考研阅读模拟

21篇模板——(1)文学类

题目序号题型归类

第1题中心主旨题型

第2题审题定位与反推题型

第3题全文归纳推导题型

第4题写作手法题型

第5题例(举)证题型

RogerRosenblatt^bookBlackFiction,inattemptingtoapplyliterary文学rather

thansociopolitical政治criteriatoitssubject主题，successfullyalterstheapproach

takenbymostpreviousstudies.AsRosenblattnotes,criticismofBlackwritinghas

oftenservedasapretextforexpoundingon解释Blackhistory.AddisonGayle's

recentwork,forexample,judgesthevalueofBlackfictionbyovertlypolitical政治

standards,rating评估eachworkaccordingtothenotionsofBlackidentitywhichit

propounds.

Althoughfictionassuredlyspringsfrom来自于politicalcircumstances,its

authorsreacttothosecircumstancesinwaysotherthan除了ideological,and(主语

talkingaboutnovelsandstoriesprimarilyasinstruments手段ofideology意识形态

(政治))circumventsmuchofthefictionalenterprise成就.Rosenblatt'sliterary

analysisdisclosesaffinitiesandconnectionsamongworksofBlackfictionwhich

solelypoliticalstudieshaveoverlookedorignored.

主语(Writingacceptablecriticism评论ofBlackfiction),however,presupposes

宾语(givingsatisfactoryanswerstoanumberofquestions).Firstofall,istherea

sufficientreason,otherthanthefacialidentityoftheauthors,togrouptogetherworks

byBlackauthors?Second,howdoesBlackfictionmakeitselfdistinctfromother

modernfictionwithwhichitislargelycontemporaneous?Rosenblattshowsthat

Blackfictionconstitutesadistinctbodyofwritingthathasanidentifiable,coherent

literarytradition.LookingatnovelswrittenbyBlackoverthelasteightyyears,he

discoversrecurringconcernsanddesignsindependentofchronology.Thesestructures

arethematic,andtheyspring,notsurprisingly,fromthecentralfactthattheBlack

charactersinthesenovelsexistinapredominantlywhiteculture,whethertheytryto

conformtothatcultureorrebelagainstit.

BlackFictiondoesleave强调句someaestheticquestionsopen.Rosenblatt's

thematicanalysispermits允许considerableobjectivity;heevenexplicitlystatesthat

itisnothisintentiontojudgethemeritofthevariousworks-yethisreluctance不

愿意seemsmisplaced,especiallysinceanattempttoappraisemighthaveledto

interestingresults.Forinstance,someofthenovelsappeartobestructurallydiffuse.

Isthisadefect,oraretheauthorsworkingoutof,ortryingtoforge,adifferentkindof

aesthetic?Inaddition,thestyleofsomeBlacknovels,likeJeanToomer'sCane.

vergesonexpressionismorsurrealism;doesthistechniqueprovideacounterpointto

theprevalentthemethatportraysthefateagainstwhichBlackheroesarepitted,a

themeusuallyconveyedbymorenaturalisticmodesofexpression?

Inspiteo于尽管suchomissions,(whatRosenblattdoesincludeinhis

discussion)主语makesforanastute敏锐地andworthwhilestudy.BlackFiction

surveysawidevarietyofnovels,伴随状语bringingtoourattentionintheprocess

宾语后置(somefascinatingandlittle-knownworkslikeJamesWeldonJohnson's

AutobiographyofanEx-ColoredMan).Itsargumentistightlyconstructed,andits

forthright,lucidstyleexemplifieslevelheadedandpenetratingcriticism.

1.5.Theauthorofthetextisprimarilyconcernedwith

[A]evaluatingthesoundness合理性ofaworkofcriticism.

[B]comparingvariouscriticalapproachestoasubject.

[C]discussingthelimitationsofaparticularkindofcriticism.

[D]summarizingthemajorpointsmadeinaworkofcriticism.

2.4.TheauthorofthetextbelievesthatBlackFictionwouldhavebeenimproved

hadRosenblatt(ifRosenblatthad)

[A]evaluated评价morecarefullytheideologicalandhistoricalaspectsofBlack

fiction.

[B]attemptedtobemoreobjectiveinhisapproachtonovelsandstoriesbyBlack

authors.

[C]explored探索ingreaterdetailtherecurrentthematicconcernsofBlack

fictionthroughoutitshistory.

[D]assessed评论therelativeliterarymeritofthenovelsheanalyzes

thematically.

3.Theauthor^discussion讨论of8/。以Fie"。"canbebestdescribed描述as

[A]pedanticandcontentious.

[B]critical批判的butadmiring.赞许的

[C]ironicanddeprecating.

[D]argumentativebutunfocused.没焦点的

4.Theauthorofthetextemploys使用allofthefollowinginthediscussion写作手

段ofRosenblatfsbookEXCEPT:

[A]rhetoricalquestions.

[B]specificexamples.

[C]comparisonandcontrast.对比

[D]definitionofterms.

5.Theauthorofthetextrefersto提至JamesWeldonJohnson'sAutobiographyof

anExColoredManmostprobably(inorderto)

[A]point指出outaffinitiesbetweenRosenblatt\methodofthematicanalysis

andearliercriticism.

[B]clarify澄清thepointaboutexpressionisticstylemadeearlierinthepassage.

[C]qualify修饰theassessmentofRosenblatt'sbookmadeinthefirstparagraph

ofthepassage.

[D]giveaspecificexampleofoneoftheaccomplishmentsofRosenblatt^work.

[参考译文]

罗杰•罗森布莱特的著作《黑人小说》，试图运用文学的而不是社会政治的

标准来研究黑人小说，这成功地改变了大多数早先研究的方法。如罗森布莱特所

注意到的，黑人著作的评论经常被充当为一种阐述黑人历史的借口。例如，阿狄

森•盖尔的最新著作，就用了公开的政治标准来判定黑人小说的价值，按照作品

中所提出的黑人个体的各观念对每个作品进行评价。

虽然小说确实是源于政治环境，但作者反映这些环境的方法是非意识形态

的，如把小说和故事的讨论作为意识形态的工具，则会忽视了许多小说的成就。

罗森•布莱特对黑人文学的分析揭示了黑人小说著作间的密切关系和联系，而纯

粹政治研究中忽视了这些联系。

然而写出为人所接受的黑人小说评论的前提是要对许多问题做出令人满意

的回答。首先，除了这些作家的种族身份外，是否有充分的理由可将黑人作家的

作品归于一类？其次，黑人小说如何将自己和其他现代小说分开？它们大半属于

同一时代的作品。罗森布莱特的研究阐明了黑人小说已构成了一个与众不同的作

品群体，它们具有可识别的、连贯的文学传统。着眼于最近八十年黑人创作的小

说，罗森布莱特揭示了小说中与时代无关而反复出现的侧重点和布局。这些结构

与主题相关，并不让人感到惊奇的是，它们源于这样一个中心事实，即小说中的

黑人生存在一个白人文化支配的环境中，不管他们试图迎合这一文化还是反叛这

一文化。

《黑人小说》确实对一些美学的问题没有给予回答，罗森布莱特的主题分析

允许相当的客观性；他甚至直言，对各个作品的优劣判定不是他工作的意图一

然而他的犹豫看起来是不合时宜的，尤其是因为尝试评定可能会导致一些有趣的

结果。例如，一些小说所显示的结构散漫冗长。这是否是一个缺陷，或者是作者

这样做是出于一种美学考虑，还是作者试图创造一种不同类的美学？另外，象

金•图莫的《手杖》那样的黑人小说风格，近于表现主义和超现实主义；难道这

个技巧只是用更自然主义的表现方式为表达流行的黑人英勇反抗命运的主题提

供一个对应物吗？

尽管存在这些遗漏，罗森布莱特所做的包括他的讨论，已包括了足以构成精

明而有价值的研究内容。《黑人小说》考察了广泛的小说，在此过程中我们的注

意力被吸引到一些引人入胜但鲜为人知的作品上，如詹姆士•威尔顿•约翰逊的

《一个曾是有色人的自传》。这本书的主题结构紧密，直率、明晰的风格例示了

一种冷静而敏锐的文学评论。

21篇模板——(2)

题目序号题型归类

第1题中心主旨题型

第2题例(举)证与细节理解题型

第3题细节理解题型

第4题审题定位题型

第5题归纳推导题型

提到人为中心主旨句

Proponents支持者ofdifferentjazzstyleshavealwaysargued作者观点和他们

相反(thattheirpredecessor'smusicalstyledidnotincludeessentialcharacteristics

thatdefinejazzasjazz.)Thus因止匕，1940\swingas秋千belittledbybeboppersof

the1950'swhowerethemselvesattackedbyfreejazzesofthe1960's•定从单独翻

译Theneoboppersofthe19809sand1990'sattackedalmosteverybodyelse.The

titanicfigureofBlacksaxophonistJohnColtranehascomplicated复杂化the

arguments(madebyproponentsofstylesfrombebopthroughneobopbecauseinhis

ownmusicaljourneyhedrewfromallthosestyles).Hisinfluenceon影响alltypes

ofjazzwasimmeasurable.Attheheightofhispopularity,Coltranelargelyabandoned

playingbebop,thestylethathadbroughthimfame声誉，toexplore探索theouter

reachesofjazz.

Coltranehimselfprobablybelievedthattheonlyessentialcharacteristicofjazz

wasimprovisation,theoneconstantinhisjourneyfrombeboptoopen-ended

improvisationsonmodal,Indian,andAfricanmelodies.Ontheotherhand,this

doggedstudentandprodigioustechnician-whoinsistedonspendinghourseachday

practicingscalesfromtheorybooks-wasneverabletojettisoncompletelythe

influenceofbebop,withitsfastandelaboratechainsofnotesandornamentson

melody.

TwostylisticcharacteristicsshapedthewayColtraneplayedthetenorsaxophone:

hefavoredplayingfastrunsofnotesbuiltonamelodyanddependedonheavy,

regularlyaccentedbeats.ThefirstledColtraneto“sheetsofsound“whereheraced

fasterandfaster,pile-drivingnotesintoeachothertosuggeststackedharmonies.The

secondmeantthathissenseofrhythmwasalmostasclosetorockastobebop.

ThreerecordingsillustrateColtrane'senergizing精力的explorations.

RecordingKindofBluewithMilesDavis,Coltranefoundhimselfoutsidebop,

exploringmodalmelodies.Hereheplayedsurging,lengthysolosbuiltlargelyaround

repeatedmotifs-anorganizingprincipleunlikethatoffreejazzsaxophoneplayer

OrnetteColeman,whomodulatedoralteredmelodiesinhissolos.OnGiantSteps,

Coltranedebutedasleader,introducinghisowncompositions.Herethesheetsof

sound,downbeataccents,repetitions,andgreatspeedarepartofeachsolo,andthe

varietyoftheshapesofhisphrasesisunique.Coltrane'ssearchingexplorations

producedsolidachievement.MyFavoriteThingswasanotherkindofwatershed.Here

Coltraneplayedthesopranosaxophone,aninstrumentseldomusedbyjazzmusicians.

Musically,theresultswereastounding.Withthesoprano'spipingsound,ideasthat

hadsoundeddarkandbroodingacquiredafeelingofgiddyfantasy.

WhenColtranebeganrecordingfortheImpulse!Label,hewasstillsearching.

Hismusicbecameraucous,physical.Hisinfluenceonrockerswasenormous,

includingJimiHendrix,therockguitarist,who,followingColtrane,raisedthe

extendedguitarsolousingrepeatedmotifstoakindofrockartform.

1.Theprimarypurposeofthetextisto

[A]discusstheplaceofColtraneintheworldofjazzanddescribehismusical

explorations.探索

[B]examinethenatureofbebopandcontrastitwithimprovisationaljazz.

[C]analyzethemusicalsourcesofColtrane'sstyleandtheirinfluenceonhis

work.

[D]acknowledgetheinfluenceofColtrane'smusiconrockmusicandrock

musicians.

2.Whichofthefollowingbestdescribestheorganizationofthefourth

paragraph?

[A]Athesisreferredtoearlierinthetextismentionedandillustrated举例with

threespecificexamples.

[B]Athesisisstatedandthreeexamplesaregiveneachsuggestingthata

correctionneedstobemadetoathesisrefeiredtoearlierinthetext.

[C]Athesisreferredtoearlierinthetextismentioned,andthreeexamplesare

presentedandrankedinorderoftheirsupportofthethesis.

[D]Athesisisstated,threeseeminglyopposingexamplesarepresented,andtheir

underlyingcorrespondenceisexplained.

3.Accordingtothetext,JohnColtranedidallofthefollowingduringhiscareer

EXCEPT

[A]improvise艮口兴onmelodiesfromanumberofdifferentcultures.

[B]performasleaderaswellassoloist.

[C]spendtimeimprovinghistechnicalskills.

[D]eliminate消除theinfluenceofbeboponhisownmusic.

4.AccordingtothetextamajordifferencebetweenColtraneandotherjazz

musicianswasthe

[A]degreetowhichColtrane'smusicencompassedallofjazz.

[B]repetitionofmotifs主题thatColtraneusedinhissolos.

[C]numberofhisowncompositions作品thatColtranerecorded.

[D]indifference没对过(Coltranemaintainedtomusicaltechnique.)

找其他音乐家

5.Intermsofitstoneandform,thetextcanbestbecharacterized特点as

[A]dogmaticexplanation.

[B]indignantdenial.

[C]enthusiasticpraise.

[D]speculativestudy.

［参考译文］

不同的爵士乐风格的支持者一贯认为他们前辈的音乐风格没有包括那些使

爵士乐之所以成为爵士乐的本质特征。这样，二十世纪五十年代的比波普派轻视

二十世纪四十年代的摇摆音乐派，而他们自己又受到二十世纪六十年代的自由爵

士派的抨击。二十世纪八十至九十年代的新比波普派儿乎对任何其他人都进行抨

击。而黑人萨克斯管巨匠约翰•科尔特兰尼使这些从比波普派到新比波普派的支

持者所提出的主张更加复杂化，因为在他自己的音乐例程中，他经历了所有这些

风格。他对所有爵士音乐的风格的影响是不可估量的。在他最受欢迎的时期，科

尔特兰尼基本上放弃了比波普风格的演奏以便探索爵士乐更深的处延，然而正是

比波普风格的演奏使得他成名。

科尔特兰尼自己可能认为爵士乐的唯一本质特征就是即兴创作，这是他从比

波普风格到对形式音乐、印度音乐、非洲音乐的自由即兴演奏的历程中一直没有

改变的。另一方面，这个顽强的学生和异常的技巧家每天花儿个小时用以练习理

论书籍上的曲谱，从未能完全抛弃比波普的影响，在他的旋律中可以找到带有比

波普特点的快速和精细的音符以及修饰效果。

有两种风格特征影响了科尔特兰尼演奏男高音萨克斯管的方式：他喜欢对建

立于i种旋律上的音符进行快速的演奏，同时也依赖于强有力的、有规律的重音

节奏。前者引导科尔特兰尼走向“片状声响”的境界，在那里科尔特兰尼的演奏

越来越快，将音符成堆互相累放起来以表达一种堆叠起来的和谐感。而后者意味

着，他的节奏感之接近于摇滚乐几乎就像其接近于比波普风格一样。

三张唱片为科尔特兰尼富有活力的探索提供了证明。和马尔斯•戴维斯合作

录制《有几分忧伤》时，科尔特兰尼发现他已离开了波普风格，对形式音乐进行

探索。在这中间，他演奏那些跌宕起伏的冗长的独奏，而这些独奏基本上是围绕

着一个重复主题展开的。该种主题是用以组织其音乐的原则，它和自由派爵士乐

萨克斯管演奏家奥尼迪•科尔曼采用的组织方式不同。后面这位音乐家在他的独

奏中会对其旋律进行调节改变。在《大踏步》中，科尔特兰尼初次以领导者角色

出现，对他自己的作品进行了介绍。在这中间，“片状声响”、强拍重音、重复回

旋和极快的速度组成了每一段独奏的各个部分，各乐章的形式的多样性是独一无

二的。科尔特兰尼深刻的探索获得了稳固的成就。《我的钟爱之物》是另一种意

义上的分水岭。在这里，科尔特兰尼演奏了爵士乐演奏家很少使用的女高音萨克

斯管，所产生的音乐上的效果是惊人的。伴随着女高音萨克斯管的尖音，那些显

得昏暗及带有沉思意味的主题获得了一种令人眼花缭乱的梦幻感觉。

当科尔特兰尼开始为冲动唱片公司进行音乐录制时，他仍然在探索。他的音

乐变得沙哑而感性。摇滚乐手受到他的巨大影响，其中包括吉米•亨德瑞克斯这

位吉它手。后者仿效科尔特兰尼，使基于重复主题的大段吉他独奏上升成为一种

摇滚艺术形式。

21篇模板——(3)

题目序号题型归类

第1题中心主旨题型

第2题反推题型

第3题细节归纳推导题型

第4题中心主旨题型

第5题细节推导题型

Manyobjects物体indailyusehaveclearlybeeninfluencedbyscience,buttheir

formandfunction,theirdimensionsandappearance,weredetermined决定by

technologists,artisans,designers,inventors,andengineers—usingnonscientific

modesofthoughtManyfeatures特点andqualities特性oftheobjectsthata

technologistthinksaboutcannotbereduced归纳tounambiguous清晰的verbal

descriptions;theyaredealtwithinthemindbyavisual,nonverbalprocess.Inthe

developmentofWesterntechnology,ithasbeen一直以来nonverbalthinking,by

andlarge,thathasfixedtheoutlinesandfilledinthedetailsofourmaterial

surroundings.Pyramids,cathedrals,androcketsexistnotbecauseofgeometryor

thermodynamics,butbecausetheywerefirstapictureinthemindsofthosewhobuilt

them.

Thecreativeshapingprocessofatechnologist'smindcanbeseeninnearlyevery

artifactthatexists存在.Forexample,indesigningadieselengine,atechnologist

mightimpressindividualwaysofnonverbalthinkingonthemachinebycontinually

usinganintuitivesenseofrightnessandfitness.Whatwouldbetheshapeofthe

combustionchamber?Whereshouldbevalvesbeplaced?Shouldithavealongor

shortpiston?Suchquestionshavearangeofanswersthataresuppliedbyexperience,

byphysicalrequirements,bylimitationsofavailablespace,andnotleastbyasenseof

form.Somedecisionssuchaswallthicknessandpindiameter,maydependon

scientificcalculations,butthenonscientificcomponentofdesignremainsprimary.

Designcourses,then,shouldbeanessentialelementinengineeringcurricula.

Nonverbalthinking,acentralmechanisminengineeringdesign,involvesperceptions,

thestock-in-tradeoftheartist,notthescientist.Becauseperceptiveprocessesarenot

assumedtoentail"hardthinking,nonverbalthoughtissometimesseenasaprimitive

stageinthedevelopmentofcognitiveprocessesandinferiortoverbalormathematical

thought.ButitisparadoxicalthatwhenthestaffoftheHistoricAmerican

EngineeringRecordwishedtohavedrawingsmade让另ij人画ofmachinesand

isometricviewsofindustrialprocessesforitshistoricalrecordofAmerican

engineering,theonlycollegestudentswiththerequisiteabilitieswerenotengineering

students,butratherstudentsattendingarchitecturalschools.

Ifcoursesindesign,whichinastronglyanalyticalengineeringcurriculum

providethebackgroundrequiredforpracticalproblem-solving,arenotprovided提供,

wecanexpecttoencountersillybutcostlyerrorsoccurringinadvancedengineering

systems.Forexample,earlymodelsofhigh-speedrailroadcarsloadedwith

sophisticatedcontrolswereunabletooperateinasnowstormbecauseafansucked

snowintotheelectricalsystem.Absurdrandomfailuresthatplagueautomaticcontrol

systemsarenotmerelytrivialaberrations;theyareareflectionofthechaosthat

resultswhendesignisassumedtobeprimarilyaprobleminmathematics.

1.Inthetext,theauthorisprimarilyconcernedwith

[A]identifyingthekindsofthinkingthatareusedbytechnologists.

[B]stressingtheimportanceofnonverbalthinkinginengineeringdesign.

[C]proposing提出anewrole作用fornonscientificthinkinginthe

developmentoftechnology.

[D]contrastingthegoalsofengineerswiththoseoftechnologists.

2.Itcanbeinferredthattheauthorthinksengineeringcurricula工科课程are

[A]strengthenedwhentheyincludecoursesindesign.

[B]weakenedbythesubstitutionofphysicalsciencecoursesforcourses

designedtodevelopmathematicalskills.A去取代B

[C]strongbecausenonverbalthinkingisstillemphasizedbymostofthecourses.

[D]strongdespitetheerrorsthatgraduatesofsuchcurriculahavemadeinthe

developmentofautomaticcontrolsystems.

3.Whichofthefollowingstatementsbestillustratesthemainpointofthefirsttwo

paragraphs第二段ofthetext?

[A]Whenamachinelikearotaryenginemalfunctions,itisthetechnologistwho

isbestequippedtorepairit.

[B]Eachcomponentofanautomobile—forexample,theengineorthefueltank

一hasashapethathasbeenscientificallydeterminedtobebestsuitedtothat

component'sfunction.

[C]Atelephoneisacomplexinstrumentdesignedbytechnologistsusingonly

nonverbalthought.

[D]Thedistinctivefeaturesofasuspensionbridgereflectitsdesigner's

conceptualizationaswellasthephysicalrequirementsofitssite.

4.Whichofthefollowingstatementswouldbestserveasanintroductiontothetext?

[A]Theassumption观点想法thattheknowledgeincorporatedintechnological

developmentsmustbederivedfromscienceignoresthemanynonscientific

decisionsmadebytechnologists.

[B]Analyticalthoughtisnolongeravitalcomponentinthesuccessof

technologicaldevelopment.

[C]Asknowledgeoftechnologyhasincreased,thetendencyhasbeentolosesight

oftheimportantroleplayedbyscientificthoughtinmakingdecisionsabout

form,arrangement,andtexture.

[D]Amovementinengineeringcollegestowardatechnician'sdegreereflectsa

demandforgraduateswhohavethenonverbalreasoningabilitythatwasonce

commonamongengineers.

5.Theauthorcallsthepredicament困境facedbytheHistoricAmerican

EngineeringRecord“paradoxical”(line6,paragraph3)mostprobablybecause

[A]thepublicationneededdrawingsthatitsownstaffcouldnotmake.

[B]architecturalschoolsofferedbutdidnotrequireengineeringdesigncourses

fortheirstudents.

[C]collegestudentswerequalifiedtomakethedrawingswhilepracticing

engineerswerenot.

[D]engineeringstudentswerenottrainedtomakethetypeofdrawingsneededto

recordthedevelopmentoftheirowndiscipline.

[参考译文]

许多日常使用的事物明显受到了科学的影响，但它们的形状和功能，它们的

大小和外观，是由工艺人员、工匠、设计师、发明家和工程师运用非科学思维模

式来设计的。工艺人员所考虑物体的很多性质和特点不能归结到毫不模糊的字面

描述；在思维中，它们以一种视觉上的、非言语的方式被加以处理。在西方科技

的发展过程中，大体上是由非言语思维刻画了我们物质环境的轮廓并充实了其中

的细节。金字塔、大教堂、火箭之所以存在，不是因为几何学或热力学的原因，

而是因为在它们的制造者的头脑中事先存在了这样一幅画面。

在几乎每一件现存的人造制品身上都能看出工艺人员思维创造性的制作过

程。比如说，在柴油发动机的设计中，通过不断使用关于合适感和适当感的直观

体会，一个工艺人员得以用他个人的非语言思维来影响到机器本身。燃烧室的形

状应怎样？阀门应该放在哪里？它应该有个长的活塞还是应该有个短的？这样

的问题有着由经验、物理需要、可用空间的局限以及并非微不足道的形状感等因

素提供的一系列答案。某一些决定，比如壁厚和销钉直径，可能需要由科学的计

算来定夺，但设计中的非科学成分仍然是主要的。

因此设计课程应该成为工程课程中的基本成份。非语言思维，这一工程设计

的核心机制，包括了感受这一属于艺术家的而非科学家的惯用手段。因为人们认

为感受的过程不需要“硬思维”，非语言思维被视为认知过程发展的一个原始阶

段而且比语言和数学思维差。但令人感到自相矛盾的是，当《美国工程历史名录》

的工作人员希望得到为其美国工程历史记录而绘制的机器图和等比例图时，唯一

具有所需技能的大学生不是工程学大学生，而是就读于建筑学院的大学生。

如果不能开设设计课程(它能在一个高度分析性工程学课程体系中提供解决

实际问题的背景知识)，我们就会在先进的工程系统中遇到愚蠢而同时会导致极

大损失的错误。比如，装载了精密控制设备的早期高速铁路车辆模型不能在暴风

雪中正常运行，原因是一个风扇将雪吸入到电子系统中。干扰着自动控制系统的

荒唐的随机故障不是轻微的失常；它们是i种混乱的反映，人们认为这种混乱主

要在设计数学方面的问题时就会产生。

21篇模板——(4)

题目序号题型归类

第1题中心主旨题型

第2题细节推导题型

第3题审题定位与中心主旨题型

第4题归纳推导题型

第5题写作手法题型

AsGilbertWhite,Darwin,andothersobservedlongago,allspeciesappearto

havetheinnatecapacitytoincreasetheirnumbersfromgenerationtogeneration.The

taskforecologistsistountangletheenvironmentalandbiologicalfactorsthathold

thisintrinsiccapacityforpopulationgrowthincheck=undercontroloverthelong

run.Thegreatvarietyofdynamicbehaviorsexhibitedbydifferentpopulationmakes

thistaskmoredifficult:somepopulationsremainroughlyconstantfromyeartoyear;

othersexhibitregularcyclesofabundanceandscarcity少；stillothersvarywildly,

withoutbreaksandcrashes下口备thatareinsomecasesplainly清楚correlatedwith

theweather,andinothercasesnot.

Toimposesomeorderonthiskaleidoscopeofpatterns,oneschoolofthought

proposesdividingpopulationsintotwogroups.Theseecologistspositthatthe

relativelysteadypopulationshave“density-dependent“growthparameters;thatis,

ratesofbirth,death,andmigrationwhichdependstronglyonpopulationdensity.The

highlyvaryingpopulationshave"density-independent“growthparameters,withvital

ratesbuffetedbyenvironmentalevents;theseratesfluctuateinawaythatiswholly

independentofpopulationdensity.

Thisdichotomyhasitsuses,butitcancauseproblemsiftakentooliterally认真.

Foronething,nopopulationcanbedrivenentirelybydensity-independentfactorsall

thetime.Nomatterhowseverelyorunpredictablybirth,death,andmigrationrates

maybefluctuatingaroundtheirlong-termaverages,iftherewereno

density-dependenteffects,thepopulationwould,inthelongrun,eitherincreaseor

decreasewithoutbound(barringamiraclebywhichgainsandlossescanceled

exactly).Putanotherway,itmaybethatonaverage99percentofalldeathsina

populationarisefromdensity-independentcauses,andonlyonepercentfromfactors

varyingwithdensity.Thefactorsmakinguptheonepercentmayseemunimportant,

andtheircausemaybecorrespondinglyhardtodetermine.Yet,whetherrecognizedor

not,theywillusuallydeterminethelong-termaveragepopulationdensity.

Inordertounderstandthenatureoftheecologist'sinvestigation,wemaythinkof

=regardthedensity-dependenteffectsongrowthparametersasthe“signal”信号

ecologistsaretryingtoisolateandinterpret,onethattendstomakethepopulation

increasefromrelativelylowvaluesordecreasefromrelativelyhighones,while虽然

thedensity-independenteffectsacttoproduce“noise“inthepopulationdynamics.

Forpopulationsthatremainrelativelyconstant,orthatoscillatearoundrepeated

cycles,thesignalcanbefairlyeasilycharacterizedanditseffectsdescribed,even

thoughthecausativebiologicalmechanismmayremainunknown.Forirregularly

fluctuatingpopulations,wearelikelytohavetoofewobservationstohaveanyhope

ofextractingthesignalfromtheoverwhelmingnoise.Butitnowseemsclearthatall

populationsareregulatedbyamixtureofdensity-dependentanddensity-independent

effectsinvaryingproportions.

1.Theauthorofthetextisprimarilyconcernedwith本文主旨

[A]discussingtwocategoriesoffactorsthatcontrolpopulationgrowthand

assessingtheirrelativeimportance.

[B]describinghowgrowthratesinnaturalpopulationsfluctuateovertimeand

explainingwhythesechangesoccur.

[C]proposingahypothesisconcerningpopulationsizeandsuggestingwaystotest

it.

[D]posingafundamentalquestionaboutenvironmentalfactorsinpopulation

growthandpresenting提出somecurrentlyacceptedanswer.

2.Itcanbeinferredfromthetextthattheauthorconsidersthedichotomydiscussed

tobe认为

[A]applicableonlytoerraticallyfluctuatingpopulations.

[B]instrumental,=usefulbutonlyifitslimitationsarerecognized.

[C]dangerouslymisleadinginmostcircumstances.

[D]acompleteandsufficientwaytoaccountforobservedphenomena.

3.Accordingtothetext,allofthefollowingbehaviorshavebeenexhibitedby

differentpopulationsEXCEPT

[A]roughlyconstantpopulationlevelsfromyeartoyear.

[B]regularcyclesofincreasesanddecreasesinnumbers.

[C]erraticincreasesinnumberscorrelatedwiththeweather.

[D]uncheckedincreasesinnumbersovermanygenerations.

4.Thediscussionconcerningpopulation数量inthethirdparagraphserves

primarilyto

[A]demonstratethedifficultiesecologistsfaceinstudyingdensity-dependent

factorslimitingpopulationgrowth.

[B]advocatemorerigorousstudyofdensity-dependentfactorsinpopulation

growth.

[C]provethatthedeathratesofanypopulationareneverentirely

density-independent.

[D]underline强调theimportanceofevensmalldensity-dependentfactorsin

regulatinglong-termpopulationdensities.

5.Inthetext,theauthordoesallofthefollowingEXCEPT

[A]citetheviewsofotherbiologists.第二段

[B]defineabasicproblemthatthetextaddresses.

[C]presentconceptualcategoriesusedbyotherbiologists.

[D]describetheresultsofaparticular特定的study.

[参考译文]

正如吉尔伯特•怀特、达尔文以及其它科学家很久以前观察的那样，所有的

物种都具有一种天生的能力来一代一代地增加它们种群的数量。生态学家的使命

就是调查清楚环境和生态因素长期以来是如何控制这种致使种群增长的内在能

力的。由于不同种群所表现出来的动态行为是如此多样化，致使这项任务显得非

常困难：有些种群长期以来大致保持不变；有些表现出周期性的繁荣和稀少；而

还有些变化非常大，时而暴增，时而锐减，这种增减有时显然与气候有关，而有

时又与气候无关。

为了赋予这些千变万化的模式一种规律，科学家中的一种流派提出将所有种

群划分为两类。这部分生态学家假设：那些相对稳定的种群具有和“种群密度相

关”的增长参数；也就是说，这些种群的出生率、死亡率以及迁徙规律都大大地

依赖于种群的密度。那些变化很大的种群具有“种群密度无关”的增长参数，其

生存率随环境因素的变化而变化，并且以…种完全独立于种群密度的方式进行波

动。

这种二分法有它的用途，但如果死板地应用也会引发一些问题。一方面，没

有任何种群在所有的时间里完全只受“种群密度无关”因素的影响。无论出生、

死亡率以及迁徙规律相对于长期的平均值的变化是如何的剧烈和不可预测，如果

没有种群密度无关因素，从长远来看，这个种群的数量将无限地增加或减少(从

而阻碍了得失正好相消的奇迹的发生)。换一句话讲，也许种群内平均99%的死

亡都由“种群密度无关”因素导致的，只有1%由随种群密度变化而变化的因素

所导致。导致这1%的因素也许看起来并不重要，而且它们的影响也相应地很难

确定。但是，无论认识到或没有认识到，它们都将对该种群密度长期的平均值起

决定作用。

为了能够理解生态学家们研究的性质，我们可以把种群密度相关对增长参数

的影响视为一种“信号”，生态学家试图分离并解释这些“信号”，这种“信号”

将使种群中个体数量从相对低的数值增长或从相对高的数值减少，同时，密度无

关因素将作为一种“噪音”来影响种群的动态变化。对于那些数量保持相对不变,

或者以一种循环周期进行摆动的种群而言，这种“信号”将会相当容易提取特征

并描述它的