| 网站首页 | 文秘公文 | 免费试题 | 教学用文 | 优秀教案 | 各类考试 | | |
您现在的位置: 东星资源网 >> 各类考试 >> 英语四六级 >> 复习指南 >> 正文 |
|
|||||
2007年12月英语六级最新预测卷 | |||||
1 2 3 4 天添资源网 Section I Use of English Part A Directions: Read the following text. Choose the best word(s) for each numbered blank and mark A,B,C or D on ANSWER SHEET 1.(10 points) The basic function of money is the enable buying to be separated from selling, thus permitting trade to take place without the socalled double coincidence of barter. If a person has something to sell and wants something else 1 return, it is not necessary to search for someone able and 2to make the desired exchange of items. The person can sell the 3 item for general purchasing power—that is, “money”—to anyone who wants to buy it and then use the proceeds to buy the desired item from anyone who wants to sell it. The importance of this function of money is 4 illustrated by the experience of Germany just after World War Ⅱ, 5 paper money was 6 largely useless BECause, despite inflationary conditions, price controls were effectively 7 by the American, French, and British armies of occupation. People had to8 to barter or to inefficient money substitutes. The result was to cut total output of the economy in half. The German “economic miracle” just after 1948 reflected partly a currency reform by the occupation authorities, 9 some economists hold that it stemmed primarily from the German government’s 10 of all price controls, 11 permitting a money economy to 12 a barter economy. 13 of the act of sale from the act of purchase 14 the existence of something that will be generally accepted in payment—this is the “15 of exchange” function of money. But there must also be something that can serve as a 16 abode of purchasing power, in which the seller holds the proceeds in the interim 17 the first sale and the 18 purchase, or from which the buyer can 19the general purchasing power with which to pay 20 what is bought. This is the “asset” function of money. 1. [A] on [B] in [C] by [D] for 2. [A] capable [B] likely [C] desirable [D] willing 3. [A] excess [B] extra [C] surplus [D] ample 4. [A] dramatically [B] urgently [C] faithfully[D] incidentally 5. [A] when [B] before [C] since [D] until 6. [A] developed [B] reserved [C] rendered [D] imagined 7. [A] encouraged [B] enlarged [C] endured [D] enforced 8. [A] conform [B] resort [C] commit [D] gear 9. [A] and [B] but [C] therefore [D] however 10. [A] deprivation [B] stimulation[C] elimination[D] restriction 11. [A] thereby [B] therefore [C] then [D] while 12. [A] alternate [B] establish [C] substitute[D] replace 13. [A] Introduction [B] Specification[C] Representation [D] Separation 14. [A] assumes [B] requires [C] focuses [D] undertakes 15. [A] medium [B] function [C] role [D] nature 16. [A] fashionable [B] favorable [C] temporary [D] token 17. [A] both [B] for [C] between [D] after 18. [A] consequent [B] relevant [C] inadequate[D] subsequent 19. [A] execute [B] extract [C] exceed [D] exchange 20. [A] for [B] off [C] back [D] in Section Ⅱ Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on ANSWER SHEET 1. (40 points) Text 1 Two related paradoxes also emerge from the same basic conception of the aesthetic experience. The first was given extended consideration by Hegel, who argued roughly as follows: our sensuous attention and that gives to the work of art its peculiar individuality. Because it addresses itself to our sensory appreciation, the work of art is essentially concrete, to be understood by an act of perception rather than by a process of discursive thought. At the same time, our understanding of the work of art is in part intellectual; we seek in it a conceptual content, which it presents to us in the form of an idea. One purpose of critical interpretation is to expound this idea in discursive form—to give the equivalent of the content of the work of art in another, nonsensuous idiom. But criticism can never succeed in this task, for, by separating the content from the particular form, it abolishes its individuality. The content presented then ceases to be the exact content of that work of art. In losing its individuality, the content loses its aesthetic reality; it thus ceases to be a reason for attending to the particular work and that first attracted our critical attention. It cannot be this that we saw in the original work and that explained its power over us. For this content, displayed in the discursive idiom of the critical intellect, is no more than a husk, a discarded relic of a meaning that eluded us in the act of seizing it. If the content is to be the true object of aesthetic interest, it must remain wedded to its individuality: it cannot be detached from its “sensuous embodiment” without being detached from itself. Content is, therefore, inseparable from form and form in turn inseparable from content. (It is the form that it is only by virtue of the content that it embodies.) Hegel’s argument is the archetype of many, all aimed at showing that it is both necessary to distinguish form from content and also impossible to do so. This paradox may be resolved by rejecting either of its premises, but, as with Kant’s antinomy, neither premise seems dispensable. To suppose that content and form are inseparable is, in effect, to dismiss both ideas as illusory, since no two works of art can then share either a content or a form-the form being definitive of each work’s individuality. In this case, no one could ever justify his interest in a work of art by reference to its meaning. The intensity of aesthetic interest becomes a puzzling, and ultimately inexplicable, feature of our mental life. If, on the other hand, we insist that content and form are separable, we shall never be able to find, through a study of content, the reason for attending to the particular work of art that intrigues us. Every work of art stands proxy for its paraphrase. An impassable gap then opens between aesthetic experience and its ground, and the claim that aesthetic experience is intrinsically valuable is thrown in doubt. 21. Hegel argued that . [A] it is our sensuous appreciation that gives peculiar individuality to the work of art 22. It can be inferred from this passage that . [A] the paradox that it is both necessary to distinguish form content and also impossible to do so cannot be resolved by rejecting its premises 23. Which of the following is NOT what Hegel believed? [A] The content and form of the work of art cannot be separated from each other. 24. Premises that are related to each other seems to be dispensable because . [A] Kant thinks they are indispensable 25. This passage is mainly about . [A] the sensuous appreciation of art 天添资源网 四六级冲刺阶段——写作20个必备句型 1 2 3 4 --下载<<2007年12月英语六级最新预测卷>>Word文档 ,本文由东星资源网收集,版权归原作者所有 |
|||||
文章录入:admin 责任编辑:admin | |||||
【发表评论】【加入收藏】【告诉好友】【打印此文】【关闭窗口】 |
相关复习指南 | 最新热点 | 最新推荐 | ||
名师指点:历年考研数学重点… 迈入六月天 2010考研大纲出来… 我的暑期我做主:2010考研数… 2010年考研数学线性代数解题… 专家指导:2010年考研数学命… 2010年考研数学指导:掌握学… 名师指点:搜索2010考研数学… 六月备考:为你量身定制2010… 2010年考研数学复习名师忠言… 我的暑期我做主:成就2010年… |
各类考试导航: |
| 设为首页 | 加入收藏 | 联系站长 | 友情链接 | 版权申明 | | |
Copyright (c) 2005-2010 Www.dxf5.com All Rights Reserved 东星资源网 版权所有 东星资源网提供文秘公文,免费试题,教学用文,优秀教案,各类考试,全国最大的免费资源网! |