考研模拟新航道考研英语命题预测题一

新航道考研英语命题预测题(一)(1)北京新航道学校考研阅读主讲 印建坤Section Use of EnglishDirections:Read the following text. Choose the best word(s) for each numbered blank and mark A,B,C or D on ANSWER SHEET 1( points)The current French bestseller lists are wonderfully eclectique. In 1 , there is everything 2 blockbuster thrillers to Catherine Millets La vie sexuelle de Catherine M., a novel which has been 3 praised as high art and 4 as upmarket porn. Then there are novels 5 the sticky questions of good and 6 (Le demon et mademoiselle Prym) and faith versus science in the modern world (Lapparition). Philosophical 7 continue in the non-fiction list, 8 this week by Michel Onfrays Antimanuel de philosophie, a witty take 9 some of philosophys perennial debates. Those who like their big issues in small chunks are also enjoying Frederic Beigbeders Dernier inventaire avant liquidation, a survey of Frances 20th-century books, with Mr Beigbeders humour from the title on (The 50 books of the century chosen by you and critiqued by me).In Britain, meanwhile, there is olive oil all over the non- fiction list. Its a staple for Nigella Lawson, a domestic divinity and celebrity , whose latest of recipes tops the list. Annie Hawes, in second , took herself to the sun- drenched hills of Italy to grow her own olives and write a book about them-as did Carol Drinkwater, just the border in France. Fiction-wise, its business as , with the requisite holiday mix of thrillers, romance, fantasy-and Harry Potter, with The Goblet of Fire still burning 20 at number three.1. A. literature B. narrativeC. storyD. fiction2. A. on B. fromC. about D. of3. A. both B. equallyC. ratherD. together4. A. approved B. admiredC. deridedD. scolded5. A .attemptingB, dealingC. tacklingD. talking6. A. .evil B. sinC. wickedness D. bad7. A. topics B. ideasC. arguments D. themes8.A. topped B. covered C. overdone D. surpassed9. A. of B. by C. atD. on. A goodB. favourite C. favorable D. satisfying. A. dealt B. handledC. touchedD. managed.A. brandB. trademark C. marked D. obvious. A. ingredient B. constitution C. partD. factor.A. writer B. novelistC. chefD. journalist.A. set B. anthology C. collection D. album. A. rankB. place C. point D. status.A. up B. on C. off D. in. A. above B. around C. about D. across. A. usualB. usually C. common D. commonly20. A. brightB. intenseC. dazzlingD. brilliantSection Reading ComprehensionPart ADirections:Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on ANSWER SHEET 1. (40 points)Text 1MAKING money is a dirty game, says the Institute of Economic Affairs, summing up the attitude of British novelists towards business. The IEA, a free market think-tank, has just published a collection of essays (The Representation of Business in English Literature) by five academics chronicling the hostility of the countrys men and women of letters to the sordid business of making money. The implication is that Britains economic performance is retarded by an anti-industrial culture.Rather than blaming recalcitrant workers and incompetent managers for Britains economic worries, then, we can put George Orwell and Martin Amis in the dock instead. From Dickenss Scrooge to Amiss John Self in his 80s novel Money, novelists have conjured up a rogues gallery of mean, greedy, amoral money-men that has alienated their impressionable readers from the noble pursuit of capitalism.The argument has been well made before, most famously in 81 by Martin Wiener, an American academic, in his English Culture and the Decline of the Industrial Spirit. Lady Thatcher was a devotee of Mr. Wieners, and she led a crusade to revive the entrepreneurial culture which the liberal elite had allegedly trampled underfoot. The present Chancellor of the Exchequer, Gordon Brown, sounds as though he agrees with her. At a recent speech to the Confederation of British Industry, he declared that it should be the duty of every teacher in the country to communicate the virtues of business and enterprise.Certainly, most novelists are hostile to capitalism, but this refrain risks scapegoating writers for failings for which they are not to blame. Britains culture is no more anti-business than that of other countries. The Romantic Movement, which started as a reaction against the industrial revolution of the century, was born and flourished in Germany, but has not stopped the Germans from being Europes most successful entrepreneurs and industrialists.Even the Americans are guilty of blackening businesss name. SMERSH and SPECTRE went out with the cold war. James Bond now takes on international media magnates rather than Rosa Kleb. His films such as Erin Brockovich have pitched downtrodden, moral heroes against the evil of faceless corporatism. Yet none of this seems to have dented Americas lust for free enterprise.The irony is that the novel flourished as an art form only after, and as a result of, the creation of the new commercial classes of Victorian England, just as the modern Hollywood film can exist only in an era of mass consumerism. Perhaps the moral is that capitalist societies consume literature and film to let off steam rather than to change the world.21. In the first paragraph, the author introduces his topic byA. posing a contractB. justifying an assumptionC. making a comparisonD. explaining a phenomenon22. The word “sordid”(line 6, para 1)impliesA. holyB. dirtyC. saintyD. pure23. George Orwell and Martin Amis are defendants becauseA. no accusation of the inefficient managementB. the decline of the countrys economyC. the novelists are in favor of themD. novelists depict them as merciful people24. American academic Martin Wieners argumentA. sides with the liberal eliteB. is neutral about the virtue of business and enterpriseC. inclines towards the revival of the entrepreneurial cultureD. is hostile to the industrial spirit25. What can we infer from the last paragraph?A. the novel existed after the creation of the new commercial classesB. capital doesnt pollute social moralityC. capitalist societies change the worldD. the modern holy world has nothing to do with consumersText 2JOSEPH RYKWERT entered his field when post-war modernist architecture was coming under fire for its alienating embodiment of outmoded social ideals. Think of the UN building in New York, the city of Brasilia, the UNESCO building in Paris, the blocks of housing projects throughout the world. These tall, uniform boxes are set back from the street, isolated by windswept plazas. They look inward to their own functions, presenting no face to the inhabitants of the city, no place for social interaction. For Mr. Rykwert, who rejects the functionalist spirit of the Athens Charter of 33, a manifesto for much post-war building, such facelessness destroys the human meaning of the city. Archi