(hào)提示本題邏輯關(guān)系為同義重復(fù)，故一二空方向相同。同時(shí)二空又about后面的peculiar同方向，經(jīng)過(guò)比較后，答案E正確。6.題干中such說(shuō)明本題邏輯關(guān)系為同義重復(fù)?？崭裉帒?yīng)與generosity同方向。故答案B（magnanimous）正確。7.題干中冒號(hào)提示本題邏輯關(guān)系為同義重復(fù)，故二空應(yīng)與冒號(hào)后面整句話同向重復(fù)。一空前因?yàn)橛衞nly形容，故一空詞匯與二空詞匯方向相反。答案C正確。8.題干中冒號(hào)提示本題邏輯關(guān)系為同義重復(fù)?？崭裉帒?yīng)該填寫與“sensitivitytodelicate”同向重復(fù)詞匯。答案C（nuance）正確。Questions9-10arebasedonthefollowingpassage.Acenturyago,opponentsofwomen'ssuffrageintheUnitedStatesscoffedatthenotionthatextendingthevotetowomenwouldmakeanydifference."Womenwillvotewiththeirhusbands"wasthecommonlyacceptedwisdom.Thiswasanargumentmadeintheabsenceofevidence,aswomendidnotyethavethevote.Eversincewomenwonthevote,researchershavebeenkeepingclosetrackoffemalevotingbehavior.A"gendergap"invotingbehaviorhasbeenfoundintheUnitedStatesasinmanyothercountries.IntheUnitedStates,the1994and1996electionsshowedthelargestgapseverbetweencandidatesfavoredbywomenandthosefavoredbymen.9.Theprimarypurposeofthepassageisto主旨題(A)describetheevolutionofagendergapintheUnitedStates(B)presentaconcisehistory,ofthewomen'ssuffragemovement(C)showtheinaccuracyofapredictionaboutwomen'ssuffrage(D)discusstheresistancewomenfacedinacquiringthevote(E)explainthedifferencesinvotingbehaviorbetweenmenandwomen分析：文章第三句表達(dá)出觀點(diǎn)，以前對(duì)女性投票權(quán)的說(shuō)法是錯(cuò)的。因?yàn)楫?dāng)時(shí)沒(méi)有投票權(quán)。后文擺出例子，表明女性投票權(quán)擁有后的區(qū)別性。10.Asthepassagepresentsit,the"commonlyacceptedwisdom"(line4)assumedthat假說(shuō)題(A)womenwouldhavethesameviewsasmenonmostsubjects(B)women'svoteswouldbecancelledoutbymen'svotes(C)manywomenwouldchoosenottovoteinelections(D)manyhusbandswoulddiscouragetheirwivesfromvoting(E)marriedwomenwouldnotvoteindependentlyoftheirhusbands分析：原文結(jié)論句，選項(xiàng)為前提。Questions11-12arebasedonthefollowingpassage.Forpeoplewithsynesthesia,aconditioninwhichthesensesgetmixedup,thenumberfivemaybered.Oneexplanationforthissensorycrossoveristhatsynesthetes,peoplewithsynesthesia,aresimplyexperiencingchildhoodmemoriesandassociations.Maybethepersonplayedwithrefrigeratormagnetsasachildandthenumberfivewasred.Anotherexplanationisthatsynesthetesareexperiencingtheresultofsomekindofcrosswiringbetweenregionsofthebrain.Infact,wehavenowidentifiedwhereinthebrainsuchcrosswiringmightoccur.Wehavealsodeterminedthatsynesthesiacanoccurifthewiringisfinebutthebalanceofchemicalsthatcontrolbrainactivityisskewed.11.Theprimarypurposeofthepassageisto主旨題(A)explorepossibleexplanationsforaphenomenon(B)comparetwosomewhatrelatedphenomena(C)presentatheoryforaphenomenonandthencritiquethattheory(D)tracetheevolutionofanintriguingphenomenon(E)discussanexperimentthatillustratesanuncommonphenomenon分析：首句引入話題一種現(xiàn)象，下文分為兩個(gè)層次分別討論此種現(xiàn)象的可能原因。12.Inline12,"fine"mostnearlymeans詞匯題(A)pure(B)keen(C)thin(D)sensitive(E)satisfactory：(ofevidenceoraverdict)sufficientfortheneedsofthecaseFine：Questions13-24arebasedonthefollowingpassage.Thefollowingpassageisfroma1992publicationinwhichtheauthor,aphysicist,discusses"reality"andthemodelsthathumanbeingsusetounderstandtheuniverse.Perhapsyou'veseenthepainting:apipe,depictedwithphotographicrealism,floatsabovealineofcarefulscriptthatreads"Cecin’estpasunepipe"—"Thisisnotapipe."RendMagrittepaintedTheTreacheryofImagesinthe1920s,andpeoplehavebeentalkingeversinceaboutwhatitmeans.DidMagritteintendtoremindusthatarepresentationisnottheobjectitdepicts—thathispaintingis"only"apaintingandnotapipe?Suchaninterpretationiswidelytaughttocollegestudents,butifitistrue.Magrittewenttoanawfullotoftrouble—carefullyselectingadress-finishpipeofparticularlyelegantdesign,makingdozensofsketchesofit.takingitaparttofamiliarizehimselfwithitsanatomy,thenpaintingitsportraitwithgreatcareandskill—justtotellussomethingwealreadyknew.Inanothercanvas,TheTwoMysteries,Magritteisevenmoreinsistent:theoriginalpipepainting,completewithcaption,isdepictedassittingonaneaselthatrestsonaplankfloor,butabovethatpainting,totheleft,hoversasecondpipe,larger(orcloser)thanthepaintedcanvasanditsframe.Whatwehavehereisapaintingofaparadox.Obviouslythesmallerpipeisapaintingandnotapipe.Butwhatisthesecondpipe,theonethatloomsoutsidetherepresentedcanvas?Andifthattooisbutapainting,thenwheredoesthepaintingend?13.Inlines7-16("Did...knew"),theauthorimpliesthatcollegeteachersportrayMagritte'sintentionsinawaythat(A)valuesemotionalismoverrationalargument(B)emphasizescreativityandexecutionofform(C)ismorescientificthanartistic(D)isjudgmentalanddismissive(E)issimplisticanddebatable分析；M的畫幅是想提醒人們一個(gè)已經(jīng)知道的事情。14.TheauthordescribesMagritte'sactivitiesbeforehepaintedthepipe(lines11-15)mostlikelyinorderto目的題(A)contrasttheseactivitieswithMagritte'stechniqueinotherpaintings(B)defendMagritte'sworkagainstclaimsthathispaintingsaretooabstract(C)suggestthatMagrittewantedtodemonstratesomethingmorethantheobvious(D)illustratetheuniversalappealofMagritte'swork(E)emphasizethecarefreenatureofMagritte'sartistry分析：定位句之間，M表示這幅畫是想告訴人們一個(gè)表面看起來(lái)的事情并非如此。Itseemstomethattherootsoftheparadoxresideintheconceptoftheframe.Whenwelookatarealisticpainting—aportraitofahistoricalfigure—weacceptbyconventionthattheportraitrepresentsarealpersonandactualobjects.Whenthatconventionisdenied,asinMagritte’spipepaintings,thepointisnottoremindusthatpaintingsarenotreal.Thatmuchistruebuttrivial.Thepointistochallengethebeliefthateverythingoutsidetheframeisreal.15.The"paradox"mentionedinlines21and26refersto指代題(A)anabstractpainter'sconvincingdepictionofascientificphenomenon(B)anartist'suseofphotographytochallengetheconceptofreality(C)Magritte'suseofsciencetoconveyartisticcreativity(D)Magritte'scarefulrepresentationofanobscureobject(E)Magritte'ssimultaneousportrayalofarealandacreatedworldwithinapainting分析：定位句字面意思可選擇E.16.Thesentence"Thatmuchistruebuttrivial"(line32)specificallyreferstowhichidea?指代題(A)Manymodernpaintingsdenyconvention.(B)Paintingsareopentomultipleinterpretations.(C)Realisticpaintingsportrayactualobjects.(D)Apaintingofanobjectisnottheobjectitself.(E)Anartistcannotpossiblyrepresentanobjectexactly.分析：定位句后文表達(dá)Thepointistochallengethebeliefthateverythingoutsidetheframeisreal.畫幅的目的是想表明，在理念框架以外的理念也會(huì)是真實(shí)的。TheenemyofartistslikeMagritteisnaiverealism—thedoggedassumptionthatthehumansensoryapparatusaccuratelyrecordstheoneandonlyrealworld,ofwhichthehumanbraincanmakebutoneaccuratemodel.Thetruth,ofcourse,isthatnobodycangrasprealitywhole,thateachperson'suniverseistosomeextentunique,andthatthiscircumstancemakesitimpossibleforustoprovethatthereisbutonetruereality.Ifmodernartistshavelaboredtocallattentiontothefactthatourunderstandingofrealityislimitedandvariegated,sotoohavemodernscientists.Manypeoplearesurprisedtohearthis.Theythinkofscienceasacollectionofhardfactsminedfrombedrockreality,throughaprocessasuncreativeascoincollecting.Thescientists,however,havecometoknowbetter.Astronomersunderstandthateachactofobservation—photographingagalaxy,takinganultravioletspectrumofanexplodingstar—extractsbutasmallpieceofthewhole,andthatamontageofmanysuchimagesisstillonlyarepresentation,apaintingifyouwill.Thequantumphysicistsgofurther:theyappreciatethattheanswerstheyobtainthroughexperimentdependsignificantlyonthequestionstheyask,sothatanelectron,askedifitisaparticleorawave,willanswer"Yes"tobothquestions.Neuroscientistshavelearnedthatthebrainisnomonolith,either.Eachofusharborsmanyintelligences,andinsofarasmyvariousmindstakevaryingviewsofreality—interms,say,ofspatialrelationshipsversuslanguage,orofsentimentalversusrationaleducation—IcannomorelegitimatelyimposeasinglemodelonmyselfthanIcanex