21篇模板——(1)文學類

題目序號題型歸類

第1題中心主旨題型

第2題審題定位與反推題型

第3題全文歸納推導題型

第4題寫作手法題型

第5題例(舉)證題型

RogerRosenblatt^bookBlackFiction,inattemptingtoapplyliterary文學rather

thansociopolitical政治criteriatoitssubject主題，successfullyalterstheapproach

takenbymostpreviousstudies.AsRosenblattnotes,criticismofBlackwritinghas

oftenservedasapretextforexpoundingon解釋Blackhistory.AddisonGayle's

recentwork,forexample,judgesthevalueofBlackfictionbyovertlypolitical政治

standards,rating評估eachworkaccordingtothenotionsofBlackidentitywhichit

propounds.

Althoughfictionassuredlyspringsfrom來自于politicalcircumstances,its

authorsreacttothosecircumstancesinwaysotherthan除了ideological,and(主語

talkingaboutnovelsandstoriesprimarilyasinstruments手段ofideology意識形態

(政治))circumventsmuchofthefictionalenterprise成就.Rosenblatt'sliterary

analysisdisclosesaffinitiesandconnectionsamongworksofBlackfictionwhich

solelypoliticalstudieshaveoverlookedorignored.

主語(Writingacceptablecriticism評論ofBlackfiction),however,presupposes

賓語(givingsatisfactoryanswerstoanumberofquestions).Firstofall,istherea

sufficientreason,otherthanthefacialidentityoftheauthors,togrouptogetherworks

byBlackauthors?Second,howdoesBlackfictionmakeitselfdistinctfromother

modernfictionwithwhichitislargelycontemporaneous?Rosenblattshowsthat

Blackfictionconstitutesadistinctbodyofwritingthathasanidentifiable,coherent

literarytradition.LookingatnovelswrittenbyBlackoverthelasteightyyears,he

discoversrecurringconcernsanddesignsindependentofchronology.Thesestructures

arethematic,andtheyspring,notsurprisingly,fromthecentralfactthattheBlack

charactersinthesenovelsexistinapredominantlywhiteculture,whethertheytryto

conformtothatcultureorrebelagainstit.

BlackFictiondoesleave強調句someaestheticquestionsopen.Rosenblatt's

thematicanalysispermits允許considerableobjectivity;heevenexplicitlystatesthat

itisnothisintentiontojudgethemeritofthevariousworks-yethisreluctance不

愿意seemsmisplaced,especiallysinceanattempttoappraisemighthaveledto

interestingresults.Forinstance,someofthenovelsappeartobestructurallydiffuse.

Isthisadefect,oraretheauthorsworkingoutof,ortryingtoforge,adifferentkindof

aesthetic?Inaddition,thestyleofsomeBlacknovels,likeJeanToomer'sCane.

vergesonexpressionismorsurrealism;doesthistechniqueprovideacounterpointto

theprevalentthemethatportraysthefateagainstwhichBlackheroesarepitted,a

themeusuallyconveyedbymorenaturalisticmodesofexpression?

Inspiteo于盡管suchomissions,(whatRosenblattdoesincludeinhis

discussion)主語makesforanastute敏銳地andworthwhilestudy.BlackFiction

surveysawidevarietyofnovels,伴隨狀語bringingtoourattentionintheprocess

賓語后置(somefascinatingandlittle-knownworkslikeJamesWeldonJohnson's

AutobiographyofanEx-ColoredMan).Itsargumentistightlyconstructed,andits

forthright,lucidstyleexemplifieslevelheadedandpenetratingcriticism.

1.5.Theauthorofthetextisprimarilyconcernedwith

[A]evaluatingthesoundness合理性ofaworkofcriticism.

[B]comparingvariouscriticalapproachestoasubject.

[C]discussingthelimitationsofaparticularkindofcriticism.

[D]summarizingthemajorpointsmadeinaworkofcriticism.

2.4.TheauthorofthetextbelievesthatBlackFictionwouldhavebeenimproved

hadRosenblatt(ifRosenblatthad)

[A]evaluated評價morecarefullytheideologicalandhistoricalaspectsofBlack

fiction.

[B]attemptedtobemoreobjectiveinhisapproachtonovelsandstoriesbyBlack

authors.

[C]explored探索ingreaterdetailtherecurrentthematicconcernsofBlack

fictionthroughoutitshistory.

[D]assessed評論therelativeliterarymeritofthenovelsheanalyzes

thematically.

3.Theauthor^discussion討論of8/。以Fie"。"canbebestdescribed描述as

[A]pedanticandcontentious.

[B]critical批判的butadmiring.贊許的

[C]ironicanddeprecating.

[D]argumentativebutunfocused.沒焦點的

4.Theauthorofthetextemploys使用allofthefollowinginthediscussion寫作手

段ofRosenblatfsbookEXCEPT:

[A]rhetoricalquestions.

[B]specificexamples.

[C]comparisonandcontrast.對比

[D]definitionofterms.

5.Theauthorofthetextrefersto提至JamesWeldonJohnson'sAutobiographyof

anExColoredManmostprobably(inorderto)

[A]point指出outaffinitiesbetweenRosenblatt\methodofthematicanalysis

andearliercriticism.

[B]clarify澄清thepointaboutexpressionisticstylemadeearlierinthepassage.

[C]qualify修飾theassessmentofRosenblatt'sbookmadeinthefirstparagraph

ofthepassage.

[D]giveaspecificexampleofoneoftheaccomplishmentsofRosenblatt^work.

[參考譯文]

羅杰?羅森布萊特的著作《黑人小說》，試圖運用文學的而不是社會政治的

標準來研究黑人小說，這成功地改變了大多數早先研究的方法。如羅森布萊特所

注意到的，黑人著作的評論經常被充當為一種闡述黑人歷史的借口。例如，阿狄

森?蓋爾的最新著作，就用了公開的政治標準來判定黑人小說的價值，按照作品

中所提出的黑人個體的各觀念對每個作品進行評價。

雖然小說確實是源于政治環境，但作者反映這些環境的方法是非意識形態

的，如把小說和故事的討論作為意識形態的工具，則會忽視了許多小說的成就。

羅森?布萊特對黑人文學的分析揭示了黑人小說著作間的密切關系和聯系，而純

粹政治研究中忽視了這些聯系。

然而寫出為人所接受的黑人小說評論的前提是要對許多問題做出令人滿意

的回答。首先，除了這些作家的種族身份外，是否有充分的理由可將黑人作家的

作品歸于一類？其次，黑人小說如何將自己和其他現代小說分開？它們大半屬于

同一時代的作品。羅森布萊特的研究闡明了黑人小說已構成了一個與眾不同的作

品群體，它們具有可識別的、連貫的文學傳統。著眼于最近八十年黑人創作的小

說，羅森布萊特揭示了小說中與時代無關而反復出現的側重點和布局。這些結構

與主題相關，并不讓人感到驚奇的是，它們源于這樣一個中心事實，即小說中的

黑人生存在一個白人文化支配的環境中，不管他們試圖迎合這一文化還是反叛這

一文化。

《黑人小說》確實對一些美學的問題沒有給予回答，羅森布萊特的主題分析

允許相當的客觀性；他甚至直言，對各個作品的優劣判定不是他工作的意圖一

然而他的猶豫看起來是不合時宜的，尤其是因為嘗試評定可能會導致一些有趣的

結果。例如，一些小說所顯示的結構散漫冗長。這是否是一個缺陷，或者是作者

這樣做是出于一種美學考慮，還是作者試圖創造一種不同類的美學？另外，象

金?圖莫的《手杖》那樣的黑人小說風格，近于表現主義和超現實主義；難道這

個技巧只是用更自然主義的表現方式為表達流行的黑人英勇反抗命運的主題提

供一個對應物嗎？

盡管存在這些遺漏，羅森布萊特所做的包括他的討論，已包括了足以構成精

明而有價值的研究內容。《黑人小說》考察了廣泛的小說，在此過程中我們的注

意力被吸引到一些引人入勝但鮮為人知的作品上，如詹姆士?威爾頓?約翰遜的

《一個曾是有色人的自傳》。這本書的主題結構緊密，直率、明晰的風格例示了

一種冷靜而敏銳的文學評論。

21篇模板——(2)

題目序號題型歸類

第1題中心主旨題型

第2題例(舉)證與細節理解題型

第3題細節理解題型

第4題審題定位題型

第5題歸納推導題型

提到人為中心主旨句

Proponents支持者ofdifferentjazzstyleshavealwaysargued作者觀點和他們

相反(thattheirpredecessor'smusicalstyledidnotincludeessentialcharacteristics

thatdefinejazzasjazz.)Thus因止匕，1940\swingas秋千belittledbybeboppersof

the1950'swhowerethemselvesattackedbyfreejazzesofthe1960's?定從單獨翻

譯Theneoboppersofthe19809sand1990'sattackedalmosteverybodyelse.The

titanicfigureofBlacksaxophonistJohnColtranehascomplicated復雜化the

arguments(madebyproponentsofstylesfrombebopthroughneobopbecauseinhis

ownmusicaljourneyhedrewfromallthosestyles).Hisinfluenceon影響alltypes

ofjazzwasimmeasurable.Attheheightofhispopularity,Coltranelargelyabandoned

playingbebop,thestylethathadbroughthimfame聲譽，toexplore探索theouter

reachesofjazz.

Coltranehimselfprobablybelievedthattheonlyessentialcharacteristicofjazz

wasimprovisation,theoneconstantinhisjourneyfrombeboptoopen-ended

improvisationsonmodal,Indian,andAfricanmelodies.Ontheotherhand,this

doggedstudentandprodigioustechnician-whoinsistedonspendinghourseachday

practicingscalesfromtheorybooks-wasneverabletojettisoncompletelythe

influenceofbebop,withitsfastandelaboratechainsofnotesandornamentson

melody.

TwostylisticcharacteristicsshapedthewayColtraneplayedthetenorsaxophone:

hefavoredplayingfastrunsofnotesbuiltonamelodyanddependedonheavy,

regularlyaccentedbeats.ThefirstledColtraneto“sheetsofsound“whereheraced

fasterandfaster,pile-drivingnotesintoeachothertosuggeststackedharmonies.The

secondmeantthathissenseofrhythmwasalmostasclosetorockastobebop.

ThreerecordingsillustrateColtrane'senergizing精力的explorations.

RecordingKindofBluewithMilesDavis,Coltranefoundhimselfoutsidebop,

exploringmodalmelodies.Hereheplayedsurging,lengthysolosbuiltlargelyaround

repeatedmotifs-anorganizingprincipleunlikethatoffreejazzsaxophoneplayer

OrnetteColeman,whomodulatedoralteredmelodiesinhissolos.OnGiantSteps,

Coltranedebutedasleader,introducinghisowncompositions.Herethesheetsof

sound,downbeataccents,repetitions,andgreatspeedarepartofeachsolo,andthe

varietyoftheshapesofhisphrasesisunique.Coltrane'ssearchingexplorations

producedsolidachievement.MyFavoriteThingswasanotherkindofwatershed.Here

Coltraneplayedthesopranosaxophone,aninstrumentseldomusedbyjazzmusicians.

Musically,theresultswereastounding.Withthesoprano'spipingsound,ideasthat

hadsoundeddarkandbroodingacquiredafeelingofgiddyfantasy.

WhenColtranebeganrecordingfortheImpulse!Label,hewasstillsearching.

Hismusicbecameraucous,physical.Hisinfluenceonrockerswasenormous,

includingJimiHendrix,therockguitarist,who,followingColtrane,raisedthe

extendedguitarsolousingrepeatedmotifstoakindofrockartform.

1.Theprimarypurposeofthetextisto

[A]discusstheplaceofColtraneintheworldofjazzanddescribehismusical

explorations.探索

[B]examinethenatureofbebopandcontrastitwithimprovisationaljazz.

[C]analyzethemusicalsourcesofColtrane'sstyleandtheirinfluenceonhis

work.

[D]acknowledgetheinfluenceofColtrane'smusiconrockmusicandrock

musicians.

2.Whichofthefollowingbestdescribestheorganizationofthefourth

paragraph?

[A]Athesisreferredtoearlierinthetextismentionedandillustrated舉例with

threespecificexamples.

[B]Athesisisstatedandthreeexamplesaregiveneachsuggestingthata

correctionneedstobemadetoathesisrefeiredtoearlierinthetext.

[C]Athesisreferredtoearlierinthetextismentioned,andthreeexamplesare

presentedandrankedinorderoftheirsupportofthethesis.

[D]Athesisisstated,threeseeminglyopposingexamplesarepresented,andtheir

underlyingcorrespondenceisexplained.

3.Accordingtothetext,JohnColtranedidallofthefollowingduringhiscareer

EXCEPT

[A]improvise艮口興onmelodiesfromanumberofdifferentcultures.

[B]performasleaderaswellassoloist.

[C]spendtimeimprovinghistechnicalskills.

[D]eliminate消除theinfluenceofbeboponhisownmusic.

4.AccordingtothetextamajordifferencebetweenColtraneandotherjazz

musicianswasthe

[A]degreetowhichColtrane'smusicencompassedallofjazz.

[B]repetitionofmotifs主題thatColtraneusedinhissolos.

[C]numberofhisowncompositions作品thatColtranerecorded.

[D]indifference沒對過(Coltranemaintainedtomusicaltechnique.)

找其他音樂家

5.Intermsofitstoneandform,thetextcanbestbecharacterized特點as

[A]dogmaticexplanation.

[B]indignantdenial.

[C]enthusiasticpraise.

[D]speculativestudy.

［參考譯文］

不同的爵士樂風格的支持者一貫認為他們前輩的音樂風格沒有包括那些使

爵士樂之所以成為爵士樂的本質特征。這樣，二十世紀五十年代的比波普派輕視

二十世紀四十年代的搖擺音樂派，而他們自己又受到二十世紀六十年代的自由爵

士派的抨擊。二十世紀八十至九十年代的新比波普派兒乎對任何其他人都進行抨

擊。而黑人薩克斯管巨匠約翰?科爾特蘭尼使這些從比波普派到新比波普派的支

持者所提出的主張更加復雜化，因為在他自己的音樂例程中，他經歷了所有這些

風格。他對所有爵士音樂的風格的影響是不可估量的。在他最受歡迎的時期，科

爾特蘭尼基本上放棄了比波普風格的演奏以便探索爵士樂更深的處延，然而正是

比波普風格的演奏使得他成名。

科爾特蘭尼自己可能認為爵士樂的唯一本質特征就是即興創作，這是他從比

波普風格到對形式音樂、印度音樂、非洲音樂的自由即興演奏的歷程中一直沒有

改變的。另一方面，這個頑強的學生和異常的技巧家每天花兒個小時用以練習理

論書籍上的曲譜，從未能完全拋棄比波普的影響，在他的旋律中可以找到帶有比

波普特點的快速和精細的音符以及修飾效果。

有兩種風格特征影響了科爾特蘭尼演奏男高音薩克斯管的方式：他喜歡對建

立于i種旋律上的音符進行快速的演奏，同時也依賴于強有力的、有規律的重音

節奏。前者引導科爾特蘭尼走向“片狀聲響”的境界，在那里科爾特蘭尼的演奏

越來越快，將音符成堆互相累放起來以表達一種堆疊起來的和諧感。而后者意味

著，他的節奏感之接近于搖滾樂幾乎就像其接近于比波普風格一樣。

三張唱片為科爾特蘭尼富有活力的探索提供了證明。和馬爾斯?戴維斯合作

錄制《有幾分憂傷》時，科爾特蘭尼發現他已離開了波普風格，對形式音樂進行

探索。在這中間，他演奏那些跌宕起伏的冗長的獨奏，而這些獨奏基本上是圍繞

著一個重復主題展開的。該種主題是用以組織其音樂的原則，它和自由派爵士樂

薩克斯管演奏家奧尼迪?科爾曼采用的組織方式不同。后面這位音樂家在他的獨

奏中會對其旋律進行調節改變。在《大踏步》中，科爾特蘭尼初次以領導者角色

出現，對他自己的作品進行了介紹。在這中間，“片狀聲響”、強拍重音、重復回

旋和極快的速度組成了每一段獨奏的各個部分，各樂章的形式的多樣性是獨一無

二的。科爾特蘭尼深刻的探索獲得了穩固的成就。《我的鐘愛之物》是另一種意

義上的分水嶺。在這里，科爾特蘭尼演奏了爵士樂演奏家很少使用的女高音薩克

斯管，所產生的音樂上的效果是驚人的。伴隨著女高音薩克斯管的尖音，那些顯

得昏暗及帶有沉思意味的主題獲得了一種令人眼花繚亂的夢幻感覺。

當科爾特蘭尼開始為沖動唱片公司進行音樂錄制時，他仍然在探索。他的音

樂變得沙啞而感性。搖滾樂手受到他的巨大影響，其中包括吉米?亨德瑞克斯這

位吉它手。后者仿效科爾特蘭尼，使基于重復主題的大段吉他獨奏上升成為一種

搖滾藝術形式。

21篇模板——(3)

題目序號題型歸類

第1題中心主旨題型

第2題反推題型

第3題細節歸納推導題型

第4題中心主旨題型

第5題細節推導題型

Manyobjects物體indailyusehaveclearlybeeninfluencedbyscience,buttheir

formandfunction,theirdimensionsandappearance,weredetermined決定by

technologists,artisans,designers,inventors,andengineers—usingnonscientific

modesofthoughtManyfeatures特點andqualities特性oftheobjectsthata

technologistthinksaboutcannotbereduced歸納tounambiguous清晰的verbal

descriptions;theyaredealtwithinthemindbyavisual,nonverbalprocess.Inthe

developmentofWesterntechnology,ithasbeen一直以來nonverbalthinking,by

andlarge,thathasfixedtheoutlinesandfilledinthedetailsofourmaterial

surroundings.Pyramids,cathedrals,androcketsexistnotbecauseofgeometryor

thermodynamics,butbecausetheywerefirstapictureinthemindsofthosewhobuilt

them.

Thecreativeshapingprocessofatechnologist'smindcanbeseeninnearlyevery

artifactthatexists存在.Forexample,indesigningadieselengine,atechnologist

mightimpressindividualwaysofnonverbalthinkingonthemachinebycontinually

usinganintuitivesenseofrightnessandfitness.Whatwouldbetheshapeofthe

combustionchamber?Whereshouldbevalvesbeplaced?Shouldithavealongor

shortpiston?Suchquestionshavearangeofanswersthataresuppliedbyexperience,

byphysicalrequirements,bylimitationsofavailablespace,andnotleastbyasenseof

form.Somedecisionssuchaswallthicknessandpindiameter,maydependon

scientificcalculations,butthenonscientificcomponentofdesignremainsprimary.

Designcourses,then,shouldbeanessentialelementinengineeringcurricula.

Nonverbalthinking,acentralmechanisminengineeringdesign,involvesperceptions,

thestock-in-tradeoftheartist,notthescientist.Becauseperceptiveprocessesarenot

assumedtoentail"hardthinking,nonverbalthoughtissometimesseenasaprimitive

stageinthedevelopmentofcognitiveprocessesandinferiortoverbalormathematical

thought.ButitisparadoxicalthatwhenthestaffoftheHistoricAmerican

EngineeringRecordwishedtohavedrawingsmade讓另ij人畫ofmachinesand

isometricviewsofindustrialprocessesforitshistoricalrecordofAmerican

engineering,theonlycollegestudentswiththerequisiteabilitieswerenotengineering

students,butratherstudentsattendingarchitecturalschools.

Ifcoursesindesign,whichinastronglyanalyticalengineeringcurriculum

providethebackgroundrequiredforpracticalproblem-solving,arenotprovided提供,

wecanexpecttoencountersillybutcostlyerrorsoccurringinadvancedengineering

systems.Forexample,earlymodelsofhigh-speedrailroadcarsloadedwith

sophisticatedcontrolswereunabletooperateinasnowstormbecauseafansucked

snowintotheelectricalsystem.Absurdrandomfailuresthatplagueautomaticcontrol

systemsarenotmerelytrivialaberrations;theyareareflectionofthechaosthat

resultswhendesignisassumedtobeprimarilyaprobleminmathematics.

1.Inthetext,theauthorisprimarilyconcernedwith

[A]identifyingthekindsofthinkingthatareusedbytechnologists.

[B]stressingtheimportanceofnonverbalthinkinginengineeringdesign.

[C]proposing提出anewrole作用fornonscientificthinkinginthe

developmentoftechnology.

[D]contrastingthegoalsofengineerswiththoseoftechnologists.

2.Itcanbeinferredthattheauthorthinksengineeringcurricula工科課程are

[A]strengthenedwhentheyincludecoursesindesign.

[B]weakenedbythesubstitutionofphysicalsciencecoursesforcourses

designedtodevelopmathematicalskills.A去取代B

[C]strongbecausenonverbalthinkingisstillemphasizedbymostofthecourses.

[D]strongdespitetheerrorsthatgraduatesofsuchcurriculahavemadeinthe

developmentofautomaticcontrolsystems.

3.Whichofthefollowingstatementsbestillustratesthemainpointofthefirsttwo

paragraphs第二段ofthetext?

[A]Whenamachinelikearotaryenginemalfunctions,itisthetechnologistwho

isbestequippedtorepairit.

[B]Eachcomponentofanautomobile—forexample,theengineorthefueltank

一hasashapethathasbeenscientificallydeterminedtobebestsuitedtothat

component'sfunction.

[C]Atelephoneisacomplexinstrumentdesignedbytechnologistsusingonly

nonverbalthought.

[D]Thedistinctivefeaturesofasuspensionbridgereflectitsdesigner's

conceptualizationaswellasthephysicalrequirementsofitssite.

4.Whichofthefollowingstatementswouldbestserveasanintroductiontothetext?

[A]Theassumption觀點想法thattheknowledgeincorporatedintechnological

developmentsmustbederivedfromscienceignoresthemanynonscientific

decisionsmadebytechnologists.

[B]Analyticalthoughtisnolongeravitalcomponentinthesuccessof

technologicaldevelopment.

[C]Asknowledgeoftechnologyhasincreased,thetendencyhasbeentolosesight

oftheimportantroleplayedbyscientificthoughtinmakingdecisionsabout

form,arrangement,andtexture.

[D]Amovementinengineeringcollegestowardatechnician'sdegreereflectsa

demandforgraduateswhohavethenonverbalreasoningabilitythatwasonce

commonamongengineers.

5.Theauthorcallsthepredicament困境facedbytheHistoricAmerican

EngineeringRecord“paradoxical”(line6,paragraph3)mostprobablybecause

[A]thepublicationneededdrawingsthatitsownstaffcouldnotmake.

[B]architecturalschoolsofferedbutdidnotrequireengineeringdesigncourses

fortheirstudents.

[C]collegestudentswerequalifiedtomakethedrawingswhilepracticing

engineerswerenot.

[D]engineeringstudentswerenottrainedtomakethetypeofdrawingsneededto

recordthedevelopmentoftheirowndiscipline.

[參考譯文]

許多日常使用的事物明顯受到了科學的影響，但它們的形狀和功能，它們的

大小和外觀，是由工藝人員、工匠、設計師、發明家和工程師運用非科學思維模

式來設計的。工藝人員所考慮物體的很多性質和特點不能歸結到毫不模糊的字面

描述；在思維中，它們以一種視覺上的、非言語的方式被加以處理。在西方科技

的發展過程中，大體上是由非言語思維刻畫了我們物質環境的輪廓并充實了其中

的細節。金字塔、大教堂、火箭之所以存在，不是因為幾何學或熱力學的原因，

而是因為在它們的制造者的頭腦中事先存在了這樣一幅畫面。

在幾乎每一件現存的人造制品身上都能看出工藝人員思維創造性的制作過

程。比如說，在柴油發動機的設計中，通過不斷使用關于合適感和適當感的直觀

體會，一個工藝人員得以用他個人的非語言思維來影響到機器本身。燃燒室的形

狀應怎樣？閥門應該放在哪里？它應該有個長的活塞還是應該有個短的？這樣

的問題有著由經驗、物理需要、可用空間的局限以及并非微不足道的形狀感等因

素提供的一系列答案。某一些決定，比如壁厚和銷釘直徑，可能需要由科學的計

算來定奪，但設計中的非科學成分仍然是主要的。

因此設計課程應該成為工程課程中的基本成份。非語言思維，這一工程設計

的核心機制，包括了感受這一屬于藝術家的而非科學家的慣用手段。因為人們認

為感受的過程不需要“硬思維”，非語言思維被視為認知過程發展的一個原始階

段而且比語言和數學思維差。但令人感到自相矛盾的是，當《美國工程歷史名錄》

的工作人員希望得到為其美國工程歷史記錄而繪制的機器圖和等比例圖時，唯一

具有所需技能的大學生不是工程學大學生，而是就讀于建筑學院的大學生。

如果不能開設設計課程(它能在一個高度分析性工程學課程體系中提供解決

實際問題的背景知識)，我們就會在先進的工程系統中遇到愚蠢而同時會導致極

大損失的錯誤。比如，裝載了精密控制設備的早期高速鐵路車輛模型不能在暴風

雪中正常運行，原因是一個風扇將雪吸入到電子系統中。干擾著自動控制系統的

荒唐的隨機故障不是輕微的失常；它們是i種混亂的反映，人們認為這種混亂主

要在設計數學方面的問題時就會產生。

21篇模板——(4)

題目序號題型歸類

第1題中心主旨題型

第2題細節推導題型

第3題審題定位與中心主旨題型

第4題歸納推導題型

第5題寫作手法題型

AsGilbertWhite,Darwin,andothersobservedlongago,allspeciesappearto

havetheinnatecapacitytoincreasetheirnumbersfromgenerationtogeneration.The

taskforecologistsistountangletheenvironmentalandbiologicalfactorsthathold

thisintrinsiccapacityforpopulationgrowthincheck=undercontroloverthelong

run.Thegreatvarietyofdynamicbehaviorsexhibitedbydifferentpopulationmakes

thistaskmoredifficult:somepopulationsremainroughlyconstantfromyeartoyear;

othersexhibitregularcyclesofabundanceandscarcity少；stillothersvarywildly,

withoutbreaksandcrashes下口備thatareinsomecasesplainly清楚correlatedwith

theweather,andinothercasesnot.

Toimposesomeorderonthiskaleidoscopeofpatterns,oneschoolofthought

proposesdividingpopulationsintotwogroups.Theseecologistspositthatthe

relativelysteadypopulationshave“density-dependent“growthparameters;thatis,

ratesofbirth,death,andmigrationwhichdependstronglyonpopulationdensity.The

highlyvaryingpopulationshave"density-independent“growthparameters,withvital

ratesbuffetedbyenvironmentalevents;theseratesfluctuateinawaythatiswholly

independentofpopulationdensity.

Thisdichotomyhasitsuses,butitcancauseproblemsiftakentooliterally認真.

Foronething,nopopulationcanbedrivenentirelybydensity-independentfactorsall

thetime.Nomatterhowseverelyorunpredictablybirth,death,andmigrationrates

maybefluctuatingaroundtheirlong-termaverages,iftherewereno

density-dependenteffects,thepopulationwould,inthelongrun,eitherincreaseor

decreasewithoutbound(barringamiraclebywhichgainsandlossescanceled

exactly).Putanotherway,itmaybethatonaverage99percentofalldeathsina

populationarisefromdensity-independentcauses,andonlyonepercentfromfactors

varyingwithdensity.Thefactorsmakinguptheonepercentmayseemunimportant,

andtheircausemaybecorrespondinglyhardtodetermine.Yet,whetherrecognizedor

not,theywillusuallydeterminethelong-termaveragepopulationdensity.

Inordertounderstandthenatureoftheecologist'sinvestigation,wemaythinkof

=regardthedensity-dependenteffectsongrowthparametersasthe“signal”信號

ecologistsaretryingtoisolateandinterpret,onethattendstomakethepopulation

increasefromrelativelylowvaluesordecreasefromrelativelyhighones,while雖然

thedensity-independenteffectsacttoproduce“noise“inthepopulationdynamics.

Forpopulationsthatremainrelativelyconstant,orthatoscillatearoundrepeated

cycles,thesignalcanbefairlyeasilycharacterizedanditseffectsdescribed,even

thoughthecausativebiologicalmechanismmayremainunknown.Forirregularly

fluctuatingpopulations,wearelikelytohavetoofewobservationstohaveanyhope

ofextractingthesignalfromtheoverwhelmingnoise.Butitnowseemsclearthatall

populationsareregulatedbyamixtureofdensity-dependentanddensity-independent

effectsinvaryingproportions.

1.Theauthorofthetextisprimarilyconcernedwith本文主旨

[A]discussingtwocategoriesoffactorsthatcontrolpopulationgrowthand

assessingtheirrelativeimportance.

[B]describinghowgrowthratesinnaturalpopulationsfluctuateovertimeand

explainingwhythesechangesoccur.

[C]proposingahypothesisconcerningpopulationsizeandsuggestingwaystotest

it.

[D]posingafundamentalquestionaboutenvironmentalfactorsinpopulation

growthandpresenting提出somecurrentlyacceptedanswer.

2.Itcanbeinferredfromthetextthattheauthorconsidersthedichotomydiscussed

tobe認為

[A]applicableonlytoerraticallyfluctuatingpopulations.

[B]instrumental,=usefulbutonlyifitslimitationsarerecognized.

[C]dangerouslymisleadinginmostcircumstances.

[D]acompleteandsufficientwaytoaccountforobservedphenomena.

3.Accordingtothetext,allofthefollowingbehaviorshavebeenexhibitedby

differentpopulationsEXCEPT

[A]roughlyconstantpopulationlevelsfromyeartoyear.

[B]regularcyclesofincreasesanddecreasesinnumbers.

[C]erraticincreasesinnumberscorrelatedwiththeweather.

[D]uncheckedincreasesinnumbersovermanygenerations.

4.Thediscussionconcerningpopulation數量inthethirdparagraphserves

primarilyto

[A]demonstratethedifficultiesecologistsfaceinstudyingdensity-dependent

factorslimitingpopulationgrowth.

[B]advocatemorerigorousstudyofdensity-dependentfactorsinpopulation

growth.

[C]provethatthedeathratesofanypopulationareneverentirely

density-independent.

[D]underline強調theimportanceofevensmalldensity-dependentfactorsin

regulatinglong-termpopulationdensities.

5.Inthetext,theauthordoesallofthefollowingEXCEPT

[A]citetheviewsofotherbiologists.第二段

[B]defineabasicproblemthatthetextaddresses.

[C]presentconceptualcategoriesusedbyotherbiologists.

[D]describetheresultsofaparticular特定的study.

[參考譯文]

正如吉爾伯特?懷特、達爾文以及其它科學家很久以前觀察的那樣，所有的

物種都具有一種天生的能力來一代一代地增加它們種群的數量。生態學家的使命

就是調查清楚環境和生態因素長期以來是如何控制這種致使種群增長的內在能

力的。由于不同種群所表現出來的動態行為是如此多樣化，致使這項任務顯得非

常困難：有些種群長期以來大致保持不變；有些表現出周期性的繁榮和稀少；而

還有些變化非常大，時而暴增，時而銳減，這種增減有時顯然與氣候有關，而有

時又與氣候無關。

為了賦予這些千變萬化的模式一種規律，科學家中的一種流派提出將所有種

群劃分為兩類。這部分生態學家假設：那些相對穩定的種群具有和“種群密度相

關”的增長參數；也就是說，這些種群的出生率、死亡率以及遷徙規律都大大地

依賴于種群的密度。那些變化很大的種群具有“種群密度無關”的增長參數，其

生存率隨環境因素的變化而變化，并且以…種完全獨立于種群密度的方式進行波

動。

這種二分法有它的用途，但如果死板地應用也會引發一些問題。一方面，沒

有任何種群在所有的時間里完全只受“種群密度無關”因素的影響。無論出生、

死亡率以及遷徙規律相對于長期的平均值的變化是如何的劇烈和不可預測，如果

沒有種群密度無關因素，從長遠來看，這個種群的數量將無限地增加或減少(從

而阻礙了得失正好相消的奇跡的發生)。換一句話講，也許種群內平均99%的死

亡都由“種群密度無關”因素導致的，只有1%由隨種群密度變化而變化的因素

所導致。導致這1%的因素也許看起來并不重要，而且它們的影響也相應地很難

確定。但是，無論認識到或沒有認識到，它們都將對該種群密度長期的平均值起

決定作用。

為了能夠理解生態學家們研究的性質，我們可以把種群密度相關對增長參數

的影響視為一種“信號”，生態學家試圖分離并解釋這些“信號”，這種“信號”

將使種群中個體數量從相對低的數值增長或從相對高的數值減少，同時，密度無

關因素將作為一種“噪音”來影響種群的動態變化。對于那些數量保持相對不變,

或者以一種循環周期進行擺動的種群而言，這種“信號”將會相當容易提取特征

并描述它的