2006騫磋€冪爺鑻辮闃呰鐞嗚В棰樼湡棰樿В鏋恄璺ㄨ€冪綉

澶嶄範(fàn)绱у紶錛岀劍澶寸儌棰濓紵閫嗛杞昏錛屾潵璺ㄨ€冪瀛ｉ泦璁惀錛屽府浣犲鏂規(guī)硶錛屽畾鏂規(guī)錛?/span> 浜?jiǎn)瑙ｄ竴涓?>

銆€銆€21鈥曗€?5 CACDB

銆€銆€26鈥曗€?0 ABCDD

銆€銆€31鈥曗€?6 CACDB

銆€銆€37鈥曗€?0 BBDCA

銆€銆€瑙ｆ瀽錛歍EXT 1

銆€銆€21. The word鈥渉omogenizing鈥濓紙line 2錛孭ara 1錛塵ost probably means

銆€銆€A. identifying

銆€銆€B. associating

銆€銆€C. assimilating

銆€銆€D. monopolizing

銆€銆€C姝ｇ‘銆備笂涓嬫枃寰堝鏄撶殑銆?/p>

銆€銆€22. According to the author錛宼he department stores of the 19th century

銆€銆€A. played a role in the spread of popular culture.

銆€銆€B. became intimate shops for common consumers.

銆€銆€C. satisfied the needs of a knowledgeable elite.

銆€銆€D. owed its emergence to the culture of consumption.

銆€銆€A姝ｇ‘銆傜櫨璐у晢搴椾嬌寰楀ぇ瀹惰兘鍘諱拱寰堝涓€鏍風(fēng)殑鏈嶉グ絳夌瓑銆?/p>

銆€銆€23. The text suggests that immigrants now in the U.S.

銆€銆€A. are resistant to homogenization.

銆€銆€B. exert a great influence on American culture.

銆€銆€C. are hardly a threat to the common culture.

銆€銆€D. constitute the majority of the population.

銆€銆€C姝ｇ‘銆傚埌緹庡浗鐨勭Щ姘戣兘寰堝ソ铻嶅叆緹庡浗鏂囧寲錛岃兘璇村ソ鑻辮錛岃兘欏哄埄涔版埧緇撳絳夛紝涓嶉毦閫夋嫨鍑烘紜瓟妗堛€?/p>

銆€銆€24. Why are Amold Schwarzenegger and Garth Brooks mentioned in Paragraph 5錛?/p>

銆€銆€A. To prove their popularity around the world.

銆€銆€B. To reveal the public鈥榮 fear of immigrants.

銆€銆€C. To give examples of successful immigrants.

銆€銆€D. To show the powerful influence of American culture.

銆€銆€D姝ｇ‘銆傚繝浜庡師鏂囷紝榪欑瘒鏂囩珷鐨勪腑蹇?jī)鏄璇淳煄鍥芥槸涓ぇ鐔旂倝銆?/p>

銆€銆€25. In the author鈥榮 opinion錛宼he absorption of immigrants into American society is

銆€銆€A.rewarding

銆€銆€B. successful

銆€銆€C. fruitless

銆€銆€D. harmful

銆€銆€榪欓亾棰樹繚鐣欒鐐癸紝涓漢瑙夊緱閫塂錛屼絾鏄€塀涔熶技涔庤寰楅€氥€?/p>

銆€銆€TEXT 2

銆€銆€26. From the first two paras錛寃e learn that

銆€銆€A. the townsfolk deny the RSC鈥榮 contribution to the town鈥檚 revenue

銆€銆€B. the actors of the RSC imitate Shakespeare on and off stage

銆€銆€C. the two branches of the RSC are not on good terms

銆€銆€D. the townsfolk earn little from tourism

銆€銆€A姝ｇ‘銆傛枃绔犵涓€鍙ヨ瘽錛屽緢瀹規(guī)槗銆?/p>

銆€銆€27. It can be inferred from Para 3 that

銆€銆€A. the sightseers cannot visit the Castle and the Palace separately

銆€銆€B. the playgoers spend more money than the sightseers

銆€銆€C. the sightseers do more shopping than the playgoers

銆€銆€D. the playgoers go to no other places in town than the theater

銆€銆€B姝ｇ‘銆傝鏂囩珷絎簩孌碉紝鐪嬫垙鐨勪漢緇欓晣瀛愬甫鏉ヤ簡(jiǎn)鏇村鐨勭粡嫻庢敹鍏ャ€?/p>

銆€銆€28. By saying鈥淪tratford cries poor traditionally鈥濓紙Line 2-3錛孭aragraph 4錛夛紝the author implies that

銆€銆€A. Stratford cannot afford the expansion projects

銆€銆€B. Stratford has long been in financial difficulties

銆€銆€C. the town is not really short of money

銆€銆€D. the townsfolk used to be poorly paid

銆€銆€C姝ｇ‘銆傞€氳繃涓婁笅鏂囧緢瀹規(guī)槗鐭ラ亾cries poor鏄絀風(fēng)殑鎰忔€濓紝鍜屼腑鏂囩殑鍝┓寰堢被浼鹼紝涓嶈繃榪樻槸涓嶈閫氳繃瀛楅潰鎰忔€濈寽錛岄€氳繃涓婁笅鏂囨渶鏈夋妸鎻★紝鏈€韙忓疄銆?/p>

銆€銆€29. According to the townsfolk錛宼he RSC deserves no subsidy because

銆€銆€A. ticket prices can be raised to cover the spending

銆€銆€B. the company is financially ill-managed

銆€銆€C. the behavior of the actors is not socially acceptable

銆€銆€D. the theatre attendance is on the rise

銆€銆€D姝ｇ‘銆傚師鏂囧€掓暟絎簩鑷劧孌佃寰楀緢娓呮The theatre has broken attendance records for three years in a row. Last year its 1錛?31 seats were 94 percent occupied all year long and this year they鈥榣l do better.榪欒鏄庡浜庨晣涓婄殑浜烘潵璇達(dá)紝浠栦滑瀹為檯涓婁笉鐭ラ亾紲ㄤ環(huán)浣庣殑錛屾墍浠涓嶉€夈€備粬浠湅鍒扮殑鍙槸琛ㄩ潰鐜拌薄D.

銆€銆€30. From the text we can conclude that the author

銆€銆€A. is supportive of both sides

銆€銆€B. favors the townsfolk鈥榮 view

銆€銆€C. takes a detached attitude

銆€銆€D. is sympathetic

銆€銆€D姝ｇ‘銆備粠鏈€鍚庝竴孌墊棣栵紝鍜屽悗闈㈢殑鍙ュ瓙鐪嬪嚭浣滆€呰涓轟笉鍙兘涓婅皟浠鋒牸錛岃繖鏄緢鍙€葷殑錛屽彲鏄晣涓婄殑浜轟滑鍙堜笉鐞嗚В銆傛墍浠ュ疄闄呬笂鍚屾儏瀹冪殑閬亣銆?/p>

銆€銆€TEXT 3

銆€銆€31. The extinction of large prehistoric animals is noted to suggest that

銆€銆€A. large animal were vulnerable to the changing environment.

銆€銆€B. small species survived as large animals disappeared.

銆€銆€C. large sea animals may face the same threat today.

銆€銆€D. Slow-growing fish outlive fast-growing ones

銆€銆€C姝ｇ‘銆侫鏄氨浜嬭浜婤鍜孌閮芥槸鏃犱腑鐢熸湁

銆€銆€32. We can infer from Dr Myers and Dr. Worm鈥榮 paper that

銆€銆€A. the stock of large predators in some old fisheries has reduced by 90%.

銆€銆€B. there are only half as many fisheries as there were 15 years ago.

銆€銆€C. the catch sizes in new fisheries are only 20% of the original amount.

銆€銆€D. the number of larger predators dropped faster in new fisheries than in the old.

銆€銆€A姝ｇ‘銆傝繖閬撻鐩叧閿槸瑕佺悊瑙ｅ師鏂囩浜屾鐨勬渶鍚庝竴鍙ワ紝鈥︹€he biomass of large predators錛坅nimals that kill and eat other animals錛塱n a new fishery is reduced on average by 80% within 15 years of the start of exploitation. In some long-fished areas錛宨t has halved again since then.錛屽墠涓€涓彞瀛愯澶у瀷椋熻倝鍔ㄧ墿鍑忓皯浜?0%錛屽嵆鍓╀笅20%錛岀幇鍦ㄥ湪鏌愪簺long-fished鍦板尯錛屽張鍑忓皯浜?jiǎn)涓€鍗?0%錛屾墍浠ユ€誨叡鍑忓皯浜?0%.

銆€銆€33. By saying these figures are conservative錛圠ine 1錛宲aragraph 3錛夛紝Dr Worm means that

銆€銆€A. fishing technology has improved rapidly

銆€銆€B. then catch-sizes are actually smaller then recorded

銆€銆€C. the marine biomass has suffered a greater loss

銆€銆€D. the data collected so far are out of date.

銆€銆€C姝ｇ‘銆傛枃绔犱富棰樿鐨勬槸嫻鋒磱楸肩被闇€瑕佷繚鎶ゃ€?/p>

銆€銆€34. Dr Myers and other researchers hold that

銆€銆€A. people should look for a baseline that can鈥榯 work for a longer time.

銆€銆€B. fisheries should keep the yield below 50% of the biomass

銆€銆€C. the ocean biomass should restored its original level.

銆€銆€D. people should adjust the fishing baseline to changing situation

銆€銆€D.姝ｇ‘銆傛渶鍚庝竴孌墊彁鍒扮粰鍑轟竴涓猚orrect baseline鎵嶈錛屽氨鏄璋冩暣鍘熸潵鐨刡aseline.

銆€銆€35. The author seems to be mainly concerned with most fisheries鈥?/p>

銆€銆€A. management efficiency

銆€銆€B. biomass level

銆€銆€C. catch-size limits

銆€銆€D. technological application.

銆€銆€B姝ｇ‘銆傛湰鏂囦腑蹇?jī)鏄瘚逛h磱鐢熺墿閲廱iomass

銆€銆€TEXT4

銆€銆€36.By citing the example of poets Wordsworth and Baudelaire錛宼he author intends to show that

銆€銆€A. Poetry is not as expressive of joy as painting or music.

銆€銆€B. Art grow out of both positive and negative feeling.

銆€銆€C. Poets today are less skeptical of happiness.

銆€銆€D. Artist have changed their focus of interest.

銆€銆€B姝ｇ‘銆傞€塂鐨勫悓瀛︽病鏈夋敞鎰忓埌鍘熸枃鍜屽叴瓚ｆ病鏈夊叧緋匯€傝€孊鍘熸枃鍒嗗埆鐢╓ordsworth鈥榮 daffodils to Baudelaire鈥檚 flowers of evil.鏉ヤ唬琛ㄣ€傚洜涓虹櫨鍚堣姳鏄ソ鐨勶紝evil鏄笉濂界殑銆?/p>

銆€銆€37. The word鈥渂ummer鈥濓紙Line 5. paragraph 5錛塵ost probably means something

銆€銆€A. religious

銆€銆€B. unpleasant

銆€銆€C. entertaining

銆€銆€D. commercial

銆€銆€B姝ｇ‘銆備笂涓嬫鍙互鐪嬪嚭榪囧幓浜轟笉濂借繃鏃ュ瓙錛屾墍浠ラ€変笉濂界殑閫夐」銆?/p>

銆€銆€38. In the author鈥榮 opinion錛宎dvertising

銆€銆€A. emerges in the wake of the anti-happy part.

銆€銆€B. is a cause of disappointment for the general peer

銆€銆€C. replace the church as a major source of information

銆€銆€D. creates an illusion of happiness rather than happiness itself.

銆€銆€D姝ｇ‘銆傜湅絎洓孌碉紝綆€鍗曘€?/p>

銆€銆€39.We can learn from the last paragraph that the author believes

銆€銆€A. Happiness more often than not ends in sadness.

銆€銆€B. The anti-happy art is distasteful by refreshing.

銆€銆€C. Misery should be enjoyed rather than denied.

銆€銆€D. The anti-happy art flourishes when economy booms

銆€銆€C姝ｇ‘銆傛渶鍚庝竴孌電殑絎竴浜屽彞錛學(xué)hat we forget鈥曗€晈hat our economy depends on is forgetting鈥曗€昳s that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment.

銆€銆€40.Which of the following is true of the text錛?/p>

銆€銆€A. Religion once functioned as a reminder of misery.

銆€銆€B. Art provides a balance between expectation and reality.

銆€銆€C. People feel disappointed at the realities of morality.

銆€銆€D. mass media are inclined to cover disasters and deaths.

銆€銆€A姝ｇ‘銆傝繃鍘繪椂鎬侊紝鎵€浠ョ鍚堝€掓暟絎笁孌電殑鍐呭銆侭CD鏃犱腑鐢熸湁銆?/p>

銆€銆€鐩稿叧閾炬帴錛?006騫?a href="http://m.ivlnzgm.cn/pub/english/" target="_blank">鑰冪爺鑻辮璇曢闃呰鐞嗚В棰樺叕甯?/p>

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