GRE老真题9811.docx
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GRE老真题9811
SECTION1
Time-30minutes
38Questions
1.Thereishardlyageneralizationthatcanbemadeaboutpeople’ssocialbehaviorandthevaluesinformingitthatcannotbe------fromoneoranotherpointofview,oreven------assimplisticorvapid.
(A)accepted…praised
(B)intuited…exposed
(C)harangued…retracted
(D)defended…glorified
(E)challenged…dismissed
2.Althoughanydestructionofvitaminscausedbyfoodirradiationcouldbe------theuseofdietsupplements,theremaybenoprotectionfromcarcinogensthatsomefearmightbeintroducedintofoodsbytheprocess.
(A)counterbalancedby
(B)attributedto
(C)inferredfrom
(D)augmentedwith
(E)stimulatedby
3.Thoughherefusedanyresponsibilityforthefailureofthenegotiations,Stevensonhadnorightto------himself:
itwashis------thathadcausedthedebacle.
(A)blame…skill
(B)congratulate…modesty
(C)berate…largesse
(D)accuse…obstinacy
(E)absolve…acrimony
4.Theprevailingunionofpassionateinterestindetailedfactswithequaldevotiontoabstract------isahallmarkofourpresentsociety;inthepastthisunionappeared,atbest,------andasifbychance.
(A)data…extensively
(B)philosophy…cyclically
(C)generalization…sporadically
(D)evaluation…opportunely
(E)intuition….selectively
5.Acenturyagothephysician’swordwas------todoubtitwasconsideredalmostsacrilegious
(A)inevitable
(B)intractable
(C)incontrovertible
(D)objective
(E)respectable
6.SomuchofmodernfictionintheUnitedStatesisautobiographical,andsomuchoftheautobiographyfictionalized,thatthe------sometimesseemlargely------.
(A)authors…ignored
(B)needs…unrecognized
(C)genres…interchangeable
(D)intentions…misunderstood
(E)misapprehensions…uncorrected
7.Robin’swordswerenotwithoutemotion:
theyretainedtheirleveltoneonlybyacareful------imminentextremes.
(A)equipoisebetween
(B)embraceof
(C)oscillationbetween
(D)limitationto
(E)Subjectionto
8.OIL:
LUBRICATE:
:
(A)preservative:
desiccate
(B)wine:
ferment
(C)honey:
pollinate
(D)antiseptic:
disinfect
(E)soil:
fertilize
9.CONSTRUCT:
REMODEL:
:
(A)exhibit:
perform
(B)compose:
edit
(C)demolish:
repair
(D)quantify:
estimate
(E)predict:
assess
10.SPOKE:
HUB:
:
(A)radius:
center
(B)parabola:
equation
(C)line:
point
(D)vector:
direction
(E)slope:
change
11.ILLUSTRATE:
PICTURES:
:
(A)particularize:
details
(B)abridge:
texts
(C)parse:
sentences
(D)regularize:
inconsistencies
(E)economize:
words
12.PANTRY:
FOOD:
:
(A)museum:
replicas
(B)ship:
cargo
(C)office:
business
(D)armory:
weapons
(E)warehouse:
storage
13.MIRTH:
LAUGHTER:
:
(A)uncertainty:
nod
(B)approval:
applause
(C)danger:
alarm
(D)labor:
sweat
(E)love:
respect
14.ABRADED:
FRICTION:
:
(A)refined:
combustion
(B)attenuated:
coagulation
(C)diluted:
immersion
(D)strengthened:
compression
(E)desiccated:
dehydration
15.PARSIMONY:
MISER:
:
(A)temerity:
despot
(B)belligerence:
traitor
(C)remorse:
delinquent
(D)equanimity:
guardian
(E)rebelliousness:
insurgent
16.NTTPICK:
CRITICIZE:
:
(A)mock:
imitate
(B)complain:
argue
(C)interogate:
probe
(D)fret:
vex
(E)cavil:
object
Directions:
Eachpassageinthisgroupisfollowedbyquestionsbasedonitscontent.Afterreadingapassage,choosethebestanswertoeachquestion.Answerallquestionsfollowingapassageonthebasisofwhatisstatedorimpliedinthatpassage.
(Thispassageisfromabookpublishedin1960.)
Whenweconsidergreatpaintersofthepast,the
studyofartandthestudyofillusioncannotalwaysbe
separated.ByillusionImeanthosecontrivancesof
linecolor,line,shape,andsoforththatleadustosee
(5)marksonaflatsurfaceasdepictingthree-dimensional
objectsinspace.ImustemphasizethatIamnot
makingaplea,disguisedorotherwise,fortheexer-
ciseofillusionisttricksinpaintingtoday,although
Iam,infact,rathercriticalofcertaintheoriesofnon-
(10)representationalart.Buttoargueoverthesetheories
wouldbetomissthepoint.Thatthediscoveriesand
effectsofrepresentationthatweretheprideofearlier
artistshavebecometrivialtodayIwouldnotdenyfor
amoment.YetIbelievethatweareinrealdangerof
(15)losingcontactwithpastmastersifweacceptthe
fashionabledoctrinethatsuchmattersneverhad
anythingtodowithart.Theveryreasonwhythe
representationofnaturecannowbeconsidered
somethingcommonplaceshouldbeofthegreatest
(20)interesttoarthistorians.Neverbeforehastherebeen
anagewhenthevisualimagewassocheapinevery
senseoftheword.Wearesurroundedandassailedby
postersandadvertisements,comicsandmagazine
illustrations.Weseeaspectsofrealityrepresented
(25)ontelevision,postagestamps,andfoodpackages.
Paintingistaughtinschoolandpracticedasa
pastime,andmanymodestamateurshavemastered
tricksthatwouldhavelookedlikesheermagictothe
fourteenth-centurypainterGiotto.Eventhecrude
(30)coloredrenderingsonacerealboxmighthavemade
Giotto'scontemporariesgasp.Perhapsthereare
peoplewhoconcludefromthisthatthecerealboxis
superiortoaGiotto;Idonot.ButIthink-thatthe
victoryandvulgarizationofrepresentationalskills
(35)createaproblemforbotharthistoriansandcritics.
Inthisconnectionitisinstructivetorememberthe
Greeksayingthattomarvelisthebeginningof
knowledgeandifweceasetomarvelwemaybein
dangerofceasingtoknow.Ibelievewemustrestore
(40)oursenseofwonderatthecapacitytoconjureupby
forms,lines,shades,orcolorsthosemysterious
phantomsofvisualrealitywecall"pictures."Even
comicsandadvertisements,rightlyviewed,provide
foodforthought.Justasthestudyofpoetryremains
(45)incompletewithoutanawarenessofthelanguageof
prose,so,Ibelieve,thestudyofartwillbeincreasingly
supplementedbyinquiryintothe“linguistics”ofthe
visualimage.Thewaythelanguageofartrefersto
thevisibleworldisbothsoobviousandsomyste-
(50)riousthatitisstilllargelyunknownexcepttoartist.
whouseitasweusealllanguage–withoutneeding
toknowitsgrammarandsemantics.
17.Theauthorofthepassageexplicitly,disagreeswithwhichofthefollowingstatements'
(A)Inmodernsocietyevennonartistscanmastertechniquesthatgreatartistsofthefourteenthcenturydidnotemploy.
(B)Theabilitytorepresentathree-dimensionalobjectonaflatsurfacehasnothingtodowithart.
(C)Inmodernsocietythevictoryofrepresentationalskillshascreatedaproblemforartcritics.
(D)Thewaythatartistsareabletorepresentthevisibleworldisanareathatneedsagreatdealmorestudybeforeitcanbefullyunderstood.
(E)Modernpaintersdonotfrequentlymakeuseofillusionisttricksintheirwork.
18.Theauthorsuggestswhichofthefollowingaboutarthistorians?
(A)Theydonotbelievethatillusionisttrickshavebecometrivial.
(B)Theygenerallyspendlittletimestudyingcontemporaryartists.
(C)Theyhavenotgivenenoughconsiderationtohowtherepresentationofnaturehasbecomecommonplace.
(D)Theygenerallytendtoargueabouttheoriesratherthanaddresssubstantiveissues.
(E)Theyarelesslikelythanartcriticstostudycomicsoradvertisements.
19.Whichofthefollowingbeststatestheauthor'sattitudetowardcomics,asexpressedinthepassage?
(A)Theyconstituteaninnovativeartform.
(B)Theycanbeaworthwhilesubjectforstudy.
(C)Theyarecriticallyimportanttoanunder-standingofmodemart.
(D)Their-visualstructureismorecomplexthanthatofmedievalart.
(E)Theycanbeunderstoodbestiftheyareexaminedinconjunctionwithadvertisements.
20.Theauthor'sstatementregardinghowartistsusethelanguageofart(lines48-52)impliesthat
(A)artistsarebetterequippedthanarearthistorianstoprovidedetailedevaluationsofotherartists'work
B)manyartistshaveanunusuallyquick,intuitiveunderstandingoflanguage
(C)artistscanproduceworksofarteveniftheycannotanalyzetheirmethodsofdoingso
(D)artistsofthepast,suchasGiotto,werebettereducatedaboutartisticissuesthanwereartistsoftheauthor'stime
(E)mostartistsprobablyconsidertheprocessesinvolvedintheirworktobecloselyakintothoseinvolvedinwritingpoetry
21.Thepassageassertswhichofthefollowingaboutcommercialart?
(A)Therearemanyexamplesofcommercialartwhoseartisticmeritisequaltothatofgreatworksofartofthepast.
(B)Commercialartisheavilyinfluencedbywhateverdoctrinesarefashionableintheseriousartworldofthetime.
(C)Thelinebetweencommercialartandgreatartliesprimarilyinhowanimageisused,notinthemotivationforitscreation.
(D)Theleveloftechnicalskillrequiredtoproducerepresentationalimageryincommercialartandinotherkindsofartcannotbecompared.
(E)Thepervasivenessofcontemporarycommercialarthasledarthistorianstoundervaluerepresentationalskills.
22.Whichofthefollowingcanbeinferredfromthepassage,abouttheadherentsof"certaintheoriesofnonrepresentationalart"(lines9-10)?
(A)Theyconsidertheuseofillusiontobeinappropriateincontemporaryart.
(B)Theydonotagreethatmarksonaflatsurfacecaneversatisfactorilyconveytheillusionofthree-dimensionalspace.
(C)Theydonotdiscussimportantworksofartcreatedinthepast.
(D)Theydonotthinkthattherepresentationofnaturewasevertheprimarygoalofpastpainters.
(E)Theyconcernthemselvesmorewithtypesartsuchasadvertisementsandmagazineillustrationsthanwi