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1、2022年 全 国 考 研 英 语(一)真 题 及 答 案 Section I Use of EnglishDirections:Translate the following text into Chinese.Write your translation on the ANSWERSHEET.(15 points)The idea that plants have some degree of consciousness first took root in theearly 2000s;the term“plant neurobiology was _1_ around the noti
2、on that someaspects of plant behavior could be _2_ to intelligence in animals._3_ plants lackbrains,the firing of electrical signals in their stems and leaves nonetheless triggeredresponses that _4_ consciousness,researchers previously reported.But such an idea is untrue,according to a new opinion a
3、rticle.Plant biology iscomplex and fascinating,but it _5_ so greatly from that of animals that so-called _6_of intelligence is inconclusive,the authors wrote.Beginning in 2006,some scientists have _7_ that plants possess neuron-like cellsthat interact with hormones and neurotransmitters,_8_ a plant
4、nervous system,_9_to that in animals,said lead study author Lincoln Taiz,They _10_ claimed thatplants brain-like command centers9 at their root tips.”This _11_ makes sense if you simplify the workings of a complex brain,12 it to an array of electrical pulses;cells in plants also communicate throughe
5、lectrical signals._13_,the signaling in a plant is only _14_ similar to the firing in acomplex animal brain,which is more than“a mass of cells that communicate byelectricity,Taiz said.“For consciousness to evolve,a brain with a threshold _15_ of complexity andcapacity is required,he _16_79 Since pla
6、nts dont have nervous systems,the _17_that they 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 _19_ a threat and can feel painwould be a very _20_ evolutionary strategy,according to the a
7、rticle.1.A coined B discovered C collected D issued2.A attributed B directed C compared D confined3.A Unless B When C Once D Though4.A coped with B consisted of C hinted at D extended to5.A suffers B benefits C develops D differs6.A acceptance B evidence C cultivation D creation7.A doubted B denied
8、C argued D requested8.A adapting B forming C repairing D testing9.A analogous B essential C suitable D sensitive10.A just Bever C still Deven11.A restriction B experiment C perspective D demand12.A attaching B reducing C returning D exposing13.A However B Moreover C Therefore D Otherwise14.A tempora
9、rily B literally C superficially D imaginarily15.A list16.A recalled17.A chances18.A danger19.A represents20.A humbleB levelB agreedB risksB failureB includesB poorC labelC questionedC excusesC warningC revealsC practicalD loadDaddedD assumptionsD controlD recognizesD easySection II Reading Comprehe
10、nsionPart ADirections:Read the following four texts.Answer the questions after each text by choosing A,B,C or D.Mark your 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
11、to the Mariana Trench,becauseplastics are everywhere and dont break down easily.But some plastic materialchange over time.They crack and frizzle.They“weep”out additives.They melt intosludge.All of which creates huge headaches for institutions,such as museums,tryingto preserve culturally important ob
12、jects.The variety of plastic objects at risk isdizzying:early radios,avant-garde sculptures,celluloid animation stills from Disneyfilms,the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic artdidnt always know how to mix ingredients properly,says Th
13、ea van Oosten,apolymer chemist who,until retiring a few years ago,worked fbr decades at theCultural Heritage Agency of the Netherlands.uIfs like baking a cake:If you donthave exact amounts,it goes wrong,“she says.The object you make is already a timebomb.”And sometimes,its not the artists fault.In t
14、he 1960s,the Italian artist PieroGilardi began to create hundreds of bright,colorful foam pieces.Those piecesincluded small beds of roses and other items as well as a few dozen naturecarpets”large rectangles decorated with fbam pumpkins,cabbages,andwatermelons.He wanted viewers to walk around on the
15、 carpets which meant theyhad to be durable.Unfortunately,the polyurethane foam he used is inherently unstable.It?sespecially vulnerable to light damage,and by the mid-1990s,Gilardis pumpkins,roses,and other figures were splitting and crumbling.Museums locked some of themaway in the dark.So van Ooste
16、n and her colleagues worked to preserve Gilardis sculptures.Theyinfused some with stabilizing and consolidating chemicals.Van Oosten calls thosechemicals sunscreens“because their goal was to prevent further light damage andrebuild worn polymer fibers.She is proud that several sculptures have even go
17、ne ondisplay again,albeit sometimes beneath protective cases.Despite success stories like van Oostens,preservation of plastics will likely getharder.Old objects continue to deteriorate.Worse,biodegradable plastics,designed todisintegrate,are increasingly common.And more is at stake here than individ
18、ual objects.Joana Lia Ferreira,an assistantprofessor of conservation and restoration at the NOVA School of Science andTechnology,notes that archaeologists first defined the great material ages of humanhistoryStone Age,Iron Age,and so on一 after examining artifacts in museums.Wenow live in an age of p
19、lastic,she says,“and what we decide to collect today,what wedecide to preserve.will have a strong 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 itemsB obtaining durable plastic artifactsC handling outdated pla
20、stic exhibitsD classifying their plastic collections22.Van Oosten believes that certain plastic objects a r e.A immune to decayB improperly shapedC inherently flawedD complex in structure23.Museums stopped exhibiting some of Gilardis artworks t o.A keep them from hurting visitorsB duplicate them for
21、 future displayC have their ingredients analyzedD prevent them from further damage24.The author thinks that preservation of plastics i s.A costlyB unworthyC unpopularD challenging25.In Ferreira,s opinion,preservation of plastic a r t i f a c t s.A will inspire future scientific researchB has profoun
22、d historical significanceC will help us separate the material agesD has an impact on todays cultural lifeSection II Reading ComprehensionText 2As the latest crop of students pen their undergraduate application form and weighup their options,it may be worth considering just how the point,purpose and
23、value ofa degree has changed and what Generation Z need to consider as they start the thirdstage of their educational journey.Millennials were told that if you did well in school,got a decent degree,youwould be set up for life.But that promise has been found wanting.As degrees becameuniversal,they b
24、ecame devalued.Education was no longer a secure route of socialmobility.Today,28 per cent of graduates in the UK are in non-graduate roles,apercentage which is double the average among OECD countries.This is not to say that there is no point in getting a degree,but rather stress that adegree is not
25、for everyone,that the switch from classroom to lecture hall is not aninevitable one and that other options are available.Thankfiilly,there are signs that this is already happening,with Generation Zseeking to learn from their millennial predecessors,even if parents and teachers tendto be still set in
26、 the degree mindset.Employers have long seen the advantages ofhiring school leavers who often prove themselves to be more committed and loyalemployees than graduates.Many too are seeing the advantages of scrapping a degreerequirement for certain roles.For those for whom a degree is the desired route
27、,consider that this may well bethe first of many.In this age of generalists,it pays to have specific knowledge orskills.Postgraduates now earn 40 per cent more than graduates.When more and moreof us have a degree,it makes sense to have two.It is unlikely that Generation Z will be done with education
28、 at 18 or 21;they willneed to be constantly up-skilling throughout their career to stay employable.It hasbeen estimated that this generation,due to the pressures of technology,the wish forpersonal fulfilment and desire fbr diversity,will work for 17 different employers overthe course of their workin
29、g life and have five different careers.Education,and not justknowledge gained on campus,will be a core part of Generation Zs career trajectory.Older generations often talk about their degree in the present and personal tense:I am a geographer or I am a classisf.Their sons or daughters would never sa
30、y sucha thing;its as if they already know that their degree wont define them in the sameway.26.The author suggests that Generation Z s h o u l d.A be careful in choosing a collegeB be diligent at each educational stageC reassess the necessity of college educationD postpone their undergraduate applic
31、ation27.The percentage of UK graduates in non-graduate roles r e f l e c t.A Millennials opinions about workB the shrinking value of a degreeC public discontent with educationD the desired route of social mobility28.The author considers it a good sign t h a t.A Generation Z are seeking to earn a dec
32、ent degreeB school leavers are willing to be skilled workersC employers are taking a realistic attitude to degreesD parents are changing their minds about education29.It is advised in Paragraph 5 that those with one degree s h o u l d.A make an early decision on their careerB attend on the job train
33、ing programsC team up 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.B They will make qualified educators.C Degrees will no longer appeal them.D They will have a limi
34、ted choice of jobs.Text 3Enlightening,challenging,stimulating,fiin.These were some of the words thatNature readers used to describe their experience of art-science collaborations in aseries of articles on partnerships between artists and researchers.Nearly 40%of theroughly 350 people who responded t
35、o an accompanying poll said they hadcollaborated with artists;and almost all said they would consider doing so in future.Such an encouraging result is not surprising.Scientists are increasingly seekingout visual artists to help them communicate their work to new audiences.Artists helpscientists reac
36、h a broader audience and make emotional connections that enhancelearning.One respondent said.One example of how artists and scientists have together rocked the senses camelast month when the Sydney Symphony Orchestra performed a reworked version ofAntonio Vivaldis The Four Seasons.They reimagined th
37、e 300-year-old score byinjecting the latest climate prediction data for each season-provided by MonashUniversitys Climate Change Communication Research Hub.The performance was acreative call to action ahead of Novembers United Nations Climate ChangeConference in Glasgow,UK.But a genuine partnership
38、must be a two-way street.Fewer artists than scientistsresponded to the Nature poll;however,several respondents noted that artists do notsimply assist scientists with their communication requirements.Nor should their workbe considered only as an object of study.The alliances are most valuable whensci
39、entists and artists have a shared stake in a project,are able to jointly design it andcan critique each others work.Such an approach can both prompt new research aswell as result in powerful art.More than half a century ago,the Massachusetts Institute of Technology openedits Center for Advanced Visu
40、al Studies(CAVS)to explore the role of technology inculture.The founders deliberately focused their projects around light一 hence the“visual studies”in the name.Light was a something that both artists and scientists hadan interest in,and therefore could form the basis of collaboration.As science andt
41、echnology progressed,and divided into more sub-disciplines,the centre wassimultaneously looking to a time when leading researchers 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
42、 to invest time,and embrace surprise andchallenge.The reach of art-science tie-ups need to go beyond the necessary purposeof research communication,and participants must not fall into the trap of stereotypingeach other.Artists and scientists alike are immersed in discovery and invention,andchallenge
43、 and critique are core to both,too.31.According to Paragraph 1,art-science collaborations h a v e.A caught the attention of criticsB received favorable responsesC promoted academic publishingD sparked heated public disputes32.The reworked version of The Four Seasons is mentioned to show t h a t.A ar
44、t can offer audiences easy access to scienceB science can help with the 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 r t n e r s h i p.A their role may
45、 be underestimatedB their reputation may be impairedC their creativity may be inhibitedD their work may be misguided34.What does the author say about CAVS?A It was headed alternately by artists and scientists.B It exemplified valuable art-science alliances.C Its projects aimed at advancing visual st
46、udies.D Its founders sought to raise the status of artists.35.In the last paragraph,the author holds that art-science c o l l a b o r a t i o n s.A are likely to go beyond public expectationsB will intensify interdisciplinary competitionC should do more than communicating scienceD are becoming more
47、popular than beforeText 4The personal grievance provisions of New Zealands Employment Relations Act2000(ERA)prevent an employer from firing an employee without good cause.Instead,dismissals must be justified.Employers must both show cause and act in aprocedurally fair way.Personal grievance procedur
48、es were designed to guard the jobs of ordinaryworkers from unjustified dismissals.The premise was that the common law ofcontract lacked sufficient safeguards for workers against arbitrary conduct bymanagement.Long gone are the days when a boss could simply give an employeecontractual notice.But thes
49、e provisions create difficulties for businesses when applied to highlypaid managers and executives.As countless boards and business owners will attest,constraining firms from firing poorly performing,high-earning managers is ahandbrake on boosting productivity and overall performance.The difference
50、betweenC-grade and A-grade managers may very well be the difference between businesssuccess or failure.Between preserving the jobs of ordinary workers or losing them.Yet mediocrity is no longer enough to justify a dismissal.Consequently一 and paradoxically一 laws introduced to protect the jobs ofordin