作者：庆学先，名牌大学英语教授，博士。长期从事英语专业和大学英语的教学工作，并且参加过联合国的工作。

 
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庆老师对专业英语、大学英语和考研英语都有深入的研究，并且编写出版了十多本这方面的辅导书。

庆老师翻译过十多本译作，曾在大陆和台湾出版。

庆老师潜心研究考研真题和国内数十家考研辅导试卷，想广大考研学子所想，急广大考研学子所急，精心编写了《考研英语5套卷突击提升版（考研英语新题型突破）》，受到广大考研学子的广泛关注。

《考研英语5套卷》，所有试题的题干和选项均经过精心设计，与考研真题的难度和信度一致。经研究分析，考研试卷中的新增题型——阅读Part B是考生最易失分的。为此，作者精心编写了32套新题型强化练习题（《新题型突破》），旨在帮助考生实现“考前10天提高10分”愿望。

全国硕士研究生入学考试英语模拟试题 Test One

Section Ⅰ Use of English

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)

Most worthwhile careers require some kind of specialized training. Ideally, therefore, the choice of an 1 should be made even before choice of a curriculum in high school.

Actually, 2 , most people make several job choices during their working lives, 3 because of economic and industrial changes and partly to improve their position. The “one perfect job” does not exist. Young people should 4 enter into a broad flexible training program that will fit them for a 5 of work rather than for a single job.

Unfortunately many young people have to make career plans 6 benefit of help from a competent vocational counselor or psychologist. Knowing 7 about the occupational world, or themselves for that matter, they choose their lifework on a hit-or-miss 8 . Some drift from job to job. Others 9 to work in which they are unhappy and for which they are not fitted.

One common mistake is choosing an occupation for its real or 10 prestige. Too many high瞫chool students or their parents for them choose the professional field, 11 both the relatively small proportion of workers in the professions and the extremely high educational and personal 12 . The prestige that people tend to 13 to a profession or a white-collar job is no good reason for choosing it as life’s work.

14 , these occupations are not always well paid. Since a large 15 of jobs are in mechanical and manual work, the majority of young people should give serious 16 to these fields.

Before making an occupational choice, a person should have a general idea of what he wants 17 life and how hard he is willing to work to get it. Some people desire social prestige, others intellectual 18 . Some want security; others are willing to take 19 for financial gain. Each occupational choice has its demands as well as its 20 .

1. ［A］ identification ［B］ entertainment ［C］ accommodation ［D］ occupation

2. ［A］ however ［B］ therefore ［C］ though ［D］ thereby

3. ［A］ entirely ［B］ mainly ［C］ partly ［D］ his

4. ［A］ since ［B］ therefore ［C］ furthermore ［D］ forever

5. ［A］ place ［B］ chance ［C］field ［D］ opening

6. ［A］ to ［B］ for ［C］ without ［D］ with

7. ［A］ little ［B］ few ［C］ much ［D］ a lot

8. ［A］ chance ［B］ basis ［C］ purpose ［D］ opportunity

9. ［A］ apply ［B］ appeal ［C］ stick ［D］ turn

10. ［A］ imagined ［B］ substantial ［C］ acquired ［D］ demanded

11. ［A］ concerning ［B］ following ［C］ considering ［D］ disregarding

12. ［A］ preferences ［B］ requirements ［C］ tendencies ［D］ ambitions

13. ［A］ contribute ［B］ attach ［C］ attribute ［D］ allot

14. ［A］ Therefore ［B］ However ［C］ Nevertheless ［D］ Moreover

15. ［A］ proportion ［B］ part ［C］ quanitity ［D］ batch

16. ［A］ proposal ［B］ suggestion ［C］ consideration ［D］ appraisal

17. ［A］ towards ［B］ against ［C］ out of ［D］ without

18. ［A］ knowledge ［B］ satisfaction ［C］ culture ［D］ sensitivity

19. ［A］ turns ［B］ parts ［C］ choices ［D］ risks

20. ［A］ awards ［B］ requirements ［C］ results ［D］ needs

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

It is said that people buy contemporary art when they are confident about the future and old art when they are not. Conventional wisdom has it that older art holds its value, while contemporary stuff is for risk-lovers. William Goetzmann, a professor at Yale, estimates that during the last art-market depression, which set in after 1990, impressionist and contemporary works fell by most (51% and 40% respectively), while Old Masters suffered least (down by 16%). Yet despite the ups and downs, contemporary works have been rewarding for those who are prepared to hang on: according to Jianping Mei and Michael Moses, professors at New York University (NYU) since 1970 the returns on contemporary art have far exceeded those on Old Masters and 19th-century paintings.

Since the late 1980s, more sophisticated analysis of the art market and a growing interest in alternative investments have spurred the creation of several new investment funds focused on art. At a recent conference organised by one of these, the Fine Art Fund, Rachel Campbell of Maastricht University pointed out the low correlation between returns on art and on those other investments. Given that it usually pays to diversify, that is a good argument for investing in art, whatever your taste. The Fine Art Fund, which began buying this April (and has 36% of its money in cash), advises that investors spread their art allocation fairly evenly between Impressionists, Old Masters, modern art and contemporary works.

Contemporary art, in particular, has served rich investors well in the past few years. Prices stayed stable when stock markets fell. Nevertheless, one recent academic study has found a correlation with another asset class: during the last world art boom, in the late 1980s, prices were closely tied to property values, specifically Japanese land prices. After 1990, art and property fell together. Now property prices in several countries are once again at frightening heights.

Investing in art will always be a risky business. Works of art by definition belong to different categories; holding periods vary; the market is illiquid; art yields no income, producing only capital gain or loss; transaction costs are high. As for contemporary art in particular, it is a sobering thought that, according to Mr Moses, each year an average of only two artists emerge whose work increases in value over time. All this speaks against a big commitment to speculating in art; better, maybe, simply to buy what you like, if you can: treat your money, in other words, not as invested but as consumed.

21. By saying that the market is illiquid (Line 2, Para. 4), the author suggests that .

［A］ art works seldom lose their value in the market

［B］ investment in art does not have guaranteed return of profits

［C］ the difficulty to trade art works is obvious and evident

［D］ the art market tends to be responsive to the economic situation

22. The Fine Art Fund advise that investors need to spread their art allocation because .

［A］ Old Masters always promise a high return of profits

［B］ different art works are valued differently in the market

［C］ buying art works is always a good way of investment

［D］ people should be aware of the risks of investment in art

23. The returns on contemporary art indicate .

［A］ people have come to see the value of contemporary art

［B］ the economic prospects are positively assessed

［C］ there is a growing interest in alternative art investments

［D］ investors have learned to spread their art allocation

24. We can learn from the text that .

［A］ the two NYU professors advise people against buying Old Masters

［B］ cautious investors are advised to stay away from the art market

［C］ the real estate market is a good indicator of the art market

［D］ art investors should not speculate in the art market

25. What is the possible attitude of Mr Moses toward investing in contemporary art?

［A］ Investors in contemporary art should be more patient.

［B］ A supplicated analysis of the art market is always a must.

［C］ Contemporary art seems to promise greater returns of profits.

［D］ It is dangerous to speculate in the contemporary art market.

Text 2

They have been writers and actors, entertainers and creators. They have won Academy Awards and received critical acclaim. They have graced the covers of magazines.

In the arts and entertainment world, women have made a myriad of contributions to what we know as popular culture. Although many female celebrities may be known more for their figures than their talents, women remain more than just pretty faces. Women’s History Month promises to take a look back at the influential female lives and legacies that have shaped our society.

In this century alone, a number of famous females have made their artistic marks. In the literary world, women such as Sylvia Plath and Colette composed celebrated works, establishing themselves as creative writers to be reckoned with. Colette, a prolific French novelist, tackled weighty themes such as the woman’s struggle for independence. Her catalog of works includes celebrated novels such as Cheri and The Pure and the Impure. Plath, renowned for her suicide as much as for her writing, wrote The Bell Jar as well as a wealth of poetry.

Within the realm of fashion, influential designers such as Coco Chanel changed the face of female dressing. The Chanel name has become synonymous with high style. Coco invented the little black dress, perfected a trademark scent—Chanel No. 5—and became famous for her tweed suits and quilted handbags.

Hollywood starlets such as Katharine Hepburn transformed the film world. She was known for her portrayal of strong, spirited females in her films, clearly embodying what it means to be an independent woman. As Hepburn once said, “I never realized until lately that women were supposed to be the inferior sex. ”

The music industry has also seen its share of barrier-breaking female stars. Women such as Billie Holiday and Ella Fitzgerald endure as revered names within the jazz world. Similarly, Joan Baez took the folk music genre by storm. She was one of the most outspoken performers during the social turmoil of the 1960s, establishing herself not only as an acclaimed singer/songwriter but also as an activist for civil rights and nonviolence.

Undeniably, women have contributed to our culture in immeasurable ways. From the silver screen to the record-store shelves, the most talented stars exhibit a wealth of creativity, a fan瞱inning charisma and a unique dedication to their respective crafts—and many of them also happen to be female.

26. Who may be considered as a feminist writer according to the passage?

［A］ Sylvia Plath.［B］ Colettle.

［C］ Both Plath and Colette.［D］ Neither Plath nor Colette.

27. From the passage, we can learn that Chanel No. 5 is .

［A］ a typical style of little black dress

［B］ a perfume marketed by Chanel

［C］ a high class way of life advocated by Coco

［D］ the chanel tweed suits and quilted handbags.

28. By saying “women remain more than just pretty faces”, the author means .

［A］ some women have nothing but pretty faces

［B］ beauty for many female celebrities is necessary

［C］ some women don’t mange to be successful for beauty

［D］ each female celebrity has her own success story

29. Joan Baez is called an outspoken performer because she .

［A］ stunned the world by the message her music expressed

［B］ was expressive for her performance on the stage

［C］ had to suffer the social turmoil of the 1960s

［D］ openly voiced her opinions on the major social issues

30. Women’s contributions to pop culture are NOT caused by .

［A］ their enthusiasm they have toward what they do

［B］ the physical appeal they have to the public

［C］ their understanding of the importance of pop culture

［D］ the display of their natural talents and gifts

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