杭州師范大學(xué)2016年招收攻讀碩士研究生入學(xué)考試題綜合英語.doc

杭 州 師 范 大 學(xué) 碩 士 研 究 生 入 學(xué) 考 試 命 題 紙杭 州 師 范 大 學(xué) 2016 年招收攻讀碩士研究生入學(xué)考試題 考試科目代碼： 724 考試科目名稱： 綜合英語 說明：考生答題時一律寫在答題紙上，否則漏批責(zé)任自負(fù)。I. Cloze（每小題1分，共30分）Directions: Fill in the blanks with proper words (the first letter is given).Historians have only recently begun to note the increase in demand for luxury goods and services that took place in eighteenth-century England. McKendrick has explored the Wedgwood firms remarkable (1) s_ in marketing luxury pottery; Plumb has written about the proliferation of provincial theaters, musical festivals, and childrens toys and books. While the fact of this consumer revolution is hardly (2) i_ doubt, three key questions remain: who were the consumers? What were their motives? And (3) w_ were the effects of the new demand (4) f_ luxuries?An answer (5) t_ the first of these has (6) b_ difficult to obtain. Although it has been possible to (7) i_ from the goods and services actually produced what manufacturers and servicing trades thought their (8) c_ wanted, only a study of relevant personal documents written by actual consumers will provide a precise picture of who wanted what. We will need to know how large this consumer market was and (9) h_ far down the social scale the consumer for (10) l_ goods penetrated. With (11) r_ to this last question, we might note in passing that Thompson, while rightly restoring laboring people (12) t_ the stage of eighteenth-century English history, has probably exaggerated the opposition of these people to the inroads of capitalist consumerism (13) i_ general: for example, laboring people in eighteenth-century England readily shifted (14) f_ home-brewed beer to standardized beer produced by huge, heavily capitalized urban breweries.To answer the question of (15) w_ consumers became so eager to buy, some historians have pointed to the ability of manufacturers to advertise in a relatively uncensored press. This, however, hardly seems a sufficient (16) a_. McKendrick favors a Veblen model of conspicuous consumption stimulated by (17) c_ for status. The middling sort bought (18) g_ and services because they wanted to (19) f_ fashions (20) s_ by the rich. Again, we may (21) w_ whether this explanation is sufficient. Do not people enjoy (22) b_ things as a form of self-gratification? If so, consumerism could be (23) s_ as a product of the (24) r_ of new concept of individualism and materialism, but not necessarily of the frenzy for conspicuous competition. Finally, what were the consequences of this consumer demand for luxuries? McKendrick claims that it goes a long (25) w_ toward explaining the coming of the (26) I_ Revolution. But does it? What, for example, does the production of high-quality pottery and toys have to do (27) w_ the development of iron manufacture and textile mills? It is perfectly possible to have the psychology and reality of a (28) c_ society without a heavy industrial sector.That future exploration of these key (29) q_ is undoubtedly necessary should not, however, diminish the force of the conclusion of recent studies: the insatiable (30) d_ in eighteenth-century England for frivolous as well as useful goods and services foreshadows our own world.II. Reading Comprehension (每小題2分，共60分)Directions: There are 6 passages in this section. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A), B), C), and D). You should decide on the best choice and write the corresponding letter on the answer sheet.Questions 1 to 5 are based on the following passage:Stratford-on-Avon, as we all know, has only one industry-William Shakespeare-but there are two distinctly separate and increasingly hostile branches. There is the Royal Shakespeare Company (RSC), which presents superb productions of the plays at the Shakespeare Memorial Theatre on the Avon. And there are the townsfolk who largely live off the tourists who come, not to see the plays, but to look at Anne Hathaways Cottage, Shakespeares birthplace and the other sights. The worthy residents of Stratford doubt that the theatre adds a penny to their revenue. They frankly dislike the RSCs actors, them with their long hair and beards and sandals and noisiness. Its all deliciously ironic when you consider that Shakespeare, who earns their living, was himself an actor (with a beard) and did his share of noise-making. The tourist streams are not entirely separate. The sightseers who come by bus-and often take in WarwickCastle and BlenheimPalace on the side-dont usually see the plays, and some of them are even surprised to find a theatre in Stratford. However, the playgoers do manage a little sight-seeing along with their playgoing. It is the playgoers, the RSC contends, who bring in much of the towns revenue because they spend the night (some of them four or five nights) pouring cash into the hotels and restaurants. The sightseers can take in everything and get out of town by nightfall. The townsfolk dont see it this way and local council does not contribute directly to the subsidy of the Royal Shakespeare Company. Stratford cries poor traditionally. Nevertheless every hotel in town seems to be adding a new wing or cocktail lounge. Hilton is building its own hotel there, which you may be sure will be decorated with Hamlet Hamburger Bars, the Lear Lounge, the Banquo Banqueting Room, and so forth, and will be very expensive.Anyway, the townsfolk cant understand why the Royal Shakespeare Company needs a subsidy. (The theatre has broken attendance records for three years in a row. Last year its 1,431 seats were 94 per cent occupied all year long and this year theyll do better.) The reason, of course, is that costs have rocketed and ticket prices have stayed low. It would be a shame to raise prices too much because it would drive away the young people who are Stratfords most attractive clientele. They come entirely for the plays, not the sights. They all seem to look alike (though they come from all over)-lean, pointed, dedicated faces, wearing jeans and sandals, eating their buns and bedding down for the night on the flagstones outside the theatre to buy the 20 seats and 80 standing-room tickets held for the sleepers and sold to them when the box office opens at 10:30 a.m. 1. From the first two paragraphs, we learn that _.A the townsfolk deny the RSCs contribution to the towns revenue B the actors of the RSC imitate Shakespeare on and off stage C the two branches of the RSC are not on good terms D the townsfolk earn little from tourism2. It can be inferred from Para. 3 that _.A the sightseers cannot visit the Castle and the Palace separately B the playgoers spend more money than the sightseers C the sightseers do more shopping than the playgoers D the playgoers go to no other places in town than the theater 學(xué)院專業(yè)年級班姓名學(xué)號裝訂線3. By saying Stratford cries poor traditionally (Line 2-3, Para. 4), the author implies that _.A Stratford cannot afford the expansion projects B Stratford has long been in financial difficulties C the town is not really short of money D the townsfolk used to be poorly paid4. According to the townsfolk, the RSC deserves no subsidy because _.A ticket prices can be raised to cover the spending B the company is financially ill-managed C the behavior of the actors is not socially acceptable D the theatre attendance is on the rise 5. From the text we can conclude that the author _.A is supportive of both sides B favors the townsfolks view C takes a detached attitude D is sympathetic Questions 6 to 10 are based on the following passage:If you intend using humor in your talk to make people smile, you must know how to identify shared experiences and problems. Your humor must be relevant to the audience and should help to show them that you are one of them or that you understand their situation and are in sympathy with their point of view. Depending on whom you are addressing, the problems will be different. If you are talking to a group of managers, you may refer to the disorganized methods of their secretaries; alternatively if you are addressing secretaries, you may want to comment on their disorganized bosses.Here is an example, which I heard at a nurses convention, of a story which works well because the audience all shared the same view of doctors. A man arrives in heaven and is being shown around by St. Peter. He sees wonderful accommodations, beautiful gardens, sunny weather, and so on. Everyone is very peaceful, polite and friendly until, waiting in a line for lunch, the new arrival is suddenly pushed aside by a man in a white coat, who rushes to the head of the line, grabs his food and stomps over to a table by himself. Who is that? the new arrival asked St. Peter. Oh, thats God came the reply, but sometimes he thinks hes a doctor.If you are part of the group which you are addressing, you will be in a position to know the experiences and problems which are common to all of you and itll be appropriate for you to make a passing remark about the inedible canteen food or the chairmans notorious bad taste in ties. With other audiences you mustnt attempt to cut in with humor as they will resent an outsider making disparaging remarks about their canteen or their chairman. You will be on safer ground if you stick to scapegoats like the Post Office or the telephone system.If you feel awkward being humorous, you must practice so that it becomes more natural. Include a few casual and apparently off-the-cuff remarks which you can deliver in a relaxed and unforced manner. Often its the delivery which causes the audience to smile, so speak slowly and remember that a raised eyebrow or an unbelieving look may help to show that you are making a light-hearted remark.Look for the humor. It often comes from the unexpected. A twist on a familiar quote If at first you dont succeed, give up or a play on words or on a situation. Search for exaggeration and understatements. Look at your talk and pick out a few words or sentences which you can turn about and inject with humor. 6. To make your humor work, you should _.A take advantage of different kinds of audienceB make fun of the disorganized peopleC address different problems to different peopleD show sympathy for your listeners7. The joke about doctors implies that, in the eyes of nurses, they are _.A impolite to new arrivalsB very conscious of their godlike roleC entitled to some privilegesD very busy even during lunch hours8. It can be inferred from the text that public services _.A have benefited many peopleB are the focus of public attentionC are an inappropriate subject for humorD have often been the laughing stock9. To achieve the desired result, humorous stories should be delivered _.A in well-worded languageB as awkwardly as possible C in exaggerated statementsD as casually as possible10. The best title for the text may be _.A Use Humor EffectivelyB Various Kinds of HumorC Add Humor to SpeechD Different Humor Strategies.Questions 11 to 15 are based on the following passage:Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographers temperament, discovering itself through the cameras cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in taking a picture. Accordingly, the ideal of a photographer as observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, or essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.As important result of the co-existence of these two ideals is a recurrent ambivalence toward photographys means. Whatever the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgertons high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to be the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to have more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of fast seeing. Cartier-Bresson, in fact, claims that the modern camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past-when images had a handmade quality. This nostalgia for some pristine taste of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. 11. According to the passage, interest among photographers in each of photographys two ideals can be described as _.A rapidly changingB cyclically recurringC steadily growingD unimportant to the views of photograph12. The author is primarily concerned with _.A establishing new technical standards for contemporary photographyB analyzing the influence of photographic ideals on picture-takingC tracing the development of camera technology in the twentieth centuryD describing how photographers individual temperaments are reflected in their work13. The passage states all of the following about photographs EXCEPT that _.A they can display a cropped realityB they can convey informationC they can depict the photographers temperamentD they can change the viewers sensibilities14. The author mentions the work of Harold Edgerton in order to provide an example of _.A how a controlled ambivalence toward photographys means can produce outstanding picturesB how the content of photographs has changed from the nineteenth century to the twentieth centuryC the popularity of high-speed photography in the twentieth centuryD the relationship between photographic originality and technology15. The passage suggests that photographers such as Walker Evans prefer old-fashioned techniques and equipment because these photographers _.A admire instruments of fast seeingB need to feel armed by technologyC strive for intense formal beauty in their photographsD dislike the dependence of photographic effectiveness on the powers of a machineQuestions 16 to 20 are based on the following passage:Masterpieces are dumb. wrote Flaubert. They have a tranquil aspect like the very products of nature, like large animals and mountains. He might have been thinking of War and Peace, that vast, silent work, unfathomable and simple, provoking endless questions through the majesty of its being. Tolstoys simplicity is overpowering, says the critic Bayley, disconcerting, because it comes from his casual assumption that the world is as he sees it. Like other nineteenth century Russian writers he is impressive because he means what he says. But he stands apart from all other and from most Western writers in his identity with life, which is so complete as to make us forget he is an artist. He is the center of his work, but his egocentricity is of a special kind. Goethe, for example, says Bayley, cared nothing but himself. Tolstoy was nothing but himself.For all his varied modes of writing and the multiplicity in his fiction, Tolstoy and his work are of a piece. The famous conversion of his middle years, movingly recounted in his Confession, was a culmination of his early spiritual life, not a departure from it. The apparently fundamental changes that led from epic narrative to dogmatic parable, from a joyous, buoyant attitude toward life to pessimism and cynicism, from War and Peace to The Kreutzer Sonata, came from the same restless, impressionable depths of an independent spirit yearning to get at the truth of its experience. Truth is my hero, wrote Tolstoy in his youth, reporting the fighting in Sebastopol. Truth remained his hero-his own, not others truth. Others were awed by Napoleon, believed that a single ma