[考研英语]宫东风21篇模板.doc

21篇模板（1）题目序号题型归类第1题中心主旨题型第2题审题定位与反推题型第3题全文归纳推导题型第4题写作手法题型第5题例（举）证题型Roger Rosenblatts book Black Fiction, in attempting to apply literary rather than sociopolitical criteria to its subject, successfully alters the approach taken by most previous studies. As Rosenblatt notes, criticism of Black writing has often served as a pretext for expounding on Black history. Addison Gayles recent work, for example, judges the value of Black fiction by overtly political standards, rating each work according to the notions of Black identity which it propounds.Although fiction assuredly springs from political circumstances, its authors react to those circumstances in ways other than ideological, and talking about novels and stories primarily as instruments of ideology circumvents much of the fictional enterprise. Rosenblatts literary analysis discloses affinities and connections among works of Black fiction which solely political studies have overlooked or ignored.Writing acceptable criticism of Black fiction, however, presupposes giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the facial identity of the authors, to group together works by Black authors? Second, how does Black fiction make itself distinct from other modern fiction with which it is largely contemporaneous? Rosenblatt shows that Black fiction constitutes a distinct body of writing that has an identifiable, coherent literary tradition. Looking at novels written by Black over the last eighty years, he discovers recurring concerns and designs independent of chronology. These structures are thematic, and they spring, not surprisingly, from the central fact that the Black characters in these novels exist in a predominantly white culture, whether they try to conform to that culture or rebel against it.Black Fiction does leave some aesthetic questions open. Rosenblatts thematic analysis permits considerable objectivity; he even explicitly states that it is not his intention to judge the merit of the various works yet his reluctance seems misplaced, especially since an attempt to appraise might have led to interesting results. For instance, some of the novels appear to be structurally diffuse. Is this a defect, or are the authors working out of, or trying to forge, a different kind of aesthetic? In addition, the style of some Black novels, like Jean Toomers Cane, verges on expressionism or surrealism; does this technique provide a counterpoint to the prevalent theme that portrays the fate against which Black heroes are pitted, a theme usually conveyed by more naturalistic modes of expression?In spite of such omissions, what Rosenblatt does include in his discussion makes for an astute and worthwhile study. Black Fiction surveys a wide variety of novels, bringing to our attention in the process some fascinating and little-known works like James Weldon Johnsons Autobiography of an Ex-Colored Man. Its argument is tightly constructed, and its forthright, lucid style exemplifies levelheaded and penetrating criticism.1. The author of the text is primarily concerned withA evaluating the soundness of a work of criticism.B comparing various critical approaches to a subject.C discussing the limitations of a particular kind of criticism.D summarizing the major points made in a work of criticism.2. The author of the text believes that Black Fiction would have been improved had RosenblattA evaluated more carefully the ideological and historical aspects of Black fiction.B attempted to be more objective in his approach to novels and stories by Black authors.C explored in greater detail the recurrent thematic concerns of Black fiction throughout its history.D assessed the relative literary merit of the novels he analyzes thematically.3. The authors discussion of Black Fiction can be best described as A pedantic and contentious.B critical but admiring.C ironic and deprecating.D argumentative but unfocused.4. The author of the text employs all of the following in the discussion of Rosenblatts book EXCEPT:A rhetorical questions.B specific examples.C comparison and contrast.D definition of terms.5. The author of the text refers to James Weldon Johnsons Autobiography of an ExColored Man most probably in order toA point out affinities between Rosenblatts method of thematic analysis and earlier criticism.B clarify the point about expressionistic style made earlier in the passage.C qualify the assessment of Rosenblatts book made in the first paragraph of the passage.D give a specific example of one of the accomplishments of Rosenblatts work.参考译文罗杰罗森布莱特的著作黑人小说，试图运用文学的而不是社会政治的标准来研究黑人小说，这成功地改变了大多数早先研究的方法。如罗森布莱特所注意到的，黑人著作的评论经常被充当为一种阐述黑人历史的借口。例如，阿狄森盖尔的最新著作，就用了公开的政治标准来判定黑人小说的价值，按照作品中所提出的黑人个体的各观念对每个作品进行评价。虽然小说确实是源于政治环境，但作者反映这些环境的方法是非意识形态的，如把小说和故事的讨论作为意识形态的工具，则会忽视了许多小说的成就。罗森布莱特对黑人文学的分析揭示了黑人小说著作间的密切关系和联系，而纯粹政治研究中忽视了这些联系。然而写出为人所接受的黑人小说评论的前提是要对许多问题做出令人满意的回答。首先，除了这些作家的种族身份外，是否有充分的理由可将黑人作家的作品归于一类？其次，黑人小说如何将自己和其他现代小说分开？它们大半属于同一时代的作品。罗森布莱特的研究阐明了黑人小说已构成了一个与众不同的作品群体，它们具有可识别的、连贯的文学传统。着眼于最近八十年黑人创作的小说，罗森布莱特揭示了小说中与时代无关而反复出现的侧重点和布局。这些结构与主题相关，并不让人感到惊奇的是，它们源于这样一个中心事实，即小说中的黑人生存在一个白人文化支配的环境中，不管他们试图迎合这一文化还是反叛这一文化。黑人小说确实对一些美学的问题没有给予回答，罗森布莱特的主题分析允许相当的客观性；他甚至直言，对各个作品的优劣判定不是他工作的意图然而他的犹豫看起来是不合时宜的，尤其是因为尝试评定可能会导致一些有趣的结果。例如，一些小说所显示的结构散漫冗长。这是否是一个缺陷，或者是作者这样做是出于一种美学考虑，还是作者试图创造一种不同类的美学？另外，象金图莫的手杖那样的黑人小说风格，近于表现主义和超现实主义；难道这个技巧只是用更自然主义的表现方式为表达流行的黑人英勇反抗命运的主题提供一个对应物吗？尽管存在这些遗漏，罗森布莱特所做的包括他的讨论，已包括了足以构成精明而有价值的研究内容。黑人小说考察了广泛的小说，在此过程中我们的注意力被吸引到一些引人入胜但鲜为人知的作品上，如詹姆士威尔顿约翰逊的一个曾是有色人的自传。这本书的主题结构紧密，直率、明晰的风格例示了一种冷静而敏锐的文学评论。21篇模板（2）题目序号题型归类第1题中心主旨题型第2题例（举）证与细节理解题型第3题细节理解题型第4题审题定位题型第5题归纳推导题型Proponents of different jazz styles have always argued that their predecessors musical style did not include essential characteristics that define jazz as jazz. Thus, 1940s swing was belittled by beboppers of the 1950s who were themselves attacked by free jazzes of the 1960s. The neoboppers of the 1980s and 1990s attacked almost everybody else. The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz.Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, Indian, and African melodies. On the other hand, this dogged student and prodigious technician who insisted on spending hours each day practicing scales from theory books was never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.Two stylistic characteristics shaped the way Coltrane played the tenor saxophone: he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to “sheets of sound” where he raced faster and faster, pile-driving notes into each other to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop.Three recordings illustrate Coltranes energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repeated motifs an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions. Here the sheets of sound, downbeat accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltranes searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results were astounding. With the sopranos piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy.When Coltrane began recording for the Impulse! Label, he was still searching. His music became raucous, physical. His influence on rockers was enormous, including Jimi Hendrix, the rock guitarist, who, following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form.1. The primary purpose of the text is toA discuss the place of Coltrane in the world of jazz and describe his musical explorations.B examine the nature of bebop and contrast it with improvisational jazz.C analyze the musical sources of Coltranes style and their influence on his work.D acknowledge the influence of Coltranes music on rock music and rock musicians.2. Which of the following best describes the organization of the fourth paragraph?A A thesis referred to earlier in the text is mentioned and illustrated with three specific examples.B A thesis is stated and three examples are given each suggesting that a correction needs to be made to a thesis referred to earlier in the text.C A thesis referred to earlier in the text is mentioned, and three examples are presented and ranked in order of their support of the thesis.D A thesis is stated, three seemingly opposing examples are presented, and their underlying correspondence is explained.3. According to the text, John Coltrane did all of the following during his career EXCEPTA improvise on melodies from a number of different cultures.B perform as leader as well as soloist.C spend time improving his technical skills.D eliminate the influence of bebop on his own music.4. According to the text a major difference between Coltrane and other jazz musicians was theA degree to which Coltranes music encompassed all of jazz.B repetition of motifs that Coltrane used in his solos.C number of his own compositions that Coltrane recorded.D indifference Coltrane maintained to musical technique.5. In terms of its tone and form, the text can best be characterized asA dogmatic explanation.B indignant denial.C enthusiastic praise.D speculative study.参考译文不同的爵士乐风格的支持者一贯认为他们前辈的音乐风格没有包括那些使爵士乐之所以成为爵士乐的本质特征。这样，二十世纪五十年代的比波普派轻视二十世纪四十年代的摇摆音乐派，而他们自己又受到二十世纪六十年代的自由爵士派的抨击。二十世纪八十至九十年代的新比波普派几乎对任何其他人都进行抨击。而黑人萨克斯管巨匠约翰科尔特兰尼使这些从比波普派到新比波普派的支持者所提出的主张更加复杂化，因为在他自己的音乐例程中，他经历了所有这些风格。他对所有爵士音乐的风格的影响是不可估量的。在他最受欢迎的时期，科尔特兰尼基本上放弃了比波普风格的演奏以便探索爵士乐更深的处延，然而正是比波普风格的演奏使得他成名。科尔特兰尼自己可能认为爵士乐的唯一本质特征就是即兴创作，这是他从比波普风格到对形式音乐、印度音乐、非洲音乐的自由即兴演奏的历程中一直没有改变的。另一方面，这个顽强的学生和异常的技巧家每天花几个小时用以练习理论书籍上的曲谱，从未能完全抛弃比波普的影响，在他的旋律中可以找到带有比波普特点的快速和精细的音符以及修饰效果。有两种风格特征影响了科尔特兰尼演奏男高音萨克斯管的方式：他喜欢对建立于一种旋律上的音符进行快速的演奏，同时也依赖于强有力的、有规律的重音节奏。前者引导科尔特兰尼走向“片状声响”的境界，在那里科尔特兰尼的演奏越来越快，将音符成堆互相累放起来以表达一种堆叠起来的和谐感。而后者意味着，他的节奏感之接近于摇滚乐几乎就像其接近于比波普风格一样。三张唱片为科尔特兰尼富有活力的探索提供了证明。和马尔斯戴维斯合作录制有几分忧伤时，科尔特兰尼发现他已离开了波普风格，对形式音乐进行探索。在这中间，他演奏那些跌宕起伏的冗长的独奏，而这些独奏基本上是围绕着一个重复主题展开的。该种主题是用以组织其音乐的原则，它和自由派爵士乐萨克斯管演奏家奥尼迪科尔曼采用的组织方式不同。后面这位音乐家在他的独奏中会对其旋律进行调节改变。在大踏步中，科尔特兰尼初次以领导者角色出现，对他自己的作品进行了介绍。在这中间，“片状声响”、强拍重音、重复回旋和极快的速度组成了每一段独奏的各个部分，各乐章的形式的多样性是独一无二的。科尔特兰尼深刻的探索获得了稳固的成就。我的钟爱之物是另一种意义上的分水岭。在这里，科尔特兰尼演奏了爵士乐演奏家很少使用的女高音萨克斯管，所产生的音乐上的效果是惊人的。伴随着女高音萨克斯管的尖音，那些显得昏暗及带有沉思意味的主题获得了一种令人眼花缭乱的梦幻感觉。当科尔特兰尼开始为冲动唱片公司进行音乐录制时，他仍然在探索。他的音乐变得沙哑而感性。摇滚乐手受到他的巨大影响，其中包括吉米亨德瑞克斯这位吉它手。后者仿效科尔特兰尼，使基于重复主题的大段吉他独奏上升成为一种摇滚艺术形式。21篇模板（3）题目序号题型归类第1题中心主旨题型第2题反推题型第3题细节归纳推导题型第4题中心主旨题型第5题细节推导题型Many objects in daily use have clearly been influenced by science, but their form and function, their dimensions and appearance, were determined by technologists, artisans, designers, inventors, and engineers using nonscientific modes of thought. Many features and qualities of the objects that a technologist thinks about cannot be reduced to unambiguous verbal descriptions; they are dealt with in the mind by a visual, nonverbal process. In the development of Western technology, it has been nonverbal thinking, by and large, that has fixed the outlines and filled in the details of our material surroundings. Pyramids, cathedrals, and rockets exist not because of geometry or thermodynamics, but because they were first a picture in the minds of those who built them.The creative shaping process of a technologists mind can be seen in nearly every artifact that exists. For example, in designing a diesel engine, a technologist might impress individual ways of nonverbal thinking on the machine by continually using an intuitive sense of rightness and fitness. What would be the shape of the combustion chamber? Where should be valves be placed? Should it have a long or short piston? Such questions have a range of answers that are supplied by experience, by physical requirements, by limitations of available space, and not least by a sense of form. Some decisions such as wall thickness and pin diameter, may depend on scientific calculations, but the nonscientific component of design remains primary.Design courses, then, should be an essential element in engineering curricula. Nonverbal thinking, a central mechanism in engineering design, involves perceptions, the stock-in-trade of the artist, not the scientist. Because perceptive processes are not assumed to entail “hard thinking,” nonverbal thought is sometimes seen as a primitive stage in the development of cognitive processes and inferior to verbal or mathematical thought. But it is paradoxical that when the staff of the Historic American Engineering Record wished to have drawings made of machines and isometric views of industrial processes for its historical record of American engineering, the only college students with the requisite abilities were not engineering students, but rather students attending architectural schools.If courses in design, which in a strongly analytical engineering curriculum provide the background required for practical problem-solving, are not provided, we can expect to encounter silly but costly errors occurring in advanced engineering systems. For example, early models of high-speed railroad cars loaded with sophisticated controls were unable to operate in a snowstorm because a fan sucked snow into the electrical system. Absurd random failures that plague automatic control systems are not merely trivial aberrations; they are a reflection of the chaos that results when design is assumed to be primarily a problem in mathematics.1. In the text, the author is primarily concerned withA identifying the kinds of thinking that are used by technologists.B stressing the importance of nonverbal thinking in engineering design.C proposing a new role for nonscientific thinking in the development of technology.D contrasting the goals of engineers with those of technologists.2. It can be inferred that the author thinks engineering curricula areA strengthened when they include courses in design.B weakened by the substitution of physical science courses for courses designed to develop mathematical skills.C strong because nonverbal thinking is still emphasized by most of the courses.D strong despite the errors that graduates of such curricula have made in the development of automatic control systems.3. Which of the following statements best illustrates the main point of the first two paragraphs of the text?A When a machine like a rotary engine malfunctions, it is the technologist who is best equipped to repair it.B Each component of an automobile for example, the engine or the fuel tank has a shape that has been scientifically determined to be best suited to that components function.C A telephone is a complex instrument designed by technologists using only nonverbal thought.D The distinctive features of a suspension bridge reflect its designers conceptualization as well as the physical requirements of its site.4. Which of the following statements would best serve as an introduction to the text?A The assumption that the knowledge incorporated in technological developments must be derived from science ignores the many nonscientific decisions made by technologists.B Analytical thought is no longer a vital component in the success of technological development.C As knowledge of technology has increased, the tendency has been to lose sight of the important role played by scientific thought in making decisions about form, arrangement, and texture.D A movement in engineering colleges toward a technicians degree reflects a demand for graduates who have the nonverbal reasoning ability that was once common among engineers.5. The author calls the predicament faced by the Historic American Engineering Record “paradoxical” (line 6, paragraph 3) most probably becauseA the publication needed drawings that its own staff could not make.B architectural schools offered but did not require engineering design courses for their students.C college students were qualified to make the drawings while practicing engineers were not.D engineering students were not trained to make the type of drawings needed to record the development of their own discipline.参考译文许多日常使用的事物明显受到了科学的影响，但它们的形状和功能，它们的大小和外观，是由工艺人员、工匠、设计师、发明家和工程师运用非科学思维模式来设计的。工艺人员所考虑物体的很多性质和特点不能归结到毫不模糊的字面描述；在思维中，它们以一种视觉上的、非言语的方式被加以处理。在西方科技的发展过程中，大体上是由非言语思维刻画了我们物质环境的轮廓并充实了其中的细节。金字塔、大教堂、火箭之所以存在，不是因为几何学或热力学的原因，而是因为在它们的制造者的头脑中事先存在了这样一幅画面。在几乎每一件现存的人造制品身上都能看出工艺人员思维创造性的制作过程。比如说，在柴油发动机的设计中，通过不断使用关于合适感和适当感的直观体会，一个工艺人员得以用他个人的非语言思维来影响到机器本身。燃烧室的形状应怎样？阀门应该放在哪里？它应该有个长的活塞还是应该有个短的？这样的问题有着由经验、物理需要、可用空间的局限以及并非微不足道的形状感等因素提供的一系列答案。某一些决定，比如壁厚和销钉直径，可能需要由科学的计算来定