Gre阅读真题200篇 brief contents
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When speaking of Romare BeardenWhen speaking of Romare Bearden, one is tempted to say, “A great Black American artist.” The subject matter of Bearden’s collages is certainly Black. Portrayals of the folk of Mecklenburg County, North Carolina, whom he remembers from early childhood, of the jazz musicians and tenement roofs of his Harlem days, of Pittsburgh steelworkers, and his reconstruction of classical Greek myths in the guise of (in the guise of: 假借;以...为幌子) the ancient Black kingdom of Benin, attest to this. In natural harmony with this choice of subject matter are the social sensibilities of the artist, who remains active today with the Cinque Gallery in Manhattan, which he helped found and which is devoted to showing the work of minority artists. Then why not call Bearden a Black American artist? Because ultimately this categorization is too narrow. “What stands up in the end is structure,” Bearden says. “What I try to do is amplify. If I were just creating a picture of a farm woman from back home, it would have meaning to her and people there. But art amplifies itself to something universal.” 24. According to the passage, all of the following are depicted in Bearden’s collages EXCEPT: (A) workers in Pittsburgh’s steel mills (B) scenes set in the ancient kingdom of Benin (C) people Bearden knew as a child (D) traditional representations of the classical heroes of Greek mythology（D） (E) the jazz musicians of the Harlem Bearden used to know 25. The author suggests that Bearden should not be called a Black American artist because (A) there are many collages by Bearden in which the subject matter is not Black (B) Bearden’s work reflects the Black American experience in a highly individual style (C) through the structure of Bearden’s art his Black subjects come to represent all of humankind (D) Bearden’s true significance lies not so much in his own work as in his efforts to help other minority artists（C） (E) much of Bearden’s work uses the ancient Black kingdom of Benin for its setting 26. Bearden’s social sensibilities and the subject matter of his collages are mentioned by the author in order to explain (A) why one might be tempted to call Bearden a Black American artist (B) why Bearden cannot be readily categorized (C) why Bearden’s appeal is thought by many to be ultimately universal (D) how deeply an artist’s artistic creations are influenced by he artist’s social conscience（A） (E) what makes Bearden unique among contemporary Black American artists 27. The author of the passage is chiefly concerned with (A) discussing Bearden’s philosophy of art (B) assessing the significance of the ethnic element in Bearden’s work (C) acknowledging Bearden’s success in giving artistic expression to the Black American experience (D) pointing out Bearden’s helpfulness to other minority artists（B） (E) tracing Bearden’s progress toward artistic maturity
The common belief of some linguists that each language is a perfect vehicle for the thoughts of the nation speaking it is in some ways the exact counterpart of the conviction of the Manchester school of economics that supply and demand will regulate everything for the best. Just as economists were blind to the numerous cases in which the law of supply and demand left actual wants unsatisfied, so also many linguists are deaf to those instances in which the very nature of a language calls forth (call forth: v.使产生, 引起) misunderstandings in everyday conversation, and in which, consequently, a word has to be modified or defined in order to present the idea intended by the speaker: “He took his stick—no, not John’s, but his own.” No language is perfect, and if we admit this truth, we must also admit that it is not unreasonable to investigate the relative merits of different languages or of different details in languages. 24. The primary purpose of the passage is to (A) analyze an interesting feature of the English language (B) refute a belief held by some linguists (C) show that economic theory is relevant to linguistic study (D) illustrate the confusion that can result from the improper use of language（B） (E) suggest a way in which languages can be made more nearly perfect 25. The misunderstanding presented by the author in lines 13-14 is similar to which of the following? I. X uses the word “you” to refer to a group, but Y thinks that X is referring to one person only. II. X mistakenly uses the word “anomaly” to refer to a typical example, but Y knows that “anomaly” means “exception.” III. X uses the word “bachelor” to mean “unmarried man,” but Y mistakenly thinks that bachelor means “unmarried woman.” (A) I only (B) II only (C) III only (D) I and II only（A） (E) II and III only 26. In presenting the argument, the author does all of the following EXCEPT: (A) give an example (B) draw a conclusion (D) make a comparison（E） (E) present a paradox 27. Which of the following contributes to the misunderstanding described by the author in lines 13-14? (A) It is unclear whom the speaker of the sentence is addressing. (B) It is unclear to whom the word “his” refers the first time it is used. (C) It is unclear to whom the word “his” refers the second time it is used. (D) The meaning of “took” is ambiguous.（B） (E) It is unclear to whom “He” refers.
Isadora Duncan’s masterly writings on the dance reveal the depth of her determination to create a lyric form of the art which was free of characterization, storytelling, and the theatrical exhibition of skills. She wished to discard the traditional methods and established vocabularies of such dance forms as ballet and to explore the internal sources of human expressiveness. She shunned bodily ornamentation and strove to use only the natural movements of her body, undistorted by acrobatic exaggeration and stimulated only by internal compulsion. In her recitals Duncan danced to the music of Beethoven, Wagner, and Gluck, among others, but, contrary to popular belief, she made no attempt to visualize or to interpret the music; rather, she simply relied on it to provide the inspiration for expressing inner feelings through movement. She did not regard this use of music as ideal, however, believing that she would someday dispense with (dispense with: v.免除, 省却, 无需) music entirely. That day never came. 17. The author is primarily concerned with Duncan’s (A) masterful lyricism as expressed in her writings on the dance (B) concerted efforts to subdue the natural movements of the dance (C) belated recognition that she could not actually fulfill all of her ideals for the dance (D) basic standards for the dance form that she wished to create and perform（D） (E) continuous responsiveness to a popular misconception about the nature of her new art form 18. The author implies that Duncan relied on music in her recitals in order to (A) interpret musical works solely by means of natural body movements (B) foster the illusion that music serves as an inspiration for the dance (C) inspire the expression of inner feeling when she danced (D) validate the public belief that music inspires the expression of feeling through movement（C） (E) counter the public belief that she made no attempt to visualize music 19. According to the passage, Duncan intended to develop an art form that would do all of the following EXCEPT (A) avoid the use of standard ballet techniques (B) revitalize an earlier established vocabulary (C) draw on internal sources of human expressiveness (D) create intended effects without the use of acrobatic exaggeration（B） (E) derive inspiration solely from inner feelings 20. It can be inferred from the passage that which of the following endeavors is LEAST compatible with Duncan’s ideals for the dance? (A) Using music to stimulate the inspiration to dance (B) Attempting to free an art form of both characterization and storytelling (C) Minimizing the theatrical exhibition of skills (D) Being inspired to express inner feeling through movement（A） (E) Creating a lyric art form by drawing on inner personal resources
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