广州二模英语试题Word文件下载.docx
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Hisfirstreactionistojumpbackandwarntheothers.Butheknowsanysuddenmovementwillfrightenthecobraanditwillstrike.Hespeaksquickly,thequalityofhisvoicesoarrestingthatitquietenseveryone."
Iwanttoknowjustwhatcontroleveryoneatthistablehas.Iwillcountthreehundred-that'
sfiveminutes-andnotoneofyouistomoveasinglemuscle.Now!
Ready!
"
The20peoplesitlikestoneimageswhilehecounts.Heissaying"
.…twohundredandeighty.."
when,outofthecornerofhiseye,heseesthesnakeemergeandmakeforthebowlofmilk.Fourorfivescreamsringoutashejumpstoslamshutthebalconydoors.
Thereisyourproof!
thehostsays."
Amanhasjustshownusrealcontrol."
Justaminute,"
theAmericansays,turningtohishostess,"
Howdidyouknowthatcobrawasintheroom"
Afaintsmilecomesacrossthewoman'
sfaceasshereplies."
Becauseitwaslyingacrossmyfoot."
istheargumentbetweenthearmyofficerandtheyounggirlabout
A.Whetherwomenareafraidofmice.
B.Whethermenarecalmerthanwomen.
C.Whethermenareclevererthanwomen.
D.Whetherwomenwouldmakesuitablesoldiers.
istheservantaskedtoputoutsomemilk
A.Toplayatrick.
B.Toservetheguests.
C.Toattractthesnake.
D.Tofeedthehostess'
spet.
doesthescientistsuggesttheguestsplayagame
A.Hedoesn'
twantanyonetopanic.
B.Heintendstotesttheofficer'
stheory.
C.Heseestherewasasnakeintheroom.
D.Hewantstoentertaintheotherguests.
doestheauthorimplythroughthehostess'
sfinalstatement
A.Thearmyofficer'
sopinioniswrong.
B.ThehostessunderstoodtheAmerican'
sintention.
C.TheAmericanwassurprisedbythesnake'
spresence.
D.Thehostesshashadpreviousexperiencedealingwithsnakes.
causedmusicalstomoveinanewdirectionduringthe1930'
s
A.Thedevelopmentofnewmusicalinstruments.
B.Theaudience'
sdemandformorerealisticartforms.
C.Therisingpopularityofothertypesofentertainment.
D.Thegreateracceptanceofblackperformersbywhiteaudiences.
whichperioddidmusicaltheatrebecomemorecomplexanddramatic
A.Pre-1900.
B.1900-1929.
C.1940-1949.
D.1950-1959.
canbereasonablyinferredaboutthemusicalWestSideStory
A.Ittolditsstoryinanewway.
B.Itwasbasedonatruestory.
C.Itwasanon-Broadwayshow.
D.Itwasnotverysuccessfulatfirst.
C
In1874FrancisGalton,aBritishprofessor,analyzedasampleofEnglishscientistsandfoundthevastmajoritytobefirst-bornsons.Thisledhimtotheorizethatfirst-bornchildrenenjoyedaspeciallevelofattentionfromtheirparentsthatallowedthemtoadvanceintellectually.HalfacenturylaterAlfredAdler,anAustrianpsychologist,madeasimilarargumentrelatingtopersonality.
First-bornchildren,hesuggested,weremorediligent,whilethelater-bornweremoreoutgoingandemotionallystable.Manysubsequentstudieshaveexploredtheseideas,buttheirfindingshavebeenvaried-somesupportingandsomerejectingtheoriginalconclusions.
Themainproblemwiththepreviousstudiesisthattheyweretoosmall-oftenlimitedtoafewdozenindividuals.Thiswouldbetrueevenifthestatisticalmethodsneededtoanalyzethedataweresimple,buttheyarenot.Distinguishingbirth-ordereffectsfromthosecausedbyfamilysizecomplicatesmatters,meaningstillbiggersamplesmustbeanalyzedtoobtainmeaningfulresults.
Toovercomethelimitationoftheseearlierstudies,GermansocialscientistDr.HelmetSchmukleandhiscolleaguesanalyzedthreehugesetsofdatafromAmerica,BritainandGermany.
Thesedatasets,thoughcollectedforotherpurposes,includedpersonalityandintelligencetestson20,186peopleatdifferentstagesoftheirlives.TheAmericantestswereonindividualsagedbetween29and35.TheBritishtestswereconductedon50-year-olds.TheGermantestsranthewholespanofadultlife,from18to98.
Birthorder,theyfound,hadnoeffectonpersonality:
first-bornswerenomore,norless,likelythantheiryoungersiblingstobehardworking,outgoingoranxious.Butitdidaffectintelligence.Inafamilywithtwochildren,thefirstchildwasmoreintelligentthanthesecond60%ofthetime,ratherthanthe50%thatwouldbeexpectedbychance.Onaverage,thistranslatedtoadifferenceofIQpointsbetweenfirstandsecondsiblings.Thatfigureagreeswithpreviousstudies,andthuslooksconfirmed.
Itis,nevertheless,quiteasmalldifference-andwhetheritisenoughtoaccountforGalton'
soriginalobservationisunclear.Inanyevent,itiscertainlynotdeterministic.Galtonwastheyoungestofnine.
Adlerconcludedthatfirst-bornchildrenwere_______.
A.morestable
B.moresociable
C.moreintelligent
D.morehardworking
doestheunderlined“they”inparagraph2referto
A.Thedata.
B.Theanalyses.
C.Thepreviousstudies.
D.Thestatisticalmethods.
wasSchmukle'
sstudyconsideredsuperiortopreviousresearch
A.Itinvolvedawideragerange.
B.Ithadamuchlargersamplesize.
C.Itincludedalargernumberofcountries.
D.Itwasconductedoveralongerperiodoftime.
doestheauthormentionGalton'
sfamilybackgroundinthelastparagraph
A.ToconfirmGalton'
sdifficultupbringing.
B.TosuggestGalton'
stheorymaynotbecorrect.
C.TocomparehisexperiencewithGalton'
sparents.
D.ToexplainwhyGaltonwasinterestedinbirthorder.
D
Photographyhasopenedoureyestoamultitudeofbeauties,thingsweliterallycouldnothaveseenbeforetheinventionofthefrozenimage.Ithasgreatlyexpandedournotionofwhatisbeautiful,whatisaesthetically(审美上)pleasing.Itemsformerlyconsideredtrivial,andnotworthanartist'
spaint,havebeenrevealedandhonoredbythephotograph:
thingsasordinaryasafencepost,achair,avegetable.Andastechnologyhasdeveloped,photographershaveexploredcompletelynewpointsofview;
thoseofthemicroscope,theeagle,thecosmos.
Whatisitthatdelightsthehumaneyeandallowsustoclaimthataphotographisbeautiful
Photographydependsonthetrinityoflight,composition,andmoment.Lightliterallymakestherecordingofanimagepossible,butintherighthands,lightinaphotographcanmaketheimagesoar.Thesameistruewithcomposition.Whatthephotographerchoosestokeepinoroutoftheframeisallthatwewilleversee-butthatcombinationisvital.Andthemomentthattheshutterispressed,whenaninstantisfrozenintime,providesthewholeimagewithmeaning.Whenthethree-light,composition,andmoment-areinbalance,thereisvisualmagic.
Light,composition,andmomentcometogetherinaphotographtobringustheultimatereality:
aviewoftheworldunknownpriortotheinventionofthecamera.Beforephotography,thebasicartisticrulesofpaintingwererarelybroken.Imagesweremadetoplease,nottocapturereality.Butasphotographyevolved,painterlyruleswereoftenrejectedinthepursuitoffreshvision.
Photographersbecameinterestedintherealworld,goodandbad,anditwastheaccidentaldetailthatwascelebrated.Photographyinvitedtheworldtoseewithneweyes-toseephotographically-andalloftheartshavedrawnnewinspirationfromthischange.
Withthesebasicaesthetictools,photographershaveevolvedfromscientistslongingto"
fix"
animage-anyimage-toartisticrevolutionaries.Photographshavecreatedanewwayofseeing,changedourideasofbeautyand,mostimportantly,madeartmoredemocratic.Theyhavegivenusvisualproofthattheworldisgranderthanweimagined,andthatthereisbeauty,oftenoverlooked,innearlyeverything.
theinventionofphotography,whichofthefollowingwasleastlikelytoappearinanartisticwork
A.Agreatperson.
B.Alovelyinsect.
C.Agrandbuilding.
D.Abeautifullandscape
isthefunctionofparagraph2
A.Toarguethatphotographicbeautyissubjective
B.Toexplaintheevolutionoftheconceptofbeauty.
C.Todescribetheelementsthatmakeasuccessfulphoto.
D.Toillustratedifferenttypesofphotographictechniques.
hasphotographyaffectedotherartforms
A.Ithasreducedtheirpopularity.
B.Ithasforcedthemtochangetheirrules.
C.Ithaschangedtheirmethodsofcomposition.
D.Ithasprovidedthemwithnewpointsofview.
doestheauthormeanbysayingphotographyhas"
mad