2011 年考研英语(一真题 Section I Use of English Directions: Read the following text. Choose the best word(s for each numbered blank and mark [A], [B], [C] or [D] on ANSWER SHEET 1. (10 points Ancient Greek philosopher Aristotle viewed laughter as “ abodily exercise precious to health. B”ut _____ some claims to the contrary, laughing probably h as little influence on physical filness Laughter does ______ short-term changes in the function of the heart and its blood vessels, ______ heart rate and oxygen c onsumption But becausehard laughter is difficult to ______ , a good laugh is unl ikely to have _____ benefits the way, say, walking or jogging does. __ , instead of straining muscles to build them, as exercise does, laughte r apparently accomplishes the ____ , studies dating back to the 1930' sindicate that laughter. muscles, Such bodily reaction might conceivably help _____ the effects of psychologic al stress.Anyway,the act of laughing probably does produce other types of ___ ___feedback,that improve an individual 'emsotional state. _____ one classical th eory of emotion,our feelings are partially rooted _________ physical reactions. It was argued at the end of the 19th century that humans do not cry _________ they are sad but they become sad when te tears begin to flow. Although sadness also _______ tears,evidence suggests that emotions can f low _____ muscular responses.In an experiment published in 1988,social psych ologist Fritz. 1．[A]among [B]except [C]despite [D]like 2．[A]reflect [B]demand [C]indicate [D]produce 3．[A]stabilizing [B]boosting [C]impairing [D]determining 4．[A]transmit [B]sustain [C]evaluate [D]observe 5．[A]measurable [B]manageable [C]affordable [D]renewable 6．[A]In turn [B]In fact [C]In addition [D]In brief 7．[A]opposite [B]impossible [C]average [D]expected 8．[A]hardens [B]weakens [C]tightens [D]relaxes 9．[A]aggravate [B]generate [C]moderate [D]enhance 10．[A]physical [B]mental [C]subconscious [D]internal 11．[A]Except for [B]According to [C]Due to [D]As for 12．[A]with [B]on [C]in [D]at 13．[A]unless [B]until [C]if [D]because 14．[A]exhausts [B]follows [C]precedes [D]suppresses 15．[A]into [B]from [C]towards [D]beyond 16．[A]fetch [B]bite [C]pick [D]hold 17．[A]disappointed [B]excited [C]joyful [D]indifferent 18． [A]adapted [B]catered [C]turned [D]reacted 1
19．[A]suggesting [B]requiring [C]mentioning [D]supposing 20．[A]Eventually [B]Consequently [C]Similarly [D]Conversely Section II Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by c hoosing [A], [B], [C] or [D]. Mark your answers on ANSWER SHEET 1. (40 points Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its ne xt music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the most part, the resp onse has been favorable, to say the least. “ Hooray!At last! ”wrote Anthony T ommasini, a sober-sided classical-music critic. One of the reasons why the appointment came as such a surprise, howeve r, is that Gilbert is comparatively little known. Even Tommasini, who had adv ocated Gilbert 'apspointment in the Times, calls him “ anunpretentious musicia n with no air of the formidable conductor about him. ”As a description of the next music director of an orchestra that has hitherto been led by musicians li ke Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise. For my part, I have no idea whether Gilbert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting com positions, but it is not necessary for me to visit Avery Fisher Hall, or anywhe re else, to hear interesting orchestral music. All I have to do is to go to my CD shelf, or boot up my computer and download still more recorded music fr om iTunes. Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the a rt-loving public, classical instrumentalists must compete not only with opera ho uses, dance troupes, theater companies, and museums, but also with the recorde d performances of the great classical musicians of the 20th century. There recor dings are cheap, available everywhere, and very often much higher in artistic q uality than today 'lisve performances; moreover, they can be “ consumed”at a time and place of the listener c'hososing. The widespread availability of such r ecordings has thus brought about a crisis in the institution of the traditional cl assical concert. One possible response is for classical performers to program attractive new music that is not yet available on record. Gilbert 'owsn interest in new music has been widely 2
