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1、2022年研究生入学考试英语（一）试题及解析Section I Use 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“plant neurobiology was
2、 _ 1_ around the notion that some aspects of plantbehavior could be _ 2 to intelligence in animals.3 plants lack brains,the firing ofelectrical signals in their stems and leaves nonetheless triggered responses that4 _ consciousness,researchers previously reported.But such an idea is untrue,according
3、 to a new opinion article.Plant biology is complexand fascinating,but it _ 5 so greatly from that of animals that so-called _ 6 of plantsintelligence is inconclusive,the authors wrote.Beginning in 2006,some scientists have _ 7 that plants possess neuron-like cells thatinteract with hormones and neur
4、otransmitters,_ 8 “a plant nervous system,_ 9 _ to thatin animals,v said lead study author Lincoln Taiz,They _ 10_ claimed that plants have“brain-like command centers at their root tips.”This _ 11 _ makes sense if you simplify the workings of a complex brain,_ 12_ it toan array of electrical pulses;
5、cells in plants also communicate through electrical signals._ 13_,the signaling in a plant is only _ 14_ similar to the firing in a complex animal brain,which is more than“a mass of cells that communicate by electricity,Taiz said.“For consciousness to evolve,a brain with a threshold _ 15_ of complex
6、ity andcapacity is required,he 16.“Since plants dont have nervous systems,the _ 17 thatthey have consciousness are effectively zero.”And whats so great about consciousness,anyway?Plants cant run away from _ 18,so investing energy in a body system which _ 1 9 _ a threat and can feel pain would be ave
7、ry_ 20 evolutionary strategy,according to the article.1.AcoinedB discoveredCcollectedDissued2.A attributedB directedCcomparedDconfined3.AJunlessB whenCJonceD though4.Acoped withB consisted of(Chinted atD extended5.AsuffersB benefitsCdevelopsD differs6.fAacceptanceB evidencefCcultivationD creation7.A
8、doubtedB deniedC arguedD requested8.AJadaptingB formingCJrepairingDJ testing9.AanalogousB essentialCsuitableD sensitive1/2110.AJjustB everCJstillD even11.fArestrictionB experimentfCperspectiveD demand12.AattachingB reducingCreturningD exposing13.AlHoweverB MoreoverCThereforeD Otherwise14.Atemporaril
9、yB literallyCsuperficiallyD imaginarily15.AlistB levelClabelD local16.ArecalledB agreedCquestionedDadded17.AJchancesB risksCJexcusesD assumptions18.AdangerB failureCwarningD control19.AJrepresentsB includesCJreveals(DJrecognizes20.AhumbleB poorCpracticalD easySection II Reading ComprehensionPart ADi
10、rections:Read the following four texts.Answer the questions below each text by choosing A,B,Cor D.Mark your answers on the ANSWER SHEET.(40 points)TextlPeople often complain that plastics are too durable.Water bottles,shopping bags,andother trash litter the planet,from Mount Everest to the Mariana T
11、rench,because plastics areeverywhere and dont break down easily.But some plastic materials change over time.Theycrack and frizzle.They weep”out additives.They melt into sludge.All of which createshuge headaches for institutions,such as museums,trying to preserve culturally importantobjects.The varie
12、ty of plastic objects at risk is dizzying:early radios,avant-garde sculptures,celluloid animation stills from Disney films,and the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic art didntalways know how to mix ingredients properly,says Thea van Oo
13、sten,a polymer chemist who,until retiring a few years ago,worked for decades at the Cultural Heritage Agency of theNetherlands.Its like baking a cake:If you dont have exact amounts,it goes wrong,“shesays.The object you make is already a time bomb.”And sometimes,it*s not the artists fault.In the 1960
14、s,the Italian artist Piero Gilardibegan to create hundreds of bright,colorful foam pieces.Those pieces included small beds ofroses and other items as well as a few dozen“nature carpets-large rectangles decorated withfoam pumpkins,cabbages,and watermelons.He wanted viewers to walk around on thecarpet
15、s-which meant they had to be durable.Unfortunately,the polyurethane foam he used is inherently unstable.It*s especiallyvulnerable to light damage,and by the mid-1990s,Gilardis pumpkins,roses,and otherfigures were splitting and crumbling.Museums locked some of them away in the dark.2/21So van Oosten
16、and her colleagues worked to preserve Gilardis sculptures.They infusedsome with stabilizing and consolidating chemicals.Van Oosten calls those chemicals“sunscreens“because their goal was to prevent further light damage and rebuild wornpolymer fibers.She is proud that several sculptures have even gon
17、e on display again,albeitsometimes beneath protective cases.Despite success stories like van Oostens,preservation of plastics will likely get harder.Old objects continue to deteriorate.Worse,biodegradable plastics designed to disintegrate,are increasingly common.And more is at stake here than indivi
18、dual objects.Joana Lia Ferreira,an assistantprofessor of conservation and restoration 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
19、of plastic,she says,“and what we decide to collect today,what we decide to preserve.will have astrong impact on how in the future well be seen.”21.According to Paragraph 1,museums are faced with difficulties i n.A maintaining their plastic items.fB obtaining durable plastic artifacts.C handling outd
20、ated plastic exhibits.D classifying their plastic collections.22.Van Oosten believes that certain plastic objects areAJ immune to decay.B improperly shaped.CJ inherently flawed.D complex in structure.23.Museums stopped exhibiting some of Gilardis artworks t o.fA keep them from hurting visitors.B dup
21、licate them for future display.C have their ingredients analyzed.D prevent them from further damage.24.The author thinks that preservation of plastics is.A costly B unworthyC unpopular D challenging25.In Ferreiras opinion,preservation of plastic a r tif a c ts.A will inspire future scientific resear
22、ch.B has profound historical significance.C will help us separate the material ages.D has an impact on todays cultural life.3/21Text 2As the latest crop of students pen their undergraduate application form and weigh uptheir options,it may be worth considering just how the point,purpose and value of
23、a degreehas changed and what Generation Z need to consider as they start the third stage of theireducational journey.Millennials were told that if you did well in school,got a decent degree,you would beset up for life.But that promise has been found wanting.As degrees became universal,theybecame dev
24、alued.Education was no longer a secure route of social mobility.Today,28 percent of graduates in the UK are in non-graduate roles,a percentage which is double theaverage among OECD countries.This is not to say that there is no point in getting a degree,but rather stress that a degreeis not for every
25、one,that the switch from classroom to lecture hall is not an inevitable one andthat other options are available.Thankfully,there are signs that this is already happening,with Generation Z seeking tolearn from their millennial predecessors,even if parents and teachers tend to be still set in thedegre
26、e mindset.Employers have long seen the advantages of hiring school leavers who oftenprove themselves to be more committed and loyal employees than graduates.Many too areseeing the advantages of scrapping a degree requirement for certain roles.For those for whom a degree is the desired route,consider
27、 that this may well be the firstof many.In this age of generalists,it pays to have specific knowledge or skills.Postgraduatesnow earn 40 per cent more than graduates.When more and more of us have a degree,itmakes sense to have two.It is unlikely that Generation Z will be done with education at 18 or
28、 21;they will need tobe constantly up-skilling throughout their career to stay employable.It has been estimatedthat this generation,due to the pressures of technology,the wish for personal fulfillment anddesire for diversity,will work for 17 different employers over the course of their working lifea
29、nd have five different careers.Education,and not just knowledge gained on campus,will bea core part of Generation Z*s career trajectory.Older generations often talk about their degree in the present and personal tense:I am ageographer*or I am a ciassist.Their sons or daughters would never say such a
30、 thing;its as ifthey already know that their degree wont define them in the same way.26.the author suggests that Generation Z shouldA be careful in choosing a collegeB be diligent at each educational stagefC reassess the necessity of college educationD postpone their undergraduate application27.The
31、percentage of UK graduates in non-graduate roles reflect4/21A Millennials opinions about workB the shrinking value of a degreeCJ public discontentwith educationD the desired route of social mobility28.The author considers it a good sign thatA Generation Z are seeking to earn a decent degree.B School
32、 leavers are willing to be skilled workers.CJ Employers are taking a realistic attitude to degreesD Parents are changing their minds about education.29.It is advised in Paragraph 5 that those with one degree shouldA make an early decision on their careerBJ attend on the job training programsC team u
33、p with high-paid postgraduatesD further their studies in a specific field30.What can be concluded about Generation Z from the last two paragraphs?A Lifelong learning will define them.fBl They will make qualified educators.C Depress will no longer appeal them.D They will have a limited choice of jobs
34、.Text 3Enlightening,challenging,stimulating,fun.These were some of the words that Naturereaders used to describe their experience of art-science collaborations in a series of articles onpartnerships between artists and researchers.Nearly 40%of the roughly 350 people whoresponded to an accompanying p
35、oll said,they had collaborated with artists;and almost allsaid they would consider doing so in future.Such an encouraging results is not surprising.Scientists are increasingly seeking outvisual artists to help them communicate their work to new audiences.Artists help scientistsreach a broader audien
36、ce and make emotional connections that enhance leaming.Onerespondent said.One example of how artists and scientists have together rocked the scenes came lastmonth when the Sydney Symphony Orchestra performed a reworked version of AntonioVivaldis The Four Seasons.They reimagined the 300-year-old scor
37、e by injecting the latestclimate prediction data for each season-provided by Monash Universitys Climate ChangeCommunication Research Hub.The performance was a creative call to action ahead ofNovembers United Nations Climate Change Conference in Glasgow,UK.But a genuine partnership must be a two-way
38、street.Fewer artist than scientistsresponded to the Nature poll,however,several respondents noted that artists do not simply5/21assist scientists with their communication requirements.Nor should their work be consideredonly as an object of study.The alliances are most valuable when scientists and ar
39、tists have ashared stake in a project,are able to jointly design it and can critique each others work.Suchan approach can both prompt new research as well as result in powerful art.More than half a century ago,the Massachusetts Institute of Technology opened itsCenter for Advanced Visual Studies(CAV
40、S)to explore the role of technology in culture.Thefounders deliberately focused their projects around light-hence the“visual studies“in thename.Light was a something that both artists and scientists had an interest in,and thereforecould form the basis of collaboration.As science and technology progr
41、essed,and divided intomore sub-disciplines,the centre was simultaneously looking to a time when leadingresearchers could also be artists,writers and poets,and vice versa.Natures poll findings suggest that this trend is as strong as ever,but,to make acollaboration work,both sides need to invest time,
42、and embrace surprise and challenge.Thereach of art-science tie-ups needs to go beyond the necessary purpose of researchcommunication,and participants.Artists and scientists alike are immersed in discovery andinvention,and challenge and critique are core to both,too.31.According to paragraph 1,art-sc
43、ience collaborations h a v e.A caught the attention of criticsB received favorable responsesC promoted academic publishingID sparked heated public disputes32.The reworked version of TheFour Seasonis mentioned to show t ha t.AJ art can offer audiences easy access to sciencefB science can help with th
44、e expression of emotionsC public participation in science has a promising futureD art is effective in facilitating scientific innovations33.Some artists seem to worry about in the art-science p a rtn e rs h ip.A their role may be underestimatedB their reputation may be impairedC their creativity may
45、 be inhibitedD their work may be misguided34.What does the author say about CAVS?Al It was headed alternately by artists and scientistsB It exemplified valuable art-science alliancesfC Its projects aimed at advancing visual studiesD Its founders sought to raise the status of artists35.In the last pa
46、ragraph,the author holds that art-science c o lla b o ratio n s.6/21A are likely to go beyond public expectationsB will intensify interdisciplinary competitionCJ should do more than communicating scienceD are becoming more popular than beforeText 4The personal grievance provisions of New Zealands Em
47、ployment Relations Act 2000(ERA)prevent an employer from firing an employee without good cause.Instead,dismissalsmust be justified.Employers must both show cause and act in a procedurally fair way.Personal grievance were designed to guard the jobs of ordinary workers from“unjustified dismissals.The
48、premise was that the common law of contract lacked sufficientsafeguards for workers against arbitrary conduct by management.Long gone are the dayswhen a boss could simply give an employee contractual notice.But these provisions create difficulties for businesses when applied to highly paidmanagers a
49、nd executives.As countless boards and business owners will attest,constrainingfirms from firing poorly performing,high-earning managers is a handbrake on boostingproductivity and overall performance.The difference between C-grade and A-grade managersmay very well be the difference between business s
50、uccess or failure.Between preserving thejobs of ordinary workers or losing them.Yet mediocrity is no longer enough to justify adismissal.Consequently-and paradoxically-laws introduced to protect the jobs of ordinaryworkers may be placing those jobs at risk.If not placing jobs at risk,to the extent e