GRE真题
Section1
1. Since one of Professor Roche's oft-repeated adages was that familiarity leads to ___, his students were quite surprised to find him so ___Return of the Native, a novel he had taught for over 30 years.
A love...enthusiastic over B contempt...disdainful of C knowledge...conversant with
D boredom...excited by E admiration...confused by
2. Reason was once believed to be ___ human, but lately this assumption of intellectual superiority has come under increasingly skeptical scrutiny: most researchers now at least ___ the notion that some animals can think.
A logically…ridicule B unique…entertain C scarcely…embrace
D quintessentially…balk at E peculiarly…scoff at
3. Powerful as they are, the ___ songs the artist is best known for might sting more and have even greater emotional complexity if one felt that his criticisms were aimed at himself as well as at his unnamed foes.
A accusatory B altruistic C mournful D simplistic E humble
4. In her love the sea is ___ symbol: to the narrator it clearly represents everything that is destructive in nature, but at other times it seems to stand for everything in nature that is serenely beautiful.
A an enduring B an ambiguous C a coherent D an obtrusive E a discrete
5. Despite their extensive efforts to determine the mode of oil ___, scientists still have not ___ the process by which oil is produced.
A dispersion…excluded B synthesis…rejected C creation…investigated
D recovery…condoned E genesis…established
6. Compared with their parties, politicians are ___:they are considerably less enduring than the organizations in which they function.
A ubiquitous B autonomous C fickle D immutable E transitory
7. Chavez’ account of her supervisors’ ___ decision making belies the agency’s image as little more than ___ bureaucracy.
A cautious…a staid B ill-informed…a disorganized C reckless…an incompetent
D systematic…a methodical E headlong…a timorous
8. FIR:TREE::
A wool: fiber B pore: skin C lawn: grass D color: hue E board: log
9. FIXTURE:PERMANENCE::
A hoax: fraudulence B specter: solidity C warning: earnestness D goal: achievement
E setback: promotion
10. USURPATION:POWER::
A theft: property B restoration: quality C admonition: duty D escape: bondage
E discourse: language
11. UNWITTING:AWARENESS::
A pernicious: foresight B clever: calculation C sincere: duplicity
D unprecedented: confidence E ill-considered: spontaneity
12. STOKE:FUEL::
A garnish: decoration B simulate: imitation C radiate: steam
D cook: nutrient E propel: height
13. GROW:THRIVE::
A receive: acquire B indicate : signify C oversee: supervise
D hearten: encourage E move: bustle
14. METICULOUSNESS:CURSORY::
A conscientiousness: hesitant B condescension: arrogant
C indolence: dilatory D geniality: acrimonious E malice: devious
15. REMONSTRATE:DETER::
A procrastinate: hasten B concede: vanquish C defer: intimidate
D prevaricate: mislead E reconcile: oppose
16. RESHAPE:FORM::
A rehash: meaning B reprint: content C reconstitute: flavor
D rebuff: question E remove: location
28. AMNESIA:
A hyperactivity B discipline C suspicion D retentiveness E creativity
29. ENDEAVOR
A remain free B give back C lack energy D fail to attempt E agree to accept
30. DRIFT
A expose B undermine C wane D last long E hold fast
31. AUTOMATIC
A invariable B final C voluntary D mobile E silent
32. RESOLUTE
A incorrect B dishonest C wavering D prudish E plentiful
33. REASSERT
A discomfit B relieve C recant D elude E purloin
34. SAGA
A allegory B anecdote C epistle D philippic E prologue
35. DOUSE
A ignite B attain C assist D inflate E repet
36. CANONIZE
A alienate B pacify C debase D discourage E delude
37. INCREDULITY
A generosity B discretion C sincerity D faith E mundanity
38. FEALTY
A grandioquence B disillusionment C nefariousness D perfidy E sloth
Section2
1. The cause of the disease is fairly simple and has been understood for over a century; by contrast, its symptoms and effects are ___.
A straightforward B illuminating C severe D well researched E perplexing
2. Throughout the artist’s work there runs a thread of psychic darkness strong enough to unnerve the most jaded sensibility: even her drawings from the comparatively ___ months of her visit to Rome ___ violence secrecy, and despair.
A tranquil…emanate B morbid…convey C languid…eschew
D disturbed…express E felicitous…shun
3. Even among the staid, unemotional denominations of the 1830s and 1840s, the renewal of religious fervor and the necessity of competing with more ___ clerics inevitably led to a greater ___ ministerial showmanship.
A charismatic…cultivation of B reserved…attraction to C well-known…disdain for
D conservative…appeal for E empathetic…distrust of
4. Tuberculosis has long been ___ and ____ disease: for thousands of years, it has continued to afflict humankind without regard for sex, class, occupation, or race.
A an unremitting…selective B an unpredictable…limitable C a sporadic…capricious
D a relentless…egalitarian E a virulent…preventable
5. He found his new acquaintance to be ___ :trying to understand her personality was like peering into an unknown dimension.
A puerile B imperturbable C cosmopolitan D inscrutable E obdurate
6. The writer has gained such popularity with his readers that even his inanities are now considered ___. A vacuous B tedious C speculative D allusive E trenchant
7. The biographer’s intense emotional involvement with his subject did not ___ objectivity, since the passionate engagement fostered deep knowledge that was ultimately necessary for truly ___ judgment.
A preclude…disinterested B encourage…fair C impede…partisan
D advance…pragmatic E admit…reasonable
8. DISK:FLAT::
A liquid: viscous B angle:wide C orb: spherical D mineral: valuable E vapor: noxious
9. PROPOSAL:ADOPT::
A request: grant B legislation: amend C rebuff: conciliate D authorization: control
E license: revoke
10. FRIGHTEN:TERRIFY::
A lure: entice B refuse: deny C conceal: hide D forgive: pardon E anger: infuriate
11. VACCINATE:DISEASE::
A operate: recovery B suture: healing C diagnose: treatment
D anesthetize: sensation E amputate: therapy
12. LOCK:SECURE::
A drapery: suspend B hinge: tighten C door: close D cable: coil E tarpaulin: protect
13. GROUNDLESS:SUBSTANTIATION::
A incredible: plausibility B germane: cogency C artless: ingenuousness
D grave: sobriety E forthright: truthfulness
14. THRONG:DENSENESS::
A caricature: exaggeration B travesty: acclaim C morsel: bulk D emulsion: purity
E morass: unity
15. GRUFFNESS:CONVIVIAL::
A complacency: unwary B truculence: vicious C flippancy: earnest
D erudition: urbane E despondency: hopeless
16. BADGER:BOTHER::
A aggrieve: injure B haunt: remember C quibble: argue D censure: evaluate E importune: beg
28. DORMANT
A complex B caustic C vigorous D alien E flexible
29. PREVALENCE
A rareness B narrowness C suitability D durability E inequality
30. COVERT
A informal B undisguised C unmerciful D varied E servile
31. CORRESPOND
A be attractive B be incongruous C lack emotion D become safe E state weakly
32. DEXTERITY
A lack of skill B lack of freedom C uniformity D honesty E stubbornness
33. OAF
A sophisticate B maverick C ascetic D diplomat E executive
34. OBLIGING
A enforced B taboo C amusing D remorseful E grudging
35. SECEDE
A act decisively B interfere frequently C unite with D fail E veto
36. UNDETERRED
A evasive B adaptable C cunning D persuaded E daunted
37. GARISH
A fully healed B minute C costly D muted E lacking substance
38. FITFUL
A inappropriate B indulgent C irksome D continuous E enigmatic
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 elimination 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 revolutionary 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.
