华中科技大学2011年招收博士研究生入学考试试题 I^( pZ9
^|zag
Part Ⅰ Cloze(0.5×20=10%) V=5S=7 Z:
Directions:In thispart you are asked to choose the best word for each blank in the passage. Writeyour answers on the answer sheet. ^&C/,,U
Tourism develops culture. It broadens thethinking of the traveler and leads to culture 1 between the hosts and guests from far-off places, This can benefit thelocals, since tourists bring culture 2 them. rNJU &
.]
Tourism may help to preserve indigenouscustoms. 3 traditional shows, parades, celebrations andfestivals are put on for tourists. The musicals, plays and serious drama of London theaters and otherkinds of nightlife are 4 supported by tourists. Such events mightdisappear without the stimulus of tourism 5 them. k!z<=WA
On the other hand, tourism often contributesto the disappearance of local traditions and folklore. Churches, temples andsimilar places of worship are 6 as tourist attractions. This can be 7 the expense of their original function: how many believers want toworship in the middle of a flow of atheist invaders? Who would want to pray 8 curious onlookers shuffle to and fro withguide books, rather than prayer books, in their hands? N8df1>mW
Tourism may bring other indirect culturalconsequences in its 9 .Tensions which already exist betweenancient and more modem ways may be deepened by tourists’ ignorance of 10 customs and beliefs. Tourists, if notactually richer, often seem more well-off than natives. The former maytherefore feel superior 11 the latter embarrassed about their lifestyles.The result maybe an inferior feeling which 12 helps the sense of identity which is soimportant to regional culture. The poverty of a locality can look even worsewhen 13 with the comfortable hotel environmentinhabited by tourists. Prosperous retired or elderly tourists from Britain, where the average life expectancy is 75years, may well 14 resentment in Sierra Leone, where the localpopulation can expect to live to no more than 41 years. The relative prosperityof tourists may 15 crime. In Gambia, unemployed young people offer toact as “professional friends”—guides, companions or longer get wages that wayso they 16 to petty stealing from the localpopulace, All this affects the local social life and culture 17 .Culturalerosion can also take place at more 18 levels. Greek villagerstraditionally 19 themselves on their hospitality. Theywould 20 travelers for free, feeding them andlistening to their stories. To take money would have been a disgrace. That haschanged now. Tourists exist to be exploited. Perhaps this is hardly surprisingif the earnings from one room rented to a tourist can exceed a teacher’smonthly salary. P7zUf
1. A. Conflict B.contact C. concern D.constraint JFO,Q
-y\
2. A. with B.to C. over D. by t_xK?``
3. A. like that B.if when C. as if D. as when kr~n5WiAZ
4. A. largely B.extremely C. positively D.totally i/n
ee_
5. A. entertain B.retain C. maintain D.pertain C|Y[T{g?t
6. A. considered B.taken C. treated D. made G1w$lc
7. A. for B. at C.in D. to i ]8bj5j{
8. A. how B. that C. while D. when mjg@c|rTG
9. A. sake B. wake C.sense D.cost 0SWqC@AR%
10. A. regional B. native C. territorial D. local ilVi
11. A. making B. allowing C. ignoring D. leaving ?D2a"a$^
12. A. hardly B. seldom C.usually D. sometimes )D#} /3s
13. A. compared B. contrasted C. related D. associated B+~ /-3
14. A. generate B. produce C. make D. leave VpYD/Oj4;
15. A. increase B. enhance C. encourage D. ascend ;`Xm?N
16. A. go B. turn C.alter D. change &n_f.oUc
17. A. hostilely B. reciprocally C.conversely D. adversely ;92xSe"Ww
18. A. minor B. small C.subtle D. micro 0wNlt#G;{
19. A. prided B. famed C.sang D. claimed Kw;gQk~R!
20. A. put on B. put up C. put down D. put off `:~Wu/Ogr
Pare Ⅱ Reading comprehension (20×2=40%) zI,Qc60B
Directions: There are four passages in thispart. After each passage, there are five questions. You are to choose the bestanswer for each question. Write your answers on the answer sheet. 0M&n3s{5I
Passage One T]z(>{
Globalization is a phenomenon that has beenaffecting countries and societies for several decades, but the outline of theglobal system has only emerged with some clarity recently. The rise of globalmarkets and the increase in speed and volume of international transactions hasbrought about a degree of interdependence and co-operation in economic mattersamong states that have not so far been matched by a corresponding increase in respectfor and protection of human rights and democracy. Indeed, many democracies arestill fragile, and have not made the transition from viewing democraticpractices as instrumental to having a widely shared principled commitment tothe democratic and constitutional framework. @ :PMb Ub
The rise of global economic networks hasled to a rise in the influence of global actors such as multi-national corporations, global economic bodies suchas the WTO, the World Bank, the IMF and regional economic organizations. These constitutea new form of global governance whose directives and imperatives states findincreasingly difficult to ignore, The established international politicalorganizations have not come close to replicating this effectiveness. o!~XYEXvUa
Predictions that the phenomenon ofglobalization will result in a lowering of human rights standards as themobility of capital seeks out the markets least constrained by labor and humanrights standards to maximize the highest returns need not be the case. The roleof human rights organizations in this context must be to ensure thatglobalization drives standards up not down, and to present the case thatfreedom of expression and access to official information are key to sustainablehuman and economic development and the prevention of corruption, which in turnsupport the conditions necessary for sustainable economic growth. R31Z(vY
With the demand for global trade to go handin hand with global responsibility, international financial institutions arecoming under increasing pressure to regulate the global economy not simply tofacilitate economic growth, but to promote compliance with human development,including international human rights norms. Multinational corporations havealso been forced to recognize a degree of corporate social responsibility inthe areas in which they operate and in the communities on which they have animpact. Transparency in the operations of such compardes is becomingincreasingly important to their gaining access to capital. They are more andmore accountable to shareholders, who, in turn are increasingly diffuse andnumerous. The pursuit of “shareholdersvalue” means that there is score to ensure that the investor-citizen has a say in the way that companies conductthemselves. h9imS\gfr
The task for those promoting freeexpression is to harness new technologies to challenge censorship, and toharness the power and influence of new global actors to ensure that they notonly take the arguments for free expression on board, but become vocaladvocates for such rights. 3{~(_
21. All of the following is not ture accordingto the first paragraph EXCEPT +x`pWH]2
A. Globalization has been developingsystematically for several decades \xggIW.^0
B. Protection of human rights hasn’tincreased enough to be correspondent with the present situation ,9jk<)m]L
C. Democracy has been fully developed inthe world xrBM`Bj0@
D. Many countries has constructed ademocratic and constitutional framework G8__6v~
22. The underlined word “which” in thethird paragraph refers to Rrry;Hr
A. Human rights organizations Kn1;=k
B. The prevention of corruption DjN1EP\Xx
C. Sustainable human and economicdevelopment and the prevention 4XVwi<)
of corruption nXhP ME
D. Freedom of expression and access toofficial information ulW>8bW&
23. Multinational corporations have not to. 0U*f"5F
A. recognize its social responsibility Tq)hAZ
B. be responsible to their shareholders T{^mh(3/"
C. be transparent in operation :NWIUN
D. be responsible in other communities inthe same area GT]>
24. Which of the following expressionsabout the global actors is not true? :/5GHfyj
A. They are becoming more and moreinfluential. /({oN1X>i
B. Sometimes they can influence thedecision of a country. 4OJD_
C. They are not so effective as theinternational political organization. n CX{tqy
D. WTO and IMF are included HbB8A#u
25. What is not the purpose of writing thispassage? fB7Jx6
A. To point out the negative effects ofglobalization. FCwE/ 2,
B. To point the power and influence ofglobal actors. d(^HO~p
C. To call the global actor’s awareness ofhuman of rights. ^J hs/HV
D. To harness new technologies to challengeexamination. (X\]! 'A
Passage Two V0
Z8VqV
Patients tend to fell indignant and insulted if the physician tells themhe can find no organic cause for the pain. They tend to interpret the term“psychogenic” to mean that they are complaining of nonexistent symptoms. Theyneed to be educated about the fact that many forms of pain have no underlyingphysical cause but are the general cause but are the result, as mentionedearlier, of tension, stress or hostile factors in the general environment.Sometimes a pain may be a manifestation of “conversion hysteria”. &0bq3JGW
Obviously, it is folly for an individual to ignore symptoms that couldbe a warning of a potentially serious illness. Some people are so terrified ofgetting news from a doctor that they allow their malaise to worsen, sometimespast the point of no return. Total neglect is not the answer to hypochondria.The only answer has to be increased education about the way the human bodyworks; so that more people be able to steer an intelligent course betweenpromiscuous pill-popping and irresponsible disregard of genuine symptoms. zvq}7,
Of all forms pain, none is important for the individual to understand thanthe “threshold” variety. Almost everyone has a telltale ache that is triggeredwhenever tension or fatigue reaches a certain point. It can take the form of amigraine-type headache or a squeezing pain deep in the abdomen or cramps or apain in the lower back or even in the joints. The individual who has learnedhow to make the correlation between such threshold pains and their causedoesn’t panic when they occur; he or she does sometimes about relieving thestress and tension. Then, if the pain persists despite the absence of apparentcause, the individual will telephone the doctor. _e>N3fT
26. Which of the following is TRUE? Btzes.
A.A pain can only be caused by physical harm. !Z\Gv1
B.Some people are complaining of a pain which does not exist. ^`SEmYb;
C.A pain can be caused by psychogenic factors. xgkCN$zQ`
D.Educated people do not complain of nonexistent pain. Qt>kythi
27. Some people suffering form a pain donot go to hospital because . d(RMD
A.they are horrified to get the bad news V;CRs\aYf
B.they think no medicine is effective |"%OI~^%
C. They think the pain will disappear as soonas you forget it 7_j t =sr
D.They are too busy K$}K2w
28. According to the passage, the properway towards a pain is . QbSLSMoL
A.Taking different medicines y1}2hT0,
B.Visiting famous physicians _s0)Dl6K
C.Paying no attention to it C}3a^j
D.None of the above z(.,BB[
29. As soon as a person gets “thresholdpains”, he should G~u$BV'
A.telephone the doctor immediately keD?#yY
B.first relieve the stress and tension which cause the pains PcZ<JJ16F$
C.wait to let the pains reach a certain point `#!>}/m
D.take pain-killer <v_Wh@m
Passage Three xfX|AC
Feministcritics have long debated the extent to which gender plays a role in thecreation and interpretation of texts. Androgynist poetics, rooted inmid-Victorian women’s writing, contends that the creative mind is sexless mind,but Line from the 1970s on, many feminist critics rejected the idea of the genderlessmind,finding that the imagination cannot evadeconscious or unconscious structures of gender which is part ofculture-determination where separating imagination from the self is impossible. !@P{s'<:
TheFemale Aesthetic, expressing a unique female consciousness in literature, spokeof the “female vernacular, the Mother Tongue, a powerful but neglected women’sculture”.Virginia Woolf discusses how a woman writer seeks within herself “thepools the depths, the dark places where the largest fish slumber”, inevitablycolliding against her own sexuality to confront “sometimes about the body,about the passions”. Accessible to men and women alike, but representing femalesexual morphology, this method sought a way of writing which literally embodiedthe female, thereby fighting the subordinating, linear style of classificationor distinction. />:$"+gKo
Itmust be admitted that there are problems with the Female Aesthetic thatfeminist critics themselves recognized. For instance , they avoided definingexactly what constituted their writing style , as any definition would thencategorize it and safely subsume it as a genre under the linear patriarchalstructure-its very restlessness and ambiguity defiedidentification as part of its identity . Some feminists and women writers couldfeel excluded by the surreality of the Female Aesthetic and its stress on thebiological forms of female experience, which also bear close resemblance toessentialism. Men may try their hand at writing woman’s bodies , but accordingto the feminist critique , only a woman whose very biology gave her an edgecould read these texts successfully-a positionwhich, worst of all. Risked marginalization of women’s literature and theory. Later,Gynocritics attempted to resolve some of these problems. by agreeing thatwomen’s literature lay as the central concern for feminist criticism butrejecting the concept of an essential female identity and style , whilesimultaneously seeking to revise Freudian structures by emphasizing aPre-Oedipal phase wherein the daughter’s bond to her mother inscribes the keyfactor in gender identity , Matriarchal values dissolve intergenerationalconflicts and build upon a female tradition of literature rather than thestruggle of Oedipus and Lais at the crossroads .Lastly and most promising inits achievement of a delicate balance are developments of an over-archinggender theory , which considers gender ,both male and female ,as a socialconstruction built on biological differences . Gender theory proposes toexplore ideological inscription and the literary effects of the sex /gendersystem, opening up the literary theory stage and bringing in questions ofmasculinity into feminist theory. Taking gender as a fundamental analyticcategory brings feminist criticism from the margin to the center, though itrisks depoliticizing the study of women. D(|+z-}M
30. Which of the following titles bestsummarizes the content of the passage? Df2$2VU
A.A Historical Overview of Feminist Literary Criticism izl-GitP
B.Establishing New Feminist Concepts of Gender /5epDDP-t5
C.The Precarious Feminist Compromise in Politics and Art 1\/vS$bi(
D.A New Theory of Literary Criticism T\4>4eX-
31. The author specifically mentions all ofthe following as issues that have been considered in the evolution of feministliterary criticism EXCEPT dikX_ Q>D
A.the place of women in the literary canon Q
(gA:aQ
B.the question of culture in determining gender /?Y4C)G
C.the role of Freud in theorizing gender identity G i(
D.The effect of biological differences on textual style OaoHN& "
32. The author refers to the “largest fish”(Paragraph 2) primarily in order to Unt]=S3u
A. suggest a refuge from the long historyof sexist literary criticism =1!.g"0
B. offer a sense of political purpose thatcan only be awakened through literature {A
,
w%
C. articulate the possibility for escapefrom the confines of gendered identity cR55,DR,#W
D. refer to a unique feminist identity thatmust be extracted somehow from the body L9,GUtK{
33. According to the passage, the greatestrisk posed by the feminist theories, like the Female Aesthetic, which posit theexistence of an “essential” or non-constructed gender is in N 5{w
A. creating a bead-end for feministliterary criticism by attacking the notion of an androgynist poetics
\oGU6h<
B. reinforcing sexist notions that womencannot emulate the literary style of men =)iA
U/*N
C. pushing feminist writing out of themainstream by arguing that men are unable to fully comprehend women’s writing XS&;8 PO
D. relying too heavily on the theories ofFreud, under which identity is the product of biology bng/v
34. It can be inferred that the authorwould define the “delicate balance” mentioned in the last paragraph as theequilibrium between Edcv>}PfE
A. establishing ties between generations ofwomen and fighting patriarchal influence !VudZ]Sg
B. assigning the proper weight to theconcept of gender as socially constructed and biologically inherited <+%y
C. actively fighting and passivelydocumenting the literary affects of the sex/gender system _|MK0'+f
D. avoiding marginalization on thepolitical fringes and de-politicization in the political mainstream M[iWWCX
35. It can be inferred from the passagethat the author would most likely describe the evolution of feminist literarytheory as y6G6wk;
A. a gradual movement from the idea ofgenderless writing to a writing that originates in the women’s body M#8_Qbvfk
B. a shift between adversarial criticism tomore tolerant varieties of criticism g86^Z%c(k
C. a regular fluctuation between the ideaof genderless and gendered writing that gradually settles on a compromise rT4q x2 u
D. a more or less constant pursuit of the goalof establishing a unique niche for women’s literature y<v-,b*
Passage Four z<yqQ
[
To facilitate entry into fine art thinkingand avoid being misled in fundamental ways, archaeologists must understand theprinciples that define and govern each art category, whether utilitarian, fineor decorative. The traditional intent of a craft like ceramics is to serve autilitarian function and its ability to act in this capacity is essentiallydependent upon the skill of properly shaping a vessel to correspond to itstask, so neither its exact manner of construction (by hand or wheel, coil orslab) nor the significance of imagery glazed on is surface changes its primaryrole “to contain”, though it may add to its value. While ceramicists must thinkand construct art according to certain patterns of utilitarian form, followinga prototypal model that relates to the artwork’s purpose, fine art has no suchrequirement. :8+x&zn
Fine artists often work in mixed or newmedia, evidenced by the example of vases created during the Greek Archaic period,which were an anomaly to the paradigm of earlier vases because the later onesnot only served “to contain”, but also to communicate ideas An examination ofthis apparent inconsistency reveals both the Greek’s high regard for aestheticsand the explanation that fine artists usually created the paintings on thevases made by potters. Though Greek vase painting differs greatly from the workof modem artist Pablo Picasso, he too painted on ceramic objects made byothers. Contrasting ancient fine art forms such as paintings and stone or metalsculptures with contemporary fine art forms such as computer art, videoimagery, and holograms, it is possible to see that as the culture’ s technologytransforms, its changes are visible in the structural forms of fine art. j/ARTaO1]"
At the same time, changes in fine artindicate its mandate to both reflect and create new perceptions of the culture,but form alone is insufficient to classify objects into artcategories.Frequently, art that serves a decorative function is confused withboth utilitarian and fine art because of its similar appearance, but thefunction of decorative art is the form itself; it is not compelled to fulfilleither a utilitarian task or address concepts that exemplify its historicperiod. Communication would appear redundant if fine artists, like utilitarianand decorative artists, were to produce unlimited numbers of the same object.Once an idea is assimilated into the culture there is no longer a need todiscuss it unless artists are more clearly defining or redefining it.Therefore, archaeologists should be aware that an artifact produced in any wayby formula is not fine art. The fine artist’s process is continuous from themoment of conception until a piece is complete, and thus everything is thoughtof in terms of context, so that, as a general guide, archaeologists shouldconsider no mark within a work unimportant and only define its meaning inrelation to the whole piece. Wn2J]BH
36. In the passage, the author is primarilyconcerned with Vm I
Afe
A.distinguishing mutually exclusivecategories CzDg?w b
B.clarifying an apparent contradiction
VIod6Vk
C.supporting new ideas }^odUIj
D.analyzing a problem =C)2DW J1
37.According to the passage, the “earliervases” mentioned in the second paragraph constitute which of the following? H:16aaMn(
A. The product of mixed media art,involving hybrid forms. `'bu8JK
B. A case of primarily utilitarian artbeing put to decorative purposes. >pq=5Ha&
C. Utilitarian art whose makers were solelyconcerned with functionality. x IL]Y7HWM
D. Fine art, whose primary purpose is toconvey aesthetic meaning. h
b)83mH}
38.According to the passage, the form whichfine art takes at any given historical moment is often dictated by =%[vHQ\%
A. the level of continuity in the artist’sthinking process %wJ?+D/
B. the concepts which exemplify thehistorical period of its creation ,C'mE''x
C. the technology available to the artistat the time the art piece is created 7Mh!@Rd_V
D. the level of skill which the artistbrings to the ark work a5`9mR)Y$'
39.Which of the following best states theauthor’s view of the argument that fine art may be distinguished as a categoryby its physical form? _2}/rwVg
A.Outright approval. %=vU
Z4
B.Skepticism. 9}G<\
y
C.Neutrality. .&KC2#4
D.Indignation. `cRRdD:dA
40. Which of the following statements aboutfine arts production is best supported by the information presented in thepassage? j4(f1
A.The best fine art is in some casesproduced by formula, resulting in mass quantities of a single object. 4%SA%]a L1
B.Once an artist creates a work, there isusually little benefit in his duplicating it, as it has already conveyed itsmeaning. `2G%&R,k"D
C.In aesthetic terms, fine art is oftenconsidered superior to decorative art, whose beauty is limited byfunctionality. k&