2022年安徽考研英語一試題真題及答案

2022年安徽考研英語一試題真題及答案Section I Use of EnglishThe idea that plants have some degree of consciousness first took root in the early 2000s; the term “plant neurobiology” was _1_ around the notion that some aspects of plant behavior could be _2_ to intelligence in animals. _3_ plants lack brains, the firing of electrical signals in their stems and leaves nonetheless triggered responses that _4_ consciousness, researchers previously reported.But such an idea is untrue, according to a new opinion article. Plant biology is complex and fascinating, but it _5_ so greatly from that of animals that so-called _6_ of plants intelligence is inconclusive, the authors wrote.Beginning in 2006, some scientists have _7_ that plants possess neuron-like cells that interact with hormones and neurotransmitters, _8_ “a plant nervous system, _9_ to that in animals,” said lead study author Lincoln Taiz, “They _10_ claimed that plants have brain-like command centers at their root tips.”This _11_ makes sense if you simplify the workings of a complex brain, _12_ it to an array of electrical pulses; cells in plants also communicate through electrical signals. _13_, the signaling in a plant is only _14_ similar to the firing in a complex animal brain, which is more than “a mass of cells that communicate by electricity,” Taiz said.“For consciousness to evolve, a brain with a threshold _15_ of complexity and capacity is required,” he _16_.” Since plants dont have nervous systems, the _17_ that they have consciousness are effectively zero.”And whats so great about consciousness, anyway? Plants cant run away from _18_, so investing energy in a body system which _19_ a threat and can feel pain would be a very _20_ evolutionary strategy, according to the article.1. A coined B discovered 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. 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 literally 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 easy答案解析：1. A coined2. C compared3. D Though4. C hinted at5. D differs6. B evidence7. C argued8. B forming9. A analogous10. D even11. C perspective12. B reducing13. A However14. C superficially15. B level16. D added17. A chances18. A danger19. D recognizes20. B poorSection II Reading 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, from Mount Everest to the Mariana Trench, because plastics are everywhere and dont 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 didnt 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. “Its like baking a cake: If you dont have exact amounts, it goes wrong,” she says. “The object you make is already a time bomb.”And sometimes, its not the artists 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 carpetswhich meant they had to be durable.Unfortunately, the polyurethane foam he used is inherently unstable. Its especially vulnerable to light damage, and by the mid-1990s, Gilardis 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 Gilardis 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 Oostens, 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 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 well be seen.”21. According to Paragraph 1, museums are faced with 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 structure23. Museums stopped exhibiting some of Gilardis 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 Ferreira 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 todays cultural lifeSection II Reading Comprehension答案解析：21. A maintaining their plastic items22. C inherently flawed23. D prevent them from further damage24. D challenging25. B has profound historical significanceText 2As 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 Zs 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; its as if they already know that their degree wont define them in the same way.26. The author suggests that Generation 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 Millennials opinions about workB the shrinking value of a degreeC 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 their 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 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.答案解析：26. C reassess the necessity of college education27. B the shrinking value of a degree28. C employers are taking a realistic attitude to degrees29. D further their studies in a specific field30. A Lifelong learning will define them.Text 3Enlightening, 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 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 scientists have together rocked the senses came last month when the Sydney Symphony Orchestra performed a reworked version of Antonio Vivaldis The Four Seasons. They reimagined the 300-year-old score by injecting the latest climate prediction data for each seasonprovided by Monash Universitys Climate Change Communication Research Hub. The performance was a creative call to action ahead of Novembers 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 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 others 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 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 looking to a time when leading researchers could also be artists, writers and poets, and vice versa.Natures 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 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-science 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 that _.A art can offer audiences easy access to scienceB science can help with the expression 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 partnership _.A their role may be underestimatedB their reputation may be impairedC their creativity may be inhibitedD 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, the author holds that art-science collaborations _.A are likely to go beyond public expectationsB will intensify interdisciplinary competitionC should do more than communicating scienceD are becoming more popular than before答案解析：31. B received favorable responses32. A art can offer audiences easy access to science33. A their role may be underestimated34. B It exemplified the valuable art-science alliances.35. C should do more than communicating scienceText 4The personal grievance provisions of New Zealands 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 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.Consequentlyand paradoxicallylaws 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 Zealands Productivity Paradox” (2014), the Productivity Commission singled out the low quality of managerial capabilities as a cause of the countrys poor productivity growth record.Nor are highly paid managers themselves immune from the harm caused by the ERAs 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 practicesB improve traditional hiring proceduresC exempt employers from certain dutiesD protect the rights of ordinary workers37. It can be learned from paragraph 3 that the provisions may _.A hinder business developmentB undermine managers authorityC affect the public image of the firmsD worsen labor-management relations38. Which of the following measures would the Productivity Commission support?A Imposing reasonable wage restraints.B Enforcing employment protection laws.