北京航空航天大学博士英语真题Word格式.docx

北京航空航天大学博士英语真题Word格式.docx

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Passage1

Printmakingisthegenerictermforanumberofprocesses,ofwhichwoodcutandengravingaretwoprimeexamples.Printsaremadebypressingasheetofpaper（orothermaterial）againstanimage-bearingsurfacetowhichinkhasbeenapplied.Whenthepaperisremoved,theimageadherestoit,butinreverse.

ThewoodcuthadbeenusedinChinafromthefifthcenturyA.D.forapplyingpatternstotextiles.TheprocesswasnotintroducedintoEuropeuntilthefourteenthcentury,firstfortextiledecorationandthenforprintingonpaper.Woodcutsarecreatedbyareliefprocess.First,theartisttakesablockofwood,whichhasbeensawedparalleltothegrain,coversitwithawhiteground,andthendrawstheimageinink.Thebackgroundiscarvedawayleavingthedesignareaslightlyraised.Thewoodblockisinked,andtheinkadherestotheraisedimage.Itisthentransferredtodamppapereitherbyhandorwithaprintingpress.

Engraving,whichgrewoutofthegoldsmith'

sart,originatedinGermanyandnorthernItalyinthemiddleofthefifteenthcentury.Itisanintaglioprocess（fromItalianintagliare,"

tocarve"

）.Theimageisincisedintoahighlypolishedmetalplate,usuallycopper,withacuttinginstrument,orburin.Theartistinkstheplateandwipesitcleansothatsomeinkremainsintheincisedgrooves.Animpressionismadeondamppaperinaprintingpresswithsufficientpressurebeingappliedsothatthepaperpicksuptheink.

Bothwoodcutandengravinghavedistinctivecharacteristics.Engravinglendsitselftosubtlemodelingandshadingthroughtheuseoffinelines.Hatchingandcross-hatchingdeterminethedegreeoflightandshadeinaprint.Woodcutstendtobemorelinear,withsharpercontrastsbetweenlightanddark.Printmakingiswellsuitedtotheproductionofmultipleimages.Asetofmultiplesiscalledanedition.Bothmethodscanyieldseveralhundredgood-qualityprintsbeforetheoriginalblockorplatebeginstoshowsignsofwear.Massproductionofprintsinthesixteenthcenturymadeimagesavailable,atalowercost,toamuchbroaderpublicthanbefore.

Questions21to25arebasedonthepassage.

21.Whatdoesthepassagemainlydiscuss?

A.Theoriginsoftextiledecoration

B.Thecharacteristicsofgood-qualitypunts

C.Twotypesofprintmaking

D.Typesofpaperusedinprintmaking

22.Theword“prime”isclosestinmeaningto________.

A.

principal

B.

complex

C.

general

D.

recent

23.Theauthor'

spurposesinparagraph2istodescribe________.

A.thewoodcutsfoundinChinainthefifthcentury

B.theuseofwoodcutsinthetextileindustry

C.theprocessinvolvedincreatingawoodcut

D.theintroductionofwoodcutstoEurope

24.Accordingtothepassage,allofthefollowingaretrueaboutengravingEXCEPTthatit________.

A.developedfromtheartofthegoldsmiths

B.requiresthatthepaperbecutwithaburin

C.originatedinthefifteenthcentury

D.involvescarvingintoametalplate

25.Accordingtothepassage,whatdowoodcutandengravinghaveincommon?

A.Theirdesignsareslightlyraised.

B.Theyachievecontrastthroughhatchingandcross-hatching.

C.TheywerefirstusedinEurope.

D.Theyallowmultiplecopiestobeproducedfromoneoriginal.

Passage2

TheFrenchwordrenaissancemeansrebirth.Itwasfirstusedin1855bythehistorianJulesMicheletinhisHistoryofFrance,thenadoptedbyhistoriansofculture,byarthistorians,andeventuallybymusichistorians,allofwhomappliedittoEuropeancultureduringthe150yearsspanning1450-1600.TheconceptofrebirthwasappropriatetothisperiodofEuropeanhistorybecauseoftherenewedinterestinancientGreekandRomanculturethatbeganinItalyandthenspreadthroughoutEurope.ScholarsandartistsofthefifteenthandsixteenthcenturieswantedtorestorethelearningandidealsofclassicalcivilizationsofGreeceandRome.Tothesescholarsthismeantareturntohuman—asopposedtospiritualvalues.Fulfillmentinlife—asopposedtoconcernaboutanafterlife—becameadesirablegoal,andexpressingtheentirerangeofhumanemotionsandenjoyingthepleasuresofthesenseswerenolongerfrownedon.Artistsandwritersnowturnedtosecularaswellasreligioussubjectmatterandsoughttomaketheirworksunderstandableandappealing.

ThesechangesinoutlookdeeplyaffectedthemusicalcultureoftheRenaissanceperiod—howpeoplethoughtaboutmusicaswellasthewaymusicwascomposed,experienced,discussed,anddisseminated.Theycouldseethearchitecturalmonuments,sculptures,plays,andpoemsthatwerebeingrediscovered,buttheycouldnotactuallyhearancientmusic—althoughtheycouldreadthewritingsofclassicalphilosophers,poets,essayists,andmusictheoriststhatwerebecomingavailableintranslation.Theylearnedaboutthepowerofancientmusictomovethelistenerandwonderedwhymodernmusicdidnothavethesameeffect.Forexample,theinfluentialreligiousleaderBernardinoCirilloexpresseddisappointmentwiththelearnedmusicofhistime.Heurgedmusicianstofollowtheexampleofthesculptors,painters,architects,andscholarswhohadrediscoveredancientartandliterature.ThemusicalRenaissanceinEuropewasmoreageneralculturalmovementandstateofmindthanaspecificsetofmusicaltechniques.Furthermore,musicchangedsorapidlyduringthiscenturyandahalf—thoughatdifferentratesindifferentcountries—thatwecannotdefineasingleRenaissancestyle.

Questions26to30arebasedonthepassage.

26.Whatisthepassagemainlyabout?

A.ThemusicalcompositionsthatbestillustratedthedevelopmentsduringtheEuropeanRenaissance.

B.ThemusicaltechniquesthatwereinuseduringtheEuropeanRenaissance.

C.TheEuropeanRenaissanceasaculturaldevelopmentthatincludedchangesinmusicalstyle.

D.TheancientGreekandRomanmusicalpracticesusedduringtheEuropeanRenaissance.

27.ItcanbeinferredfromthepassagethatthinkersoftheRenaissancewereseekingarebirthof________.

A.communicationamongartistsacrossEurope

B.spiritualityineverydaylife

C.aculturalemphasisonhumanvalues

D.religiousthemesinartthatwouldaccompanythetraditionalsecularthemes

28.Accordingtothepassage,RenaissanceartistsandwritershadallofthefollowingintentionsEXCEPT________.

A.usingreligiousthemes

B.portrayingonlythepleasantpartsofhumanexperience

C.producingartthatpeoplewouldfindattractive

D.creatingworksthatwereeasilyunderstood

29.Theword"

disseminated"

isclosestinmeaningto________.

played

documented

spread

analyzed

30.WhichofthefollowingismentionedinthepassageasareasonfortheabsenceofasingleRenaissancemusicalstyle?

A.ThemusicalRenaissancewasdefinedbytechniqueratherthanstyle.

B.ThemusicalRenaissancewastooshorttogiverisetoanewmusicalstyle.

C.RenaissancemusiciansadoptedthestylesofbothGreekandRomanmusicians.

D.DuringtheRenaissance,musicneverremainedthesameforverylong.

Passage3

Theenergycontainedinrockwithintheearth'

scrustrepresentsanearlyunlimitedenergysource,butuntilrecentlycommercialretrievalhasbeenlimitedtoundergroundhotwaterand/orsteamrecoverysystems.Thesesystemshavebeendevelopedinareasofrecentvolcanicactivity,wherehighratesofheatflowcausevisibleeruptionofwaterintheformofgeysersandhotsprings.Inotherareas,however,hotrockalsoexistsnearthesurfacebutthereisinsufficientwaterpresenttoproduceeruptivephenomena.Thusapotenthotdryrock（HDR）reservoirexistswhenevertheamountofspontaneouslyproductgeothermalfluidhasbeenjudgedinadequateforexistingcommercialsystems.

Asaresultofrecentenergycrisis,newconceptsforcreatingHDRrecoverysystems—whichinvolvedrillingholesandconnectingthemtoartificialreservoirsplacedeepwithinthecrust—arebeingdeveloped.InallattemptstoretrieveenergyfromHDR,artificialstimulationwillberequiredtocreateeithersufficientpermeabilityorboundsflowpathstofacilitatetheremovalofheatbycirculationofafluidoverthesurfaceoftherock.

TheHDRresourcebaseisgenerallydefinedtoincludecrustalrockthatishotterthan150℃,isatdepthoflessthantenkilometers,andcanbedrilledwithpresentlyavailableequipment.Althoughwellsdeeperthantenkilometersaretechnicallyfeasible,prevailingeconomicfactorswillobviouslydeterminethecommercialfeasibilityofwellsatsuchdepths.Rocktemperaturesaslowas100℃maybeusefulforspaceheating;

however,forproducingelectricity,temperaturesgreaterthan200℃aredesirable.

Thegeothermalgradient,whichspecificallydeterminesthedepthofdrilling,requiredtoreachadesiredtemperature,isamajorfactorintherecoverabilityofgeothermalresources.Temperaturegradientmapsgeneratedfromoilandgaswelltemperature-depthrecordskeptbyAmericanAssociationofPetroleumGeologistssuggestthattappablehigh-temperaturegradientsaredistributedallacrosstheUnitedStates.（Therearemanyareas,however,forwhichnotemperaturegradientrecordsexist.）

IndicationsarethattheHDRresourcebaseisverylarge.Ifanaveragegeothermaltemperaturegradientof22℃perkilometerofdepthisus