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标题: 揽瓜阁训练营第110天（含CR，RC和DI题目） [打印本页]

作者: 小白斩鸡 时间: 2024-4-19 10:34
标题: 揽瓜阁训练营第110天（含CR，RC和DI题目）
之前大家对揽瓜阁精读的反馈很好，就想着自己的时间开始把一些精读的文章根据JJ出题目～然后focus上线，IR需求大家也大。就想着把揽瓜阁的阅读逻辑 IR 都放在这贴里打卡

每日的解析在揽瓜阁2024群更新

RC题源：揽瓜阁精读的文章+机经的题目
CR题源：本月中文JJ改编
IR题源：往届鸡精改编

打卡内容：
一周打卡五篇，科目不限。
每天上午管理员群内发布题目，群成员做完提交打卡，第二天发布解析

打卡内容建议：
阅读：写文章结构、笔记
逻辑：写逻辑链分析
IR：写做题思路和选项分析

【现在你的笔记越全，越能帮助你捋清思路，之后回顾总结。】
打卡方式：
可以在论坛留言区打卡，截图到群内
也可以在小红书/微博打卡，需写明任务内容是哪篇，并带上#揽瓜阁 #LGG #lgg 的 tag，截图到群内。

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1.CR
A school replaced the carton containers for milk with new plastic packaging. After the change, they noticed that less milk was left over, leading to the conclusion that students were drinking more milk due to the new packaging.
What is an assumption necessary for this conclusion?
A. The taste of milk did not change with the new packaging.
B. The new plastic packaging does not leak more milk than the old carton containers.
C. Students prefer plastic packaging over carton containers.
D. The types and quantities of other beverages provided to students at lunchtime remained the same.
E. The plastic packaging is more environmentally friendly than the carton containers.

Maple sugar suppliers are considering replacing expensive and scarce fuel oil with used cooking oil from restaurants. This alternative is equally efficient and costs 30% less, with the government covering the costs of new machinery required for the change. However, there's a concern that as demand for used cooking oil increases, its price might rise, making it as expensive as fuel oil. Which of the following, if true, most effectively weakens this concern?
A. The supply of used cooking oil is consistently high due to a large number of restaurants in the region.
B. The transportation costs for used cooking oil are significantly lower than for fuel oil.
C. The government plans to subsidize the price difference if the cost of used cooking oil increases.
D. The majority of maple sugar suppliers are located near cities with an ample supply of used cooking oil.
E. The price of fuel oil is expected to rise significantly in the near future, making used cooking oil a more economical option even if its price increases.

2.DI
The Television Arts Network, an esteemed bastion of high-quality programming, finds itself ensnared in a tempestuous quandary as it grapples with a seismic shift in its content strategy. The newly appointed Programming Director, Alessandro Rossi, an indefatigable and fervent advocate for the arts, particularly the resplendent and mellifluous realm of Italian opera, expresses deep-seated and vehement concerns about the network's current lineup, which is heavily dominated by a surfeit of reality shows, often characterized by their trite, banal, and even vulgar content. In stark and unequivocal contrast, the Marketing Manager, Sophia Bianchi, an inveterate pragmatist and an astute observer of audience proclivities, vociferously argues that the network must prioritize audience numbers and cater to the diverse and multifarious preferences of viewers nationwide to attract sponsors and maintain financial viability in an increasingly cutthroat and competitive television landscape.

According to a recent comprehensive and exhaustive report meticulously compiled by Nielsen, a preeminent authority in the field of audience measurement, the Television Arts Network's primetime viewership has experienced a notable and substantial 15% increase over the past year, a testament to its burgeoning popularity. However, a more granular analysis of the data reveals that reality shows, with their ostensibly irresistible allure and mass appeal, account for a staggering and disproportionate 70% of the network's total viewership. This statistic, while undeniably impressive from a purely numerical standpoint, has nonetheless raised eyebrows and elicited consternation among certain quarters, particularly those who champion the intrinsic value and edifying potential of the arts.

In a parallel development, a thought-provoking survey conducted by the National Endowment for the Arts, a bastion of cultural preservation and artistic patronage, reveals that 35% of American adults, a not inconsiderable proportion, have attended at least one live performing arts event in the past year, a heartening indication of the enduring appeal and relevance of the arts in contemporary society. Particularly noteworthy is the finding that opera attendance, long considered a niche and rarefied pursuit, has shown a modest yet significant 2% uptick, suggesting a nascent resurgence of interest in this venerable and storied art form.

Rossi, a man of deep conviction and artistic integrity, passionately believes that the network has a moral and cultural imperative to educate and uplift its audience by offering a more diverse and substantive array of arts-related content. He proposes the creation of a groundbreaking and ambitious new series, "Opera Italiana," which would showcase the rich history, breathtaking beauty, and profound emotional depth of Italian opera, featuring mesmerizing performances from world-renowned opera houses such as the iconic La Scala in Milan and the venerable Teatro San Carlo in Naples, institutions that have long been synonymous with artistic excellence and cultural refinement. Rossi, drawing upon his extensive knowledge of the opera world and his keen understanding of audience dynamics, estimates that the series could potentially attract a niche but devoted audience of 1.5 million viewers per episode, a figure that, while modest in comparison to the network's current reality show offerings, nonetheless represents a significant and untapped market. Moreover, Rossi envisions the series as a catalyst for growth and expansion, predicting that its reputation for quality and sophistication will gradually spread through word of mouth and critical acclaim, drawing in ever-larger numbers of discerning viewers who yearn for more meaningful and enriching television experiences.

Bianchi, however, ever the pragmatist and the guardian of the network's bottom line, counters that the costs associated with producing high-quality opera content would be substantial and perhaps even prohibitive, potentially exceeding $1.5 million per episode, a figure that would strain the network's already limited budget and divert resources from more commercially viable programming options. She argues, with a steely and unwavering conviction, that the network's financial resources would be more effectively and efficiently allocated towards developing additional reality shows, which have a more modest average production cost of $500,000 per episode yet consistently draw an impressive and reliable audience of 5 million viewers, a figure that dwarfs the projected viewership of "Opera Italiana" and underscores the enduring and unassailable popularity of the reality genre.

Furthermore, in an effort to bolster the artistic credibility and commercial appeal of his proposed series, Rossi suggests collaborating with renowned and celebrated Italian opera singers such as the luminous Anna Netrebko and the electrifying Juan Diego Flórez, artists whose transcendent talents and magnetic stage presence have earned them a vast and devoted following among opera enthusiasts worldwide. He points out, with a mixture of admiration and strategic calculation, that these acclaimed artists have the power to help expand the program's reach and draw in new and diverse audiences who might otherwise be unfamiliar with or indifferent to the charms of opera.

Rossi also proposes forging a strategic partnership with the Italian Ministry of Culture, a venerable institution that has long been a champion of the arts and a guardian of Italy's rich cultural heritage. By securing subsidies and financial support from this esteemed body, Rossi believes that the network could offset a significant portion of the production costs associated with "Opera Italiana," thereby making the series a more financially viable and sustainable proposition in the long run.

Bianchi, however, remains skeptical and unconvinced by Rossi's grand vision and sweeping proposals. She notes, with a hint of concern and a touch of incredulity, that collaborating with famous opera singers, while undeniably prestigious and attention-grabbing, would likely lead to a significant increase in the program's budget, as these artists often command high fees and require extensive accommodations for their appearances. Additionally, she questions, with a raised eyebrow and a note of doubt in her voice, whether the Italian government, with its own budgetary constraints and competing priorities, would be willing to provide substantial funding for a program produced by an American television network, regardless of its artistic merits or cultural significance. Bianchi maintains, with a steely resolve and an unwavering commitment to the bottom line, that the network should focus its energies and resources on programming that has a proven track record of attracting a wide and diverse audience, rather than taking risks on high-minded but potentially niche offerings like "Opera Italiana."

Rossi, however, remains undeterred by Bianchi's skepticism and continues to passionately advocate for the transformative potential of high-quality arts programming. He asserts, with a mixture of conviction and strategic savvy, that investing in a series like "Opera Italiana" could help elevate the Television Arts Network's brand image and position it as a leader in cultural programming, thereby attracting a more affluent, educated, and discerning class of advertisers. To support his argument, Rossi cites a recent study conducted by the prestigious advertising firm Publicis, which found that brands associated with sophisticated cultural programming are perceived by consumers as more trustworthy, refined, and prestigious than those that primarily advertise on reality television. The study also indicates, much to Rossi's delight and Bianchi's consternation, that these high-end brands are willing to pay a premium of up to 20% in advertising rates compared to their counterparts in the reality TV space, a finding that underscores the potential financial benefits of embracing a more arts-focused programming strategy.

Bianchi, while acknowledging the potential merits of Rossi's arguments, nevertheless remains committed to her role as the network's financial gatekeeper and the guardian of its shareholder interests. She pointedly reminds Rossi, with a mixture of firmness and diplomacy, that the network's primary responsibility is to generate returns for its investors and maintain a stable financial footing in an increasingly competitive and unpredictable media landscape. To underscore her point, Bianchi highlights the fact that the network's stock price has soared by an impressive 25% over the past year, a surge that she attributes largely to the runaway success and popularity of its reality programming. She cautions, with a note of gravity and concern, that deviating too far from this proven and lucrative strategy could jeopardize the network's hard-won gains and expose it to unnecessary financial risks and uncertainties.

As the debate between Rossi and Bianchi continues to rage, with each party marshaling new arguments and evidence to support their respective positions, the Television Arts Network finds itself at a critical inflection point in its history. The decision of whether to embrace a more arts-focused programming strategy, with all the risks and rewards that entails, or to stay the course with its current emphasis on crowd-pleasing reality fare, will have far-reaching implications for the network's identity, audience composition, and financial performance in the years to come. It is a decision that will require vision, courage, and a willingness to take calculated risks in pursuit of a higher purpose, and one that will ultimately determine whether the Television Arts Network remains true to its founding mission of enriching and inspiring viewers through the power of great art and storytelling.

In the end, the fate of "Opera Italiana" and the broader question of the network's programming philosophy will hinge on the ability of Rossi and Bianchi to find common ground and forge a compromise that balances their competing visions and priorities. Rossi, with his deep passion for the arts and his unwavering belief in the transformative power of opera, will need to make a compelling case for the long-term benefits of investing in high-quality cultural programming, even if the short-term financial returns are less certain. He will need to demonstrate, through rigorous market research and audience analysis, that there is indeed a significant and growing demand for the kind of sophisticated, intellectually engaging content that "Opera Italiana" represents, and that the series has the potential to attract a loyal and affluent viewership that will ultimately benefit the network's bottom line.

Bianchi, for her part, will need to keep an open mind and be willing to consider the merits of Rossi's proposals, even if they challenge her own assumptions and preferences. She will need to weigh the potential risks and rewards of venturing into uncharted programming territory, and consider whether the network's long-term viability and relevance might be better served by a more diverse and ambitious content strategy that embraces the arts as well as more populist fare. At the same time, Bianchi will need to remain vigilant in her role as the network's financial steward, ensuring that any new programming initiatives are carefully planned, budgeted, and executed in a way that maximizes their chances of success while minimizing potential losses.

Ultimately, the resolution of this debate will require both Rossi and Bianchi to engage in a frank, open, and constructive dialogue about the network's values, priorities, and long-term strategic vision. They will need to find a way to bridge their differences and work together in pursuit of a common goal: to create programming that is both commercially successful and culturally enriching, and that serves the needs and interests of a diverse and evolving audience.

If they can achieve this delicate balance, the Television Arts Network may well be poised for a new era of growth, innovation, and creative excellence, one that honors its proud tradition of quality programming while also embracing the challenges and opportunities of an increasingly complex and competitive media landscape. With "Opera Italiana" as its flagship offering, the network could potentially redefine itself as a leader in the field of arts broadcasting, setting a new standard for intelligent, engaging, and thought-provoking television that inspires and delights audiences around the world.

Of course, the path ahead is not without its obstacles and uncertainties, and success is by no means guaranteed. But if Rossi and Bianchi can summon the courage, vision, and determination to pursue their shared dream of a more vibrant and meaningful television culture, they may well find that the rewards – both financial and artistic – are well worth the risks and challenges they face along the way.

In the final analysis, the fate of "Opera Italiana" and the larger question of the Television Arts Network's programming philosophy will be decided not by any one individual or argument, but by the collective wisdom, creativity, and passion of all those who believe in the enduring power and importance of great art and storytelling. It is a struggle that has been waged since the dawn of human civilization, and one that will continue to shape our cultural landscape for generations to come. And as the curtain rises on this latest act in the ongoing drama of the arts and media, one can only hope that the protagonists – Rossi, Bianchi, and all those who share their love of beauty and truth – will rise to the occasion and create something truly extraordinary, something that will stand the test of time and inspire audiences for years to come.

1. Which of the following best encapsulates the central tension between Rossi and Bianchi's perspectives on the Television Arts Network's programming strategy?
A. The role of the network in shaping public taste versus responding to existing audience preferences
B. The importance of financial considerations in programming decisions versus the pursuit of artistic merit and cultural enrichment
C. The targeting of niche audiences versus the appeal to mass audiences and broad commercial success
D. The responsibility of the network to its shareholders and investors versus its broader cultural obligations to society
E. The short-term benefits and profitability of reality programming versus the long-term value and prestige of investing in the arts

2. According to the passage, what percentage of the Television Arts Network's total viewership is currently attributed to reality shows?
A. 15%
B. 35%
C. 50%
D. 70%
E. 85%

3. Based on the information provided in the passage, which of the following statements about opera attendance in the United States is most accurate?
A. Opera attendance has declined by 2% over the past year, indicating a waning interest in the art form among American audiences.
B. Opera attendance has remained steady over the past year, suggesting a stable but limited audience for the genre.
C. Opera attendance has increased by a modest 2% over the past year, pointing to a potential resurgence of interest in the art form.
D. Opera attendance has surged by 35% over the past year, reflecting a major shift in audience preferences towards highbrow cultural content.
E. The passage does not provide enough information to draw any definitive conclusions about trends in opera attendance in the United States.

4. According to Rossi's estimates, what is the projected per-episode viewership for the proposed "Opera Italiana" series?
A. 500,000
B. 1,000,000
C. 1,500,000
D. 2,000,000
E. 2,500,000

5. How much more expensive does Bianchi estimate the per-episode production costs of "Opera Italiana" to be compared to the network's typical reality shows?
A. $500,000
B. $750,000
C. $1,000,000
D. $1,250,000
E. $1,500,000

6. According to the passage, which of the following is NOT cited as a potential benefit of collaborating with renowned opera singers like Anna Netrebko and Juan Diego Flórez on the "Opera Italiana" project?
A. Enhancing the artistic credibility and prestige of the series
B. Attracting a wider audience of opera enthusiasts and aficionados
C. Helping to secure additional funding and support from the Italian Ministry of Culture
D. Expanding the program's reach and drawing in new and diverse viewership
E. Increasing the marketability and commercial appeal of the series to potential advertisers

7. What does the Publicis study cited by Rossi suggest about the potential advertising benefits of arts-focused programming?
A. Brands associated with cultural programming are perceived as more sophisticated and trustworthy by consumers.
B. Arts-focused shows tend to attract a younger, more diverse, and more engaged audience than reality programming.
C. Advertising rates for arts programs are typically 20% lower than those for reality shows, making them a more cost-effective investment.
D. The study found no significant differences in advertising outcomes between arts programming and reality television.
E. The study's findings are inconclusive and do not provide clear guidance for the network's advertising strategy.

8. According to the passage, what has been the primary driver of the Television Arts Network's recent financial success and stock price growth?
A. The popularity and profitability of its reality television programming
B. The critical acclaim and prestige of its arts-focused shows and documentaries
C. The network's strategic partnerships with leading cultural institutions and arts organizations
D. Its successful expansion into international markets and foreign-language content
E. The passage does not provide a clear explanation for the network's recent financial performance.

9. Which of the following best describes Bianchi's central argument against investing heavily in "Opera Italiana" and other arts programming?
A. The network lacks the necessary expertise and resources to produce high-quality arts content.
B. The audience for opera and other highbrow cultural programming is too small and niche to justify the investment.
C. Arts programming is inherently more expensive and risky than reality television, and could jeopardize the network's financial stability.
D. The network's shareholders and investors are primarily interested in short-term profits and returns, rather than long-term cultural impact.
E. The Italian Ministry of Culture is unlikely to provide significant funding or support for an American-produced arts series.

10. Based on the information provided in the passage, which of the following statements best characterizes the current state of the debate between Rossi and Bianchi over the network's programming strategy?
A. Rossi's vision for arts programming has clearly prevailed, and the network is poised to make significant investments in series like "Opera Italiana."
B. Bianchi's focus on financial considerations and profitability has won out, and the network is likely to continue prioritizing reality shows over arts content.
C. The two sides have reached a mutual understanding and compromise, agreeing to pursue a balanced strategy that includes both reality programming and selective arts investments.
D. The debate remains unresolved and ongoing, with both Rossi and Bianchi continuing to advocate for their respective positions and philosophies.
E. The passage suggests that external factors, such as market trends and audience preferences, are likely to be the ultimate deciding factor in the network's programming choices, rather than the internal debate between Rossi and Bianchi.

The role of humans in the global dispersal of vascular plants has surpassed that of natural forces. This dispersal occurs through both inadvertent and deliberate means. Accidental dispersal involves the transportation of seeds, plant disseminules, and vegetative propagules through clothing, domesticated animals, and various forms of commerce, particularly as contaminants in seed lots (Muenscher 1955). Deliberate transportation of plants has been a longstanding practice in almost all human societies to fulfill basic needs (Mack 1999). While many ancient accounts of plant transport may be apocryphal, such as Queen Hatshepsut's importation of incense trees to Egypt from the Land of Punt in 1500 BC (Hodge and Erlanson 1956), there is a verifiable fossil record documenting the cultivation of plants far from their native ranges for millennia (Godwin 1975).

The consequences of human actions as global plant dispersers can be beneficial, neutral, or detrimental. Establishing plants beyond their native ranges has been crucial to agriculture (Hodge and Erlanson 1956), with few agricultural economies today relying solely on native crops and none supporting an industrialized society. Many plants transported long distances by humans perish en route or shortly after, resulting in no significant impact. However, some immigrants thrive in their new range, even without cultivation, and a few cause significant environmental and economic damage (Vitousek et al. 1996). These species are termed naturalized species if they form permanent but nonspreading populations, or invaders if they form prolific, permanent populations that typically spread over large new ranges (Mack 1997). The term "weed," while anthropocentric, is often applied to species in both ecological categories and to those that are destructive in their native range. Although there is no universally agreed-upon definition of weeds, Baker's (1974) definition—species that not only have no detected human value but actually interfere with human activities—has gained wide acceptance. This article focuses exclusively on introduced species that meet this definition in a new range.

These species lead to economic losses (e.g., weeds in pastures and crops), adverse effects on human health (such as allergies and toxic reactions), and ecological losses (reduction of biodiversity and ecosystem services, such as water supply) (Vitousek et al. 1996). The aggregate cost of this damage is enormous, with introduced weeds costing the Australian economy perhaps A$3 billion (ANWS 1997) and the US economy more than $26 billion annually (Pimentel et al. 2000).

In many regions of the world, the emerging assessment on the origin of weeds leads to two conclusions. First, most weeds in a region are not native but were introduced by humans. Second, the largest single group of these unwelcome intruders was originally introduced deliberately (Panetta 1993). For instance, 60% of the more than 600 naturalized taxa listed in Fernald (1950) for the northeastern United States were deliberately introduced, with the true percentage likely being higher due to the obscure original use of many naturalized species (Sturtevant 1919). Both conclusions have significant implications for controlling a nation's current weeds and preventing future weed introductions.

This article explores the apparent motivations behind the introduction of vascular plants, both transoceanically and throughout a potential new range, as well as the biological basis for factors that foster the spread of some introduced species in a new range. Predictions are made about the characteristics of future weeds and the steps that could prevent such new weeds from arising. Additionally, areas for research in the epidemiology of potentially weedy species are suggested. The role of natural forces in moving potentially weedy species around the globe is briefly explored.

Questions:
1. What is the main idea of the passage?
A. Humans have become the primary force in the global dispersal of vascular plants, with both beneficial and detrimental consequences.
B. The introduction of weeds by humans has led to significant economic losses in various regions of the world.
C. The fossil record provides evidence of plants being cultivated far from their native ranges for thousands of years.
D. The majority of weeds in most regions of the world are not native but were introduced by humans, often deliberately.
E. Natural forces play a crucial role in moving potentially weedy species around the globe.

2. According to the passage, which of the following is NOT a consequence of the introduction of weedy species?
A. Economic losses due to weeds in pastures and crops
B. Adverse effects on human health,such as allergies and toxic reactions
C. Reduction of biodiversity and ecosystem services
D. Increased agricultural productivity in industrialized societies
E. Enormous aggregate costs to national economies

3. Based on the information in the passage, which of the following statements about the origin of weeds is TRUE?
A. Most weeds in a region are native to that area.
B. The majority of weeds were introduced accidentally by humans.
C. The largest single group of weeds was originally introduced deliberately.
D. The original use of many naturalized species is well-documented.
E. Humans have played a minor role in the introduction of weeds.

4. According to the passage, what percentage of the naturalized taxa listed in Fernald (1950) for the northeastern United States were deliberately introduced?
A. Less than 50%
B. Exactly 50%
C. 60%
D. More than 60%
E. The passage does not specify the exact percentage.

5. Which of the following is NOT mentioned as a means of accidental plant dispersal by humans?
A. Transportation of seeds in clothing
B. Ingestion of seeds by domesticated animals
C. Contamination of seed lots in commerce
D. Attachment of plant propagules to various forms of commerce
E. Deliberate cultivation of plants for agricultural purposes

6. The term "weed" is described in the passage as:
A. Having a universally agreed-upon definition
B. Applying only to species that are destructive in their native range
C. Being an anthropocentric but familiar term
D. Referring exclusively to naturalized species
E. Having no accepted definition in the scientific community

7. The passage suggests that the two conclusions drawn from the emerging assessment on the origin of weeds have implications for:
A. The methods by which a nation's current weeds might be controlled
B. The prevention of future weed introductions
C. The role of natural forces in the global dispersal of plants
D. Both A and B
E. Both B and C

8. The author's primary purpose in writing this passage is to:
A. Argue for the importance of human activities in the global dispersal of vascular plants
B. Provide a comprehensive history of plant transportation by humans
C. Explore the motivations behind plant introductions and the factors that contribute to the spread of weedy species
D. Criticize the deliberate introduction of plants by humans throughout history
E. Compare the roles of humans and natural forces in the global dispersal of plants

作者: Mumu_ 时间: 2024-4-19 11:28
打卡

作者: 为了G700 时间: 2024-4-19 12:45

Day110 CR

第一题，❌选A，答案B，构建题。

P：学校把牛奶的包装从纸箱改成了塑料，更少的奶被剩下。

C：学生喝更多奶是因为新包装。

A.新包装奶的味道没有变.(不是因为味道改变，可以加强结论）

B.新包装没有比老包装漏更多的奶.(无关）

C.学生喜欢塑料包装多余纸箱包装。（重复结论）

D.午饭时候提供给学生的其他食物的种类和数量是一样的.(文中没说是午餐）

E, 塑料包装比纸箱更环保。(没提学生喜欢环保）

第二题，❌选C，答案A,削弱结论。

P：很多糖的供应商正考虑用餐厅的二手油替代燃料油，二者效率一样，成本节约30%，政府会覆盖这个改变需要的机器费用。

C.但是随着烹饪油的需求增加，单价也会上涨，甚至和燃料油一样。

A.烹调油的供应持续升高，因为有很多餐厅在这个地区。

B.烹饪油的交通费用比燃油低。

C.如果用过的食用油成本增加，政府计划补贴价格差异。

D.大多数枫糖供应商都位于城市附近，那里有充足的废食用油供应。

E.预计燃料油的价格在不久的将来将大幅上涨，即使价格上涨，使用过的食用油也是一种更经济的选择。

作者: xuelin99 时间: 2024-4-19 13:24
Mark一下！

作者: xuelin99 时间: 2024-4-19 13:25
D110
CR
1.假设题
P：更换了牛奶的包装后，牛奶剩下的就更少了
C：新包装使得大家喝更多的牛奶
A：牛奶的味道没有变，文中只说更换了包装
B：新包装不会比旧包装漏掉更多，影响总量，备选
C：学生们更喜欢新包装，与是否喜欢无关
D：给学生提供的其他饮料的数量和种类不变，备选
E：新包装更环保，无关
我的答案：B 正确答案：B

2.削弱题
P：要把稀少贵fuel oil 换成便宜 used cooking oil ，如政府承担机器更换费，会节省30%成本
C：担心cooking oil 需求增加了，也会涨价和fuel oil 一样贵
A：used cooking oil供应量很多，备选
B：used cooking oil运输费更低，无关
C：如果涨价，政府会补贴差价，担心的是涨价问题，补贴也是涨价
D：大多数供应商坐落在used cooking oil很多的地方，无关
E：fuel oil 未来会涨价，无关
我的答案：A 正确答案：A

作者: 狗熊要吃肉 时间: 2024-4-19 13:44
AA

作者: E杀G必成功 时间: 2024-4-19 15:47
CR: BB
DI: BDCCC EAACC

CR: BB(A)

DI: BDCCC E(C)AACC(D)

作者: 豫章笑笑生 时间: 2024-4-19 16:00
同意！

作者: abandonn 时间: 2024-4-19 18:48
打卡打卡

作者: lewton 时间: 2024-4-19 18:55
111111111

作者: 小林考gmat 时间: 2024-4-19 19:41
看下

作者: orangreen 时间: 2024-4-19 23:37
CR: BB
RC: ADCCECDB

作者: setmefree1 时间: 2024-4-20 11:26
DAY110
CR
BA
RC
ADCCECDD
- 人类在植物分散的作用超过了自然作用。人类社会的故意传播种子是长期存在的
- 人类做为植物传播者的后果可能是有利的，中立的以及有害的
- 引进物种带来的经济损失，对人类健康的反作用
- 野草来源的两个结论

作者: Katelynns 时间: 2024-4-20 22:15
CR：1.B 使用新包装后，剩的牛奶少不是因为漏的更多➡️学生在新包装的使用下喝了更多牛奶
2.E 直接解释了argument中的concern 两种油的价格不会一样高

作者: xiaoyuzhou90 时间: 2024-4-21 02:38
CR
1我的答案：c；P：学校用塑料包装替换了纸盒包装，牛奶就剩的少了；C：学生喝了更多的牛奶，因为包装变了；---必要前提（为什么包装变了，就喝更多呢？）---c，学生更喜欢塑料包装；一开始有点纠结d，但是感觉这个跟结论的因果关系没有关联。
2我的答案：A；P：M打算用地沟油代替贵油，这样可以节省且可以cover换机器的钱；C：但是，有一个影响，对地沟油的需求增加了，它的价格可能会涨，导致它和贵油一样贵；---削弱---a，地沟油很多；d，似是非是的感觉；e，贵油将会涨价，给地沟油一些涨价空间，也有点道理的亚子；

作者: 豆奶 时间: 2024-4-21 21:56
看一下！

作者: leiyaqing1992 时间: 2024-4-21 22:26
Mark一下！

作者: 杨翠花 时间: 2024-4-21 22:43
Mark一下！

作者: Yeelin椰林 时间: 2024-4-21 23:10
【CR】
1、 A：控制变量。
B漏了反而剩得少。C之前的也可能是cartoon。DE无关。

2、 A
BCE不够直接。排除法剩下AD，D指的是majority，现在供应充足未必代表以后充足。

作者: leiyaqing1992 时间: 2024-4-21 23:21
图

作者: 杨翠花 时间: 2024-4-21 23:56
CR，答题卡：BE，答案：BA
1. P：学校牛奶盒换成塑料的，剩下的牛奶变少了
C：因为新包装，学生喝的多了
assumption，取非削弱，削弱后的立场：学生并不是因为新包装喝的多
A取非：新包装的牛奶口味变化了【仍然是因为新包装导致喝的多】
答案B取非：新塑料包装漏出更多的牛奶【不是喝完的，是漏完的】

2. P：M公司打算用使用过的食用油代替fuel oil，可以节约成本30%，政府负责新设备的费用
C：有concern认为对使用过的食用油需求增加，价格会上涨，会变得更fuel oil一样贵
削弱题，立场：使用过的食用油价格不太会上涨
我选E：在讨论fuel oil ，跟食用油无关【应该排除】
答案A：食用油的供给一直很多【推断出价格不会上涨】
错在削弱题立场理解错误

RC，答题卡：ADBCECDC，答案：ADCCECDC

1. 文章主旨题，篇章内容就是在说人类已成为全球维管植物散布的主要力量
2. 定位第三段，提炼关键词
3. 二选一错，定位第四段：First, most weeds in a region are not native but were introduced by humans. Second, the largest single group of these unwelcome intruders was originally introduced deliberately (Panetta 1993).
B 选项错在没有人人类引入是故意的还是无意的。
4. 定位倒数第二段：For instance, 60% of the more than 600 naturalized taxa listed in Fernald (1950) for the northeastern United States were deliberately introduced, with the true percentage likely being higher due to the obscure original use of many naturalized species (Sturtevant 1919).
5. 定位第一段：Accidental dispersal involves the transportation of seeds, plant disseminules, and vegetative propagules through clothing, domesticated animals, and various forms of commerce, particularly as contaminants in seed lots (Muenscher 1955).
6. 定位第二段：The term "weed," while anthropocentric, is often applied to species in both ecological categories and to those that are destructive in their native range. Although there is no universally agreed-upon definition of weeds, Baker's (1974) definition—species that not only have no detected human value but actually interfere with human activities—has gained wide acceptance.
7. 定位倒数第二段：Both conclusions have significant implications for controlling a nation's current weeds and preventing future weed introductions.
8. 定位最后一段

作者: 不掉链子 时间: 2024-4-22 01:35
想看！

作者: Eunice12 时间: 2024-4-22 07:57
我的选项：BA
正确选项：
第一题：假设题
P：学校将牛奶的纸板容器换成新的塑料包装
P：剩下的牛奶更少了
C:学生因为新的包装喝更多的牛奶
A:牛奶的味道没有跟新包装一起换——无关
B:新塑料包装没有比老纸盒包装漏更多的奶，增强；如果取反，即新包装漏奶，削弱
C:学生更倾向塑料包装，不代表他们因为新包装喝更多奶，不直接
D:其他饮料——无关，如果取反则是其他饮料的类型和数量不一样，不能增强
E:塑料包装比纸板包装更环保——无关
第二题：削弱题
P：枫糖供应商在考虑用餐厅的用过的食用油替代昂贵且稀少的燃料油
P：替代方案同等有效且能降低30%的成本，因为政府覆盖新机器的成本
P：当使用过的食用油需求上升
C：它们的价格会上升，变得跟燃料油一样昂贵
选项——食用油的价格不会上升（下降或不变）
A:因为区域内有很多餐厅，食用油的供应持续地高——削弱
B:运输成本——与价格无关
C:政府计划补助价格差异——发生在成本上升，无关
D:主要的供应商位于有很多供应的食用油的城市附近——A更直接
E:燃料油的价格——无关

作者: gmatcantkillme 时间: 2024-4-22 08:25
Day 110
CR
BB(A)

RC
ADCC ECDC

作者: 为了G700 时间: 2024-4-22 12:42
Day 110 RC
1.A 看下每段开头。
2.D 第三段。
3.C 第4段。
4.❌D 细节题，倒数第二段。
5.E 细节题，第一段。
6.C 第二段 The term "weed," while anthropocentric, is often applied to species in both ecological categories and to those that are destructive in their native range
7. D，倒数第二段。
8. C，参考最后一段总结This article explores the apparent motivations behind the introduction of vascular plants。

单词：
dispersal ：扩散
vascular：血管
inadvertent：疏忽的
deliberate：故意的
disseminules：传播
propagule：繁殖体
contaminant：污染物
apocryphal：杜撰
perish：灭亡
prolific:高产
aggregate:汇总
ecological:生态的
emerging assessment：新兴评估
intruders ：入侵者 Invader
obscure:模糊

作者: rururu23 时间: 2024-4-22 16:17
打卡

作者: tdcq1993 时间: 2024-4-22 21:26
RC
第1段：人类对植物的传播发挥了很大的作用，有无意的也有有意的。
第2段：人类活动导致的植物传播，有可能是有益的、有害的、或是无影响的。“杂草”的某定义包括了外来的植物和本土对人类活动有影响的植物。
第3段：这类杂草对经济、生态、人类健康都造成了很大的影响。
第4段：杂草绝大部分来源于人类活动，并且由人类引入的杂草大部分也有有意为之。
第5段：介绍了关于杂草的一些研究。
D、D、C、C、E、E、E、C

CR
B、A

作者: Grapey 时间: 2024-4-23 22:32
打卡

作者: chloeluoluo 时间: 2024-4-24 20:03
看一下！

作者: Alexandra-GMAT 时间: 2024-4-25 17:24
CR:CARC:BDCCCCABCD 错了第8题

作者: quty 时间: 2024-4-25 19:15
看一下！

作者: hyjsamantha 时间: 2024-4-26 01:17
看一下！

作者: hyjsamantha 时间: 2024-4-26 01:30
110打卡
1. B
2. E(A)
C: 二手食用油需求增加导致涨价，成本优势消失
纠结ADE
A 二手油供应量大需求增加也不会涨多少正确
B 无关
C 无关
D 虽然说了二手油供应量大，但重点在于说供应商location 无关信息太多不如A
E 重点放在了fuel oil会涨价担心的是二手油会涨价不如A

作者: 浅麦ss 时间: 2024-4-27 23:51
CR
1：A 问assumption 取否不成立才能选。
逻辑链：更换包装→更少的牛奶剩下来了→得出结论是学生由于包装喝了更多的牛奶
premise：学生注意到了包装变换？/包装没有导致牛奶的味道发生变化？
A：牛奶的味道没有因为更换包装发生变化。正确。
B：新塑料袋的包装没有比老包装漏更多的牛奶。？取否的话，是新包装倾洒了更多的牛奶，得不出来结论。
C：学生更喜欢塑料袋包装。取否，学生更喜欢老包装，无法得出结论。
D：其他种类的饮料给学生在午间提供的没有变化。不直接。
E：塑料包装更环保。推不出来结论。

2：A 问weaken
逻辑链：供应链试图用食用油来替换燃烧油（贵）→新的效率一样，成本减少，政府提供更换新机器→concern：食用油需求增加，价格上涨，会变得一样贵。
premise：要选出一个不会导致食用油价格上涨的原因：supply非常多？
A：食用油的供给非常多。正确
B：食用油的运输成本比燃油低。不能推出食用油价格不会上涨。
C：政府计划补贴价格差。？感觉这个也正确？
D：供应商就靠近大量食用油供给的地方。万一还有运输成本提高呢？
E：燃油价格会升高，所以还是使得使用食用油划算。这个没有办法推出结论。

作者: fangjue987a 时间: 2024-4-28 08:38
Day 110

CR
1B
2E

DI
1A. 2D. 3C 4E 5C. 6E. 7A. 8A. 9B. 10E

RC

1A 2D 3C 4C 5E 6B 7D 8C

作者: AI091943 时间: 2024-4-28 13:36
THX~

作者: jeilham 时间: 2024-4-28 16:25
000000000000000000000

作者: 时间哪 时间: 2024-4-29 08:32
CR：ba
第一题：果因推理>>假设题，排除一个可能的削弱>>新包装不会漏更多奶，选b
第二题：因果推理，需求上升导致价格上涨>>削弱题，需求上升不会导致价格上涨，因为供给较大

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