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中国传媒大学考博英语历年真题详解

[] [] [] 发布人:进思学习网   发布日期:2020-03-26 10:34   共 6 人浏览过

   2020年中国传媒大学考博英语历年真题详解

资料来源:进思学习网http://wwxx.100xuexi.com

文件大小:30.04M



本书是中国传媒大学考博英语的历年真题详解。根据最新考纲的要求及相关教材对2007~2017年的考博英语真题进行了详解解析。

目录

2007年中国传媒大学考博英语真题及详解

2008年中国传媒大学考博英语真题及详解

2009年中国传媒大学考博英语真题及详解

2010年中国传媒大学考博英语真题及详解

2011年中国传媒大学考博英语真题及详解

2012年中国传媒大学考博英语真题及详解

2013年中国传媒大学考博英语真题及详解

2014年中国传媒大学考博英语真题及详解

2015年中国传媒大学考博英语真题及详解

2016年中国传媒大学考博英语真题及详解

2017年中国传媒大学考博英语真题及详解

2007年中国传媒大学考博英语真题及详解

Part . Listening Comprehension (20%)

(略)

Part . Reading Comprehension (40%)

Directions: There are four passages in this part. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A, B, C and D. You should decide on the best choice and mark the corresponding letter on the Answer Sheet with a single line through the centre.

Passage one

How is communication actually achieved? It depends, of course, either on a common language or on known conventions, or at least on the beginnings of these. If the common language and the conventions exist, the contributor, for example, the creative artist, the performer, or the reporter, tries to use them as well as he can. But often, especially with original artists and thinkers, the problem is in one way that of creating a language, or creating a convention, or at least of developing the language and conventions to the point where they are capable of bearing his precise meaning. In literature, in music, in the visual arts, in the sciences, in social thinking, in philosophy, this kind of development has occurred again and again. It often takes a long time to get through, and for many people it will remain difficult. But we need never think that it is impossible; creative energy is much more powerful than we sometimes suppose. While a man is engaged in this struggle to say new things in new ways, he is usually more than ever concentrated on the actual work, and not on its possible audience. Many artists and scientists share this fundamental unconcern about the ways in which their work will be received. They may be glad if it is understood and appreciated, hurt if it is not, but while the work is being done there can be no argument. The thing has to come out as the man himself sees it.

In this sense it is true that it is the duty of society to create conditions in which such men can live. For whatever the value of any individual contribution, the general body of work is of immense value to everyone. But of course things are not so formal, in reality. There is not society on the one hand and these individuals on the other. In ordinary living, and in his work, the contributor shares in the life of his society which often affects him both in minor ways and in ways sometimes so deep that he is not even aware of them. His ability to make his work public depends on the actual communication system: the language itself, or certain visual or musical or scientific conventions, and the institutions through which the communication will be passed. The effect of these on his actual work can be almost infinitely variable. For it is not only a communication system outside him; it is also, however original he may be, a communication system which is in fact part of himself. Many contributors make active use of this kind of internal communication system. It is to themselves, in a way, that they first show their conceptions, play their music, present their arguments. Not only as a way of getting these clear, in the process of almost endless testing that active composition involves. But also, whether consciously or not, as a way of putting the experience into a communicable form. If one mind has grasped it, then it may be open to other minds.

In this deep sense, the society is in some ways already present in the act of composition. This is always very difficult to understand, but often, when we have the advantage of looking back at a period, we can see, even if we cannot explain, how this was so. We can see how much even highly original individuals had in common, in their actual work, and in what is called their “structure of feeling”, with other individual workers of the time, and with the society of that time to which they belonged. The historian is also continually struck by the fact that men of this kind felt isolated at the very time when in reality they were beginning to get through. This can also be noticed in our own time, when some of the most deeply influential men feel isolated and even rejected. The society and the communication are there, but it is difficult to recognize them, difficult to be sure.

21. Creative artists and thinkers achieve communication by ______.

A. depending on shared conventions

B. fashioning their own conventions

C. adjusting their personal feelings

D. elaborating a common language

22. A common characteristic of artists and scientists involved in creative work is that ______.

A. they care about the possible reaction to their work

B. public response is one of the primary conceits

C. they are keenly aware of public interest in their work

D. they are indifferent toward response to their work

23. According to the passage, which of the following statements is INCORRECT?

A. Individual contributions combined possess great significance to the public.

B. Good contributors don’t neglect the use of internal communication system.

C. Everyone except those original people comes under the influence of society.

D. Knowing how to communicate is universal among human beings.

24. It is implied at the end of the passage that highly original individuals feel isolated because they ______.

A. fail to acknowledge and use an acceptable form of communication

B. actually differ from other individuals in the same period

C. have little in common with the society of the time

D. refuse to admit parallels between themselves and the society

【答案与解析】

21. B  文章第一段指出,对于original artists and thinkers,他们不是运用共同的语言或遵循众人所接受的惯例,而是creating a language, or creating a convention, or at least of developing the language and conventions to the point where they are capable of bearing his precise meaning。B项中,“fashion”意为“制造,设计”,故B项符合。

22. D  第一段倒数第三句提到,这些富有独创性的艺术家和科学家share this fundamental unconcern about the ways in which their work will be received,即他们并不考虑人们对他们作品的反应,故D项符合。

23. C  文章最后一段第一句中作者指出,社会的影响已经以这种或那种的方式渗入the act of composition,即社会对那些即便是富有创造性的人物也会存在一定影响,故C项不符合原文。第二段第二句可知,A项正确。该段还提到,“Many contributors make active use of this kind of internal communication system”,故B项也正确。最后一段提到“We can see how much even highly original individuals had in common …to which they belonged.”该句告诉我们,即便是那些让人难以理解的创造性人物也在试图用一种可沟通的方式来传达他们的思想,他们也在考虑在创作中如何与社会沟通,故D项也正确。

24. A  文章最后一段最后一句指出“The society and the communication are there”,即社会就在身边,沟通也在进行着,但是人们却难以认可(recognize)他们,对他们没有把握。而之所以会这样,是因为他们使用的是自己创造的语言和convention,因此大众难以理解和接受。故A项符合。

Passage two

“Museum” is a slippery word. It first meant (in Greek) anything consecrated to the Muses: a hill, a shrine, a garden, a festival or even a textbook. Both Plato’s Academy and Aristotle’s Lyceum had a mouseion, a muses’ shrine. Although the Greeks already collected detached works of art, many temples—notably that of Hera at Olympia (before which the Olympic flame is still lit) —had collections of objects, some of which were works of art by well-known masters, while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose.

The Romans also collected and exhibited art from disbanded temples, as well as mineral specimens, exotic plants, animals; and they plundered sculptures and paintings (mostly Greek) for exhibition. Meanwhile, the Greek word had slipped into Latin by transliteration (though not to signify picture galleries, which were called pinacothecae) and museum still more or less meant “Muses’ shrine”.

The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—which focused on the gold-enshrined, bejeweled relics of saints and martyrs. Princes, and later merchants, had similar collections, which became the deposits of natural curiosities: large lumps of amber or coral, irregular pearls, unicorn horns, ostrich eggs, fossil bones and so on. They also included coins and gems—often antique engraved ones - as well as, increasingly, paintings and sculptures. As they multiplied and expanded, to supplement them, the skill of the fakers grew increasingly refined.

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中国传媒大学考博英语历年真题详解

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2020年中国传媒大学考博英语全套资料【历年真题+词汇(视频讲解)+题库】

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