2023年考研英语考试模拟卷（9）本卷共分为1大题50小题，作答时间为180分钟，总分100分，60分及格一、单项选择题（共50题，每题2分每题的备选项中，只有一个最符合题意） 1.Text 4 Picture-taking is a technique both for reflecting the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all. These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in taking a picture. Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed. An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of fast seeing. Cartier Bresson, in fact, claims that the modern camera may see too fast. This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. Notes: crop vt.播种,修剪(树木)收割。
count for little 无关紧要predatory 掠夺成性的champion n.军；vt.支持benevolent好心肠的，ambivalence矛盾心理make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡cult 狂热崇拜daguerreotypes (初期的)银板照相法The author mentions the work of Harold Edgerton in order to provide an example of（）A．the relationship between photographic originality and technology.B．how the content of photographs has changed from the nineteenth century to the twentieth.C．the popularity of high-speed photography in the twentieth century.D．how a controlled ambivalence toward photography's means can produce outstanding pictures.2.Text 4 Picture-taking is a technique both for reflecting the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all. These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in taking a picture. Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed. An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of fast seeing. Cartier Bresson, in fact, claims that the modern camera may see too fast. This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. Notes: crop vt.播种,修剪(树木)收割。
count for little 无关紧要predatory 掠夺成性的champion n.军；vt.支持benevolent好心肠的，ambivalence矛盾心理make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡cult 狂热崇拜daguerreotypes (初期的)银板照相法According to paragraph 2, the interest among photographers in each of the photography's two ideals can be described as（）A．steadily growing.B．cyclically recurring.C．continuously altering.D．spontaneously occurring.3.Text 4 Picture-taking is a technique both for reflecting the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all. These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in taking a picture. Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed. An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of fast seeing. Cartier Bresson, in fact, claims that the modern camera may see too fast. This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. Notes: crop vt.播种,修剪(树木)收割。
count for little 无关紧要predatory 掠夺成性的champion n.军；vt.支持benevolent好心肠的，ambivalence矛盾心理make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡cult 狂热崇拜daguerreotypes (初期的)银板照相法The text states all of the following about photographs EXCEPT:（）A．They can display a cropped reality.B．They can convey information.C．They can depict the photographer's temperament.D．They can change the viewer's sensibilities.4.Section Ⅲ Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on 4NSWER SHEET I. Text 1 If you intend using humor in your talk to make people smile, you must know how to identify shared experiences and problems. Your humor must be relevant to the audience and should help to show them that you are one of them or that you understand their situation and are in sympathy with their point of view. Depending on whom you are addressing, the problems will be different. If you are talking to a group of managers, you may refer to the disorganized methods of their secretaries; alternatively if you are addressing secretaries, you may want to comment on their disorganized bosses. Here is an example, which I heard at a nurses’ convention, of’ a story which works well because the audience all shared the same view of doctors. A man arrives in heaven and is being shown around by St. Peter. He sees wonderful accommodations, beautiful gardens, sunny weather, and so on. Everyone is very peaceful, polite and friendly until, waiting in a line for lunch, the new arrival is suddenly pushed aside by a man in a white coat, who rashes to the head of the line, grabs his food and stomps over to a table by himself. Who is that the new arrival asked St. Peter. Oh, that’s God, came the reply, but sometimes he thinks he’s a doctor. If you are part of the group which you are addressing, you will be in a position to know the experiences and problems which are common to all-of you and it’ll be appropriate for you to make a passing remark about the inedible canteen food or the chairman’s notorious bad taste in ties. With other audiences you mustn’t attempt to cut in with humor as they will resent an outsider making disparaging remarks about their canteen or their chairman~ You will be on safer ground if you stick to scapegoats like the Post Office or the telephone system. If you feel awkward being humorous, you must practice so that it becomes more natural. Include a few casual and apparently off - the - cuff remarks which you can deliver in a relaxed and unforced manner. Often it’s the delivery which causes the audience to smile, so speak slowly and remember that a raised eyebrow or an unbelieving look may help to show that you are making a light -hearted remark. Look for the humor. It often comes from the unexpected. A twist on a familiar quote If at first you don’t succeed, give up or a play on words or on a situation. Search for exaggeration and understatements. Look at your talk and pick out a few words or sentences which you can turn about and inject with humor.To make your humor work, you should ()A．take advantage of different kinds of audienceB．make fun of the disorganized peopleC．address different problems to different peopleD．show sympathy for your listeners5.Section Ⅲ Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on 4NSWER SHEET I. Text 1 If you intend using humor in your talk to make people smile, you must know how to identify shared experiences and problems. Your humor must be relevant to the audience and should help to show them that you are one of them or that you understand their situation and are in sympathy with their point of view. Depending on whom you are addressing, the problems will be different. If you are talking to a group of managers, you may refer to the disorganized methods of their secretaries; alternatively if you are addressing secretaries, you may want to comment on their disorganized bosses. Here is an example, which I heard at a nurses’ convention, of’ a story which works well because the audience all shared the same view of doctors. A man arrives in heaven and is being shown around by St. Peter. He sees wonderful accommodations, beautiful gardens, sunny weather, and so on. Everyone is very peaceful, polite and friendly until, waiting in a line for lunch, the new arrival is suddenly pushed aside by a man in a white coat, who rashes to the head of the line, grabs his food and stomps over to a table by himself. Who is that the new arrival asked St. Peter. Oh, that’s God, came the reply, but sometimes he thinks he’s a doctor. If you are part of the group which you are addressing, you will be in a position to know the experiences and problems which are common to all-of you and it’ll be appropriate for you to make a passing remark about the inedible canteen food or the chairman’s notorious bad taste in ties. With other audiences you mustn’t attempt to cut in with humor as they will resent an outsider making disparaging remarks about their canteen or their chairman~ You will be on safer ground if you stick to scapegoats like the Post Office or the telephone system. If you feel awkward being humorous, you must practice so that it becomes more natural. Include a few casual and apparently off - the - cuff remarks which you can deliver in a relaxed and unforced manner. Often it’s the delivery which causes the audience to smile, so speak slowly and remember that a raised eyebrow or an unbelieving look may help to show that you are making a light -hearted remark. Look for the humor. It often comes from the unexpected. A twist on a familiar quote If at first you don’t succeed, give up or a play on words or on a situation. Search for exaggeration and understatements. Look at your talk and pick out a few words or sentences which you can turn about and inject with humor.It can be inferred from the text that public services （）A．have benefited many peopleB．are the focus of public attentionC．are an inappropriate subject for humorD．have often been the laughing stock6.Text 2 Since the dawn of human ingenuity, people have devised ever more cunning tools to cope with work that is dangerous, boring, burdensome, or just plain nasty. That compulsion has resulted in robotics - the science of conferring various human capabilities on machines. And if scientists have yet to create the mechanical version of science fiction, they have begun to come close. As a result, the modem world is increasingly populated by intelligent gizmos whose presence we barely notice but whose universal existence has removed much human labor. Our factories hum to the rhythm of’ robot assembly arms. Our banking is done at automated teller terminals that thank us with mechanical politeness for the transaction. Our subway trains are controlled by tireless robot-drivers. And thanks to the continual miniaturization of electronics and micro - mechanics, there are already robot systems that can perform some kinds of brain and bone surgery with submillimeter accuracy - far greater precision than highly skilled physicians can achieve with their hands alone. But if robots are to reach the next stage of laborsaving utility, they will have to operate with less human supervision and be able to make at least a few decisions for themselves - goals that pose a real challenge. While we know how to tell a robot to handle a specific error, says Dave Lavery, manager of a robotics program at NASA, We can’t yet give a robot enough common sense to reliably interact with a dynamic world. Indeed the quest for tree artificial intelligence has produced very mixed results. Despite a spell of initial optimism in the 1960s and 1970s when it appeared that transistor circuits and microprocessors might be able to copy the action of the human brain by the year 2010, researchers lately have begun to extend that forecast by decades if not centuries. What they found, in attempting to model thought, is that the human brain’s roughly one hundred billion nerve cells are much more talented - and human perception far more complicated - than previously imagined. They have built robots that can recognize the error of a machine panel by a fraction of a millimeter in a controlled factory environment. But the human mind can glimpse a rapidly changing scene and immediately disregard the 98 percent that is irrelevant, instantaneously focusing on the monkey at the side of a winding forest road or the single suspicious face in a big crowd. The most advanced computer systems on Earth can’t approach that kind of ability, and neuroscientists still don’t know quite how we do it.Human ingenuity was initially demonstrated in （）A．the use of machines to produce science fictionB．the wide use of machines in manufacturing industryC．the invention of tools for difficult and dangerous workD．the elite's cunning tackling of dangerous and boring work7.Text 2 Since the dawn of human ingenuity, people have devised ever more cunning tools to cope with work that is dangerous, boring, burdensome, or just plain nasty. That compulsion has resulted in robotics - the science of conferring various human capabilities on machines. And if scientists have yet to create the mechanical version of science fiction, they have begun to come close. As a result, the modem world is increasingly populated by intelligent gizmos whose presence we barely notice but whose universal existence has removed much human labor. Our factories hum to the 。
