随着2017考研的接近，考生们都在积极寻找相关的考研真题。下面是小编为大家整理收集的关于杭州师范大学综合英语2016考研真题的相关内容，欢迎大家的阅读。
I. Cloze(每小题1分，共30分)
Directions: Fill in the blanks with proper words (the first letter is given).
Historians have only recently begun to note the increase in demand for luxury goods and services that took place in eighteenth-century England. McKendrick has explored the Wedgwood firm’s remarkable (1) s_______ in marketing luxury pottery; Plumb has written about the proliferation of provincial theaters, musical festivals, and children’s toys and books. While the fact of this consumer revolution is hardly (2) i______ doubt, three key questions remain: who were the consumers? What were their motives? And (3) w_______ were the effects of the new demand (4) f_______ luxuries?
An answer (5) t_______ the first of these has (6) b_______ difficult to obtain. Although it has been possible to (7) i_______ from the goods and services actually produced what manufacturers and servicing trades thought their (8) c_______ wanted, only a study of relevant personal documents written by actual consumers will provide a precise picture of who wanted what. We will need to know how large this consumer market was and (9) h_______ far down the social scale the consumer for (10) l_______ goods penetrated. With (11) r_______ to this last question, we might note in passing that Thompson, while rightly restoring laboring people (12) t_______ the stage of eighteenth-century English history, has probably exaggerated the opposition of these people to the inroads of capitalist consumerism (13) i_______ general: for example, laboring people in eighteenth-century England readily shifted (14) f_______ home-brewed beer to standardized beer produced by huge, heavily capitalized urban breweries.
To answer the question of (15) w________ consumers became so eager to buy, some historians have pointed to the ability of manufacturers to advertise in a relatively uncensored press. This, however, hardly seems a sufficient (16) a________. McKendrick favors a Veblen model of conspicuous consumption stimulated by (17) c_______ for status. The ‘‘middling sort’’ bought (18) g_______ and services because they wanted to (19) f________ fashions (20) s_______ by the rich. Again, we may (21) w_______ whether this explanation is sufficient. Do not people enjoy (22) b_______ things as a form of self-gratification? If so, consumerism could be (23) s_______ as a product of the (24) r______ of new concept of individualism and materialism, but not necessarily of the frenzy for conspic.gzpinda.competition.
Finally, what were the consequences of this consumer demand for luxuries? McKendrick claims that it goes a long (25) w_______ toward explaining the coming of the (26) I_______ Revolution. But does it? What, for example, does the production of high-quality pottery and toys have to do (27) w_______ the development of iron manufacture and textile mills? It is perfectly possible to have the psychology and reality of a (28) c______ society without a heavy industrial sector.
That future exploration of these key (29) q_______ is undoubtedly necessary should not, however, diminish the force of the conclusion of recent studies: the insatiable (30) d_______ in eighteenth-century England for frivolous as well as useful goods and services foreshadows our own world.
II. Reading Comprehension (每小题2分，共60分)
Directions: There are 6 passages in this section. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A), B), C), and D). You should decide on the best choice and write the corresponding letter on the answer sheet.
Questions 1 to 5 are based on the following passage:
Stratford-on-Avon, as we all know, has only one industry---William Shakespeare---but there are two distinctly separate and increasingly hostile branches. There is the Royal Shakespeare Company (RSC), which presents superb productions of the plays at the Shakespeare Memorial Theatre on the Avon. And there are the townsfolk who largely live off the tourists who come, not to see the plays, but to look at Anne Hathaway’s Cottage, Shakespeare’s birthplace and the other sights.
The worthy residents of Stratford doubt that the theatre adds a penny to their revenue. They frankly dislike the RSC’s actors, them with their long hair and beards and sandals and noisiness. It’s all deliciously ironic when you consider that Shakespeare, who earns their living, was himself an actor (with a beard) and did his share of noise-making.
The tourist streams are not entirely separate. The sightseers who come by bus---and often take in WarwickCastle and BlenheimPalace on the side---don’t usually see the plays, and some of them are even surprised to find a theatre in Stratford. However, the playgoers do manage a little sight-seeing along with their playgoing. It is the playgoers, the RSC contends, who bring in much of the town’s revenue because they spend the night (some of them four or five nights) pouring cash into the hotels and restaurants. The sightseers can take in everything and get out of town by nightfall.
The townsfolk don’t see it this way and local council does not contribute directly to the subsidy of the Royal Shakespeare Company. Stratford cries poor traditionally. Nevertheless every hotel in town seems to be adding a new wing or cocktail lounge. Hilton is building its own hotel there, which you may be sure will be decorated with Hamlet Hamburger Bars, the Lear Lounge, the Banquo Banqueting Room, and so forth, and will be very expensive.
Anyway, the townsfolk can’t understand why the Royal Shakespeare Company needs a subsidy. (The theatre has broken attendance records for three years in a row. Last year its 1,431 seats were 94 per cent occupied all year long and this year they’ll do better.) The reason, of course, is that costs have rocketed and ticket prices have stayed low.
It would be a shame to raise prices too much because it would drive away the young people who are Stratford’s most attractive clientele. They come entirely for the plays, not the sights. They all seem to look alike (though they come from all over)---lean, pointed, dedicated faces, wearing jeans and sandals, eating their buns and bedding down for the night on the flagstones outside the theatre to buy the 20 seats and 80 standing-room tickets held for the sleepers and sold to them when the box office opens at 10:30 a.m.
1. From the first two paragraphs, we learn that ______.
[A] the townsfolk deny the RSC’s contribution to the town’s revenue
[B] the actors of the RSC imitate Shakespeare on and off stage
[C] the two branches of the RSC are not on good terms
[D] the townsfolk earn little from tourism
2. It can be inferred from Para. 3 that ______.
[A] the sightseers cannot visit the Castle and the Palace separately
[B] the playgoers spend more money than the sightseers
[C] the sightseers do more shopping than the playgoers
[D] the playgoers go to no other places in town than the theater
3. By saying ‘‘Stratford cries poor traditionally’’ (Line 2-3, Para. 4), the author implies that ______.
[A] Stratford cannot afford the expansion projects
[B] Stratford has long been in financial difficulties
[C] the town is not really short of money
[D] the townsfolk used to be poorly paid
4. According to the townsfolk, the RSC deserves no subsidy because ______.
[A] ticket prices can be raised to cover the spending
[B] the company is financially ill-managed
[C] the behavior of the actors is not socially acceptable
[D] the theatre attendance is on the rise
5. From the text we can conclude that the author ______.
[A] is supportive of both sides
[B] favors the townsfolk’s view
[C] takes a detached attitude
[D] is sympathetic
Questions 6 to 10 are based on the following passage:
If you intend using humor in your talk to make people smile, you must know how to identify shared experiences and problems. Your humor must be relevant to the audience and should help to show them that you are one of them or that you understand their situation and are in sympathy with their point of view. Depending on whom you are addressing, the problems will be different. If you are talking to a group of managers, you may refer to the disorganized methods of their secretaries; alternatively if you are addressing secretaries, you may want to comment on their disorganized bosses.
Here is an example, which I heard at a nurses’ convention, of a story which works well because the audience all shared the same view of doctors. A man arrives in heaven and is being shown around by St. Peter. He sees wonderful accommodations, beautiful gardens, sunny weather, and so on. Everyone is very peaceful, polite and friendly until, waiting in a line for lunch, the new arrival is suddenly pushed aside by a man in a white coat, who rushes to the head of the line, grabs his food and stomps over to a table by himself. ‘‘Who is that?’’ the new arrival asked St. Peter. ‘‘Oh, that’s God’’ came the reply, ‘‘but sometimes he thinks he’s a doctor.’’
If you are part of the group which you are addressing, you will be in a position to know the experiences and problems which are common to all of you and it’ll be appropriate for you to make a passing remark about the inedible canteen food or the chairman’s notorious bad taste in ties. With other audiences you mustn’t attempt to cut in with humor as they will resent an outsider making disparaging remarks about their canteen or their chairman. You will be on safer ground if you stick to scapegoats like the Post Office or the telephone system.
If you feel awkward being humorous, you must practice so that it becomes more natural. Include a few casual and apparently off-the-cuff remarks which you can deliver in a relaxed and unforced manner. Often it’s the delivery which causes the audience to smile, so speak slowly and remember that a raised eyebrow or an unbelieving look may help to show that you are making a light-hearted remark.
Look for the humor. It often comes from the unexpected. A twist on a familiar quote ‘‘If at first you don’t succeed, give up’’ or a play on words or on a situation. Search for exaggeration and understatements. Look at your talk and pick out a few words or sentences which you can turn about and inject with humor.
6. To make your humor work, you should ______.
[A] take advantage of different kinds of audience
[B] make fun of the disorganized people
[C] address different problems to different people
[D] show sympathy for your listeners
7. The joke about doctors implies that, in the eyes of nurses, they are ______.
[A] impolite to new arrivals
[B] very conscious of their godlike role
[C] entitled to some privileges
[D] very busy even during lunch hours
8. It can be inferred from the text that public services ______.
[A] have benefited many people
[B] are the focus of public attention
[C] are an inappropriate subject for humor
[D] have often been the laughing stock
9. To achieve the desired result, humorous stories should be delivered ______.
[A] in well-worded language
[B] as awkwardly as possible
[C] in exaggerated statements
[D] as casually as possible
10. The best title for the text may be ______.
[A] Use Humor Effectively
[B] Various Kinds of Humor
[C] Add Humor to Speech
[D] Different Humor Strategies.
Questions 11 to 15 are based on the following passage:
Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.
These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in ‘‘taking’’ a picture. Accordingly, the ideal of a photographer as observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, or essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.
As important result of the co-existence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to be the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to have more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of ‘‘fast seeing.’’ Cartier-Bresson, in fact, claims that the modern camera may see too fast.
This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past---when images had a handmade quality. This nostalgia for some pristine taste of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.
11. According to the passage, interest among photographers in each of photography’s two ideals can be described as _______.
[A] rapidly changing
[B] cyclically recurring
[C] steadily growing
[D] unimportant to the views of photograph
12. The author is primarily concerned with _______.
[A] establishing new technical standards for contemporary photography
[B] analyzing the influence of photographic ideals on picture-taking
[C] tracing the development of camera technology in the twentieth century
[D] describing how photographers’ individual temperaments are reflected in their work
13. The passage states all of the following about photographs EXCEPT that ______.
[A] they can display a cropped reality
[B] they can convey information
[C] they can depict the photographer’s temperament
[D] they can change the viewer’s sensibilities
14. The author mentions the work of Harold Edgerton in order to provide an example of ______.
[A] how a controlled ambivalence toward photography’s means can produce outstanding pictures
[B] how the content of photographs has changed from the nineteenth century to the twentieth century
[C] the popularity of high-speed photography in the twentieth century
[D] the relationship between photographic originality and technology
15. The passage suggests that photographers such as Walker Evans prefer old-fashioned techniques and equipment because these photographers _______.
[A] admire instruments of fast seeing
[B] need to feel armed by technology
[C] strive for intense formal beauty in their photographs
[D] dislike the dependence of photographic effectiveness on the powers of a machine
Questions 16 to 20 are based on the following passage:
‘‘Masterpieces are dumb.’’ wrote Flaubert. ‘‘They have a tranquil aspect like the very products of nature, like large animals and mountains.’’ He might have been thinking of War and Peace, that vast, silent work, unfathomable and simple, provoking endless questions through the majesty of its being. Tolstoy’s simplicity is ‘‘overpowering,’’ says the critic Bayley, ‘‘disconcerting,’’ because it comes from ‘‘his casual assumption that the world is as he sees it.’’ Like other nineteenth century Russian writers he is ‘‘impressive’’ because he ‘‘means what he says.’’ But he stands apart from all other and from most Western writers in his identity with life, which is so complete as to make us forget he is an artist. He is the center of his work, but his egocentricity is of a special kind. Goethe, for example, says Bayley, ‘‘cared nothing but himself. Tolstoy was nothing but himself.’’
For all his varied modes of writing and the multiplicity in his fiction, Tolstoy and his work are of a piece. The famous ‘‘conversion’’ of his middle years, movingly recounted in his Confession, was a culmination of his early spiritual life, not a departure from it. The apparently fundamental changes that led from epic narrative to dogmatic parable, from a joyous, buoyant attitude toward life to pessimism and cynicism, from War and Peace to The Kreutzer Sonata, came from the same restless, impressionable depths of an independent spirit yearning to get at the truth of its experience. ‘‘Truth is my hero,’’ wrote Tolstoy in his youth, reporting the fighting in Sebastopol. Truth remained his hero---his own, not others’ truth. Others were awed by Napoleon, believed that a single man could change the destinies of nations, adhered to meaningless rituals, formed their tastes on established cannons of art. Tolstoy reversed all preconceptions, and in every reversal he overthrew the ‘‘system’’, the ‘‘machine,’’ the externally ordained belief, the conventional behavior in favor of unsystematic, impulsive life, of inward motivation and the solutions of independent thought.
In his work the artificial and the genuine are always exhibited in dramatic opposition: the supposedly great Napoleon and the truly great, unregarded little Captain Tushin, or Nicholas Rostov’s actual experience in battle and his later account of it. The simple is always pitted against the elaborate. Knowledge gained from observation against assertions of borrowed faiths. Tolstoy’s magical simplicity is a product of these tensions; his work is a record of the questions he put to himself and of the answers he found in his search. The greatest characters of his fiction exemplify this search, and their happiness depends on the measure of their answers. Tolstoy wanted happiness, but only hard-won happiness, that emotional fulfilment and intellectual clarity which could only as the prize of all-consuming effort. He scorned lesser satisfactions.
16. Which of the following best characterizes the author’s attitude toward Tolstoy?
[A] She deprecates the cynicism of his later works.
[B] She finds his theatricality artificial.
[C] She admires his wholehearted sincerity.
[D] She thinks his inconsistency disturbing.
17. Which of the following best paraphrases Flaubert’s statement quoted in the 1st paragraph?
[A] Masterpieces seem ordinary and unremarkable from the perspective of a later age.
[B] Great works of art do not explain themselves to us any more than natural objects do.
[C] Important works of art take their place in the pageant of history because of their uniqueness.
[D] The most important aspects of good art are the orderliness and tranquillity it reflects.
18. The author quotes from Bayley (Para. 1) to show that ______.
[A] although Tolstoy observes and interprets life, he maintains no self-conscious distance from his experience
[B] the realism of Tolstoy’s work gives the illusion that his novels are reports of actual events
[C] unfortunately, Tolstoy is unaware of his own limitations, though he is sincere in his attempt to describe experience
[D] although Tolstoy works casually and makes unwarranted assumptions, his work has an inexplicable appearance of truth
19. The author states that Tolstoy’s conversion represented ______.
[A] a radical renunciation of the world
[B] a rejection of avant-garde ideas
[C] the natural outcome of his earlier beliefs
[D] the acceptance of a religion he had earlier rejected
20. It can be inferred from the passage that which of the following is true, of War and Peace?
[A] It belongs to an early period of Tolstoy’s work.
[B] It incorporates a polemic against the disorderliness of Russian life.
[C] It has a simple structural outline.
[D] It is a work that reflects an ironic view of life.
Questions 21 to 25 are based on the following passage:
In its most abstract sense the perception of a loss of community in modern society refers to changes in both the structure and content of personal relationships. Here community is used to denote a sense of common identity between individuals, and enduring ties of affection and harmony based upon personal knowledge and face-to-face contact. It is often contrasted with the impersonal and dehumanizing aspects of modern life, with the rise of a selfish individualism, a calculative approach to human relationships and the sense of social dislocation present under conditions of rapid social and economic change. These judgments were typified by the pessimistic strand of much eighteenth and nineteenth-century Romanticism, which stressed the unity of man with nature, opposed reason with sentiment and offered thoroughgoing criticism of the emerging urban, industrial world. The concept of community was used in order to come to terms with this new form of society. The scientific and technological advances of the new age were contrasted with man’s spiritual and emotional impoverishment, in which the loss of community was taken as emblematic. The term was therefore used in a literally reactionary way, as a reaction to both the material squalor and the spiritual degradation which Romanticism associated with the rise of urban industrialism. Community signified a more humane and intimate existence, more stable, more traditional and less tainted by the rational pursuit of self-interest. The term was used by writers like Cobbett and Coleridge to evoke a largely mythical golden age in the pre-industrial world, where organic communities of beneficent landowners and rustics lived a happy Arcadian existence in the mainly agricultural villages and small market towns which constituted pre-industrial society. Rapid urbanization and industrialization were accused of having destroyed this notion of community.
The Industrial Revolution was believed to have changed not only the society by concentrating large numbers of people in cities and in factories, but also the quality of the relationships upon which a sense of community rested. Out of this perception there emerged a very common literary and cultural theme, fully explored by Raymond Williams in two of his books, Culture and Society and The Country and the City (Williams, 1961, 1973). Since urban industrialism had brought a breakdown of community it followed that real communities could not exist in the new industrial cities but only in the countryside. The village therefore came to be regarded as the ideal community. The romantic assertion of the unity of man with nature found its counterpart in an idyllic view of rural life as consisting of harmony and virtue. Relationships in rural communities were regarded as more indefinably profound and fulfilling, generating a prevailing sense of meaningful social intimacy. In cities, on the other hand, it was believed that the ‘‘unnatural’’ separation of their inhabitants from the land and from one another provoked dislocation and a superficial and alienating way of life. This tendency to identify a sense of community with particular patterns of settlement and particular geographical locations has proved to be an immensely enduring one. As Williams shows, it is a tradition that has penetrated large areas of our culture, including our literature, our aesthetics, our architecture and town and country planning, and even our social science. Such a tradition continues to act as a filter through which the reality of urban and rural life is constantly being interpreted. Even today there is a tendency to regard only rural villages as real communities where we can find our roots, while life in cities is viewed as a necessary evil to be avoided whenever possible.
21. Which of the following is the best title for the passage?
[A] Community as Criticism of Industrial Society.
[B] Community in the Modern World
[C] Community and Change
[D] Community and the Sociological Tradition
22. The eighteenth and nineteenth-century Romanticism insisted that ______.
[A] modern industry destroyed people’s harmonious relationship with nature
[B] the urban life is an evil though the development of industry is necessary
[C] they created the concept of community to come to terms with the modern world
[D] the industrial development enriched the life of urban inhabitants
23. The word ‘‘emblematic’’ (Para. 1) may have the meaning of ______.
[A] poor [B] pessimistic [C] symbolic [D] disastrous
24. According to the passage, the concept of community ______.
[A] is not created until the rapid urbanization and industrialization of the Industrial Revolution
[B] refers only to the ideal of human and rustic life in the countryside
[C] is also used to indicate the change of society structure by concentrating large numbers of people in cities
[D] has changed while changes have happened in the structure of society
25. Which of the following statements is correct according to the passage?
[A] The conflict between urban and rural life has been reflected in different aspects of our culture.
[B] The ideal community will disappear with the scientific and technological advances.
[C] Community can only exist in the pre-industrial society when people are less tainted by the pursuit of self-interest.
[D] The consequences of the loss of community for the stability of society are widely feared by everyone.
Questions 26 to 30 are based on the following passage:
The earliest controversies about the relationship between photography and art centered on whether photography’s fidelity to appearances and dependence on a machine allowed it to be a fine art as a distinct from merely a practical art. Throughout the nineteenth century, the defense of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality; photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.
Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves---anything but making works of art. In the nineteenth century, photography’s association with the real world placed it in an ambivalent relation to art: late in the twentieth century an ambivalent relation exists because of the modernist heritage in art. That important photographers are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art, shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.
Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretentions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting, that is, abstract art as developed in different ways by Picasso, Candinsky and Matisse, presupposes highly developed skills of looking and a familiarity with other paintings and the history of art, photography, like Pop painting, reassures viewers that art is not hard: photography seems to be more about its subjects than about art. Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity---in short, an art.
26. In the passage, the author is primarily concerned with ______.
[A] defining the Modernist attitude toward art
[B] explaining how photography emerged as a fine art after the controversies of the nineteenth century
[C] explaining the attitude of serious contemporary photographers toward photography as art and placing those attitude in their historical context
[D] defining the various approaches that serious contemporary photographers take toward their art and assessing the value of each of those approaches
27. Which of the following adjectives best describes ‘‘the concept of art imposed by the triumph of Modernism’’ as the author represents it in Para. 2?
[A] Objective [B] Mechanical
[C] Superficial [D] Paradoxical
28. The author introduces Abstract Expressionist painters (Para. 3) in order to ______.
[A] provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art
[B] call attention to artists whose works often bear a physical resemblance to the works of serious contemporary
[C] set forth an analogy between the Abstract Expressionist painters and classical Modernist painters
[D] provide a contrast to Pop artists and others who created works that exemplify the Modernist heritage in art
29. According to the author, the nineteenth-century defenders of photography mentioned in the passage stressed that photography was ______.
[A] a means of making people familiar with remote locales and unfamiliar things
[B] a technologically advanced activity
[C] a devise for observing the world impartially
[D] an art comparable to painting
30. According to the passage, which of the following best explains the reaction of serious contemporary photographers to the question of whether photography is an art?
[A] The photographers’ belief that their reliance on an impersonal machine to produce their art requires the surrender of the authority of their personal vision.
[B] The photographers’ fear that serious photography may not be accepted as an art by the contemporary art public.
[C] The influence of Abstract Expressionist painting and Pop Art on the subject matter of the modern photograph.
[D] The photographers’ belief that the best art is subversive of art as it has previously been defined.
III. Paraphrase. (每小题4分，共20分)
Directions: Rephrase the underlined sentences in the following passage.
1. They fell silent after they had exhausted the subject.
2. Without reservation, I applaud the freer patterns of today, although I believe that it’s been difficult for some families to handle the changes.
3. Why do we make friends? Students of animal behavior have pointed out that social attraction has an obvious adaptive function: it helps a species both to protect and to reproduce itself.
4. Every healthy able-bodied young American is encouraged to participate in organized athletic sports — team sports. There he is indoctrinated with the team spirit. This tells him he must not shine at the expense of others.
5. In many traditional cultures, women and girls tend to wear more beautiful clothing than men. But on special occasions (rites of passage, religious ceremonies, warfare), men tend to wear more elaborate body decoration. On such occasions, when splendor symbolizes power and status, men monopolize the “best” clothes.
IV. Writing. (40分)
Directions: Please write a speech in at least 350 words based on the following information.
An election is to be held in your school for members of the student council, a group set up to advise the Principal on matters concerning student welfare and discipline. You are a candidate and hope to be elected. Now you are preparing a speech for the election.
You have the following notes to help you:
1. top in examinations
2. active in school clubs
3. organized New Year party
4. public-speaking competition winner
5. always helps new students
Write out your speech in full, using the above list and other ideas of your own.