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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
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1.CR
The city of Verdania currently has an average of 4 acres of parkland per 1,000 residents. Including all green spaces, the city has 6 acres of green space per 1,000 residents. The city government plans to convert a 100-acre plot on the outskirts of the city into a new park in order to reach its goal of having 8 acres of parkland per 1,000 residents. The city currently has 200 acres of parkland.
The city's plan relies on which of the following assumptions?
(A) The population of Verdania will not significantly increase during the time the new park is being developed.
(B) The residents of the area where the new park will be located will not relocate to other parts of Verdania in large numbers as a result of the park's construction.
(C) During the construction of the new park, the total area of green spaces in Verdania will not significantly decrease due to development or other factors.
(D) The 100-acre plot of land being converted into a park is not currently counted as part of Verdania's green spaces.
(E) Verdania's population will not decrease substantially in the near future, which would increase the parkland per capita even without the addition of the new park
The country of Mosquitania has been plagued by mosquitoes that transmit the deadly disease malaria. The government was planning to invest a significant amount of money to eradicate these mosquitoes. However, a new vaccine has been developed that is 95% effective in preventing malaria. Some officials argue that the government should redirect the funds intended for mosquito eradication to distributing the vaccine instead.
Which of the following, if true, would most strengthen the argument for redirecting the funds to vaccine distribution?
(A) The mosquitoes in Mosquitania are not known to transmit any other serious diseases besides malaria.
(B) Mosquitania is the only country in the world that has this particular species of mosquito.
(C) The vaccine provides lifelong immunity to malaria in 95% of people who receive it.
(D) Eradicating the mosquitoes would take several years, while distributing the vaccine could be done much more quickly.
(E) Due to climate change, the mosquito population in Mosquitania is expected to decrease significantly over the next decade.
答案:
DA
2.RC
Synesthesia, a neurological condition in which stimulation of one sensory pathway leads to automatic, involuntary experiences in a second sensory pathway, has long confounded scientists. Those afflicted with synesthesia inhabit a liminal space between reality and fantasy, where senses intertwine in peculiar ways: colors evoke tastes, sounds conjure visions, and numbers blaze with vivid hues. Despite documented cases dating back to 1880, when Francis Galton, Charles Darwin's cousin, first described the phenomenon in Nature, synesthesia was largely dismissed as chicanery, a byproduct of drug use, or a mere oddity.
It wasn't until the turn of the 21st century that researchers began to unravel the neurological underpinnings of synesthesia, shedding light on some of the most enigmatic facets of the human mind, such as the genesis of abstract thought and metaphor. One prevailing hypothesis posited that synesthesia was merely a manifestation of childhood memories and associations, like refrigerator magnets imbuing numbers with specific colors. However, this theory failed to explain why only a select few retain such vivid sensory recollections.
Another notion suggested that synesthetes employ metaphor more liberally, akin to how we might describe a pungent cheese as "sharp" or a garish shirt as "loud." Yet, when questioned, synesthetes struggled to articulate whether their perceptions were genuine sensory experiences or memories, often equivocating or contradicting themselves.
To ascertain the perceptual nature of synesthesia, researchers employed a "pop-out" or segregation test, typically used to distinguish primitive visual features. In this test, subjects easily discern tilted lines amidst vertical ones or red dots among green ones, but struggle to differentiate numbers or letters of the same color. Remarkably, when synesthetes who associated 5 with red and 2 with green were presented with a mixed array of these digits, they identified the embedded shape with up to 90% accuracy, mirroring the performance of non-synesthetes when the numbers were actually colored differently. This finding provided incontrovertible evidence that synesthetic experiences are indeed perceptual and not mere fabrications.
1. The author's primary purpose in the passage is to:
(A) Provide a historical overview of synesthesia research
(B) Argue for the perceptual nature of synesthetic experiences
(C) Compare and contrast different theories of synesthesia
(D) Highlight the contributions of Francis Galton to synesthesia research
(E) Discuss the role of metaphor in understanding synesthesia
2. According to the passage, which of the following best describes the prevailing hypothesis about synesthesia at the turn of the 21st century?
(A) Synesthesia is a manifestation of childhood memories and associations.
(B) Synesthesia is a byproduct of drug use.
(C) Synesthesia is a result of the liberal use of metaphor.
(D) Synesthesia is a genuine sensory experience.
(E) Synesthesia is a mere oddity with no neurological basis.
3. The author mentions the "pop-out" or segregation test in order to:
(A) Demonstrate the difficulty in distinguishing numbers or letters of the same color
(B) Provide evidence for the perceptual nature of synesthetic experiences
(C) Highlight the similarities between synesthetes and non-synesthetes
(D) Illustrate the use of primitive visual features in perception
(E) Suggest that synesthesia is a result of childhood associations
4. The passage suggests that synesthetes, when questioned about their experiences:
(A) Provided clear and consistent descriptions
(B) Struggled to articulate the nature of their perceptions
(C) Confirmed that their experiences were genuine sensory experiences
(D) Denied any association between their experiences and memories
(E) Agreed that their perceptions were a result of metaphorical thinking
5. Based on the information in the passage, which of the following can be inferred about the research on synesthesia prior to the 21st century?
(A) It primarily focused on the role of metaphor in synesthetic experiences.
(B) It provided conclusive evidence for the neurological basis of synesthesia.
(C) It was largely dismissive of synesthesia as a genuine phenomenon.
(D) It extensively explored the relationship between synesthesia and childhood memories.
(E) It was primarily conducted by Francis Galton and his contemporaries.
6. The author's use of the phrase "liminal space" in the first paragraph serves to:
(A) Highlight the neurological basis of synesthesia
(B) Emphasize the dismissive attitude towards synesthesia in the past
(C) Illustrate the blurred boundaries between reality and fantasy in synesthetic experiences
(D) Suggest that synesthesia is a byproduct of drug use
(E) Argue for the role of metaphor in understanding synesthesia
7. The findings from the "pop-out" test mentioned in the passage support which of the following conclusions?
(A) Synesthetic experiences are based on childhood memories and associations.
(B) Synesthetes and non-synesthetes perform equally well in distinguishing numbers or letters of the same color.
(C) Synesthetic experiences are genuine perceptual phenomena and not mere fabrications.
(D) The use of metaphor is more prevalent among synesthetes than non-synesthetes.
(E) The neurological underpinnings of synesthesia are yet to be fully understood.
8. Which of the following can be inferred about the relationship between synesthesia and abstract thought, based on the passage?
(A) Research on synesthesia has provided a complete understanding of the genesis of abstract thought.
(B) Synesthesia is a prerequisite for the development of abstract thinking.
(C) The study of synesthesia has shed light on some aspects of the origins of abstract thought.
(D) Abstract thought is more prevalent among synesthetes than non-synesthetes.
(E) The relationship between synesthesia and abstract thought has been largely dismissed by researchers.
1. (B) 作者在文章中主要论证了联觉体验的感知本质,而不是其他选项所提到的内容。
出处:第四段 "To ascertain the perceptual nature of synesthesia, researchers employed a "pop-out
2. (A) 根据文章第二段,21世纪初的主流假说认为联觉是童年记忆和联想的表现。
出处:第二段 "One prevailing hypothesis posited that synesthesia was merely a manifestation of childhood memories and associations, like refrigerator magnets imbuing numbers with specific colors."
3. (B) 作者提到"pop-out"或分离测试是为了提供联觉体验具有感知性质的证据。
出处:第四段 "To ascertain the perceptual nature of synesthesia, researchers employed a "pop-out" or segregation test..."
4. (B) 文章表明,当被问及他们的体验时,联觉者难以清晰表达他们的感知性质。
出处:第三段 "Yet, when questioned, synesthetes struggled to articulate whether their perceptions were genuine sensory experiences or memories, often equivocating or contradicting themselves."
5. (C) 根据文章第一段,在21世纪之前,研究largely dismissive of synesthesia as a genuine phenomenon。
出处:第一段 "Despite documented cases dating back to 1880, when Francis Galton, Charles Darwin's cousin, first described the phenomenon in Nature, synesthesia was largely dismissed as chicanery, a byproduct of drug use, or a mere oddity."
6. (C) 作者在第一段使用"liminal space"这个词是为了说明联觉体验中现实和幻想之间模糊的界限。
出处:第一段 "Those afflicted with synesthesia inhabit a liminal space between reality and fantasy, where senses intertwine in peculiar ways..."
7. (C) "pop-out"测试的发现支持这样的结论:联觉体验是真正的感知现象,而不是仅仅的虚构。
出处:第四段 "This finding provided incontrovertible evidence that synesthetic experiences are indeed perceptual and not mere fabrications."
8. (C) 根据文章第二段,对联觉的研究已经揭示了一些关于抽象思维起源的方面。
出处:第二段 "It wasn't until the turn of the 21st century that researchers began to unravel the neurological underpinnings of synesthesia, shedding light on some of the most enigmatic facets of the human mind, such as the genesis of abstract thought and metaphor."
3.DI
Omakase, the Japanese culinary tradition where diners entrust their meal to the chef's creative whim, has taken the world by storm. This dining style, which translates to "I leave it up to you," is a testament to the skill, creativity, and passion of Japanese chefs who dedicate their lives to perfecting their craft. From the bustling streets of Tokyo to the tranquil gardens of Kyoto, omakase restaurants have become the epitome of haute cuisine, offering a dining experience that is both intimate and unforgettable.
At its core, omakase is a celebration of the freshest, most seasonal ingredients available. Chefs work tirelessly to source the best produce, fish, and meat from local farmers, fishermen, and suppliers, ensuring that each dish is a reflection of the season's bounty. In spring, you might find tender young bamboo shoots, delicate cherry blossoms, and succulent snappers gracing the menu. Summer brings a vibrant array of heirloom tomatoes, sweet corn, and juicy peaches, while fall ushers in hearty mushrooms, crisp persimmons, and plump oysters. Winter, with its short days and long nights, is a time for comforting hotpots, rich stews, and the prized fugu, or pufferfish.
But omakase is more than just a showcase of seasonal ingredients. It is a display of the chef's technical mastery and artistic vision. Omakase chefs undergo years of rigorous training, learning the intricacies of knife work, seasoning, and presentation. They study under master chefs, absorbing their techniques and philosophies, before striking out on their own to create their unique style.
In the hands of a skilled omakase chef, even the simplest ingredients can be transformed into works of art. A slice of tuna, glistening with freshness, is brushed with a whisper of nikiri sauce before being draped over a mound of perfectly seasoned rice. A morsel of uni, its creamy richness balanced by a hint of briny sweetness, is nestled in a delicate ceramic spoon. A piece of wagyu beef, marbled with fat and grilled to perfection, is paired with a dab of wasabi and a sprinkle of sea salt.
But the art of omakase extends beyond the plate. It is a holistic experience that engages all the senses, from the moment you step into the restaurant to the final sip of green tea. Many omakase restaurants are small and intimate, with a minimalist decor that puts the focus squarely on the food. The counter, where diners sit face-to-face with the chef, is the centerpiece of the room, allowing for a level of interaction and customization that is rare in other dining settings.
As the meal progresses, the chef might share stories about the ingredients, their origins, and the techniques used to prepare them. They might offer advice on how to best savor each dish, suggesting the optimal pace or pairing. The diner, in turn, has the opportunity to ask questions, express preferences, and even make special requests, creating a sense of dialogue and collaboration that enhances the overall experience.
This sense of intimacy and trust between chef and diner is at the heart of the omakase experience. By relinquishing control and allowing the chef to guide the meal, diners open themselves up to new flavors, textures, and combinations they might never have encountered otherwise. It is a leap of faith, but one that is almost always rewarded with a meal that is both surprising and deeply satisfying.
Of course, the omakase experience is not without its challenges. The cost, for one, can be prohibitive, with some high-end restaurants charging upwards of $500 per person for a single meal. The language barrier can also be a hurdle for non-Japanese speakers, as many omakase chefs prefer to communicate in their native tongue. And then there is the risk of disappointment, the possibility that a particular dish or ingredient may not live up to expectations.
But for those willing to take the plunge, the rewards of omakase are immeasurable. It is a chance to experience food not just as sustenance, but as art, as culture, as a way of life. It is a reminder of the power of simplicity, of the beauty of imperfection, and of the joy of surrendering to the moment.
As the world becomes increasingly globalized and homogenized, the art of omakase stands as a bulwark against the tideas the world becomes increasingly globalized and homogenized, the art of omakase stands as a bulwark against the tide of uniformity. It is a celebration of the unique, the seasonal, and the handcrafted, a reminder that there is still a place for tradition and artisanship in our fast-paced, technology-driven world.
But even as it honors the past, omakase is not stuck in it. In recent years, a new generation of chefs has begun to push the boundaries of what omakase can be, incorporating international flavors, techniques, and ingredients into their menus. Some, like the renowned chef Masaharu Morimoto, have made a name for themselves by blending Japanese and Western culinary traditions, creating dishes like toro tartare with caviar and wasabi sour cream. Others, like the vegan omakase restaurant Ise Sueyoshi in Tokyo, have reimagined omakase as a plant-based cuisine, crafting intricate multi-course menus that showcase the versatility and flavor of vegetables, fruits, and grains.
These innovations are a testament to the adaptability and creativity of omakase chefs, and to the enduring appeal of the omakase experience. As long as there are chefs willing to dedicate themselves to their craft, and diners eager to be surprised and delighted, the art of omakase will continue to thrive.
So the next time you find yourself in Japan, or in one of the many cities around the world where omakase restaurants have taken root, consider taking a seat at the counter and letting the chef be your guide. You may just discover a new appreciation for the beauty and complexity of Japanese cuisine, and for the artistry and passion of those who dedicate their lives to it.
1. The concept of omakase is best described as:
a) A type of Japanese cuisine that focuses exclusively on sushi
b) A dining experience where the chef decides the menu based on seasonal ingredients and personal creativity
c) A style of cooking that emphasizes the use of expensive, imported ingredients
d) A traditional Japanese tea ceremony
2. The use of seasonal ingredients is a cornerstone of omakase cuisine because:
a) It allows chefs to showcase the unique flavors and textures of each season
b) It ensures consistency in the menu throughout the year
c) It is a cost-saving measure, as seasonal ingredients are often less expensive
d) It is a requirement imposed by Japanese culinary regulations
3. The intimate counter seating arrangement in many omakase restaurants serves to:
a) Maximize seating capacity and increase profits
b) Create a more efficient service flow
c) Foster a sense of connection and interaction between the chef and diners
d) Provide a better view of the restaurant's decor
4. Which of the following is a key element of the omakase experience?
a) A casual, relaxed atmosphere with little interaction between the chef and diners
b) A focus on using only the most expensive and rare ingredients
c) A sense of trust and surrender, as diners allow the chef to guide the meal
d) A fixed menu that never changes, allowing the chef to perfect each dish
5. Contemporary omakase chefs are pushing the boundaries of the tradition by:
a) Incorporating international flavors and ingredients into their menus
b) Adhering strictly to traditional Japanese techniques and recipes
c) Using only the most expensive and rare ingredients, regardless of seasonality
d) Offering a fixed menu that never changes
6. The role of the diner in the omakase experience is best described as:
a) A passive consumer who should not ask questions or express preferences
b) An active participant who engages with the chef and the meal
c) A critic who evaluates and provides feedback on each dish
d) A dictator who determines the menu and ingredients based on personal tastes
7. One of the main challenges of the omakase experience is:
a) The use of unfamiliar or exotic ingredients that may not appeal to all diners
b) The lack of vegetarian or vegan options
c) The slow pace of the meal, which can last several hours
d) The absence of a written menu, which can make it difficult to remember what was served
8. The art of omakase is significant because:
a) It preserves and celebrates traditional Japanese culinary techniques and values
b) It demonstrates the superiority of Japanese cuisine over other culinary traditions
c) It is a fast and efficient way to serve a large number of diners
d) It is a passing trend with little long-term cultural or culinary value
9. The experience of dining at an omakase restaurant can be best described as:
a) A rushed, impersonal meal focused solely on the food
b) A formal, structured event with little room for spontaneity or surprise
c) A collaborative, interactive journey guided by the chef's expertise and creativity
d) A simple, straightforward meal with no frills or extras
10. The future of omakase cuisine is likely to be shaped by:
a) A strict adherence to traditional techniques and ingredients
b) The incorporation of international influences and innovative approaches
c) A focus on speed and efficiency, with shorter menus and faster service
d) A move away from the counter seating arrangement to a more conventional table service
1. b) 一种由主厨根据时令食材和个人创意决定菜单的用餐体验
解析:Omakase是一种用餐方式,主厨根据当时最好的食材和自己的创意构思菜单,而不是固定菜单或特定菜系。
2. a) 它允许主厨展示每个季节独特的口味和质感
解析:使用时令食材是omakase的基本要素,因为它允许主厨在任何特定时间突出最新鲜、最美味的食材。
3. c) 培养主厨和食客之间的联系和互动
解析:Omakase餐厅中亲密的吧台座位方便主厨和食客之间的直接互动,创造出更加个性化和吸引人的体验。
4. c) 一种信任和臣服的感觉,因为食客允许主厨引导餐点
解析:在omakase中,食客将餐点的进程和内容委托给主厨,接受新体验带来的惊喜和开放心态。
5. a) 将国际风味和食材融入菜单
解析:一些当代omakase主厨正在创新,将传统的日本技法与国际影响和食材相融合,创造出独特的融合菜肴。
6. b) 一个积极参与并与主厨和餐点互动的参与者
解析:虽然主厨引导omakase体验,但鼓励食客与主厨互动,提出问题,表达他们对菜肴的偏好和反应。
7. a) 使用可能不吸引所有食客的不熟悉或异国情调的食材
解析:Omakase主厨经常使用一些食客可能不熟悉或具有挑战性的稀有或不寻常的食材,这可能是享受omakase的潜在障碍。
8. a) 它保留并颂扬传统的日本烹饪技巧和价值观
解析:Omakase之所以重要,是因为它维护和推广了日本美食丰富的烹饪传统和价值观,即使在不断发展和吸收新影响的过程中也是如此。
9. c) 一次由主厨的专业知识和创造力引导的协作互动之旅
解析:在omakase餐厅用餐是一种充满活力和互动的体验,主厨和食客在共同探索味道、技法和创造力的过程中协作。
10. b) 融入国际影响和创新方法
解析:随着omakase的不断发展,主厨突破传统日本料理的界限,融合全球风味、技法和理念,这可能会塑造omakase的未来。
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发表于 2024-4-25 08:52:25
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