21篇模板講解詳細(xì)講義

1、1. 關(guān)鍵詞語模板分析Model 1 文學(xué)類題目序號(hào)題型歸類第1題中心主旨題型第2題審題定位與反推題型第3題全文歸納推導(dǎo)題型第4題寫作手法題型第5題例（舉）證題型Roger Rosenblatts book Black Fiction, in attempting to apply literary rather than sociopolitical criteria to its subject, successfully alters the approach taken by most previous studies. As Rosenblatt notes, criticism o

2、f Black writing has often served as a pretext for expounding on Black history. Addison Gayles recent work, for example, judges the value of Black fiction by overtly political standards, rating each work according to the notions of Black identity which it propounds.Although fiction assuredly springs

3、from political circumstances, its authors react to those circumstances in ways other than ideological, and talking about novels and stories primarily as instruments of ideology circumvents much of the fictional enterprise. Rosenblatts literary analysis discloses affinities and connections among work

4、s of Black fiction which solely political studies have overlooked or ignored.Writing acceptable criticism of Black fiction, however, presupposes giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the facial identity of the authors, to group t

5、ogether works by Black authors? Second, how does Black fiction make itself distinct from other modern fiction with which it is largely contemporaneous? Rosenblatt shows that Black fiction constitutes a distinct body of writing that has an identifiable, coherent literary tradition. Looking at novels

6、written by Black over the last eighty years, he discovers recurring concerns and designs independent of chronology. These structures are thematic, and they spring, not surprisingly, from the central fact that the Black characters in these novels exist in a predominantly white culture, whether they t

7、ry to conform to that culture or rebel against it.Black Fiction does leave some aesthetic questions open. Rosenblatts thematic analysis permits considerable objectivity; he even explicitly states that it is not his intention to judge the merit of the various works yet his reluctance seems misplaced,

8、 especially since an attempt to appraise might have led to interesting results. For instance, some of the novels appear to be structurally diffuse. Is this a defect, or are the authors working out of, or trying to forge, a different kind of aesthetic? In addition, the style of some Black novels, lik

9、e Jean Toomers Cane, verges on expressionism or surrealism; does this technique provide a counterpoint to the prevalent theme that portrays the fate against which Black heroes are pitted, a theme usually conveyed by more naturalistic modes of expression?In spite of such omissions, what Rosenblatt do

10、es include in his discussion makes for an astute and worthwhile study. Black Fiction surveys a wide variety of novels, bringing to our attention in the process some fascinating and little-known works like James Weldon Johnsons Autobiography of an Ex-Colored Man. Its argument is tightly constructed,

11、and its forthright, lucid style exemplifies levelheaded and penetrating criticism.1. The author of the text is primarily concerned with _.A evaluating the soundness of a work of criticism.B comparing various critical approaches to a subject.C discussing the limitations of a particular kind of critic

12、ism.D summarizing the major points made in a work of criticism.2. The author of the text believes that Black Fiction would have been improved had Rosenblatt _.A evaluated more carefully the ideological and historical aspects of Black fiction.B attempted to be more objective in his approach to novels

13、 and stories by Black authors.C explored in greater detail the recurrent thematic concerns of Black fiction throughout its history.D assessed the relative literary merit of the novels he analyzes thematically.3. The authors discussion of Black Fiction can be best described as _.A pedantic and conten

14、tious.B critical but admiring.C ironic and deprecating.D argumentative but unfocused.4. The author of the text employs all of the following in the discussion of Rosenblatts book EXCEPT: _.A rhetorical questions.B specific examples.C comparison and contrast.D definition of terms.5. The author of the

15、text refers to James Weldon Johnsons Autobiography of an Ex-Colored Man most probably in order to _.A point out affinities between Rosenblatts method of thematic analysis and earlier criticism.B clarify the point about expressionistic style made earlier in the passage.C qualify the assessment of Ros

16、enblatts book made in the first paragraph of the passage.D give a specific example of one of the accomplishments of Rosenblatts work.答案與考點(diǎn)解析1. 【答案】A【考點(diǎn)解析】這是一道中心主旨題。通過閱讀本文各段尤其是首段第一句和尾段第一句，我們可以推斷出本題的正確選項(xiàng)應(yīng)該是突出“evaluating”（評(píng)價(jià)）一詞的選項(xiàng)A?？忌诮忸}時(shí)一定要注意段落的中心主旨句，以及每句話所表達(dá)的內(nèi)含和作用。2. 【答案】D【考點(diǎn)解析】這是一道審題定位與反推題。從本題題干中的“w

17、ould have been improved”可推斷出考生要在原文中尋找到談?wù)撃骋环矫妗安蛔恪钡牡胤健Ｎ捕问拙涞摹皊uch omissions”（這樣的忽略）暗示本題的答案信息來源應(yīng)該在倒數(shù)第二段。通過仔細(xì)閱讀和理解倒數(shù)第二段，可將本題的答案信息來源確定在倒數(shù)第二段的第二句。根據(jù)倒數(shù)第二段第二句的內(nèi)容進(jìn)行反推，就可得出本題的正確選項(xiàng)是D?？忌诮忸}時(shí)一定要具備利用上下段之間的關(guān)系迅速審題定位的能力，更要具備反推即逆向思維的能力。3. 【答案】B【考點(diǎn)解析】這是一道歸納推導(dǎo)題。從本題的題干可以看出本題的答案信息來源不局限于某一段或某一句，而是涉及全文的從頭至尾。但是只要抓住全文的中心主旨句就可

18、以得出本題的正確答案B。本文的中心主旨句是第一段的首句和尾段的首句?？忌诮忸}時(shí)一定要抓住中心主旨句，并且對(duì)它們所表達(dá)的內(nèi)容要進(jìn)行分析和歸納。4. 【答案】D【考點(diǎn)解析】這是一道寫作手法題型。本題型旨在考察考生的語言基本功。這是一道較難的題目。本題A、B、C所涉及的內(nèi)容可分別在第三段的第二、三句、第四段的第三句以及第一段的第三句里找到。第一段的第三句涉及B和C兩個(gè)選項(xiàng)。選項(xiàng)D“definition of terms”（給詞語下定義）在原文中沒有涉及，故本選項(xiàng)是正確答案?？忌诮忸}時(shí)一定要注意英文中常見的寫作手段。5. 【答案】D【考點(diǎn)解析】這是一道例（舉）證題。通過題干中的“Weldon Jo

19、hnsons Autobiography of an Ex-Colored Man”可將本題的答案信息來源迅速確定在尾段的第二句，本句中的“l(fā)ike”（例如）一詞暗示本題的正確選項(xiàng)應(yīng)該是含有“specific example”的選項(xiàng)D?？忌诮忸}時(shí)一定要注意原文中某些關(guān)鍵詞的應(yīng)用和理解。參考譯文羅杰羅森布萊特的著作黑人小說，試圖運(yùn)用文學(xué)的而不是社會(huì)政治的標(biāo)準(zhǔn)來研究黑人小說，這成功地改變了大多數(shù)早先研究的方法。如羅森布萊特所注意到的，黑人著作的評(píng)論經(jīng)常被充當(dāng)為一種闡述黑人歷史的借口。例如，阿狄森蓋爾的最新著作，就用了公開的政治標(biāo)準(zhǔn)來判定黑人小說的價(jià)值，按照作品中所提出的黑人個(gè)體的各觀念對(duì)每個(gè)作品

20、進(jìn)行評(píng)價(jià)。雖然小說確實(shí)是源于政治環(huán)境，但作者反映這些環(huán)境的方法是非意識(shí)形態(tài)的，如把小說和故事的討論作為意識(shí)形態(tài)的工具，則會(huì)忽視了許多小說的成就。羅森布萊特對(duì)黑人文學(xué)的分析揭示了黑人小說著作間的密切關(guān)系和聯(lián)系，而純粹政治研究中忽視了這些聯(lián)系。然而寫出為人所接受的黑人小說評(píng)論的前提是要對(duì)許多問題做出令人滿意的回答。首先，除了這些作家的種族身份外，是否有充分的理由可將黑人作家的作品歸于一類？其次，黑人小說如何將自己和其他現(xiàn)代小說分開？它們大半屬于同一時(shí)代的作品。羅森布萊特的研究闡明了黑人小說已構(gòu)成了一個(gè)與眾不同的作品群體，它們具有可識(shí)別的、連貫的文學(xué)傳統(tǒng)。著眼于最近八十年黑人創(chuàng)作的小說，羅森布萊特揭

21、示了小說中與時(shí)代無關(guān)而反復(fù)出現(xiàn)的側(cè)重點(diǎn)和布局。這些結(jié)構(gòu)與主題相關(guān)，并不讓人感到驚奇的是，它們?cè)从谶@樣一個(gè)中心事實(shí)，即小說中的黑人生存在一個(gè)白人文化支配的環(huán)境中，不管他們?cè)噲D迎合這一文化還是反叛這一文化。黑人小說確實(shí)對(duì)一些美學(xué)的問題沒有給予回答，羅森布萊特的主題分析允許相當(dāng)?shù)目陀^性；他甚至直言，對(duì)各個(gè)作品的優(yōu)劣判定不是他工作的意圖然而他的猶豫看起來是不合時(shí)宜的，尤其是因?yàn)閲L試評(píng)定可能會(huì)導(dǎo)致一些有趣的結(jié)果。例如，一些小說所顯示的結(jié)構(gòu)散漫冗長(zhǎng)。這是否是一個(gè)缺陷，或者是作者這樣做是出于一種美學(xué)考慮，還是作者試圖創(chuàng)造一種不同類的美學(xué)？另外，象金圖莫的手杖那樣的黑人小說風(fēng)格，近于表現(xiàn)主義和超現(xiàn)實(shí)主義；難道

22、這個(gè)技巧只是用更自然主義的表現(xiàn)方式為表達(dá)流行的黑人英勇反抗命運(yùn)的主題提供一個(gè)對(duì)應(yīng)物嗎？盡管存在這些遺漏，羅森布萊特所做的包括他的討論，已包括了足以構(gòu)成精明而有價(jià)值的研究?jī)?nèi)容。黑人小說考察了廣泛的小說，在此過程中我們的注意力被吸引到一些引人入勝但鮮為人知的作品上，如詹姆士威爾頓約翰遜的一個(gè)曾是有色人的自傳。這本書的主題結(jié)構(gòu)緊密，直率、明晰的風(fēng)格例示了一種冷靜而敏銳的文學(xué)評(píng)論。Model 2 藝術(shù)類題目序號(hào)題型歸類第1題中心主旨題型第2題例（舉）證與細(xì)節(jié)理解題型第3題細(xì)節(jié)理解題型第4題審題定位題型第5題歸納推導(dǎo)題型Proponents of different jazz styles have a

23、lways argued that their predecessors musical style did not include essential characteristics that define jazz as jazz. Thus, 1940s swing was belittled by beboppers of the 1950s who were themselves attacked by free jazzes of the 1960s. The neoboppers of the 1980s and 1990s attacked almost everybody e

24、lse. The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Colt

25、rane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz.Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, India

26、n, and African melodies. On the other hand, this dogged student and prodigious technician who insisted on spending hours each day practicing scales from theory books was never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.Two

27、stylistic characteristics shaped the way Coltrane played the tenor saxophone: he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to “sheets of sound” where he raced faster and faster, pile-driving notes into each other to s

28、uggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop.Three recordings illustrate Coltranes energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, le

29、ngthy solos built largely around repeated motifs an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions. Here the sheets of sound, downbeat accents

30、, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltranes searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz m

31、usicians. Musically, the results were astounding. With the sopranos piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy.When Coltrane began recording for the Impulse! Label, he was still searching. His music became raucous, physical. His influence on rockers wa

32、s enormous, including Jimi Hendrix, the rock guitarist, who, following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form.1. The primary purpose of the text is toA discuss the place of Coltrane in the world of jazz and describe his musical explorations.B exami

33、ne the nature of bebop and contrast it with improvisational jazz.C analyze the musical sources of Coltranes style and their influence on his work.D acknowledge the influence of Coltranes music on rock music and rock musicians.2. Which of the following best describes the organization of the fourth pa

34、ragraph?A A thesis referred to earlier in the text is mentioned and illustrated with three specific examples.B A thesis is stated and three examples are given each suggesting that a correction needs to be made to a thesis referred to earlier in the text.C A thesis referred to earlier in the text is

35、mentioned, and three examples are presented and ranked in order of their support of the thesis.D A thesis is stated, three seemingly opposing examples are presented, and their underlying correspondence is explained.3. According to the text, John Coltrane did all of the following during his career EX

36、CEPTA improvise on melodies from a number of different cultures.B perform as leader as well as soloist.C spend time improving his technical skills.D eliminate the influence of bebop on his own music.4. According to the text a major difference between Coltrane and other jazz musicians was theA degree

37、 to which Coltranes music encompassed all of jazz.B repetition of motifs that Coltrane used in his solos.C number of his own compositions that Coltrane recorded.D indifference Coltrane maintained to musical technique.5. In terms of its tone and form, the text can best be characterized asA dogmatic e

38、xplanation.B indignant denial.C enthusiastic praise.D speculative study.答案與考點(diǎn)解析1. 【答案】A【考點(diǎn)解析】本題是一道中心主旨題。第一段的倒數(shù)第一、二句是全文的中心主旨句，全文就是根據(jù)這兩句話展開論述的。抓住這兩句話就可以找出本題的正確選項(xiàng)A?？忌诮忸}時(shí)，尤其是破解中心主旨題時(shí)，一定要先找出全文的中心主旨句。2. 【答案】C【考點(diǎn)解析】 這是一道例（舉）證與細(xì)節(jié)理解題。第四段第一句明確指出“三張唱片為科爾特蘭尼富有活力的探索提供了證明”。這說明第四段將講述三個(gè)例子用來說明在前一段即第三段所提出的論點(diǎn)。另外這三個(gè)例子

39、是按著先后順序給出的，因此本題的正確選項(xiàng)是C?？忌诮忸}時(shí)要注意段落之間的相互關(guān)系，更要注意句子之間的相互關(guān)系。3. 【答案】D【考點(diǎn)解析】這是一道細(xì)節(jié)理解題型。本題屬于比較難的題型，因?yàn)楸绢}的涉及面比較廣。本題A、B、C選項(xiàng)的內(nèi)容分別在第二段第一句、第四段第三四句和第二段第二句提到過。故本題的正確選項(xiàng)應(yīng)該是D。其實(shí)這道題表面上非常難，但是對(duì)于善于捕捉全文中心主旨句的同學(xué)來講確比較容易，因?yàn)閺牡谝欢蔚谒木涞脑驙钫Z從句中就可以推導(dǎo)出本題的正確答案D。考生在解題時(shí)應(yīng)時(shí)時(shí)牢記全文的中心主旨句。4. 【答案】A【考點(diǎn)解析】本題是一道審題定位題型。根據(jù)本題題干中的“other jazz musicia

40、ns”可將本題的答案信息來源定位在第一段的第一至四句，因?yàn)樵谶@四句話中提到了其它的爵士音樂家。第一段第四句的狀語從句明確指出了“Coltrane”與其它音樂家的不同在于他吸收了各種風(fēng)格的爵士音樂。故本題的正確答案應(yīng)該是A?？忌诮忸}時(shí)應(yīng)重視審題定位。5. 【答案】C【考點(diǎn)解析】本題是一道歸納推導(dǎo)題型。細(xì)心的同學(xué)可從本文作者在論述時(shí)使用的詞語中推導(dǎo)出本題的正確答案C。例如作者在第一段第四句的主語上使用了“titanic figure”；在第五句使用了“his influencewas immeasurable”；在最后一段的第三句使用了“his influence was enormous”，這

41、都反映了作者的“enthusiastic praise”?？忌诮忸}時(shí)要重視原文作者在表達(dá)觀點(diǎn)時(shí)的遣詞造句。參考譯文不同的爵士樂風(fēng)格的支持者一貫認(rèn)為他們前輩的音樂風(fēng)格沒有包括那些使爵士樂之所以成為爵士樂的本質(zhì)特征。這樣，二十世紀(jì)五十年代的比波普派輕視二十世紀(jì)四十年代的搖擺音樂派，而他們自己又受到二十世紀(jì)六十年代的自由爵士派的抨擊。二十世紀(jì)八十至九十年代的新比波普派幾乎對(duì)任何其他人都進(jìn)行抨擊。而黑人薩克斯管巨匠約翰科爾特蘭尼使這些從比波普派到新比波普派的支持者所提出的主張更加復(fù)雜化，因?yàn)樵谒约旱囊魳防讨?，他?jīng)歷了所有這些風(fēng)格。他對(duì)所有爵士音樂的風(fēng)格的影響是不可估量的。在他最受歡迎的時(shí)期，科爾

42、特蘭尼基本上放棄了比波普風(fēng)格的演奏以便探索爵士樂更深的處延，然而正是比波普風(fēng)格的演奏使得他成名?？茽柼靥m尼自己可能認(rèn)為爵士樂的唯一本質(zhì)特征就是即興創(chuàng)作，這是他從比波普風(fēng)格到對(duì)形式音樂、印度音樂、非洲音樂的自由即興演奏的歷程中一直沒有改變的。另一方面，這個(gè)頑強(qiáng)的學(xué)生和異常的技巧家每天花幾個(gè)小時(shí)用以練習(xí)理論書籍上的曲譜，從未能完全拋棄比波普的影響，在他的旋律中可以找到帶有比波普特點(diǎn)的快速和精細(xì)的音符以及修飾效果。有兩種風(fēng)格特征影響了科爾特蘭尼演奏男高音薩克斯管的方式：他喜歡對(duì)建立于一種旋律上的音符進(jìn)行快速的演奏，同時(shí)也依賴于強(qiáng)有力的、有規(guī)律的重音節(jié)奏。前者引導(dǎo)科爾特蘭尼走向“片狀聲響”的境界，在那

43、里科爾特蘭尼的演奏越來越快，將音符成堆互相累放起來以表達(dá)一種堆疊起來的和諧感。而后者意味著，他的節(jié)奏感之接近于搖滾樂幾乎就像其接近于比波普風(fēng)格一樣。三張唱片為科爾特蘭尼富有活力的探索提供了證明。和馬爾斯戴維斯合作錄制有幾分憂傷時(shí)，科爾特蘭尼發(fā)現(xiàn)他已離開了波普風(fēng)格，對(duì)形式音樂進(jìn)行探索。在這中間，他演奏那些跌宕起伏的冗長(zhǎng)的獨(dú)奏，而這些獨(dú)奏基本上是圍繞著一個(gè)重復(fù)主題展開的。該種主題是用以組織其音樂的原則，它和自由派爵士樂薩克斯管演奏家奧尼迪科爾曼采用的組織方式不同。后面這位音樂家在他的獨(dú)奏中會(huì)對(duì)其旋律進(jìn)行調(diào)節(jié)改變。在大踏步中，科爾特蘭尼初次以領(lǐng)導(dǎo)者角色出現(xiàn)，對(duì)他自己的作品進(jìn)行了介紹。在這中間，“片狀

44、聲響”、強(qiáng)拍重音、重復(fù)回旋和極快的速度組成了每一段獨(dú)奏的各個(gè)部分，各樂章的形式的多樣性是獨(dú)一無二的。科爾特蘭尼深刻的探索獲得了穩(wěn)固的成就。我的鐘愛之物是另一種意義上的分水嶺。在這里，科爾特蘭尼演奏了爵士樂演奏家很少使用的女高音薩克斯管，所產(chǎn)生的音樂上的效果是驚人的。伴隨著女高音薩克斯管的尖音，那些顯得昏暗及帶有沉思意味的主題獲得了一種令人眼花繚亂的夢(mèng)幻感覺。當(dāng)科爾特蘭尼開始為沖動(dòng)唱片公司進(jìn)行音樂錄制時(shí)，他仍然在探索。他的音樂變得沙啞而感性。搖滾樂手受到他的巨大影響，其中包括吉米亨德瑞克斯這位吉它手。后者仿效科爾特蘭尼，使基于重復(fù)主題的大段吉他獨(dú)奏上升成為一種搖滾藝術(shù)形式。Model 3 物理學(xué)

45、類題目序號(hào)題型歸類第1題中心主旨題型第2題反推題型第3題細(xì)節(jié)歸納推導(dǎo)題型第4題中心主旨題型第5題細(xì)節(jié)推導(dǎo)題型Many objects in daily use have clearly been influenced by science, but their form and function, their dimensions and appearance, were determined by technologists, artisans, designers, inventors, and engineers using nonscientific modes of thought.

46、 Many features and qualities of the objects that a technologist thinks about cannot be reduced to unambiguous verbal descriptions; they are dealt with in the mind by a visual, nonverbal process. In the development of Western technology, it has been nonverbal thinking, by and large, that has fixed th

47、e outlines and filled in the details of our material surroundings. Pyramids, cathedrals, and rockets exist not because of geometry or thermodynamics, but because they were first a picture in the minds of those who built them.The creative shaping process of a technologists mind can be seen in nearly

48、every artifact that exists. For example, in designing a diesel engine, a technologist might impress individual ways of nonverbal thinking on the machine by continually using an intuitive sense of rightness and fitness. What would be the shape of the combustion chamber? Where should be valves be plac

49、ed? Should it have a long or short piston? Such questions have a range of answers that are supplied by experience, by physical requirements, by limitations of available space, and not least by a sense of form. Some decisions such as wall thickness and pin diameter, may depend on scientific calculati

50、ons, but the nonscientific component of design remains primary.Design courses, then, should be an essential element in engineering curricula. Nonverbal thinking, a central mechanism in engineering design, involves perceptions, the stock-in-trade of the artist, not the scientist. Because perceptive p

51、rocesses are not assumed to entail “hard thinking,” nonverbal thought is sometimes seen as a primitive stage in the development of cognitive processes and inferior to verbal or mathematical thought. But it is paradoxical that when the staff of the Historic American Engineering Record wished to have

52、drawings made of machines and isometric views of industrial processes for its historical record of American engineering, the only college students with the requisite abilities were not engineering students, but rather students attending architectural schools.If courses in design, which in a strongly

53、 analytical engineering curriculum provide the background required for practical problem-solving, are not provided, we can expect to encounter silly but costly errors occurring in advanced engineering systems. For example, early models of high-speed railroad cars loaded with sophisticated controls w

54、ere unable to operate in a snowstorm because a fan sucked snow into the electrical system. Absurd random failures that plague automatic control systems are not merely trivial aberrations; they are a reflection of the chaos that results when design is assumed to be primarily a problem in mathematics.

55、1. In the text, the author is primarily concerned withA identifying the kinds of thinking that are used by technologists.B stressing the importance of nonverbal thinking in engineering design.C proposing a new role for nonscientific thinking in the development of technology.D contrasting the goals o

56、f engineers with those of technologists.2. It can be inferred that the author thinks engineering curricula areA strengthened when they include courses in design.B weakened by the substitution of physical science courses for courses designed to develop mathematical skills.C strong because nonverbal t

57、hinking is still emphasized by most of the courses.D strong despite the errors that graduates of such curricula have made in the development of automatic control systems.3. Which of the following statements best illustrates the main point of the first two paragraphs of the text?A When a machine like a rotary engine malfunctions, it is the technologist who is best equipped to repair it.B Each component of an automobile for example, the engine or the fuel tank has a shape that has been scientifically determined to be best suited