2022年研究生考試英語(yǔ)一真題及答案解析

1、 PAGE PAGE 8 / 212022年研究生入學(xué)考試英語(yǔ)（一）試題及解析SectionIUse ofEnglishDirections: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 “p

2、lant neurobiology” was1around the notion that some aspects of plant behavior could be2to intelligence in animals.3plants lack brains, the firing electrical signals in their stems and leaves nonetheless triggered responses that 4consciousness, researchers previously reported.But such an idea is untru

3、e, according to a new opinion article. Plant biology is complex and fascinating, but it5so greatly from that of animals that so-called6of plants intelligence is inconclusive, the authors wrote.Beginning in 2006, some scientists have7that plants possess neuron-like cells interact with hormones and ne

4、urotransmitters,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 a complex brain,12it an array of electrical pulses; cells in plants a

5、lso 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 threshold15of complexity and capacity is req

6、uired,” he16.”Since plants dont have nervous systems, the17they have consciousness are effectively zero.”And whats so great about consciousness, anyway? Plants cant run away from18so investing energy in a body system which19a threat and can feel pain would be a very20evolutionary strategy, according

7、 to the article.AcoinedAattributedAunlessB discoveredB directedB whenCcollected Ccompared ConceDissued DconfinedD thoughAcopedB consisted ofChinted atD extendedAsuffersAdoubtedAadaptingAanalogousB benefitsB evidenceB deniedB formingB essentialCdevelops Ccultivation Cargued Crepairing CsuitableD diff

8、ersD creationD requestedD testingD sensitiveAjustB everCstillD evenAattachingAHoweverB experimentB reducingB MoreoverCperspective Creturning CThereforeD demandD exposingD OtherwiseAtemporarilyB literallyCsuperficiallyD imaginarilyAlistArecalledAchancesAdangerAhumbleB levelB agreedB risksB failureB i

9、ncludesB poorClabel Cquestioned Cexcuses Cwarning Creveals CpracticalD localD addedD assumptionsD control DrecognizesD easyPart A Directions:SectionIIReadingComprehensionRead the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on the ANSWER SHEE

10、T. (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 the Mariana Trench, because plastics are everywhere and dont break down easily. But some plastic materials change over time. They crack and

11、frizzle. They “weep” out additives. They melt into sludge. All of which creates huge headaches for institutions, such as museums, trying to preserve culturally important objects. The variety of plastic objects at risk is dizzying: early radios, avant-garde sculptures, celluloid animation stills from

12、 Disney films, and the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic art didnt always know how to mix ingredients properly, says Thea van Oosten, a polymer chemist who, until retiring a few years ago, worked for decades at the Cultural Heritage A

13、gency 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 sometimes, its not the artists fault. In the 1960s, the Italian artist Picro Gilardi began to create hundreds of bright, colorful foam pieces.

14、 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 watermelons. He wanted viewers to walk around on the carpets -which meant they had to be durable.Unfortunately, the polyurethane foam he us

15、ed is inherently unstable. Its especially vulnerable to light damage, and by the mid-1990s, Gilardis pumpkins, roses, and other figures were splitting and crumbling. Museums locked some of them away in the dark.So van Oosten and her colleagues worked to preserve Gilardis sculptures. They infused som

16、e 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. She is proud that several sculptures have even gone on display again, albeit sometimes beneath protective cases.Despit

17、e 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 individual objects. Joana Lia Ferreira, an assistant professor of c

18、onservation 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 of plastic, she says, “and what we decide to collect

19、 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 plastic items.obtaining durable plastic artifacts.handling outdated plastic exhibits.classifying their plastic collecti

20、ons.Van Oosten believes that certain plastic objects areimmune to decay.improperly shaped.inherently plex in structure.Museums stopped exhibiting some of Gilardis artworks to.keep them from hurting visitors.duplicate them for future display.have their ingredients analyzed.prevent them from further d

21、amage.The author thinks that preservation of plastics is.costlyC unpopularB unworthyD challengingIn Ferreiras opinion, preservation of plastic artifacts.will inspire future scientific research.has profound historical significance.will help us separate the material ages.has an impact on todays cultur

22、al life.Text 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 has changed and what Generation Z need to consider as they start the third stage of their educational journe

23、y.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 devalued. Education was no longer a secure route of social mobility. Today, 28 per cent of graduates in the UK

24、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 everyone, that the switch from classroom to lecture hall is not an inevitable one and that other options

25、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 in the degree mindset. Employers have long seen the advantages of hiring school leavers who often prove t

26、hemselves 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 desired route, consider that this may well be the first of many. In this age of generalists, it pays to have sp

27、ecific 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 done with education at 18 or 21; they will need be constantly up-skilling throughout their career to stay em

28、ployable. It has been estimated that this generation, due to the pressures of technology, the wish for personal fulfillment and desire for diversity, will work for 17 different employers over the course of their working life and have five different careers. Education, and not just knowledge gained o

29、n 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. Their sons or daughters would never say such a thing; its as if they already know that their degree wont define th

30、em 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 their undergraduate applicationThe percentage of UK graduates in non-graduate roles reflectMillennials opinions abo

31、ut workthe shrinking value of a degreepublic discontentwith educationthe desired route of social mobilityThe author considers it a good sign that Generation Z are seeking to earn a decent degree.School leavers are willing to be skilled workers.Employers are taking a realistic attitude to degreesPare

32、nts are changing their minds about education.It is advised in Paragraph 5 that those with one degree shouldmake an early decision on their careerattend on the job training programsteam up with high-paid postgraduatesfurther their studies in a specific fieldWhat can be concluded about Generation Z fr

33、om 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 3Enlightening, challenging, stimulating, fun. These were some of the words that Nature readers used to describe their exper

34、ience of art-science collaborations in a series of articles partnerships between artists and researchers.Nearly 40% of the roughly 350 people who responded to an accompanying poll said, they had collaborated with artists; and almost all said they would consider doing so in future.Such an encouraging

35、 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 emotional connections that enhance learning.” One respondent said.One example of how artists and scienti

36、sts 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 injecting the latest climate prediction data for each season-provided by MonashUniversitys Climate Commu

37、nication Research Hub. The performance was a creative call to action ahead of Novembers United Nations Climate Change Conference in Glasgow, UK.But a genuine partnership must be a two-way street. Fewer artist than scientists responded to the Nature poll, however, several respondents noted that artis

38、ts do not simplyassist 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 have a shared stake in a project, are able to jointly design it and can critique each others work. Such

39、 an 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 its Center for Advanced Visual Studies (CAVS) to explore the role of technology in culture. The founders deliberately focused their projects arou

40、nd light-hencethe “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 technology progressed, and divided more sub-disciplines, the centrewas simultaneously looking to a time when l

41、eading 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 a collaboration work, both sides need to invest time, and embrace surprise and challenge. reach of art-science tie-upsneeds to go beyond the ne

42、cessary 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 paragraph 1, art-science collaborations have.caught the attention of criticsreceived favorable responsespro

43、moted academic publishingsparked heated public disputesThe reworked version of TheFour mentioned toshow that.art can offer audiences easy access to sciencescience can help with the expression of emotionspublic participation in science has a promising futureart is effective in facilitating scientific

44、 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 may be misguidedWhat does the author say about CAVS?It was headed alternately by artists and scientistsIt exemplifie

45、d 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 collaborations.are likely to go beyond public expectationswill intensify interdisciplinary competitionshould do mor

46、e than communicating scienceare becoming more popular than beforeText 4The personal grievance provisions of New Zealands Employment Relations Act 2000 (ERA) prevent an employer from firing an employee without good cause. Instead, dismissals must be justified. Employers must both show cause and act i

47、n a procedurally fair way.Personal grievance were designed to guard the jobs of ordinary workers from “unjustified dismissals”. The premise was that the common law of contract lacked sufficient safeguards for workers against arbitrary conduct by management. Long gone are the days when a boss could s

48、imply give an employee contractual notice.But these provisions create difficulties for businesses when applied to highly paid managers and executives. As countless boards and business owners will attest, constraining firms from firing poorly performing, high-earning managers is a handbrake on boosti

49、ng 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 jobs of ordinary workers or losing them. Yet mediocrity is no longer enough to justify a dismissal.Consequently and

50、 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 business owners from dismissing under-performing managers, those laws act as a constraint on firm productivity and

51、therefore on workers wages. Indeed, in “An International Perspective on New Zealands Productivity Paradox” (2014), the Productivity Commission singled out the low quality of managerial capabilities as a cause of the countrys poor productivity growth record.Nor are highly paid managers themselves imm

52、une 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. This makes it harder for marginal manager to gain employment. And firms pay staff less because firms car

53、ry the burden of the employment arrangement going wrong.Society also suffers from excessive employment protections. Stringent job dismissal regulations adversely affect productivity growth and hamper both prosperity and overall well-being.Across the Tasman Sea, Australia deals with the unjustified d

54、ismissal paradox by excluding employees earning above a specified “high-income threshold” from the protectionof its unfair dismissal laws. In New Zealand, a 2016 private members Bill tried to permit firms and high-income employees to contract out of the unjustified dismissal regime.However, the mech

55、anisms 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 corporate practicesimprove traditional hiring proceduresexempt employers from certain dutiesprotect the rights of

56、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 relationsWhich of the following measures would be the Productivity Commission support?Imposing reasonable wage

57、 restraints.Enforcing employment protection laws.Limiting the powers of business owners.Dismissing poorly performing managers.What might be an effect of ERAs unjustified dismissal procedures?Highly paid managers lose their jobs.Employees suffer from salary cuts.Society sees a rise in overall well-be

58、ing.Employers need to hire new staff.It can be inferred that the “high-income threshold” in Australia. Ahas secured managers earningsBhas produced undesired results Cis beneficial to business owners Dis difficult to put into practicePart B Directions:In the following text, some sentences have been r

59、emoved. For Questions 41-45, choose the most suitable one from the fist A-G to fit into each of the numbered blanks. There are two extra choices, which do not fit in any of the gaps. Mark your answers on ANSWER SHEET. (10 points)Teri ByrdI was a zoo and wildlife park employee for years. Both the wil

60、dlife park and zoo claimed PAGE 9 PAGE 9 / 21to be operating for the benefit of the animals and for conservation purposes. This claim was false. Neither one of them actually participated in any contributions whose bottom line is much more important than the condition of the animals.Animals despise b