096G——精选推荐

类比部分
Section 1
1. DIEHARD: YIELD
A. maverick: conform
B. apologist: excuse
C. ambassador: compromise
D. dandy: preen
E. devotee: fawn
2. ABERRANT: NORMALCY
A. inconclusive: certainty
B. abhorrent: disagreeableness
C. scant: deficiency
D. incipient: commencement
E. predetermined: fixity
3. TOPSY-TURVY: DISORDER
A. permanent: flux
B. invigorated: inertia
C. tentative: proof
D. worthy: judgment
E. dormant: quiescence
4. AD-LIB: IMPROMPTU
A. affirmation: quizzical
B. barb: caustic
C. quip: grave
D. compliment: sincere
E. secret: unexplained
5. UNSAVORY: SPURN
A. beautiful: replicate
B. difficult: confound
C. ominous: threaten
D. precious: cherish
E. heavy: lift
6. GRATING: SOUND
A. coarse: texture
B. somber: hue
C. zesty: taste
D. acrid: odor
E. blurry: vision
7. ATTENTIVE: MEDDLESOME
A. envious: jealous
B. verbatim: repetitive
C. acquiescent: dictatorial
D. veracious: indisputable
E. succinct: curt
8. ADVISORY: WARN
A. subterfuge: deceive
B. platitude: reiterate
C. announcement: propose
D. itinerary: travel
E. entreaty: assist
9. CONSPIRRE: PLAN
A. vanish: disappear
B. deceive: trick
C. betroth: wed
D. lurk: wait
E. give: endow
Section 3
1. FIREFLY: INSECT
A. ranch: animal
B. bark: animal
C. aluminum: metal
D. glass: window
E. ink: pen
2. Shifty: Straightforwardness
A. imperious: confidence
B. belligerent: graciousness
C. gregarious
D. exacting: ambition
E. inept: competence
3. POLISH: DULL
A. liquid: moist
B. surface: rough
C. adulterant: pure
D. vapor: densed
E. impediment: strong
4. TAINT: INTEGRITY
A. defend: guilt
B. gorade: texture
C. devious: truth
D. melt: heat
E. sap: strength
5. FROSTY: CORDIALITY
A. risqué: impropriety
B. peevish: animosity
C. laconic: garrulity
D. enigmatic: perplexity
E. subdued: sympathy
6. RAPTURE: ECSTATIC
A. stodginess: bored
B. mourning: lamentable
C. dread: startled
D. bewilderment: confused
E. desperation: verved
7. PERILOUS: DANGER
A. surreptitious: secrecy
B. altruistic: candor
C. dubious: credulity
D. judicious: severity
E. chaotic: despair
8. SPENT: EFFICACY
A. rare: value
B. dated: currency
C. undeserving: success
D. absorbing: interest
E. peerless: hierarchy
9. BLANDISHMENT: COAX
A. equivocation: mislead
B. assessment: infer
C. augmentation: compl*
D. persuasion: coerce
E. caveat: forbid 反义部分
Section 1
1. DEFT
A. regret
B. comfort
C. suggest
D. consent to
E. loose from
2. FEATURELESS
A. of high quality
B. occurring widely
C. distinctive
D. desirable
E. overt
3. SPONTANEIOUS
A. leisurely
B. adept
C. undeniable
D. calculated
E. acceptable
4. FALTER
A. speak with tact
B. conduct openly
C. act on principle
D. disagree emphatically
E. proceed without hesitation
5. WAYWARD
A. modern
B. forceful
C. important
D. completed
E. predictable
6. DENSENESS
A. fragility
B. uncertained
C. convolutedness
D. amorphousness
E. diffuseness
7. DECREPITUDE
A. cheerfulness
B. loveliness
C. alacrity
D. swiftness
E. sturdiness
8. UNDEVELOPED
A. elaborated
B. accelerated
C. sustained
D. ambitious
E. fertile
9. MOLLIFY
A. shortchange
B. encourage
C. confuse
D. madden
E. praise
10. PEDANTIC
A. fanciful
B. hasty
C. skillful
D. supportive
E. immature
11. ENCOMIUM
A. invective
B. understatement
C. parsimony
D. infelicity
E. informality Section 3
1. INCOMPATIBLE
A. democratic
B. harmonious
C. lenient
D. fanciful
E. optional
2. DISJUNCTION
A. unevenness
B. cohesion
C. transparency
D. activity
E. accuracy
3. DISHEARTEN
A. inspire
B. forgive
C. unite
D. cure
E. free
4. AFFLICTION
A. consolation
B. distaste
C. collision
D. deflation
E. perception
5. REALISTIC
A. fantastic
B. hedonistic
C. ethical
D. preconceived
E. archaic
6. EUPHEMISTIC
A. unpolished
B. blunt
7. DIVERGENT
A. similar
B. organized forthright
8. STARK
A. ornate
B. peccadillo
C. grave
D. offense
E. precise
9. CELERITY
A. torpid
B. anonymity
C. opacity
10. SACROSANCT
A. vulnerable to neglect
B. inviolable
C. mediocre 类比参考答案
Section 1 AAEBD DEAD
Section 3 CECEC DABA
反义参考答案
Section 1 ECDEE EEADA A
Section 3 BBAAA BAAAA
阅读部分
Section 3
Except in special situations human beings' battle with mosquitoes will not be won by a simple campaign to eliminate the insects, social tradition and habits, it seems, do much to ensure continual contact between mosquitoes and people. On the slope of Mount Kilimanjaro, for example, mosquitoes breed in the leaf axils and a plant called Dracaena. Although Dracaena is not a food plant for humans, it's uses as a hedge boundaries maker is deeply rooted in tradition.
Here, as in other parts of the world, human behavior ensures contract and conflict between people and mosquitoes.
I'm not advocating a policy of live and let live; We already know that living with mosquitoes is very unpleasant. But until we accomplish that different task of understanding how our habits often perpetuate- even create-our problems, efforts to resolve our battle with mosquitoes will probably fail.
17. The passage is primarily concerned with:
A. discussing shortsighted proposals to eliminate problems with mosquitoes
B. outlining ways in which people can alleviate the problems with mosquitoes.
C. arguing that social traditions can perpetuate people’s problems with mosquitoes
D. discussing various ways in which people come into contact with mosquitoes
E. suggesting how the bleeding habits of mosquitoes create problem for people
18. According to the passage, which of the following statements abouts the interaction between people and mosquitoes: A. Mosquitoes can breed in the leaves of most of the plants people grow for food
B. Human actions can perpetuate the struggle between people and mosquitoes
C. The most effective way to solve the mosquito’s problem is through el imination of the insect.
19. The author mentions the plant Dracaena primarily in order to:
A. present an exception to pattern described in the previous sentence
B. illustrate the reasoning of other researchers
C. contrast modern and traditional ways of dealing with a mosquito problem
D. provide an example to support the preceding statement
E. anticipate an argument that could be made against one of the author’s assertions
20. Which of the following best describes the organization of passage:
A. A hypothesis is presented, weighed and qualified, and then the modified hypothesis is reaffirmed
B. An argument is advanced, then it is refuted, and an alternative is suggested
C. A thesis is presented, a supporting example is provided, and then the thesis is reaffirmed
D. opposing vies are presented, evaluated, and then reconciled
E. A theory is proposed, considered, and amended
The challenge of bringing alive the characters in Manta Bonner's drama The Purple Flower may explain why the play, which won the 1927 Crisis prize for "Literary Art and Expression", remained unperformed during Bonner's lifetime: Bonner's descriptions of her characters are as ambiguous as is her description of the play' set. Furthermore the play's revolutionary
message is more in keeping with the Black theater of the 1960s and 1970s than with most theater of the Harlem Renaissance of the 1920s. Clearly, The Purple Flower conforms to neither of the two dominant philosophies guiding 1920s African American theater. While Bonner’s revoluti onary message is compatible with the goals of propaganda plays endorsed by W. E. B. Du Bois. Her emphatic non-realism violates Du Bois's dictum the African American theater should realistically depict African Americans' historical experience. The play's nonrealistic style also distinguishes it from the "folk" plays promoted by Alain Locke and Montgomery Gregory. For while Locke and Gregory disagreed with Du Bois's injunction that "all Art is propaganda and ever must be." they shared his approval of formal realism. Unlike most plays by Bonner's
contemporaries---which have in common a naturalistic domestic setting, psychological realism, and implicit or explicit identification of the race of each character---The Purple Flower offers a deliberately non-naturalistic setting and fantastic characters whose races Bonner describes with deliberate ambiguity. These divergences from her contemporaries reflect the subtlety of Bonner’s political aims: she challenges the audience to question the reductive dualism of conventional racial categories of "Black" and “White”.
Another aspect of The Purple Flower that makes it difficulty interpret is its apparent contradiction in using culturally specific characters (some of Bonner's are recognizably drawn from Black folklore) in order to present a "universal" theme: the struggle for power between haves and have nots. Perhaps this tension was a response to a problem recognized by Bonner's African American contemporaries. Although Du Bois, Locke, and Gregory disagreed about Black drama’s rightful function, they all probably concurred with James Weldon Johnson’s statement of the larger problem facing African American writes of the period, the difficulty of writing for a "dual audience" of Black and White Americans. Johnson's somewhat contradictory recommendation that a Black writer negotiate this dilemma by "standing on his racial foundation" yet rising "above race and reach out to the universal" may suggest a way of understanding the tension in Bonner’s play as a conscious strategy.
What is most challenging to anyone approaching Bonner's play from a performance perspective is not its prediction of revolution, but its paradoxical suggestion that race is both an illusion and a primary determinant of social identities in the United States. Confronting this paradox in performance raises practical questions (such as how to cast characters whose race is ambiguously described in stage directions) and draws performers and audience alike into a much-needed meditation on racial identity, social conflict, and the relative force of race and class as determinants of oppression.
21. The passage suggests that The Purple Flower differs from plays typical of the Harlem Renaissance in that
A. is focuses primarily on issues of concern to African Americans
B. its depiction of persons and situations deviates from formal realism
C. it was performed only after the death of its author
D. the race of each of its characters is explicitly established
E. its characters give voice to competing political views
22. According to the passage, The Purple Flower is similar to Black theater of the 1960s and 1970s in which of the following ways: A. Its presentation is intended to encourage
dialogue with its audience.
B. Its performance presents practical challenges.
C. It portrays a variety of character types.
D. It presents revolutionary themes.
E. It is stylistically nonrealistic.。