2011 年全国硕士研究生招生考试英语（一）试题年全国硕士研究生招生考试英语（一）试题 Section I Use of English Directions: Read the following text. Choose the best word(s) for each numbered blank and mark A, B, C or D on ANSWER SHEET 1. (10 points) Ancient Greek philosopher Aristotle viewed laughter as “a bodily exercise precious to health.” But 1 some claims to the contrary, laughing probably has little influence on physical fitness. Laughter does 2 short-term changes in the function of the heart and its blood vessels, 3 heart rate and oxygen consumption. But because hard laughter is difficult to 4 , a good laugh is unlikely to have 5 benefits the way, say, walking or jogging does. 6 , instead of straining muscles to build them, as exercise does, laughter apparently accomplishes the 7. Studies dating back to the 1930s indicate that laughter8 muscles, decreasing muscle tone for up to 45 minutes after the laugh dies down. Such bodily reaction might conceivably help 9 the effects of psychological stress. Anyway, the act of laughing probably does produce other types of 10 feedback that improve an individuals emotional state. 11 one classical theory of emotion, our feelings are partially rooted 12 physical reactions. It was argued at the end of the 19thcentury that humans do not cry 13 they are sad but that they become sad when the tears begin to flow. Although sadness also 14 tears, evidence suggests that emotions can flow 15 muscular responses. In an experiment published in 1988, social psychologist Fritz Strack of the University of Wrzburg in Germany asked volunteers to 16 a pen either with their teeth thereby creating an artificial smile or with their lips, which would produce a(n) 17 expression. Those forced to exercise their smiling muscles 18 more enthusiastically to funny cartoons than did those whose mouths were contracted in a frown, 19 that expressions may influence emotions rather than just the other way around. 20 , the physical act of laughter could improve mood. 1.A amongB exceptC despiteD like 2.A reflectB demandC indicateD produce 3.A stabilizing B boostingC impairingD determining 4.A transmitB sustainC evaluateD observe 5.A measurableB manageable C affordableD renewable 6.A In turnB In factC In additionD In brief 7.A oppositeB impossible C averageD expected 8.A hardensB weakensC tightensD relaxes 9.A aggravateB generateC moderateD enhance 10.A physicalB mentalC subconsciousD internal 11.A ExceptforB According toC Due toD As for 12.A withB onC inD at 13.A unlessB untilC ifD because 14.A exhaustsB followsC precedesD suppresses 15.A intoB fromC towardsD beyond 16.A fetchB biteC pickD hold 17.A disappointed B excitedC joyfulD indifferent 18.A adaptedB cateredC turnedD reacted 19.A suggestingB requiringC mentioningD supposing 20.A EventuallyB ConsequentlyC SimilarlyD Conversely Section II Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on ANSWER SHEET 1. (40 points) Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the most part, the response has been favorable, to say the least. “Hooray! At last!” wrote Anthony Tommasini, a sober-sided classical-music critic. One of the reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilberts appointment in theTimes, calls him “an unpretentious musician with no air of the formidable conductor about him.” As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise. For my part, I have no idea whether Gilbert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting compositions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music. All I have to do is to go to my CD shelf, or boot up my computer and download still more recorded music from iTunes. Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the art-loving public, classical instrumentalists must compete not only with opera houses, dance troupes, theater companies, and museums, but also with the recorded performances of the great classical musicians of the 20thcentury. These recordings are cheap, available everywhere, and very often much higher in artistic quality than todays live performances; moreover, they can be “consumed” at a time and place of the listeners choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert. One possible response is for classical