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2022 年广西考研英语一试题真题及答案 Section I Use of English The 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 don’t have nervous systems, the ____17____ that they have consciousness are effectively zero.” And what’s so great about consciousness, anyway? Plants can’t 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] issued 2. [A] attributed [B] directed [C] compared [D] confined 3. [A] Unless [B] When [C] Once [D] Though 4. [A] coped with [B] consisted of [C] hinted at [D] extended to 5. [A] suffers [B] benefits [C] develops [D] differs 6. [A] acceptance [B] evidence [C] cultivation [D] creation

7. [A] doubted [B] denied [C] argued [D] requested 8. [A] adapting [B] forming [C] repairing [D] testing 9. [A] analogous [B] essential [C] suitable [D] sensitive 10. [A] just [B] ever [C] still [D] even 11. [A] restriction [B] experiment [C] perspective [D] demand 12. [A] attaching [B] reducing [C] returning [D] exposing 13. [A] However [B] Moreover [C] Therefore [D] Otherwise 14. [A] temporarily [B] literally [C] superficially [D] imaginarily 15. [A] list [B] level [C] label [D] load 16. [A] recalled [B] agreed [C] questioned [D] added 17. [A] chances [B] risks [C] excuses [D] assumptions 18. [A] danger [B] failure [C] warning [D] control 19. [A] represents [B] includes [C] reveals [D] recognizes 20. [A] humble [B] poor [C] practical [D] easy 答案解析： 1. [A] coined 2. [C] compared 3. [D] Though 4. [C] hinted at 5. [D] differs 6. [B] evidence 7. [C] argued

8. [B] forming 9. [A] analogous 10. [D] even 11. [C] perspective 12. [B] reducing 13. [A] However 14. [C] superficially 15. [B] level 16. [D] added 17. [A] chances 18. [A] danger 19. [D] recognizes 20. [B] poor Section II Reading Comprehension Part A Directions: 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 1 People 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 don’t 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 didn’t 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. “It’s like baking a cake: If you don’t have exact amounts, it goes wrong,” she says. “The object you make is already a time bomb.” And sometimes, it’s not the artist’s 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 carpets—which meant they had to be durable. Unfortunately, the polyurethane foam he used is inherently unstable. It ’ s especially vulnerable to light damage, and by the mid-1990s, Gilardi’s 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 Gilardi’s 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 Oosten’s, 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 history—Stone Age, Iron Age, and so on—after 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 we’ll be seen.” 21. According to Paragraph 1, museums are faced with difficulties in ______. [A] maintaining their plastic items [B] obtaining durable plastic artifacts [C] handling outdated plastic exhibits [D] classifying their plastic collections 22. Van Oosten believes that certain plastic objects are ______.

[A] immune to decay [B] improperly shaped [C] inherently flawed [D] complex in structure 23. Museums stopped exhibiting some of Gilardi’s artworks to ______. [A] keep them from hurting visitors [B] duplicate them for future display [C] have their ingredients analyzed [D] prevent them from further damage 24. The author thinks that preservation of plastics is ______. [A] costly [B] unworthy [C] unpopular [D] challenging 25. In Ferreira’ s opinion, preservation of plastic artifacts ______. [A] will inspire future scientific research [B] has profound historical significance [C] will help us separate the material ages [D] has an impact on today’s cultural life Section II Reading Comprehension 答案解析： 21. [A] maintaining their plastic items

22. [C] inherently flawed 23. [D] prevent them from further damage 24. [D] challenging 25. [B] has profound historical significance Text 2 As 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 Z’s 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; it’

s as if they already know that their degree won’t define them in the same way. 26. The author suggests that Generation Z should ______. [A] be careful in choosing a college [B] be diligent at each educational stage [C] reassess the necessity of college education [D] postpone their undergraduate application 27. The percentage of UK graduates in non-graduate roles reflect ______. [A] Millennial’s opinions about work [B] the shrinking value of a degree [C] public discontent with education [D] the desired route of social mobility 28. The author considers it a good sign that ______. [A] Generation Z are seeking to earn a decent degree [B] school leavers are willing to be skilled workers [C] employers are taking a realistic attitude to degrees [D] parents are changing their minds about education 29. It is advised in Paragraph 5 that those with one degree should ______. [A] make an early decision on their career [B] attend on the job training programs [C] team up with high-paid postgraduates [D] further their studies in a specific field 30. 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 education 27. [B] the shrinking value of a degree 28. [C] employers are taking a realistic attitude to degrees 29. [D] further their studies in a specific field 30. [A] Lifelong learning will define them. Text 3 Enlightening, 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 Vivaldi’s The Four Seasons. They reimagined the 300-year-old score by injecting the latest climate prediction data for each season—provided by Monash University’s Climate Change Communication Research Hub. The performance was a creative call to action ahead of November’s 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 other’s work. Such an approach can both prompt new research as well as result in powerful art.

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