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2022年考研英语一阅读理解A真题及答案

来源:233网校 2021-12-28 09:52:10

二、阅读理解 

Text  1         

People often complain that plastics are too durable. Water bottles, shopping bags, and other trash litter the planet, from Mount Everest to the Mariana Trench, because plastics are everywhere and don't break down easily. But some plastic materials change over time. They crack and frizzle. They “weep” out additives. They melt into sludge. All of which creates huge headaches for institutions, such as museums, trying to preserve culturally important objects. The variety of plastic objects at risk is dizzying: early radios, avant-garde sculptures, celluloid animation stills from Disney films, the first artificial heart.

Certain artifacts are especially vulnerable because some pioneers in plastic art didn't always know how to mix ingredients properly, says Thea van Oosten, a polymer chemist who, until retiring a few years ago, worked for decades at the Cultural Heritage Agency of the Netherlands. “It’s like baking a cake: If you don't have exact amounts, it goes wrong,” she says. “The object you make is already a time bomb.”

And sometimes, it's not the artist's fault. In the 1960s, the Italian artist Picro Gilardi began to create hundreds of bright, colorful foam pieces. Those pieces included small beds of roses and other items as well as a few dozen “nature carpets” - large rectangles decorated with foam pumpkins, cabbages, and watermelons. He wanted viewers to walk around on the carpets - which meant they had to be durable.

Unfortunately, the polyurethane foam he used is inherently unstable. It's especially vulnerable to light damage, and by the mid-1990s, Gilardi’s pumpkins, roses, and other figures were splitting and crumbling. Museums locked some of them away in the dark.

So van Oosten and her colleagues worked to preserve Gilardi’s sculptures. They infused some with stabilizing and consolidating chemicals. Van Oosten calls those chemicals “sunscreens” because their goal was to prevent further light damage and rebuild worn polymer fibers. She is proud that several sculptures have even gone on display again, albeit sometimes beneath protective cases.

Despite success stories like van Oosten’s, preservation of plastics will likely get harder. Old objects continue to deteriorate. Worse, biodegradable plastics designed to disintegrate, are increasingly common.

And more is at stake here than individual objects. Joana Lia Ferreira, an assistant professor of conservation and restoration at the NOVA School of Science and Technology, notes that archaeologists first defined the great material ages of human history - Stone Age, Iron Age, and so on - after examining artifacts in museums. We now live in an age of plastic, she says, “and what we decide to collect today, what we decide to preserve ... will have a strong impact on how in the future we’ll be seen.”

21.According to Paragraph 1, museums are faced with difficulties in____.

A.maintaining their plastic items.

B.obtaining durable plastic artifacts.

C.handling outdated plastic exhibits.

D.classifying their plastic collections.

22.Van Oosten believes that certain plastic objects are

A.immune to decay.

B.improperly shaped.

C.inherently flawed.

D.complex in structure.

23.Museums stopped exhibiting some of Gilardi’s artworks to____.

A.keep them from hurting visitors.

B.duplicate them for future display.

C.have their ingredients analyzed.

D.prevent them from further damage.

24.The author thinks that preservation of plastics is____.

A.costly.

B.unworthy.

C.unpopular.

D.challenging.

25.In Ferreira’s opinion, preservation of plastic artifacts____.

A.will inspire future scientific research.

B.has profound historical significance.

C.will help us separate the material ages.

D.has an impact on today's cultural life.

查看答案            
参考答案:21-25 ABDDB             

Text 2

As the latest crop of students pen their undergraduate application form and  weigh up their options,it may be worth considering just how the point, purpose  and value of a degree has changed and what Generation Z need to consider as they  start the third stage of their educational journey.

Millennials were told that if you did well in school, got a decent degree,you  would be set up for life.But that promise has been found wanting.As degrees  became universal. they became devalued. Education was no longer a secure route  of social mobility.Today,28 per cent of graduates in the UK are in non-graduate  roles, a percentage which is double the average among OECD countries

This is not to say that there is no point in getting a degree, but rather  stress that a degree is not for everyone, that the switch from classroom to  lecture hall is not an inevitable one and that other options are available.

Thankfully,there are signs that this is already happening,with Generation Z  seeking to learn from their millennial predecessors, even if parents and  teachers tend to be still set in the degree mindset.Employers have long seen the  advantages of hiring school leavers who often prove themselves to be more  committed and loyal employees than graduates. Many too are seeing the advantages  of scrapping a degree requirement for certain roles.

For those for whom a degree is the desired route,consider that this may well  be the first of manyIn this age of generalists, it pays to have specific  knowledge or skills. Postgraduates now earn 40 per cent more than graduates.  When more and more of us have a degree, it makes sense to have two.

It is unlikely that Generation Z will be done with education at 18 or 21;  they will need to be constantly up-skilling throughout their career to stay  employable. It has been estimated that this generation, due to the pressures of  technology, the wish for personal fulfilment and desire for diversity,will work  for 17 different employers over the course of their working life and have five  different careers. Education,and not just knowledge gained on campus, will be a  core part of Generation Z's career trajectory.

Older generations often talk about their degree in the present and personal  tense: I am a geographer' or 'T am a classist. Their sons or daughters would  never say such a thing; it's as if they already know that their degree won't  define them in the same way.

26.the author suggests that Generation Z should____

A.be careful in choosing a college

B.be diligent at each educational stage

C.reassess the necessity of college education

D.postpone their undergraduate application

27.The percentage of UK graduates in non-graduate roles reflect

A.Millennial's opinions about work

B.the shrinking value of a degree

C.public discontent with education

D.the desired route of social mobility

28.The author considers it a good sign that____

A.Generation Z are seeking to earn a decent degree.

B.School leavers are willing to be skilled workers.

C.Employers are taking a realistic attitude to degrees

D.Parents are changing their minds about education.

29.It is advised in Paragraph 5 that those with one degree should

A.make an early decision on their career

B.attend on the job training programs

C.team up with high-paid postgraduates

D.further their studies in a specific field

30.What can be concluded about Generation Z from the last two paragraphs?

A.Life long learning will define them.

B.They will make qualified educators.

C.Depress will no longer appeal them.

D.They will have a limited choice of jobs.

查看答案            
参考答案:26-30 CBCDA           

Text 3                

Enlightening, challenging, stimulating, fun. These were some of the words  that Nature readers used to describe their experience of art-science  collaborations in a series of articles on partnerships between artists and  researchers. Nearly 40% of the roughly 350 people who responded to an  accompanying poll said, they had collaborated with artists; and almost all said  they would consider doing so in future.

Such an encouraging results is not surprising. Scientists are increasingly  seeking out visual artists to help them communicate their work to new audiences.  ”Artists help scientists reach a broader audience and make emotional connections  that enhance learning.” One respondent said.

One example of how artists and scientists have together rocked the scenes  came last month when the Sydney Symphony Orchestra performed a reworked version  of Antonio Vivaldi’s The Four Seasons. They reimagined the 300-year-old score by  injecting the latest climate prediction data for each season-provided by Monash  Univerity’s Climate Change Communication Research Hub. The performance was a  creative call to action ahead of November’s United Nations Climate Change  Conference in Glasgow, UK.

But a genuine partnership must be a two-way street. Fewer artist than  scientists responded to the Nature poll, however, several respondents noted that  artists do not simply assist scientists with their communication requirements.  Nor should their work be considered only as an object of study. The alliances  are most valuable when scientists and artists have a shared stake in a project,  are able to jointly design it and can critique each other’s work. Such an  approach can both prompt new research as well as result in powerful art.

More than half a century ago, the Massachusetts Institute of Technology  opened its Center for Advanced Visual Studies (CAVS) to explore the role of  technology in culture. The founders deliberately focused their projects around  light-hance the “visual studies“ in the name. Light was a something that both  artists and scientists had an interest in, and therefore could form the basis of  collaboration. As science and technology progressed, and divided into more  sub-disciplines, the centre was simultaneously looking to a time when leading  researchers could also be artists, writers and poets, and vice versa.

Nature’s poll findings suggest that this trend is as strong as ever, but, to  make a collaboration work, both sides need to invest time, and embrace surprise  and challenge. The reach of art-science tie-ups needs to go beyond the necessary  purpose of research communication, and participants. Artists and scientists  alike are immersed in discovery and invention, and challenge and critique are  core to both, too.

31.According to paragraph 1, art-science collaborations have_____.

A.caught the attention of critics

B.received favorable responses

C.promoted academic publishing

D.sparked heated public disputes

32.The reworked version of The Four Seasons is mentioned to show  that_____.

A.art can offer audiences easy access to science

B.science can help with the expression of emotions

C.public participation in science has a promising future

D.art is effective in facilitating scientific innovations

33.Some artists seem to worry about in the art-science partnership_____.

A.their role may be underestimated

B.their reputation may be impaired

C.their creativity may be inhibited

D.their work may be misguided

34.What does the author say about CAVS?

A.It was headed alternately by artists and scientists

B.It exemplified valuable art-science alliances

C.Its projects aimed at advancing visual studies

D.Its founders sought to raise the status of artists

35.In the last paragraph, the author holds that art-science  collaborations_____.

A.are likely to go beyond public expectations

B.will intensify interdisciplinary competition

C.should do more than communicating science

D.are becoming more popular than before

查看答案            
参考答案:31-35 BAABC           

Text 4

The personal grievance provisions of New Zealand’s Employment Relations Act  2000 (ERA) prevent an employer from firing an employee without good cause.  Instead, dismissals must be justified. Employers must both show cause and act in  a procedurally fair way.

Personal grievance were designed to guard the jobs of ordinary workers from  “unjustified dismissals”. The premise was that the common law of contract lacked  sufficient safeguards for workers against arbitrary conduct by management. Long  gone are the days when a boss could simply give an employee contractual  notice.

But these provisions create difficulties for businesses when applied to  highly paid managers and executives. As countless boards and business owners  will attest, constraining firms from firing poorly performing, high-earning  managers is a handbrake on boosting productivity and overall performance. The  difference between C-grade and A-grade managers may very well be the difference  between business success or failure. Between preserving the jobs of ordinary  workers or losing them. Yet mediocrity is no longer enough to justify a  dismissal.

Consequently – and paradoxically – laws introduced to protect the jobs of  ordinary workers may be placing those jobs at risk.

If not placing jobs at risk, to the extent employment protection laws  constrain business owners from dismissing under-performing managers, those laws  act as a constraint on firm productivity and therefore on workers’ wages.  Indeed, in “An International Perspective on New Zealand’s Productivity Paradox”  (2014), the Productivity Commission singled out the low quality of managerial  capabilities as a cause of the country’s poor productivity growth record.

Nor are highly paid managers themselves immune from the harm caused by the  ERA’s unjustified dismissal procedures. Because employment protection laws make  it costlier to fire an employee, employers are more cautious about hiring new  staff. This makes it harder for the marginal manager to gain employment. And  firms pay staff less because firms carry the burden of the employment  arrangement going wrong.

Society also suffers from excessive employment protections. Stringent job  dismissal regulations adversely affect productivity growth and hamper both  prosperity and overall well-being.

Across the Tasman Sea, Australia deals with the unjustified dismissal paradox  by excluding employees earning above a specified “high-income threshold” from  the protection of its unfair dismissal laws. In New Zealand, a 2016 private  members’ Bill tried to permit firms and high-income employees to contract out of  the unjustified dismissal regime. However, the mechanisms proposed were unwieldy  and the Bill was voted down following the change in government later that  year.

36.The personal grievance provisions of the ERA are intended to

A.punish dubious corporate practices

B.improve traditional hiring procedures

C.exempt employers from certain duties

D.protect the rights of ordinary workers

37.It can be learned from paragraph 3 that the provisions may

A.hinder business development

B.undermine managers’ authority

C.affect the public image of the firms

D.worsen labor-management relations

38.Which of the following measures would be the Productivity Commission  support?

A.Imposing reasonable wage restraints.

B.Enforcing employment protection laws.

C.Limiting the powers of business owners.

D.Dismissing poorly performing managers.

39.What might be an effect of ERA’s unjustified dismissal procedures?

A.Highly paid managers lose their jobs.

B.Employees suffer from salary cuts.

C.Society sees a rise in overall well-being.

D.Employers need to hire new staff.

40.It can be inferred that the “high-income threshold” in Australia

A.has secured managers’ earnings

B.has produced undesired results

C.is beneficial to business owners

D.is difficult to put into practice

查看答案            
参考答案:36-40 DADBC           

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