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考研英語閱讀文章

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考研英語閱讀文章

　　考研英語閱讀文章1

　　He emerged, all of a sudden, in 1957: the most explosive new poetic talent of the English post-war era. Poetry specialised, at that moment, in the wry chronicling of the everyday. The poetry of Yorkshire-born Ted Hughes, first published in a book called "The Hawk in the Rain" when he was 27, was unlike anything written by his immediate predecessors. Driven by an almost Jacobean rhetoric, it had a visionary fervour. Its most eye-catching characteristic was Hughes’s ability to get beneath the skins of animals: foxes, otters, pigs. These animals were the real thing all right, but they were also armorial devices-symbols of the countryside and lifeblood of the earth in which they were rooted. It gave his work a raw, primal stink.

　　It was not only England that thought so either. Hughes’s book was also published in America, where it won the Galbraith prize, a major literary award. But then, in 1963, Sylvia Plath, a young American poet whom he had first met at Cambridge University in 1956, and who became his wife in the summer of that year, committed suicide. Hughes was vilified for long after that, especially by feminists in America. In 1998, the year he died, Hughes broke his own self-imposed public silence about their relationship in a book of loose-weave poems called "Birthday Letters".In this new and exhilarating collection of real letters, Hughes returns to the issue of his first wife’s death, which he calls his "big and unmanageable event". He felt his talent muffled by the perpetual eavesdropping upon his every move. Not until he decided to publish his own account of their relationship did the burden begin to lighten.

　　The analysis is raw, pained and ruthlessly self-aware. For all the moral torment, the writing itself has the same rush and vigour that possessed Hughes’s early poetry. Some books of letters serve as a personalised historical chronicle. Poets’ letters are seldom like that, and Hughes’s are no exception. His are about a life of literary engagement: almost all of them include some musing on the state or the nature of writing, both Hughes’s own or other people’s. The trajectory of Hughes’s literary career had him moving from obscurity to fame, and then, in the eyes of many, to life-long notoriety. These letters are filled with his wrestling with the consequences of being the part-private, part-public creature that he became, desperate to devote himself to his writing, and yet subject to endless invasions of his privacy.

　　Hughes is an absorbing and intricate commentator upon his own poetry, even when he is standing back from it and good-humouredly condemning himself for "its fantasticalia, its pretticisms and its infinite verballifications". He also believed, from first to last, that poetry had a special place in the education of children. "What kids need", he wrote in a 1988 letter to the secretary of state for education in the Conservative government, "is a headfull [sic] of songs that are not songs but blocks of refined and achieved and exemplary language." When that happens, children have "the guardian angel installed behind the tongue". Lucky readers, big or small.

　　1.The poetry of Hughes’s forerunners is characteristic of ______

　　[A] its natural, crude flavor.

　　[B] its distorted depiction of people’s daily life.

　　[C] its penetrating sight.

　　[D] its fantastical enthusiasm.

　　2.The word "vilified" most probably means _____

　　[A] tortured

　　[B] harassed

　　[C] scolded

　　[D] tormented

　　3.According to the third paragraph, Hughes’s collection of letters are _____

　　[A] personal recollection of his life.

　　[B] personalised historical chronicle of his literary engagement.

　　[C] reflections of his struggle with his devotion and the reality.

　　[D] his meditation on the literary world.

　　4. From the letters, we may find the cause of Hughes’s internal struggle is _____

　　[A] his devotion to the literary world.

　　[B] that he is a part-private, part-public creature.

　　[C] that he is constrained by the fear of his privacy being invaded.

　　[D] his fame and notoriety.

　　5. By "lucky readers" in the last sentence, the author means_____

　　[A] children who read poetry.

　　[B] children who have a headfull of songs.

　　[C] children who own blocks of refined and achieved and exemplary language.

　　[D] children who have the guardian angel installed behind the tongue

　　篇章剖析：

　　本文講述了英國(guó)著名詩(shī)人特德·休斯作品的特點(diǎn)和其所反映的詩(shī)人的一些情況。第一段講述休斯詩(shī)歌的特色;第二段講述因其妻子的原因而創(chuàng)作了一部書信集的情況。第三段講述這本書信集的特點(diǎn)和反映的內(nèi)容。第四段講述休斯對(duì)詩(shī)歌的看法和態(tài)度。

　　詞匯注釋：

　　wry adj. 枯燥乏味的

　　predecessorn.前輩, 前任

　　rhetoric n. 浮夸與修飾

　　fervour n.熱情

　　armorial adj.徽章的, 家徽的

　　lifeblood n. 生命力或生命之源的力量

　　stink n. 氣息，氣味

　　vilifie vt.誹謗, 辱罵, 貶低, 輕視

　　muffle vt.壓抑;阻止

　　eavesdropping n.偷聽

　　trajectory n. 道路選擇好的或采用的路徑：

　　notoriety n.惡名, 丑名, 聲名狼藉

　　absorbing adj.吸引人的, 非常有趣的

　　難句突破：

　　(1)But then, in 1963, Sylvia Plath, a young American poet whom he had first met at Cambridge University in 1956, and who became his wife in the summer of that year, committed suicide.

　　主體句式：But then Sylvia Plath committed suicide.

　　結(jié)構(gòu)分析：這是一個(gè)同位語帶有定語從句的復(fù)合句。whom和who引導(dǎo)的兩個(gè)定語從句修飾a young American poet, 整體作為Sylvia Plath的同位語。

　　句子譯文：但是在1963年，西爾維亞·普拉斯自殺了，這個(gè)美國(guó)年輕詩(shī)人與他第一次見面是在1956年的劍橋大學(xué)，而當(dāng)年夏天又成為了他妻子。

　　(2)These letters are filled with his wrestling with the consequences of being the part-private, part-public creature that he became, desperate to devote himself to his writing, and yet subject to endless invasions of his privacy.

　　主體句式：These letters are filled with his wrestling.

　　結(jié)構(gòu)分析：這是一個(gè)簡(jiǎn)單句，難點(diǎn)在于最后兩個(gè)形容詞詞組的成分(desperate to devote himself to his writing, and yet subject to endless invasions of his privacy)。這兩個(gè)形容詞詞組是用來修飾前面的名詞creature, 而creature后面緊跟著的that 引導(dǎo)的從句也是修飾它的定語從句。

　　句子譯文：這些信中處處都顯現(xiàn)出休斯因?yàn)樽约撼蔀榘胨饺恕牍_這么樣一個(gè)人物而心理反復(fù)掙扎，他渴望將自己奉獻(xiàn)給文字，但又時(shí)時(shí)受到私人空間受到侵襲的威脅。

　　題目分析

　　1.The poetry of Hughes’s forerunners is characteristic of ______休斯先前的詩(shī)人們創(chuàng)作的詩(shī)歌特點(diǎn)是______

　　[A] its natural, crude flavor.[A] 自然、原始的風(fēng)味。

　　[B] its distorted depiction of people’s daily life.[B] 對(duì)人們?nèi)粘Ｉ畹淖冃蚊鑼憽?/p>

　　[C] its penetrating sight.[C] 洞穿一切的視角。

　　[D] its fantastical enthusiasm.[D] 夢(mèng)幻式的熱情。

　　[答案] B

　　[分析] 細(xì)節(jié)題。本文第一段講述了休斯詩(shī)歌的特點(diǎn)。第一段第二句說明了當(dāng)時(shí)盛行的詩(shī)歌的特色是the wry chronicling of the everyday，緊接著第三句就指出休斯的作品不同于他前輩的詩(shī)歌，接下來的幾句都是講述休斯作品具體是什么特色。由此可以推理，第二句所描寫的就是其前人作品的特點(diǎn)，是"對(duì)日常生活的變形描述"，選項(xiàng)B為正確答案。

　　2.The word "vilified" most probably means _____ "vilified"這個(gè)詞(第二段第三行)最有可能的意思是_____

　　[A] tortured[A] 折磨。

　　[B] harassed[B] 騷擾。

　　[C] scolded[C] 斥責(zé)。

　　[D] tormented[D] 折磨。

　　[答案] C

　　[分析] 猜詞題。這個(gè)詞的意思要根據(jù)上下文推斷。該詞出現(xiàn)的前一句講述休斯妻子，一位美國(guó)詩(shī)人自殺。緊接著就說，該事件發(fā)生后很長(zhǎng)一段時(shí)間里美國(guó)的女權(quán)主義者對(duì)休斯采取了一種行動(dòng)。后面又講述了休斯在去世之前將他與妻子的關(guān)系情況以書信集的方式表達(dá)出來，直到這本集子出版他的背負(fù)才得以減?一種精神上的譴責(zé)，答案[C]最為符合。

　　3.According to the third paragraph, Hughes’s collection of letters are _____從第三段可以得知，休斯的書信集是_____

　　[A] personal recollection of his life.[A] 他對(duì)自己生命的個(gè)人回憶。

　　[B] personalised historical chronicle of his literary engagement.[B] 他文學(xué)生涯的個(gè)人事件的歷時(shí)紀(jì)錄。

　　[C] reflections of his struggle with his devotion and the reality.[C] 他在信仰與現(xiàn)實(shí)間掙扎的反映。

　　[D] his meditation on the literary world.[D] 他對(duì)文學(xué)世界的思考。

　　[答案]D

　　[分析]推理題。根據(jù)文章第三段，休斯的這本書信集和一般書信集不同，不是將自己的經(jīng)歷做一陳述，而是所有書信都包含有對(duì)自己或?qū)e人作品的思考，是他文學(xué)思想的一個(gè)展示。最后一句是說從這些書信中可以看出他為是要完全展示在作品中還是要維護(hù)個(gè)人隱私而苦苦掙扎過。從這些描述可以看出，該書信集主要是他文學(xué)觀點(diǎn)的一些表述，從中可以看出他的思想發(fā)展歷程，因此答案D最符合。

　　4. From the letters, we may find the cause of Hughes’s internal struggle is _____由休斯書信的內(nèi)容可以看出休斯內(nèi)心掙扎的原因在于_____

　　[A] his devotion to the literary world.[A] 他全心奉獻(xiàn)給了文學(xué)世界。

　　[B] that he is a part-private, part-public creature.[B] 他是一個(gè)半隱密、半公開的人物。

　　[C] that he is constrained by the fear of his privacy being invaded in his literary engagement.[C] 他在文學(xué)創(chuàng)作中擔(dān)心自己的私人世界受到侵犯。

　　[D] his fame and notoriety.[D] 他的名聲以及后來的敗落。

　　[答案]C

　　[分析] 細(xì)節(jié)題。題干是要求找出休斯內(nèi)心掙扎的原因，這在第三段最后一句中有提及。文章指出書信中處處都體現(xiàn)了休斯和自己半隱密、半公開這么一個(gè)身份進(jìn)行斗爭(zhēng)的印跡，一方面他想在創(chuàng)作中完全投入，但又擔(dān)心自己隱私會(huì)受到侵害。可以看出，休斯之所以內(nèi)心掙扎，是由于他自己一面想要在作品中公開自己，而在現(xiàn)實(shí)中又想保護(hù)自己的隱私，因此答案C最為符合。

　　5. By "lucky readers" in the last sentence, the author means_____在文章最后一句話中的"幸運(yùn)的讀者"，作者指的是_____。

　　[A] children who read poetry.[A] 讀詩(shī)的孩子。

　　[B] children who have a headfull of songs.[B] 腦子里有許多歌的孩子。

　　[C] children who own blocks of refined and achieved and exemplary language.[C] 擁有精致、優(yōu)雅的語言的孩子。

　　[D] children who have the guardian angel installed behind the tongue.[D] 舌頭后面有守衛(wèi)天使的孩子。

　　[答案]A

　　[分析] 細(xì)節(jié)題。理解這句話需要結(jié)合上下文來看，文章最后一段主要是講述休斯認(rèn)為詩(shī)歌在孩子教育方面發(fā)揮特殊的作用，他認(rèn)為孩子需要的是詩(shī)歌，是精致、完美的語言，如果真的擁有這些了，那么孩子舌頭后面就有了守衛(wèi)天使，那他們就是幸運(yùn)的讀者了。雖然四個(gè)答案都仿佛正確，但從最根本的來說，是因?yàn)樽x詩(shī)，孩子才會(huì)擁有以上所說得一切，才是幸運(yùn)的，而且本段也著重強(qiáng)調(diào)詩(shī)歌對(duì)于孩子的重要性。因此，最佳答案為A。

　　參考譯文：

　　1957年，他橫空出世，成為英國(guó)戰(zhàn)后最具爆炸性的詩(shī)壇天才。當(dāng)時(shí)，詩(shī)歌主要題材是日常生活的扭曲紀(jì)錄。但出生在約克郡的特德·休斯的作品卻與其前輩大相徑庭，他27歲時(shí)在名為《雨中的鷹》一書中發(fā)表了第一首詩(shī)。

　　受詹姆士一世風(fēng)格的影響，其詩(shī)歌呈現(xiàn)出幻覺式的激情，最顯著的特點(diǎn)是休斯可以描述動(dòng)物外表下面的東西，無論是狐貍、水獺還是豬。這些動(dòng)物的確是真實(shí)的，但同時(shí)又是標(biāo)志性的，代表著鄉(xiāng)村，代表著它們植根的地球的生命之源。正是這一點(diǎn)賦予了其作品一種野性、原始的氣息。

　　這一點(diǎn)不僅僅在英國(guó)得以認(rèn)同。休斯的書也在美國(guó)出版，并且贏得了一項(xiàng)重要的文學(xué)獎(jiǎng)--加爾布雷思獎(jiǎng)。但是在1963年，西爾維亞·普拉斯自殺了，這個(gè)美國(guó)年輕詩(shī)人與他第一次見面是在1956年的劍橋大學(xué)，而當(dāng)年夏天又成為了他妻子。這之后很長(zhǎng)時(shí)間里休斯都受到人們的'譴責(zé)，尤其是美國(guó)的女權(quán)主義者。1998 年，也就是休斯去世的那一年，他在自己一本名為《生日信札》的結(jié)構(gòu)松散的詩(shī)集中公開了他倆的關(guān)系，打破了他自己一直以來的緘默。在這本令人興奮的新書信集中，休斯回憶了他第一個(gè)妻子的死，"難以處理的大事情"--他這樣形容。他感覺自己的一舉一動(dòng)都受到監(jiān)視，他的天賦因而受到了制約。直到他出版了自己的這本有關(guān)他們關(guān)系的書時(shí)，他身上的負(fù)擔(dān)才得以減輕。

　　他的剖析自然、飽含痛苦，具有強(qiáng)烈的自我意識(shí)。盡管書中極盡表達(dá)了其精神的苦痛，但文字本身卻具有休斯早期詩(shī)歌的激情和活力。一些書信集只是個(gè)人的經(jīng)歷記錄而已，但是詩(shī)人的書信集卻不同，休斯也不例外。他的書信集描寫了其文學(xué)生涯：幾乎所有的書信都有關(guān)于寫作狀態(tài)或?qū)懽餍再|(zhì)的思考，有他自己，也有別人的。休斯的文學(xué)生命軌跡是從無名到聞名，而后，在眾人看來又經(jīng)歷了漫長(zhǎng)的名譽(yù)掃地的階段。這些信中處處都顯現(xiàn)出休斯和自己成為半私人、半公開人物這樣一個(gè)結(jié)果而心理反復(fù)掙扎，他渴望將自己奉獻(xiàn)給文字，但又時(shí)時(shí)受到私人空間受到侵襲的威脅。

　　有意思而且令人費(fèi)解的是，休斯還對(duì)自己詩(shī)歌進(jìn)行評(píng)論，他甚至還以局外人的身份來看待自己的作品，很幽默地批評(píng)自己"詩(shī)歌有空想色彩、唯美化且一直咬文嚼字 "。他還從始至終堅(jiān)信詩(shī)歌在教育孩子方面有特殊的作用。1988年他在給保守黨政府國(guó)家教育部長(zhǎng)得一封信中這樣寫道："孩子們需要的是滿腦子的歌曲，其實(shí)不是歌曲，而是精致、優(yōu)秀、具有代表性的語言。"如果真能這樣，那么孩子們"舌頭后面就會(huì)有守衛(wèi)天使"了。

　　考研英語閱讀文章2

　　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 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 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

　　Section II Reading Comprehension

　　答案解析：

　　21. [A] maintaining their plastic items

　　22. [C] inherently flawed

　　23. [D] prevent them from further damage

　　24. [D] challenging

　　25. [B] has profound historical significance

　　考研英語閱讀文章3

　　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 many. In 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 ‘I 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