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1、2022年全国硕士研究生考试考研英语(一)试题及答案Section I Use of EnglishDirections:Translate the following text into Chinese. Write your translation on the ANSWER SHEET. (15 points)The idea that plants have some degree of consciousness first took root in the early 2000s; the term plant neurobiology was1around the notion
2、thatsome aspects of plant behavior could be2to intelligence in animals.3plants lack brains, the firing of electrical signals in their stems and leaves nonetheless triggered responses that4consciousness, researcherspreviously reported.But such an idea is untrue, according to a new opinion article. Pl
3、ant biology is complex and fascinating, but it5so greatly from that of animals thatso-called6of plants1 intelligence is inconclusive, the authors wrote.Beginning in 2006, some scientists have7that plants possessneuron-like cells that interact with hormones and neurotransmitters,8 aplant nervous syst
4、em,9to that in animals, said lead study author LincolnTaiz, They10claimed that plants have brain-like command centers at their root tips.This11makes sense if you simplify the workings of a complex brain,12it to an array of electrical pulses; cells in plants also communicate through electrical signal
5、s.13, the signaling in a plant is only14similar to the firing in a complex animal brain, which is more than a mass of cells that communicate by electricity,0 Taiz said.For consciousness to evolve, a brain with a threshold15ofcomplexity and capacity is required,0 he16. Since plants don t havenervous
6、systems, the17that they have consciousness are effectively zero.And what s so great about consciousness, anyway? Plants can t run away from18, so investing energy in a body system which19a threat andcan feel pain would be a very20evolutionary strategy, according to thearticle.1. A coined B discovere
7、d C collected D issued2. A attributed B directed C compared D confined3. A Unless B When C Once D Though4. A coped with B consisted of C hinted at D extended to5. A suffers B benefits C develops D differs6. A acceptance B evidence C cultivation D creation7. A doubted B denied C argued D requested8.
8、A adapting B forming C repairing D testing9. A analogous B essential C suitable D sensitive10. A just B ever C still D even11. A restriction B experiment C perspective D demand12. A attaching B reducing C returning D exposing13. A However B Moreover C Therefore D Otherwise14. A temporarily B literal
9、ly C superficially D imaginarily15. A list B level C label D load16. A recalled B agreed C questioned D added17. A chances B risks C excuses D assumptions18. A danger B failure C warning D control19. A represents B includes C reveals D recognizes20. A humble B poor C practical D easySection II Readi
10、ng ComprehensionPart ADirections:Read the following four texts. Answer the questions after each text by choosing A, B, C or D. Mark your answers on the ANSWER SHEET. (40 points)Text 1People often complain that plastics are too durable. Water bottles, shopping bags, and other trash litter the planet,
11、 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 t
12、o 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 k
13、now 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
14、 time bomb.And sometimes, it s not the artist s fault. In the 1960s, the Italian artist Piero 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 pumpkin
15、s, cabbages, and watermelons. He wanted viewers to walk around on the carpetswhich meant they had to be durable.Unfortunately, the polyurethane foam he used is inherently unstable. It1 s especially vulnerable to light damage, and by the mid-1990s, Gilardi s pumpkins, roses, and other figures were sp
16、litting 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 da
17、mage 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
18、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 h
19、uman historyStone Age, Iron Age, and so onafter 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 II be seen.21. According to Paragraph 1, museums are faced w
20、ith difficulties in.A maintaining their plastic itemsB obtaining durable plastic artifactsC handling outdated plastic exhibitsD classifying their plastic collections22. Van Oosten believes that certain plastic objects are.A immune to decayB improperly shapedC inherently flawedD complex in structure2
21、3. Museums stopped exhibiting some of Gilardi s artworks to.A keep them from hurting visitorsB duplicate them for future displayC have their ingredients analyzedD prevent them from further damage24. The author thinks that preservation of plastics is,A costlyB unworthyC unpopularD challenging25. In F
22、erreira s opinion, preservation of plastic artifacts.A will inspire future scientific researchB has profound historical significanceC will help us separate the material agesD has an impact on today s cultural lifeSection II Reading ComprehensionText 2As the latest crop of students pen their undergra
23、duate 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 d
24、ecent 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 ave
25、rage 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
26、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 graduat
27、es. 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 many. In this age of generalists, it pays to have specific knowledge or skills. Postgraduates now earn 40 per cent
28、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
29、 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 T s career trajec
30、tory.Older generations often talk about their degree in the present and personal tense: I am a geographer1 or I am a ciassist . 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 Generati
31、on Z should.A be careful in choosing a collegeB be diligent at each educational stageC reassess the necessity of college educationD postpone their undergraduate application27. The percentage of UK graduates in non-graduate roles reflect.A Millennial s opinions about workB the shrinking value of a de
32、greeC public discontent with educationD the desired route of social mobility28. The author considers it a good sign that.A Generation Z are seeking to earn a decent degreeB school leavers are willing to be skilled workersC employers are taking a realistic attitude to degreesD parents are changing th
33、eir minds about education29. It is advised in Paragraph 5 that those with one degree should.A make an early decision on their careerB attend on the job training programsC team up with high-paid postgraduatesD further their studies in a specific field30. What can be concluded about Generation Z from
34、the last two paragraphs?A Lifelong learning will define them.B They will make qualified educators.C Degrees will no longer appeal them.D They will have a limited choice of jobs.Text 3Enlightening, challenging, stimulating, fun. These were some of the words thatNature readers used to describe their e
35、xperience 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 enco
36、uraging result 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 sci
37、entists have together rocked the senses 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 seasonprovided by Monash University s Climate
38、 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 artists than scientists responded to the Nature poll; however, several respondents n
39、oted 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 o
40、ther 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 th
41、eir projects around lighthence 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 lo
42、oking 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-
43、ups need to go beyond the necessary purpose of research communication, and participants must not fall into the trap of stereotyping each other. 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-sci
44、ence collaborations have.A caught the attention of criticsB received favorable responsesC promoted academic publishingD sparked heated public disputes32. The reworked version of The Four Seasons is mentioned to show thatA art can offer audiences easy access to scienceB science can help with the expr
45、ession of emotionsC public participation in science has a promising futureD art is effective in facilitating scientific innovations33. Some artists seem to worry about in the art-science partnershipA their role may be underestimatedB their reputation may be impairedC their creativity may be inhibite
46、dD their work may be misguided34. 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,
47、 the author holds that art-science collaborationsA are likely to go beyond public expectationsB will intensify interdisciplinary competitionC should do more than communicating scienceD are becoming more popular than beforeText 4The 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 procedures wer
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