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2017考研英语新题型历年真题分析及技巧总结

2017考研英语新题型历年真题分析及技巧总结
2017考研英语新题型历年真题分析及技巧总结

考研英语新题型历年真题分析及技巧总结

一、考研英语一新题型真题分析及技巧总结

1.七选五题型

2015年真题:

How does your reading proceed? Clearly you try to comprehend, in the sense of identifying meanings for individual words and working out relationships between them drawing on your implicit knowledge of English grammar.(41)________You begin to infer a context for the text, for instance, by making decisions about what kind of speech event is involved. Who is making the utterance, to whom, when and where.

The ways of reading indicated here are without doubt kinds of comprehension. But they show comprehension to consist not just of passive assimilation but of active engagement in inference and problem-solving. You infer information you feel the writer has invited you to grasp by presenting you with specific evidence and clues.

42._____________.

Conceived in this way, comprehension will not follow exactly the same track for each reader. What is in question is not the retrieval of an absolute, fixed or “true” meaning that can be read off and checked for accuracy, or some timeless relation of text to the world. (43)_________

Such background material inevitably reflects who we are. (44)_______

This doesn`t, however, make interpretation merely relative or even pointless. Precisely because readers from different historical periods, places and social experiences produce different but overlapping readings of the same words on the page--including for texts that engage with fundamental human concerns--debates about texts can play an important role in social discussion of beliefs and values.

How we read a given text also depends to some extent on our particular interest in reading it,(45)________Such dimensions of reading suggest-as others introduced later in the book will also do-that we bring an implicit(often unacknowledged)agenda to any act of reading. It doesn`t then necessarily follow that one kind of reading is fuller, more advanced or more worthwhile than another. Ideally, different minds of reading inform each other, and act as useful reference points for and counterbalances to one another. Together, they make up the reading component of your overall literacy, or relationship to your surrounding textual environment.

[A] Are we studying that text and trying to respond in a way that fulfills the requirement of a given course? Reading it simply for pleasure? Skimming it for information? Ways of reading on a train or in bed are likely to differ considerably from reading in a seminar room.

[B] Factors such as the place and period in which we are reading ,our gender, ethnicity, age and social class will encourage us towards certain interpretations but at the same time obscure or even close off others.

[C] If you unfamiliar with words or idioms, you guess at their meaning, using clues presented in the context. On the assumption that they will become relevant later, you

make a mental note of discourse entities as well as possible links between them. [D] In effect, you try to reconstruct the likely meanings or effects that any given sentence, image or reference might have had: These might be the ones the author intended.

[E] You make further inferences that form the basis of a personal response for which the author will inevitably be far less responsible.

[F] In plays, novels and narrative poems, characters speak as constructs created by the author, not necessarily as mouthpieces for the authors own thoughts.

[G] Rather, we ascribe meanings to texts on the basis of interaction between what we might call textual and contextual material: between kinds of organization or patterning we perceive in a texts formal structures(so especially its language structures) and various kinds of background, social knowledge, belief and attitude that we bring to the text.

技巧总结:

①寻找信号词

②寻找逻辑顺序

2.排序题

2014年真题

[A] Some archaeological sites have always been easily observable—for example, the Parthenon in Athens, Greece, the pyramids of Giza in Egypt; and the megaliths of Stonehenge in southern England. But these sites are exceptions to the norm. Most archaeological sites have been located by means of careful searching, while many others have been discovered by accident. Olduvai Gorge, an early hominid site in Tanzania, was found by a butterfly hunter who literally fell into its deep valley in 1911. Thousands of Aztec artifacts came to light during the digging of the Mexico City subway in the 1970s.

[B] In another case, American archaeologists Rene Million and George Cowgill spent years systematically mapping the entire city of Teotihuacan in the Valley of Mexico near what is now Mexico City. At its peak around AD 600, this city was one of the largest human settlements in the world. The researchers mapped not only the city’s vast and ornate ceremonial areas, but also hundreds of simpler apartment complexes where common people lived.

[C] How do archaeologists know where to find what they are looking for when there is nothing visible on the surface of the ground? Typically, they survey and sample (make test excavations on) large areas of terrain to determine where excavation will yield useful information. Surveys and test samples have also become important for understanding the larger landscapes that contain archaeological sites.

[D] Surveys can cover a single large settlement or entire landscapes. In one case, many researchers working around the ancient Maya city of Copan, Honduras, have located hundreds of small rural villages and individual dwellings by using aerial photographs and by making surveys on foot. The resulting settlement maps show how

the distribution and density of the rural population around the city changed dramatically between AD 500 and 850, when Copan collapsed.

[E] To find their sites, archaeologists today rely heavily on systematic survey methods and a variety of high-technology tools and techniques. Airborne technologies, such as different types of radar and photographic equipment carried by airplanes or spacecraft, allow archaeologists to learn about what lies beneath the ground without digging. Aerial surveys locate general areas of interest or larger buried features, such as ancient buildings or fields.

[F] Most archaeological sites, however, are discovered by archaeologists who have set out to look for them. Such searches can take years. British archaeologist Howard Carter knew that the tomb of the Egyptian pharaoh Tutankhamun existed from information found in other sites. Carter sifted through rubble in the Valley of the Kings for seven years before he located the tomb in 1922. In the late 1800s British archaeologist Sir Arthur Evan combed antique dealers’ stores in Athens, Gre ece. He was searching for tiny engraved seals attributed to the ancient Mycenaean culture that dominated Greece from the 1400s to 1200s BC. Evans’s interpretations of these engravings eventually led him to find the Minoan palace at Knossos (Knossós) on the island of Crete, in 1900.

[G] Ground surveys allow archaeologists to pinpoint the places where digs will be successful. Most ground surveys involve a lot of walking, looking for surface clues such as small fragments of pottery. They often include a certain amount of digging to test for buried materials at selected points across a landscape. Archaeologists also may locate buried remains by using such technologies as ground radar, magnetic-field recording, and metal detectors. Archaeologists commonly use computers to map sites and the landscapes around sites. Two and three-dimensional maps are helpful tools in planning excavations, illustrating how sites look, and presenting the results of archaeological research.

技巧总结:

①读懂第一段

②根据已给段落确定文章结果

③根据过渡词和逻辑关系决定顺序

二、考研英语二新题型真题分析及技巧总结

1.小标题七选五题型

2015年真题

Unfortunately, life is not a bed of roses. We are going through life facing sad experiences. Moreover, we are grieving various kinds of loss: a friendship, a romantic relationship or a house. Hard times may hold you down at what usually seems like the most inopportune time, but you should remember that they won’t last forever.

When our time of mourning is over, we press forward, stronger with a greater understanding and respect for life. Furthermore, these losses make us mature and eventually move us toward future opportunities for growth and happiness. I want to

share these ten old truths I’ve learned along the way.

41._____________________________

Fear is both useful and harmful. This normal human reaction is used to protect us by signaling danger and preparing us to deal with it. Unfortunately, people create inner barriers with a help of exaggerating fears. My favorite actor Will Smith once said, “Fear is not real. It is a product of thoughts you create. Do not misunderstand me. Danger is very real. But fear is a choice.” I do completely agree that fears are just the product of our luxuriant imagination.

42_____________________________

If you are surrounded by problems and cannot stop thinking about the past, try to focus on the present moment. Many of us are weighed down by the past or anxious about the future. You may feel guilt over your past, but you are poisoning the present with the things and circumstances you cannot change. Value the present moment and remember how fortunate you are to be alive. Enjoy the beauty of the world around and keep the eyes open to see the possibilities before you. Happiness is not a point of future and not a moment from the past, but a mindset that can be designed into the present.

43______________________________

Sometimes it is easy to feel bad because you are going through tough times. You can be easily caught up by life problems that you forget to pause and appreciate the things you have. Only strong people prefer to smile and value their life instead of crying and complaining about something.

45________________________________

Today many people find it difficult to trust their own opinion and seek balance by gaining objectivity from external sources. This way you devalue your opinion and show that you are incapable of managing your own life. When you are struggling to achieve something important you should believe in yourself and be sure that your decision is the best. You live in your skin, think your own thoughts, have your own values and make your own choices.

[A] You are not alone

[B] Don’t fear responsibility for your life

[C] Pave your own unique path

[D] Most of your fears are unreal

[E] Think about the present moment

[F] Experience helps you grow

[G] There are many things to be grateful for

技巧总结:

①划出关键词

②读出段落,总结大意

③抓住关键的过渡词

2.标题匹配题

2014年真题:

Read the following text and answer the questions by finding information from the left column that corresponds to each of the marked details given in the right column. There are two extra choices in the right column. Mark your answers on ANSWER SHEERT 1.(10 points)

Uncommon Ground - Land Art in Britain

The term Land Art brings to mind epic interventions in the land such as Robert Smithson’s Spiral Jetty, 6,500 tons of basalt, earth and salt projecting into Utah’s Great Salt Lake, or Roden Crater, an extinct volcano in Arizona, which James Turrell has been transforming into an immense naked-eye observatory since 1979.

Richard Long’s A Line Made By Walking, however, involved nothing more strenuous than a 20-minute train ride from Waterloo. Having got off somewhere in suburbia, the artist walked backwards and forwards over a piece of grass until the squashed turf formed a line - a kind of drawing on the land.

Emerging in the late Sixties and reaching a peak in the Seventies, Land Art was one of a range of new forms, including Body Art, Performance Art, Action Art and Installation Art, which pushed art beyond the traditional confines of the studio and gallery. Rather than portraying landscape, land artists used the physical substance of the land itself as their medium.

The message of this survey of British land art - the most comprehensive to date - is that the British variant, typified by Long’s piece, was not only more domestically scaled, but a lot quirkier than its American counterpart. Indeed, while you might assume that an exhibition of Land Art would consist only of records of works rather than the works themselves, Long’s photograph of his work is the work. Since his action‖is in the past the photograph is its sole embodiment.

That might seem rather an obscure point, but it sets the tone for an exhibition that contains a lot of black-and-white photographs and relatively few natural objects. Long is Britain’s best-known Land Artist and his Stone Circle, a perfect ring of purplish rocks from Portishead beach laid out on the gallery floor, represents the elegant, rarefied side of the form.

The Boyle Family, on the other hand, stand for its dirty, urban aspect. Comprising artists Mark Boyle and Joan Hills and their children, they recreated random sections of the British landscape on gallery walls. Their Olaf Street Study, a square of brick-strewn waste ground, is one of the few works here to embrace the mundanity that characterises most of our experience of the landscape most of the time.

Parks feature, particularly in the earlier works, such as John Hilliard’s very funny Across the Park, in which a long-haired stroller is variously smiled at by a pretty girl

and unwittingly assaulted in a sequence of images that turn out to be different parts of the same photograph.

Generally however British land artists preferred to get away from towns, gravitating towards landscapes that are traditionally considered beautiful such as the Lake District or the Wiltshire Downs. While it probably wasn’t apparent at the time, much of this work is permeated by a spirit of romantic escapism that the likes of Wordsworth would have readily understood. Derek Jarman’s yellow-tinted film Towards Avebury, a collection of long, mostly still shots of the Wiltshire landscape, evokes a tradition of English landscape painting stretching from Samuel Palmer to Paul Nash.

In the case of Hamish Fulton, you can’t help feeling that the Scottish artist has simply found a way of making his love of walking pay. A typical work, such as Seven Days, consists of a single beautiful black-and-white photograph taken on an epic walk, with the mileage and number of days taken listed beneath. British Land Art as shown in this well selected, but relatively modestly scaled exhibition wasn’t about imposing on the landscape, more a kind of landscape-orientated light conceptual art created passing through. It had its origins in the great outdoors, but the results were as gallery-bound as the paintings of Turner and Constable.

41. Stone Circle

42. Olaf Street Study

43. Across the Park

44. Towards Avebury

45. Seven days

[A] originates from a long walk that the artist took

[B] illustrates a kind of landscape-orientated light conceptual art

[C] reminds people of the English landscape painting tradition.

[D] represents the elegance of the British land art

[E] depicts the ordinary side of the British land art

[F] embodies a romantic escape into the Scottish outdoors

[G] contains images from different parts of the same photograph.

技巧总结:

①抓住文章脉络

②了解每段大意

③信息定位和关键词把握

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