2022考研英語一真題+參考答案

1、2022 年全國碩士研究生入學(xué)統(tǒng)一考試英語（一）試題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 neu

2、robiology” was1around the notion that some aspects of plant behavior could be2to intelligence in animals.3plants lack brains, the firing of electrical signals in their stems and leaves nonetheless triggered responses that4consciousness, researchers previously reported.But such an idea is untrue, acc

3、ording to a new opinion article. Plant biology is complex and fascinating, but it5so greatly from that of animals that so -called6 of plants intelligence is inconclusive, the authors wrote.Beginning in 2006, some scientists have7that plants possess neuron-like cells that interact with hormones and n

4、eurotransmitters,8“a plant nervous system,9to that in animals,” said lead study author Lincoln Taiz, “They10claimed that plants have brain-like command centers at their root tips.”This11makes sense if you simplify the workings of acomplex brain,12 it to an array of electrical pulses; cells in plants

5、 also communicate through electrical signals.13, the signaling in a plant is only14similar 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 complexity and capacity is

6、required,” he 16 . “Since plants dont have nervous systems, the 17 that they have consciousness are effectively zero.”And whats so great about consciousness, anyway? Plants cant run away from18 , so investing energy in a body system which 19 a threat and can feel pain would be a very 20 evolutionary

7、 strategy, according to the article.1.A.coinedB.discoveredC.collectedD.issued2.A.attributedB.directedC. comparedD.confined3.A.unlessB.whenC.onceD.though4.A.coped withB.consisted ofC.hinted atD.extended5.A.suffersB.benefitsC.developsD.differs6.A.acceptanceB.evidenceC.cultivationD.creation7.A.doubtedB

8、.deniedC.arguedD.requested8.A.adaptingB.formingC.repairingD.testing9.A.analogousB.essentialC.suitableD.sensitive10.A.justB.everC.stillD.even11.A.restrictionB.experimentC.perspectiveD.demand12.A.attachingB.reducingC.returningD.exposing13.A.HoweverB.MoreoverC.ThereforeD.Otherwise14.A.temporarilyB.lite

9、rallyC.superficiallyD.imaginarily15.A.listB.levelC.labelD.local16.A.recalledB.agreedC.questionedD.added17.A.chancesB.risksC.excusesD.assumptions18.A.dangerB.failureC.warningD.control19.A.representsB.includesC.revealsD.recognizes20.A.humbleB.poorC.practicalD.easySection Reading ComprehensionPart A Di

10、rections:Read the following four texts. Answer the questions below 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 to th

11、e Mariana Trench, because plastics are everywhere and dont break down easily. But some plastic materials change over time. They crack and frizzle. They “weep” out additives. They melt into sludge. All of which creates huge headaches for institutions, such as museums, trying to preserve culturally im

12、portant objects. The variety of plastic objects at risk is dizzying: early radios, avant -garde sculptures, celluloid animation stills from Disney films, the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic artdidnt always know how to mix ingredient

13、s properly, says Thea van Oosten, a polymer chemist who, until retiring a few years ago, worked for decades at the Cultural Heritage Agency of the Netherlands. “Its like baking a cake: If you dont have exact amounts, it goes wrong,” she says. “The object you make is already a time bomb.”And sometime

14、s, its not the artists fault. In the 1960s, the Italian artist Picro Gilardi began to create hundreds of bright, colorful foam pieces. Those pieces included small beds of roses and other items as well as a few dozen “nature carpets”large rectangles decorated with foam pumpkins, cabbages, and waterme

15、lons. Hewanted viewers to walk around on the carpetswhich meant they had to be durable.Unfortunately, thepolyurethanefoamheusedisinherentlyunstable.Its especially vulnerable to light damage, and by the mid-1990s, Gilardis pumpkins, roses, and other figures were spitting and crumbling. Museums locked

16、 some of them away in the dark.So van Oosten and her colleagues worked to preserve Gilardis sculptures. They infused some with stabilizing and consolidating chemicals. Van Oosten calls those chemicals “sunscreens” because their goal was to prevent further light damage and rebuild worn polymer fibers

17、. She is proud that several sculptures have even gone on display again, albeit sometimes 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, ar

18、e increasingly common.And more is at stake here than individual objects. Joana Lia Ferreira, an assistant professor of conservation and restoration at the NOVA School of Science and Technology, notes that archaeologists first defined the great material ages of human historyStone Age, Iron Age, and s

19、o onafter examining artifacts in museums. We now live in an age of plastic, she says, “and what we decide to collect today, what we decide to preserve.will have a strong impact on how in the future well be seen.”According to Paragraph 1,museums are faced with difficulties in.maintaining their plasti

20、c items.obtaining durable plastic artifacts.handling outdated plastic exhibits.classifying their plastic collections.Van Oosten believes that certain plastic objects are.immune to decayimproperly shapedinherently flawedcomplex in structureMuseums stopped exhibiting some of Gilardis artworks to.keep

21、them from hurting visitorsduplicate them for future displayhave their ingredients analyzedprevent them from further damageThe author thinks that preservation of plastics is.costlyunworthyunpopularchallengingIn Ferreiras opinion, preservation of plastic artifacts.will inspire future scientific resear

22、chhas profound historical significancewill help us separate the material ageshas an impact on todays cultural lifeText 2As the latest crop of students pen their undergraduate application form and weigh up their options, it may be worth considering just how the point, purpose and value of a degree ha

23、s changed and what Generation Z need to consider as they start the third stage of their educational journey.Millennials were told that if you did well in school, got a decent degree, you would be set up for life. But that promise has been found wanting. As degrees became universal, they became deval

24、ued. Education was no longer a secure route of social mobility. Today, 28 per cent of graduates in the UK are in non-graduate roles, a percentage 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 a degree is not for

25、 everyone, that the switch from classroom to lecture hall is not an inevitable one and that other options are available.Thankfully, there are signs that this is already happening, with Generation Z seeking to learn from their millennial predecessors, even if parents and teachers tend to be still set

26、 in the degree mindset. Employers have long seen the advantages of hiring school leavers who often prove themselves to be more committed and loyal employees than graduates. Many too are seeing the advantages of scrapping a degree requirement for certain roles.For those for whom a degree is the desir

27、ed route, consider that this may well be the first of many. In this age of generalists, it pays to have specific knowledge or skills. Postgraduates now earn 40 per cent more than graduates. When more and more of us have a degree, it makes sense to have two.It is unlikely that Generation Z will be do

28、ne with education at 18 or 21; they will need to be constantly up-skilling throughout their career to stay employable. It has been estimated that this generation, due to the pressures of technology, the wish for personal fulfilment and desire for diversity, will work for 17 different employers over

29、the course of their working life and have five different careers. Education, and not just knowledge 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 classist.” The

30、ir sons or daughters would never say such a thing; its as if they already know that their degree wont define them in the same way.The author suggests that Generation Z should.be careful in choosing a collegebe diligent at each educational stagereassess the necessity of college educationpostpone thei

31、r undergraduate applicationThe percentage of UK graduates in non-graduate roles reflect.Millennials opinions about workthe shrinking value of a degreepublic discontent with educationthe desired route of social mobilityThe author considers it a good sign that.Generation Z are seeking to earn a decent

32、 degreeSchool leavers are willing to be skilled workersEmployers are taking a realistic attitude to degreesParents are changing their minds about educationIt is advised in Paragraph 5 that those with one degree should.make an early decision on their careerattend on the job training programsteam up w

33、ith high-paid postgraduatesfurther their studies in a specific fieldWhat can be concluded about Generation Z from the last two paragraphs?Lifelong learning will define them.They will make qualified educators.Depress will no longer appeal them.They will have a limited choice of jobs.Text 3Enlightenin

34、g, challenging, stimulating, fun.These were some of the words that Nature readers used to describe their experience of art-science collaborations in a series of articles on partnerships between artists and researchers. Nearly 40% of the roughly350peoplewhorespondedtoanaccompanyingpollsaid,theyhad co

35、llaborated with artists; and almost all said they would consider doing so in future.Such an encouraging results is not surprising. Scientists are increasingly seeking out visual artists to help them communicate their work to new audiences. “Artists help scientists reach a broader audience and make e

36、motional connections that enhance learning ” One respondent said.One example of how artists and scientists have together rocked the scenes came last month when the Sydney Symphony Orchestra performed a reworked version of Antonio Vivaldis The Four Seasons. They reimagined the 300-year-old score by i

37、njecting the latest climate prediction data for each season-provided by Monash University s Climate Change Communication Research Hub.The perfo rmance was a creativecalltoactionaheadofNovembersUnitedNationsClimateChange Conference in Glasgow, UK.But a genuine partnership must be a two-waystreet. Few

38、er artist than scientistsresponded to the Nature pol1, however, several respondents noted that artists do notsimply assist scientists with their communication requirements. Nor should their work be considered only as an object of study. The alliances are most valuable when scientists and artists hav

39、e a shared stake in a project, are able to jointly design it and can critique each o thers work. Such an approach can bothprompt new research as wel as result in powerful art.More than half a century ago, the Massachusetts Institute of Technology opened its Center for Advanced Visual Studies (CAVS)

40、to explore the role of technology in culture. The founders deliberately focused their projects around light-hance the “visual studies” in the name. Light was a something that both artists and scientists had an interest in, and therefore could form the basis of collaboration. As science and technolog

41、yprogressed,anddividedintomoresub-disciplines,thecentrewas simultaneously 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 to inves

42、t time, and embrace surprise and challenge. The reach of art-science tie-ups needs to go beyond the necessary purpose of research communication, and participants. Artists and scientists alike are immersed in discovery and invention, and challenge and critique are core to both, too.According to parag

43、raph 1, art-science collaborations have.caught the attention of criticsreceived favorable responsespromoted academic publishingsparked heated public disputesThe reworked version of The Four Seasoniss mentioned to show that.art can offer audiences easy access to sciencescience can help with the expre

44、ssion of emotionspublic participation in science has a promising futureart is effective in facilitating scientific innovationsSome artists seem to worry about in the art-science partnership.their role may be underestimatedtheir reputation may be impairedtheir creativity may be inhibitedtheir work ma

45、y be misguidedWhat does the author say about CAVS?It was headed alternately by artists and scientistsIt exemplified valuable art-science alliancesIts projects aimed at advancing visual studiesIts founders sought to raise the status of artistsIn the last paragraph, the author holds that art-science c

46、ollaborations.are likely to go beyond public expectationswill intensify interdisciplinary competitionshould do more than communicating scienceare becoming more popular than beforeText 4The personal grievance provisions of New Zealands Employment Relations Act 2000 (ERA) prevent an employer from firi

47、ng an employee without good cause. Instead, dismissals must be justified. Employers must both show cause and act ina procedurally fair way.Personal grievance procedures were designed to guard the jobs of ordinaryworkers from “unjustified dismissals”. The premise was that the common law of contract l

48、acked sufficient safeguards for workers against arbitrary conduct by management. Long gone are the days when a boss could simply give an employee contractual notice.But these provisions create difficulties for businesses when applied to highly paid managers and executives. As countless boards and bu

49、siness owners will attest, constrainingfirmsfromfiringpoorlyperforming,high-earningmanagersisa handbrake on boosting productivity and overall performance. The difference between C-grade and A-grade managers may very well be the difference between business success or failure. Between preserving the j

50、obs of ordinary workers or losing them.Yet mediocrity is no longer enough to justify a dismissal.Consequently and paradoxically laws introduced to protect the jobs of ordinary workers may be placing those jobs at risk.If not placing jobs at risk, to the extent employment protection laws constrain bu

51、siness owners from dismissing under-performing managers, those laws act as a constraint on firm productivity and therefore on workers wages. Indeed, in “An InternationalPerspectiveonNewZealandsProductivityParadox”(2014),the Productivity Commission singled out the low quality of managerial capabiliti

52、es as a cause of the countrys poor productivity growth record.Nor are highly paid managers themselves immune from the harm caused by the ERAs unjustified dismissal procedures. Because employment protection laws make it costlier to fire an employee, employers are more cautious about hiring new staff.

53、 This makes it harder for the marginalmanager to gain employment. And firms pay staff less because firms carry the burden of the employment arrangement going wrong.Society also suffers from excessive employment protections. Stringent job dismissal regulations adversely affect productivity growth and

54、 hamper both prosperity and overall well-being.Across the Tasman Sea, Australia deals with the unjustified dismissal paradox by excluding employees earning above a specified “high-income threshold” from the protection of its unfair dismissal laws. In New Zealand, a 2016 private members Bill tried to

55、 permit firms and high-income employees to contract out of the unjustified dismissal regime. However, the mechanisms proposed were unwieldy and the Bill was voted down following the change in government later that year.The personal grievance provisions of the ERA are intended to.punish dubious corpo

56、rate practicesimprove traditional hiring proceduresexempt employers from certain dutiesprotect the rights of ordinary workersIt can be learned from paragraph 3 that the provisions may.hinder business developmentundermine managers authorityaffect the public image of the firmsworsen labor-management r

57、elationsWhich of the following measures would be the Productivity Commission support? AImposing reasonable wage restraints.Enforcing employment protection laws.Limiting the powers of business owners.Dismissing poorly performing managers.What might be an effect of ERAs unjustified dismissal procedure

58、s?Highly paid managers lose their jobs.Employees suffer from salary cuts.Society sees a rise in overall well-being.Employers need to hire new staff.It can be inferred that the “high-income threshold” in Australia.has secured managers earningshas produced undesired resultsis beneficial to business ow

59、nersis difficult to put into practicePart BTeri ByrdI was a zoo and wildlife park employee for years. Both the wildlife park and zoo claimed to be operating for the benefit of the animals and for conservation purposes. This claim was false. Neither one of them actually participated in any contributi

60、ons whose bottom line is much more important than the condition of the animals.Animalsdespisebeingcaptivesinzoos.Nomatterhowyou“enhance”enclosures, they do not allow for freedom, a natural diet or adequate time for transparency with these institutions, and its past time to eliminate zoos from our cu