英语阅读理解复习.doc

英语阅读理解复习1、The majority of successful senior managers do not closely follow the classical rational model of first clarifying goals, assessing the problem, formulating options, estimating likelihoods of success, making a decision, and only then taking action to implement the decision. Rather, in their day-by-day tactical maneuvers, these senior executives rely on what is vaguely termed intuition to manage a network of interrelated problems that require them to deal with ambiguity, inconsistency, novelty, and surprise； and to integrate action into the process of thinking.Generations of writers on management have recognized that some practicing managers rely heavily on intuition. In general, however, such writers display a poor grasp of what intuition is. Some see it as the opposite of rationality;others view it as an excuse for capriciousness.Isenbergs recent research on the cognitive processes of senior managers reveals that managers intuition is neither of these. Rather, senior managers use intuition in at least five distinct ways. First, they intuitively sense when a problem exists. Second, managers rely on intuition to perform well-learned behavior patterns rapidly. This intuition is not arbitrary or irrational, but is based on years of painstaking practice and hands-on experience that build skills. A third function of intuition is to synthesize isolated bits of data and practice into an integrated picture, often in an Aha！ experience. Fourth, some managers use intuition as a check on the results of more rational analysis. Most senior executives are familiar with the formal decision analysis models and tools, and those who use such systematic methods for reaching decisions are occasionally leery of solutions suggested by these methods which run counter to their sense of the correct course of action. Finally, managers can use intuition to bypass in-depth analysis and move rapidly to engender a plausible solution. Used in this way, intuition is an almost instantaneous cognitive process in which a manager recognizes familiar patterns.One of the implications of the intuitive style of executive management is that thinking is inseparable from acting. Since managers often know what is right before they can analyze and explain it, they frequently act first and explain later. Analysis is inextricably tied to action in thinking/acting cycles, in which managers develop thoughts about their companies and organizations not by analyzing a problematic situation and then acting, but by acting and analyzing in close concert.Given the great uncertainty of many of the management issues that they face, senior managers often instigate a course of action simply to learn more about an issue. They then use the results of the action to develop a more complete understanding of the issue. One implication of thinking/acting cycles is that action is often part of defining the problem, not just of implementing the solution.1. According to the text, senior managers use intuition in all of the following ways EXCEPT toA speed up of the creation of a solution to a problem.B identify a problem.C bring together disparate facts.D stipulate clear goals.2. The text suggests which of the following about the writers on management mentioned in line 1, paragraph 2？A They have criticized managers for not following the classical rational model of decision analysis.B They have not based their analyses on a sufficiently large sample of actual managers.C They have relied in drawing their conclusions on what managers say rather than on what managers do.D They have misunderstood how managers use intuition in making business decisions.3. It can be inferred from the text that which of the following would most probably be one major difference in behavior between Manager X, who uses intuition to reach decisions, and Manager Y, who uses only formal decision analysis？A Manager X analyzes first and then acts； Manager Y does not.B Manager X checks possible solutions to a problem by systematic analysis； Manager Y does not.C Manager X takes action in order to arrive at the solution to a problem； Manager Y does not.D Manager Y draws on years of hands-on experience in creating a solution to a problem； Manager X does not.4. The text provides support for which of the following statements？A Managers who rely on intuition are more successful than those who rely on formal decision analysis.B Managers cannot justify their intuitive decisions.C Managers intuition works contrary to their rational and analytical skills.D Intuition enables managers to employ their practical experience more efficiently.5. Which of the following best describes the organization of the first paragraph of the text？A An assertion is made and a specific supporting example is given.B A conventional model is dismissed and an alternative introduced.C The results of recent research are introduced and summarized.D Two opposing points of view are presented and evaluated.1. 答案D考点解析这是一道归纳推导题。本题题干中的senior managers暗示本题的答案信息在第三段,因为第三段首句包含题干中的senior managers。通过仔细阅读和理解本段中所谈到的五点,我们可推导出本题的正确选项是选项D.本题选项A、B、C所涉及的内容分别在本段的第五点、第一点和第三点提到。考生在解题时一定要学会认真归纳和总结原文所表达的每一层含义。2. 答案D考点解析这是一道句间关系题。题干已将本题的答案信息圈定在第二段。本段中的第二句是本题答案信息的最主要来源,通过阅读和理解此句,我们可推导出本题的正确选项是D.考生在解题时一定要适当理解上下句之间的关系。3. 答案C考点解析本题是一道审题定位题。题干中的who uses intuition to reach decisions暗示本题的答案信息在第四段,因为第四段首句含有和题干中who uses intuition to reach decisions大致相同的the intuitive style of executive management。通过仔细阅读和理解第四段的每一句话,我们可发现第四段的第一句话都在强调act（行动）,可见本题的正确选项应该是强调行动的选项C.本题的答案信息来源是第四段的第二句话。考生在解题时一定要首先准确地审题定位,然后要善于归纳和理解原文中的中心主旨信息。4. 答案D考点解析本题是一道审题定位题。题干中并没有明确指出本题答案信息在原文的准确位置。在这种情况下,考生往往迷失解题思路。在考生迷失解题思路时一定要牢记全文中心主旨,并且抓住各段的核心句。本文的中心主旨句在第一段的尾句。如果考生能够抓住第一段的尾句,并结合第三段的第四、五句,就可以推导出本题的正确选项应该是D.考生在解题时,尤其是在迷失解题思路时,一定要首先抓全文的中心主旨句,同时还要抓一些明确表示启承转合关系的句子结构。5. 答案B考点解析本题是一道段落结构题。第一句话中的do not和第二句句首的rather是破解本题的关键。抓住这两个关键就可以推导出本题的正确选项应该是B.考生在解题时一定要注意表示否定的词语以及表示启承转合的词语,更要注意句子之间的相互关系。2、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 with _.A 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 Rosenblatt _.A 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 Ex-Colored Man most probably in order to _.A 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.1、答案A考点解析这是一道中心主旨题。通过阅读本文各段尤其是首段第一句和尾段第一句，我们可以推断出本题的正确选项应该是突出“evaluating”（评价）一词的选项A.考生在解题时一定要注意段落的中心主旨句，以及每句话所表达的内含和作用。2、答案D考点解析这是一道审题定位与反推题。从本题题干中的“would have been improved”可推断出考生要在原文中寻找到谈论某一方面“不足”的地方。尾段首句的“such omissions”（这样的忽略）暗示本题的答案信息来源应该在倒数第二段。通过仔细阅读和理解倒数第二段，可将本题的答案信息来源确定在倒数第二段的第二句。根据倒数第二段第二句的内容进行反推，就可得出本题的正确选项是D.考生在解题时一定要具备利用上下段之间的关系迅速审题定位的能力，更要具备反推即逆向思维的能力。3、答案B考点解析这是一道归纳推导题。从本题的题干可以看出本题的答案信息来源不局限于某一段或某一句，而是涉及全文的从头至尾。但是只要抓住全文的中心主旨句就可以得出本题的正确答案B.本文的中心主旨句是第一段的首句和尾段的首句。考生在解题时一定要抓住中心主旨句，并且对它们所表达的内容要进行分析和归纳。4、答案D考点解析这是一道写作手法题型。本题型旨在考察考生的语言基本功。这是一道较难的题目。本题A、B、C所涉及的内容可分别在第三段的第二、三句、第四段的第三句以及第一段的第三句里找到。第一段的第三句涉及B和C两个选项。选项D“definition of terms”（给词语下定义）在原文中没有涉及，故本选项是正确答案。考生在解题时一定要注意英文中常见的写作手段。5、答案D考点解析这是一道例（举）证题。通过题干中的“Weldon Johnsons Autobiography of an Ex-Colored Man”可将本题的答案信息来源迅速确定在尾段的第二句，本句中的“like”（例如）一词暗示本题的正确选项应该是含有“specific example”的选项D.考生在解题时一定要注意原文中某些关键词的应用和理解。3、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.1、答案A考点解析本题是一道中心主旨题。第一段的倒数第一、二句是全文的中心主旨句，全文就是根据这两句话展开论述的。抓住这两句话就可以找出本题的正确选项A.考生在解题时，尤其是破解中心主旨题时，一定要先找出全文的中心主旨句。2、答案C考点解析 这是一道例（举）证与细节理解题。第四段第一句明确指出“三张唱片为科尔特兰尼富有活力的探索提供了证明”。这说明第四段将讲述三个例子用来说明在前一段即第三段所提出的论点。另外这三个例子是按着先后顺序给出的，因此本题的正确选项是C.考生在解题时要注意段落之间的相互关系，更要注意句子之间的相互关系。3、答案D考点解析这是一道细节理解题型。本题属于比较难的题型，因为本题的涉及面比较广。本题A、B、C选项的内容分别在第二段第一句、第四段第三四句和第二段第二句提到过。故本题的正确选项应该是D.其实这道题表面上非常难，但是对于善于捕捉全文中心主旨句的同学来讲确比较容易，因为从第一段第四句的原因状语从句中就可以推导出本题的正确答案D.考生在解题时应时时牢记全文的中心主旨句。4、答案A考点解析本题是一道审题定位题型。根据本题题干中的“other jazz musicians”可将本题的答案信息来源定位在第一段的第一至四句，因为在这四句话中提到了其它的爵士音乐家。第一段第四句的状语从句明确指出了“Coltrane”与其它音乐家的不同在于他吸收了各种风格的爵士音乐。故本题的正确答案应该是A.考生在解题时应重视审题定位。5、答案C考点解析本题是一道归纳推导题型。细心的同学可从本文作者在论述时使用的词语中推导出本题的正确答案C.例如作者在第一段第四句的主语上使用了“titanic figure”；在第五句使用了“his influencewas immeasurable”；在最后一段的第三句使用了“his influence was enormous”，这都反映了作者的“enthusiastic praise”。考生在解题时要重视原文作者在表达观点时的遣词造句。4、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 tho