北京航空航天大学博士英语真题Word格式.docx

1、Passage 1Printmaking is the generic term for a number of processes, of which woodcut and engraving are two prime examples. Prints are made by pressing a sheet of paper （or other material） against an image-bearing surface to which ink has been applied. When the paper is removed, the image adheres to

2、it, but in reverse.The woodcut had been used in China from the fifth century A.D. for applying patterns to textiles. The process was not introduced into Europe until the fourteenth century, first for textile decoration and then for printing on paper. Woodcuts are created by a relief process. First,

3、the artist takes a block of wood, which has been sawed parallel to the grain, covers it with a white ground, and then draws the image in ink. The background is carved away leaving the design area slightly raised. The woodblock is inked, and the ink adheres to the raised image. It is then transferred

4、 to damp paper either by hand or with a printing press.Engraving, which grew out of the goldsmiths art, originated in Germany and northern Italy in the middle of the fifteenth century. It is an intaglio process （from Italian intagliare, to carve）. The image is incised into a highly polished metal pl

5、ate, usually copper, with a cutting instrument, or burin. The artist inks the plate and wipes it clean so that some ink remains in the incised grooves. An impression is made on damp paper in a printing press with sufficient pressure being applied so that the paper picks up the ink.Both woodcut and e

6、ngraving have distinctive characteristics. Engraving lends itself to subtle modeling and shading through the use of fine lines. Hatching and cross-hatching determine the degree of light and shade in a print. Woodcuts tend to be more linear, with sharper contrasts between light and dark. Printmaking

7、is well suited to the production of multiple images. A set of multiples is called an edition. Both methods can yield several hundred good-quality prints before the original block or plate begins to show signs of wear. Mass production of prints in the sixteenth century made images available, at a low

8、er cost, to a much broader public than before.Questions 21 to 25 are based on the passage.21. What does the passage mainly discuss?A. The origins of textile decorationB. The characteristics of good-quality puntsC. Two types of printmakingD. Types of paper used in printmaking22. The word “prime” is c

9、losest in meaning to _.A.principalB.complexC.generalD.recent23. The authors purposes in paragraph 2 is to describe _.A. the woodcuts found in China in the fifth centuryB. the use of woodcuts in the textile industryC. the process involved in creating a woodcutD. the introduction of woodcuts to Europe

10、24. According to the passage, all of the following are true about engraving EXCEPT that it _.A. developed from the art of the goldsmithsB. requires that the paper be cut with a burinC. originated in the fifteenth centuryD. involves carving into a metal plate25. According to the passage, what do wood

11、cut and engraving have in common?A. Their designs are slightly raised.B. They achieve contrast through hatching and cross-hatching.C. They were first used in Europe.D. They allow multiple copies to be produced from one original.Passage 2The French word renaissance means rebirth. It was first used in

12、 1855 by the historian Jules Michelet in his History of France, then adopted by historians of culture, by art historians, and eventually by music historians, all of whom applied it to European culture during the 150 years spanning 1450-1600. The concept of rebirth was appropriate to this period of E

13、uropean history because of the renewed interest in ancient Greek and Roman culture that began in Italy and then spread throughout Europe. Scholars and artists of the fifteenth and sixteenth centuries wanted to restore the learning and ideals of classical civilizations of Greece and Rome. To these sc

14、holars this meant a return to human as opposed to spiritual values. Fulfillment in life as opposed to concern about an afterlife became a desirable goal, and expressing the entire range of human emotions and enjoying the pleasures of the senses were no longer frowned on. Artists and writers now turn

15、ed to secular as well as religious subject matter and sought to make their works understandable and appealing.These changes in outlook deeply affected the musical culture of the Renaissance period how people thought about music as well as the way music was composed, experienced, discussed, and disse

16、minated. They could see the architectural monuments, sculptures, plays, and poems that were being rediscovered, but they could not actually hear ancient music although they could read the writings of classical philosophers, poets, essayists, and music theorists that were becoming available in transl

17、ation. They learned about the power of ancient music to move the listener and wondered why modern music did not have the same effect. For example, the influential religious leader Bernardino Cirillo expressed disappointment with the learned music of his time. He urged musicians to follow the example

18、 of the sculptors, painters, architects, and scholars who had rediscovered ancient art and literature. The musical Renaissance in Europe was more a general cultural movement and state of mind than a specific set of musical techniques. Furthermore, music changed so rapidly during this century and a h

19、alf though at different rates in different countries that we cannot define a single Renaissance style.Questions 26 to 30 are based on the passage.26. What is the passage mainly about?A. The musical compositions that best illustrated the developments during the European Renaissance.B. The musical tec

20、hniques that were in use during the European Renaissance.C. The European Renaissance as a cultural development that included changes in musical style.D. The ancient Greek and Roman musical practices used during the European Renaissance.27. It can be inferred from the passage that thinkers of the Ren

21、aissance were seeking a rebirth of _.A. communication among artists across EuropeB. spirituality in everyday lifeC. a cultural emphasis on human valuesD. religious themes in art that would accompany the traditional secular themes28. According to the passage, Renaissance artists and writers had all o

22、f the following intentions EXCEPT _.A. using religious themesB. portraying only the pleasant parts of human experienceC. producing art that people would find attractiveD. creating works that were easily understood29. The word disseminated is closest in meaning to _.playeddocumentedspreadanalyzed30.

23、Which of the following is mentioned in the passage as a reason for the absence of a single Renaissance musical style?A. The musical Renaissance was defined by technique rather than style.B. The musical Renaissance was too short to give rise to a new musical style.C. Renaissance musicians adopted the

24、 styles of both Greek and Roman musicians.D. During the Renaissance, music never remained the same for very long.Passage 3The energy contained in rock within the earths crust represents a nearly unlimited energy source, but until recently commercial retrieval has been limited to underground hot wate

25、r and/or steam recovery systems. These systems have been developed in areas of recent volcanic activity, where high rates of heat flow cause visible eruption of water in the form of geysers and hot springs. In other areas, however, hot rock also exists near the surface but there is insufficient wate

26、r present to produce eruptive phenomena. Thus a potent hot dry rock （HDR） reservoir exists whenever the amount of spontaneously product geothermal fluid has been judged inadequate for existing commercial systems.As a result of recent energy crisis, new concepts for creating HDR recovery systems whic

27、h involve drilling holes and connecting them to artificial reservoirs place deep within the crust are being developed. In all attempts to retrieve energy from HDR, artificial stimulation will be required to create either sufficient permeability or bounds flow paths to facilitate the removal of heat

28、by circulation of a fluid over the surface of the rock.The HDR resource base is generally defined to include crustal rock that is hotter than 150, is at depth of less than ten kilometers, and can be drilled with presently available equipment. Although wells deeper than ten kilometers are technically

29、 feasible, prevailing economic factors will obviously determine the commercial feasibility of wells at such depths. Rock temperatures as low as 100 may be useful for space heating; however, for producing electricity, temperatures greater than 200 are desirable.The geothermal gradient, which specific

30、ally determines the depth of drilling, required to reach a desired temperature, is a major factor in the recoverability of geothermal resources. Temperature gradient maps generated from oil and gas well temperature-depth records kept by American Association of Petroleum Geologists suggest that tappable high-temperature gradients are distributed all across the United States. （There are many areas, however, for which no temperature gradient records exist.）Indications are that the HDR resource base is very large. If an average geothermal temperature gradient of 22 per kilometer of depth is us