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1、2021年内蒙古大学英语考试真题卷（5）本卷共分为1大题50小题，作答时间为180分钟，总分100分，60分及格。一、单项选择题（共50题，每题2分。每题的备选项中，只有一个最符合题意） 1.My writing was to develop topics and themes from my Native American background. The experience in my village of Deetziyamah and Acoma Pueblo was readily accessible. My mother was a potter of the well-know
2、n Acoma clayware. My father carved figures from wood and did headwork. This was not unusual, as Native American people know; there was always some kind of artistic endeavor that people set themselves to, although they did not necessarily articulate it as Art in the sense of Western civilization. One
3、 lived and expressed an artful life, whether it was in ceremonial singing and dancing, architecture, painting, speaking or in the way ones social-cultural life was structured. I did so because this was my identity, the substance of who I was, and I wanted to write about what that meant. My desire wa
4、s to write about the integrity of a Native American identity. To a great extent my writing has a natural political-cultural bent simply because I was nurtured intellectually and emotionally with an atmosphere of Native American resistance. The Acoma Pueblo, despite losing much of their land and surr
5、ounded by a foreign civilization, have not lost sight of their native heritage. This is the factual case with most other Native American peoples, and the clear explanation for this has been the fight-back we have found necessary to wage. At times, in the past, it was outright-armed struggle; current
6、ly, it is often in the legal arena, and it is in the field of literature. In 1981, when I was invited to the White House for an event celebrating American poets and poetry, I did not immediately accept the invitation, I questioned myself about the possibility that I was merely being exploited as an
7、Indian, and I hedged against accepting. But then I recalled, the elders going among our people in the poor days of the 1950s, asking for donations-a dollar here and there, a sheep, perhaps a piece of pottery-in order to finance a trip to the nations capital, to demand justice, to reclaim lost land e
8、ven though there was only spare hope they would be successful. I went to the White House realizing that I was to do no less than they and those who had fought n the Pueblo Revolt of 1680, and I read my poems and sang songs that were later described as guttural by a newspaper. I suppose it is more or
9、 less understandable why such a view of Native American literature is held by many, and it is also clear why there should be a political stand taken in my writing and those of my sister and brother Native American writers. The 1960s and afterward have been a invigorating and liberating period for Na
10、tive American people. It has been only a little more than twenty years since Native American writers began to write and publish extensively, but we are writing and publishing more and more; we can only go forward. We come from an ageless, continuing oral tradition that informs us of our values, conc
11、epts, and notions as native people, and it is amazing how much of this tradition is ingrained so deeply in our contemporary writing, considering the brutal efforts of cultural repression that was not long ago outright U. S. policy. We were not to speak our languages, practice our spiritual beliefs,
12、or accept the values of our past generations; and we were discouraged from pressing for our natural rights as Native American human beings. In spite of the fact that there is to some extent the same repression today, we persist and insist on living, believing, hoping, loving, speaking and writing as
13、 Native Americans.The central idea conveyed in the passage is that _.Athe author remembers his childhood, especially his parents and the elders in his community, in a very positive wayBa desire to cling to traditional Native American values led the author to write about Native American issuesCart is
14、 an important part of Native American life and should be a part of everyones existenceDthe artful nature of Native American life compels the author to explore and worship that heritage 2.Before, whenever we had wealth, we started discussing poverty. Why not now Why is the current politics of wealth
15、and poverty seemingly about wealth alone Eight years ago, when Bill Clinton first ran. for president, the Dow Jones average was under 3,500, yearly federal budget deficits were projected at hundreds of billions of dollars forever and beyond, and no one talked about the permanent boom or the new econ
16、omy. Yet in that more straitened time, Clinton made much of the importance of not leaving a single person behind. It is possible that similar compassionate rhetoric might yet play a role in the general election. But it is striking how much less talk there is about the poor than there was eight years
17、 ago, when the country was economically uncertain, or in previous eras, when the country felt flush. Even last summer, when Clinton spent several days on a remarkable, Bobby Kennedy-like pilgrimage through impoverished areas from Indian reservations in South Dakota to ghetto neighborhoods in East St
18、. Louis, the administration decided to refer to the effort not as a poverty tour but as a new markets initiative. What is happening is partly a logical, policy-driven reaction. Poverty really is lower than it has been in decades, especially for minority groups. The most attractive solution to it-a g
19、rowing economy is being applied. The people who have been totally left out of this boom often have medical, mental or other problems for which no one has an immediate solution. The economy has sucked in anyone who has any preparation, any ability to cope with modern life, says Franklin D. Raines, th
20、e former director of the Office of Management and Budget who is now head of Fannie Mae. When he and other people who specialize in the issue talk about solutions, they talk analytically and long-term: education, development of work skills, shifts in the labor market, adjustments in welfare reform. B
21、ut I think there is another force that has made this a rich era with barely visible poor people. ft is the unusual social and imaginative separation between prosperous America and those still left out. Its simple invisibility, because of increasing geographic, occupational, and social barriers that
22、block one group from the others view.In the first paragraph of this passage, the word straitened probably means _.AdifficultBpastCwealthyDdistant 3.Questions 11 to 18 are based on the conversation you have just heard.AMarch 3rd.BMarch 29th.CMarch 12th.DMarch 30th. 4.Before, whenever we had wealth, w
23、e started discussing poverty. Why not now Why is the current politics of wealth and poverty seemingly about wealth alone Eight years ago, when Bill Clinton first ran. for president, the Dow Jones average was under 3,500, yearly federal budget deficits were projected at hundreds of billions of dollar
24、s forever and beyond, and no one talked about the permanent boom or the new economy. Yet in that more straitened time, Clinton made much of the importance of not leaving a single person behind. It is possible that similar compassionate rhetoric might yet play a role in the general election. But it i
25、s striking how much less talk there is about the poor than there was eight years ago, when the country was economically uncertain, or in previous eras, when the country felt flush. Even last summer, when Clinton spent several days on a remarkable, Bobby Kennedy-like pilgrimage through impoverished a
26、reas from Indian reservations in South Dakota to ghetto neighborhoods in East St. Louis, the administration decided to refer to the effort not as a poverty tour but as a new markets initiative. What is happening is partly a logical, policy-driven reaction. Poverty really is lower than it has been in
27、 decades, especially for minority groups. The most attractive solution to it-a growing economy is being applied. The people who have been totally left out of this boom often have medical, mental or other problems for which no one has an immediate solution. The economy has sucked in anyone who has an
28、y preparation, any ability to cope with modern life, says Franklin D. Raines, the former director of the Office of Management and Budget who is now head of Fannie Mae. When he and other people who specialize in the issue talk about solutions, they talk analytically and long-term: education, developm
29、ent of work skills, shifts in the labor market, adjustments in welfare reform. But I think there is another force that has made this a rich era with barely visible poor people. ft is the unusual social and imaginative separation between prosperous America and those still left out. Its simple invisib
30、ility, because of increasing geographic, occupational, and social barriers that block one group from the others view.The main idea of the passage is that _.Athe country is enjoying economic growthBthe poor are benefiting from todays good economyCin the past we were more aware of the poor than we are
31、 todayDin the past there were many more poor people than there are today 5.My writing was to develop topics and themes from my Native American background. The experience in my village of Deetziyamah and Acoma Pueblo was readily accessible. My mother was a potter of the well-known Acoma clayware. My
32、father carved figures from wood and did headwork. This was not unusual, as Native American people know; there was always some kind of artistic endeavor that people set themselves to, although they did not necessarily articulate it as Art in the sense of Western civilization. One lived and expressed
33、an artful life, whether it was in ceremonial singing and dancing, architecture, painting, speaking or in the way ones social-cultural life was structured. I did so because this was my identity, the substance of who I was, and I wanted to write about what that meant. My desire was to write about the
34、integrity of a Native American identity. To a great extent my writing has a natural political-cultural bent simply because I was nurtured intellectually and emotionally with an atmosphere of Native American resistance. The Acoma Pueblo, despite losing much of their land and surrounded by a foreign c
35、ivilization, have not lost sight of their native heritage. This is the factual case with most other Native American peoples, and the clear explanation for this has been the fight-back we have found necessary to wage. At times, in the past, it was outright-armed struggle; currently, it is often in th
36、e legal arena, and it is in the field of literature. In 1981, when I was invited to the White House for an event celebrating American poets and poetry, I did not immediately accept the invitation, I questioned myself about the possibility that I was merely being exploited as an Indian, and I hedged
37、against accepting. But then I recalled, the elders going among our people in the poor days of the 1950s, asking for donations-a dollar here and there, a sheep, perhaps a piece of pottery-in order to finance a trip to the nations capital, to demand justice, to reclaim lost land even though there was
38、only spare hope they would be successful. I went to the White House realizing that I was to do no less than they and those who had fought n the Pueblo Revolt of 1680, and I read my poems and sang songs that were later described as guttural by a newspaper. I suppose it is more or less understandable
39、why such a view of Native American literature is held by many, and it is also clear why there should be a political stand taken in my writing and those of my sister and brother Native American writers. The 1960s and afterward have been a invigorating and liberating period for Native American people.
40、 It has been only a little more than twenty years since Native American writers began to write and publish extensively, but we are writing and publishing more and more; we can only go forward. We come from an ageless, continuing oral tradition that informs us of our values, concepts, and notions as
41、native people, and it is amazing how much of this tradition is ingrained so deeply in our contemporary writing, considering the brutal efforts of cultural repression that was not long ago outright U. S. policy. We were not to speak our languages, practice our spiritual beliefs, or accept the values
42、of our past generations; and we were discouraged from pressing for our natural rights as Native American human beings. In spite of the fact that there is to some extent the same repression today, we persist and insist on living, believing, hoping, loving, speaking and writing as Native Americans.The
43、 author the quoted word guttural (Para. 2) to _.Acommunicate the newspapers lack of understanding and respect for the authors presentationBdescribe most accurately how the author felt about his White House reading of his poemsCemphasize the dramatic effect on the White House audience of the authors
44、reading of his poems and performance of traditional Pueblo songsDconvey the sound of the Acoma Pueblo language to readers who are unfamiliar with it 6.Questions 11 to 18 are based on the conversation you have just heard.AHe should sit in the smoking section.BHe should ask the stewardess for help.CHe
45、 should move to another part of the plane.DHe should extinguish his cigarette at once. 7.My writing was to develop topics and themes from my Native American background. The experience in my village of Deetziyamah and Acoma Pueblo was readily accessible. My mother was a potter of the well-known Acoma
46、 clayware. My father carved figures from wood and did headwork. This was not unusual, as Native American people know; there was always some kind of artistic endeavor that people set themselves to, although they did not necessarily articulate it as Art in the sense of Western civilization. One lived
47、and expressed an artful life, whether it was in ceremonial singing and dancing, architecture, painting, speaking or in the way ones social-cultural life was structured. I did so because this was my identity, the substance of who I was, and I wanted to write about what that meant. My desire was to wr
48、ite about the integrity of a Native American identity. To a great extent my writing has a natural political-cultural bent simply because I was nurtured intellectually and emotionally with an atmosphere of Native American resistance. The Acoma Pueblo, despite losing much of their land and surrounded by a foreign civilization, have not lost sight of their native heritage. This is the factual case with most other Native American peoples, and the clear explanation for this has been the fight-back we have found necessary to wage. At times, in the past, it was outright-armed stru