十年（2015-2024）高考真題英語分項(xiàng)匯編（全國）專題 15 閱讀理解議論文（學(xué)生卷）

專題15閱讀理解議論文2024年P(guān)assage1【2024新課標(biāo)Ⅰ卷】Iscomprehensionthesamewhetherapersonreadsatextonscreenoronpaper?Andarelisteningtoandviewingcontentaseffectiveasreadingthewrittenwordwhencoveringthesamematerial?Theanswerstobothquestionsareoften“no”.Thereasonsrelatetoavarietyoffactors,includingreducedconcentration,anentertainmentmindset(心態(tài))andatendencytomultitaskwhileconsumingdigitalcontent.Whenreadingtextsofseveralhundredwordsormore,learningisgenerallymoresuccessfulwhenit’sonpaperthanonscreen.Alargeamountofresearchconfirmsthisfinding.Thebenefitsofprintreadingparticularlyshinethroughwhenexperimentersmovefromposingsimpletasks—likeidentifyingthemainideainareadingpassage—toonesthatrequirementalabstraction—suchasdrawinginferencesfromatext.Thedifferencesbetweenprintanddigitalreadingresultsarepartlyrelatedtopaper’sphysicalproperties.Withpaper,thereisaliterallayingonofhands,alongwiththevisualgeographyofdistinctpages.Peopleoftenlinktheirmemoryofwhatthey’vereadtohowfarintothebookitwasorwhereitwasonthepage.Butequallyimportantisthementalaspect.Readingresearchershaveproposedatheorycalled“shallowinghypothesis(假說)”.Accordingtothistheory,peopleapproachdigitaltextswithamindsetsuitedtosocialmedia,whichareoftennotsoserious,anddevotelessmentaleffortthanwhentheyarereadingprint.Audio(音頻)andvideocanfeelmoreengagingthantext,andsouniversityteachersincreasinglyturntothesetechnologies—say,assigninganonlinetalkinsteadofanarticlebythesameperson.However,psychologistshavedemonstratedthatwhenadultsreadnewsstories,theyremembermoreofthecontentthaniftheylistentoorviewidenticalpieces.Digitaltexts,audioandvideoallhaveeducationalroles,especiallywhenprovidingresourcesnotavailableinprint.However,formaximizinglearningwherementalfocusandreflectionarecalledfor,educatorsshouldn’tassumeallmediaarethesame,evenwhentheycontainidenticalwords.28.Whatdoestheunderlinedphrase“shinethrough”inparagraph2mean?ASeemunlikelytolast. B.Seemhardtoexplain.C.Becomereadytouse. D.Becomeeasytonotice.29.Whatdoestheshallowinghypothesisassume?A.Readerstreatdigitaltextslightly. B.Digitaltextsaresimplertounderstand.C.Peopleselectdigitaltextsrandomly. D.Digitaltextsaresuitableforsocialmedia.30.Whyareaudioandvideoincreasinglyusedbyuniversityteachers?A.Theycanholdstudents'attention. B.Theyaremoreconvenienttoprepare.C.Theyhelpdevelopadvancedskills. D.Theyaremoreinformativethantext.31.Whatdoestheauthorimplyinthelastparagraph?A.Studentsshouldapplymultiplelearningtechniques.B.Teachersshouldproducetheirownteachingmaterial.C.Printtextscannotbeentirelyreplacedineducation.D.Educationoutsidetheclassroomcannotbeignored.Passage2【2024全國甲卷】“Ididn’tliketheending,”Isaidtomyfavoritecollegeprofessor.Itwasmyjunioryearofundergraduate,andIwasdoinganindependentstudyonVictorianliterature.IhadjustfinishedreadingTheMillontheFlossbyGeorgeEliot,andIwasheartbrokenwiththeending.Prof.Gracie,withallhispatience,askedmetothinkaboutitbeyondwhetherIlikeditornot.HesuggestedIthinkaboutthedifferencebetweenendingsthatIwantedforthecharactersandendingsthatwererightforthecharacters,endingsthatsatisfiedthestoryeveniftheydidn’thaveatraditionallypositiveoutcome.Ofcourse,IwouldhavepreferredadifferentendingforTomandMaggieTulliver,buttheendingtheygotdidmakethemostsenseforthem.Thiswasanahamomentforme,andIneverthoughtaboutendingsthesamewayagain.Fromthenon,ifIwantedtoreadanendingguaranteedtobehappy,I’dpickupaloveromance.IfIwantedanendingIcouldn’tguess,I’dpickupamystery(懸疑小說).OnewhereIkindofknewwhatwasgoingtohappen,historicalfiction.Choosingwhattoreadbecameeasier.Butwritingtheend—that’shard.It’shardforwritersbecauseendingscarrysomuchweightwithreaders.Youhavetobalancecreatinganendingthat'sunpredictable,butdoesn’tseemtocomefromnowhere,onethatfitswhat’srightforthecharacters.That’swhythisissue(期)ofWriter’sDigestaimstohelpyoufigureouthowtowritethebestendingforwhateverkindofwritingyou’redoing.Ifit’sshortstories,PeterMountfordbreaksdownsixtechniquesyoucantrytoseewhichonehelpsyoustickthelanding.ElizabethSimsanalyzesthefinalchaptersoffivegreatnovelstoseewhatkeypointstheyincludeandhowyoucanadaptthemforyourwork.Thisissuewon’ttellyouwhatyourendingshouldbe—that’suptoyouandthestoryyou’retelling—buitmightprovidewhatyouneedtogetthere.12.WhydidtheauthorgotoProf.Gracie?A.Todiscussanovel. B.Tosubmitabookreport.C.Toargueforawriter. D.Toaskforareadinglist.13.WhatdidtheauthorrealizeafterseeingGracie?A.Writingisamatterofpersonalpreferences.B.Readersareoftencarriedawaybycharacter.C.Eachtypeofliteraturehasitsuniqueend.D.Astorywhichbeginswellwillendwell.14.Whatisexpectedofagoodending?AItsatisfiesreaders’taste. B.Itfitswiththestorydevelopment.C.Itisusuallypositive. D.Itisopenforimagination.15.WhydoestheauthormentionPeterMountfordandElizabethSims?A.Togiveexamplesofgreatnovelists. B.Tostressthethemeofthisissue.C.Toencouragewritingforthemagazine. D.Torecommendtheirnewbooks.Passage3【2024北京卷】Thenotionthatweliveinsomeoneelse’svideogameisirresistibletomany.Searchingtheterm“simulationhypothesis”(模擬假說)returnsnumerousresultsthatdebatewhethertheuniverseisacomputersimulation——aconceptthatsomescientistsactuallytakeseriously.Unfortunately,thisisnotascientificquestion.Wewillprobablyneverknowwhetherit’strue.Wecan,instead,usethisideatoadvancescientificknowledge.The18th-centuryphilosopherKantarguedthattheuniverseultimatelyconsistsofthings-in-themselvesthatareunknowable.Whileheheldthenotionthatobjectiverealityexists,hesaidourmindplaysanecessaryroleinstructuringandshapingourperceptions.Modernscienceshaverevealedthatourperceptualexperienceoftheworldistheresultofmanystagesofprocessingbysensorysystemsandcognitive(認(rèn)知的)functionsinthebrain.Nooneknowsexactlywhathappenswithinthisblackbox.Ifempirical(實(shí)證的)experiencefailstorevealreality,reasoningwon’trevealrealityeithersinceitreliesonconceptsandwordsthatarecontingentonoursocial,culturalandpsychologicalhistories.Again,ablackbox.So,ifweacceptthattheuniverseisunknowable,wealsoacceptwewillneverknowifweliveinacomputersimulation.Andthen,wecanshiftourinquiryfrom“Istheuniverseacomputersimulation?”to“Canwemodeltheuniverseasacomputersimulation?”Modellingrealityiswhatwedo.Tofacilitateourcomprehensionoftheworld,webuildmodelsbasedonconceptualmetaphors(隱喻)thatarefamiliartous.InNewton’sera,weimaginedtheuniverseasaclock.InEinstein’s,weuncoveredthestandardmodelofparticle(粒子)physics.Nowthatweareintheinformationage,wehavenewconceptssuchasthecomputer,informationprocessing,virtualreality,andsimulation.Unsurprisingly,thesenewconceptsinspireustobuildnewmodelsoftheuniverse.Modelsarenotthereality,however.Thereisnopointinarguingiftheuniverseisaclock,asetofparticlesoranoutputofcomputation.Allthesemodelsaretoolstodealwiththeunknownandtomakediscoveries.Andthemoretoolswehave,themoreeffectiveandinsightfulwecanbecome.Itcanbeimaginedthatcomparabletotheprocessofbuildingpreviousscientificmodels,developingthe“computersimulation”metaphor-basedmodelwillalsobeahugelyrewardingexercise.28.Whatdoestheauthorintendtodobychallengingahypothesis?A.Makeanassumption. B.Illustrateanargument.C.Giveasuggestion. D.Justifyacomparison.29.Whatdoesthephrase“contingenton”underlinedinParagraph2probablymean?A.Acceptedby. B.Determinedby. C.Awakenedby. D.Discoveredby.30.AsforKant’sargument,theauthoris_________.A.appreciative B.doubtful C.unconcerned D.disapproving31.Itisimpliedinthispassagethatweshould_________.A.comparethecurrentmodelswiththepreviousonesB.continueexploringtheclassicalmodelsinhistoryC.stoparguingwhethertheuniverseisasimulationD.turnsimulationsoftheuniverseintorealitiesup.2023年閱讀理解議論文Passage1【2023年全國乙卷】Ifyouwanttotellthehistoryofthewholeworld,ahistorythatdoesnotprivilegeonepartofhumanity,youcannotdoitthroughtextsalone,becauseonlysomeoftheworldhaseverhadtexts,whilemostoftheworld,formostofthetime,hasnot.Writingisoneofhumanity’slaterachievements,anduntilfairlyrecentlyevenmanyliterate(有文字的)societiesrecordedtheirconcernsnotonlyinwritingbutinthings.Ideallyahistorywouldbringtogethertextsandobjects,andsomechaptersofthisbookareabletodojustthat,butinmanycaseswesimplycan’t.Theclearestexampleofthisbetweenliterateandnon-literatehistoryisperhapsthefirstconflict,atBotanyBay,betweenCaptainCook’svoyageandtheAustralianAboriginals.FromtheEnglishside,wehavescientificreportsandthecaptain’srecordofthatterribleday.FromtheAustralianside,wehaveonlyawoodenshield(盾)droppedbyamaninflightafterhisfirstexperienceofgunshot.Ifwewanttoreconstructwhatwasactuallygoingonthatday,theshieldmustbequestionedandinterpretedasdeeplyandstrictlyasthewrittenreports.Inadditiontotheproblemofmiscomprehensionfrombothsides,therearevictoriesaccidentallyordeliberatelytwisted,especiallywhenonlythevictorsknowhowtowrite.Thosewhoareonthelosingsideoftenhaveonlytheirthingstotelltheirstories.TheCaribbeanTaino,theAustralianAboriginals,theAfricanpeopleofBeninandtheIncas,allofwhomappearinthisbook,canspeaktousnowoftheirpastachievementsmostpowerfullythroughtheobjectstheymade:ahistorytoldthroughthingsgivesthembackavoice.Whenweconsidercontact(聯(lián)系)betweenliterateandnon-literatesocietiessuchasthese,allourfirst-handaccountsarenecessarilytwisted,onlyonehalfofadialogue.Ifwearetofindtheotherhalfofthatconversation,wehavetoreadnotjustthetexts,buttheobjects.12.Whatisthefirstparagraphmainlyabout?A.Howpasteventsshouldbepresented. B.Whathumanityisconcernedabout.C.Whetherfactsspeaklouderthanwords. D.Whywrittenlanguageisreliable.13.WhatdoestheauthorindicatebymentioningCaptainCookinparagraph2?A.Hisreportwasscientific. B.Herepresentedthelocalpeople.C.HeruledoverBotanyBay. D.Hisrecordwasone-sided.14.Whatdoestheunderlinedword“conversation”inparagraph3referto?A.Problem. B.History. C.Voice. D.Society.15.Whichofthefollowingbooksisthetextmostlikelyselectedfrom?A.HowMapsTellStoriesoftheWorld B.AShortHistoryofAustraliaC.AHistoryoftheWorldin100Objects D.HowArtWorksTellStories