GRE老真题9811.docx

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