2012考研英语一真题及答案

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2012 考研英语一真题及答案
Section I Use of English
Directions:
Read the following text. Choose the best word(s) for each numbered blank and
mark A, B, C or D on ANSWER SHEET 1. (10 points)
Ancient Greek philosopher Aristotle viewed laughter as “a bodily exercise
precious to health.” But1some claims to the contrary, laughing probably has
little influence on physical fitness. Laughter does< < 2 < < < short-term
changes in the function of the heart and its blood vessels,<< < 3 < < < heart
rate and oxygen consumption. But because hard laughter is difficult to< < 4 <
, a good laugh is unlikely to have<< < 5 < < < benefits the way, say, walking
or jogging does.
< 6 < < < , instead of straining muscles to build them, as exercise does,
laughter apparently accomplishes the< < 7 < < . Studies dating back to the
1930s indicate that laughter< < 8 < < < muscles, decreasing muscle tone for up
to 45 minutes after the laugh dies down.
Such bodily reaction might conceivably help< < 9 < < the effects of
psychological stress. Anyway, the act of laughing probably does produce other
types of< < 10 < < feedback that improve an individual’s emotional
state.<< < 11 < < one classical theory of emotion, our feelings are partially
rooted< < 12 < < physical reactions. It was argued at the end of the 19th
century that humans do not cry<< < 13 < < < they are sad but that they become
sad when the tears begin to flow.
Although sadness also< < 14 < < tears, evidence suggests that emotions can
flow< < 15 < < < muscular responses. In an experiment published in 1988,
social psychologist Fritz Strack of the University of Würzburg in Germany asked
volunteers to< < 16 < < a pen either with their teeth – thereby creating an
artificial smile – or with their lips, which would produce a(n)< < 17 <
expression. Those forced to exercise their smiling muscles< < 18 < < more
enthusiastically to funny cartoons than did those whose mouths were contracted
in a frown,< < 19 < < that expressions may influence emotions rather than just
the other way around.< < 20 < < , the physical act of laughter could improve
mood.
1.[A] among [B] except [C] despite [D] like
2.[A] reflect [B] demand [C] indicate [D] produce
3.[A] stabilizing [B] boosting [C] impairing [D] determining
4.[A] transmit [B] sustain [C] evaluate [D] observe
5.[A] measurable [B] manageable [C] affordable [D] renewable
6.[A] In turn [B] In fact [C] In addition [D] In brief
7.[A] opposite [B] impossible [C] average [D] expected
8.[A] hardens [B] weakens [C] tightens [D] relaxes
9.[A] aggravate [B] generate [C] moderate [D] enhance
10.[A] physical [B] mental [C] subconscious [D] internal
11.[A] Except for [B] According to [C] Due to [D] As for
12.[A] with [B] on [C] in [D] at
13.[A] unless [B] until [C] if [D] because
14.[A] exhausts [B] follows [C] precedes [D] suppresses
15.[A] into [B] from [C] towards [D] beyond
16.[A] fetch [B] bite [C] pick [D] hold
17.[A] disappointed [B] excited [C] joyful [D] indifferent
18.[A] adapted [B] catered [C] turned [D] reacted
19.[A] suggesting [B] requiring [C] mentioning [D] supposing
20.[A] Eventually [B] Consequently [C] Similarly [D] Conversely
Section I Use of English
1.C 2.D 3.B 4.B 5.A 6.B 7.A 8.D 9.C 10.A 11.B 12.C 13.D 14.C 15.B 16.D 17.A
18.D 19.A 20.C
Section II 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 ANSWER SHEET 1. (40 points)
Text 1
The decision of the New York Philharmonic to hire Alan Gilbert as its next
music director has been the talk of the classical-music world ever since the
sudden announcement of his appointment in 2009. For the most part, the response
has been favorable, to say the least. “Hooray! At last!” wrote Anthony
Tommasini, a sober-sided classical-music critic.
One of the reasons why the appointment came as such a surprise, however, is
that Gilbert is comparatively little known. Even Tommasini, who had advocated
Gilbert’s appointment in the Times, calls him “an unpretentious musician with
no air of the formidable conductor about him.” As a description of the next
music director of an orchestra that has hitherto been led by musicians like
Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some
Times readers as faint praise.
For my part, I have no idea whether Gilbert is a great conductor or even a good
one. To be sure, he performs an impressive variety of interesting compositions,
but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to
hear interesting orchestral music. All I have to do is to go to my CD shelf, or
boot up my computer and download still more recorded music from iTunes.
Devoted concertgoers who reply that recordings are no substitute for live
performance are missing the point. For the time, attention, and money of the
art-loving public, classical instrumentalists must compete not only with opera
houses, dance troupes, theater companies, and museums, but also with the
recorded performances of the great classical musicians of the 20thcentury.
These recordings are cheap, available everywhere, and very often much higher in
artistic quality than today’s live performances; moreover, they can be
“consumed” at a time and place of the listener’s choosing. The widespread
availability of such recordings has thus brought about a crisis in the
institution of the traditional classical concert.
One possible response is for classical performers to program attractive new
music that is not yet available on record. Gilbert’s own interest in new music
has been widely noted: Alex Ross, a classical-music critic, has described him
as a man who is capable of turning the Philharmonic into “a markedly
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