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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
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
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1.CR
A city has long subsidized coal as a fuel for electricity generation. To encourage a shift towards cleaner energy sources, the city plans to discontinue these coal subsidies. Officials argue that this will make cleaner energy sources more competitive and lead to their increased adoption.
Which of the following, if true, would most seriously undermine the officials' argument?
A) The city's coal-fired power plants are already operating at maximum capacity and cannot increase production.
B) Other cities that have discontinued coal subsidies have seen a temporary increase in electricity prices.
C) The infrastructure for large-scale adoption of cleaner energy sources is not yet in place in the city.
D) The coal industry employs a significant number of the city's residents.
E) The removal of coal subsidies will make coal-based electricity more expensive than electricity from cleaner sources, even without subsidies for the latter.
A marketing firm conducted a survey by sending emails to potential customers. Initially, only 20% of recipients responded. The firm then sent a follow-up email to non-respondents, this time including a personalized note encouraging participation. Of those who didn't respond to the first email, 35% responded to the second. The firm concluded that the personalized note was effective in increasing response rates.
Which of the following, if performed, would best help evaluate the validity of the firm's conclusion?
A) Conduct two new surveys: one with a personalized note in the first email, and another without any personalized note in either the first or second email.
B) Send a third email to those who didn't respond to the second email, this time without a personalized note.
C) Analyze the content of the responses received from both the first and second emails to determine if there are qualitative differences.
D) Compare the response rates of this survey to historical response rates from previous surveys conducted by the firm.
E) Investigate whether the timing of the second email (e.g., day of the week, time of day) differed from that of the first email.
答案:
CA
2.RC
The move into a watery environment would account for our exceptional swimming abilities and the fact that newborn babies can swim and float, said Hardy. It would also have put pressure on our ancestors to start walking upright, in order to keep their heads above water. This in turn freed up their hands, allowing them to use tools—probably starting simply by cracking open shellfish with stones, just as California sea otters do today. Hardy also noted that we are the only “naked” ape, and that loss of hair is a characteristic of some aquatic mammals. Many such creatures have a layer of fat just beneath the skin—another feature which distinguishes us from other primates. Our profusion of sweat glands would then be a counterbalance to this insulating layer, an adaptation to keep us cool when out of the water.
Maybe Hardy should have trusted his instincts and kept quiet. He had hoped his idea might be “discussed and tested against further lines of evidence”. What he got was the cold shoulder. The “aquatic ape” theory never provoked anything more than derision or embarrassment among anthropologists, and to this day only one academic exchange on the subject has been published.
Hardy quietly dropped his idea, but it was soon picked up in a surprising quarter. From a valley in rural south Wales, housewife and dramatist Elaine Morgan began compiling evidence and writing books in support of the aquatic-ape theory—the first of which appeared three decades ago. Morgan compared the anatomy, biochemistry and physiology of modern humans with other animals, and used these comparisons to extend Hardy’s original arguments. She pointed out, for example, that with 10 times the fat cells you’d expect for an animal of our size, we are by far the fattest primates. Our babies are the only ones born fat.
1. The author's presentation of Hardy's theory and its reception most strongly suggests which of the following about the relationship between scientific hypotheses and their acceptance?
A) Hypotheses that challenge established paradigms are often met with immediate skepticism, regardless of their potential merit
B) The academic community consistently evaluates new theories based solely on their empirical evidence
C) Theories proposed by non-specialists are inherently less valuable than those proposed by established researchers
D) The popularity of a scientific theory among the general public is a reliable indicator of its academic acceptance
E) Scientific hypotheses that lack immediate empirical support are always rejected by the academic community
2. Which of the following, if true, would most strongly undermine the author's implicit stance on the academic treatment of the aquatic ape theory?
A) Several peer-reviewed journals have published articles supporting aspects of the aquatic ape theory in the past decade
B) Elaine Morgan's books on the subject have become bestsellers among the general public
C) Other controversial theories in anthropology have faced similar initial rejection before gaining acceptance
D) Hardy's original paper on the theory was published in a non-academic journal
E) Recent genetic studies have found no evidence of aquatic adaptations in human DNA
3. The passage suggests that the relationship between Hardy's original proposal and Morgan's work is most analogous to which of the following?
A) A scientist proposing a hypothesis and a colleague replicating the experiment to verify results
B) An artist creating a sketch and a different artist later expanding it into a full painting
C) A politician introducing a bill and a lobbyist campaigning for its passage
D) A philosopher presenting a theory and a critic systematically refuting each point
E) An inventor patenting a design and an engineer later improving its efficiency
4. The author's mention of Morgan's background as a "housewife and dramatist" serves which of the following functions in the passage?
A) To highlight the unexpected source of support for Hardy's theory
B) To discredit Morgan's contributions to the aquatic ape theory
C) To explain why Morgan's work was more accessible to the general public
D) To suggest that Morgan's approach was less scientific than Hardy's
E) To imply that Morgan's interest in the theory was purely for dramatic purposes
5. Based on the information provided in the passage, which of the following can be most reasonably inferred about the nature of scientific discourse in anthropology?
A) It is primarily driven by consensus rather than evidence
B) It tends to favor theories that support existing paradigms
C) It is more open to ideas from established researchers than from outsiders
D) It values theoretical speculation over empirical observation
E) It encourages the rapid adoption of new theories without thorough examination
6. The passage implies that the aquatic ape theory's reception might have been different if:
A) Hardy had published his ideas in a more prestigious academic journal
B) The theory had been proposed by a team of researchers rather than an individual
C) More empirical evidence had been available to support the initial hypothesis
D) The anthropological community had been more open to interdisciplinary approaches
E) Hardy had continued to actively promote and defend his theory
7. Which of the following best describes the function of the final paragraph in relation to the rest of the passage?
A) It presents a counterargument to the main thesis of the passage
B) It introduces new evidence that contradicts Hardy's original theory
C) It demonstrates the eventual academic acceptance of the aquatic ape theory
D) It illustrates how a non-academic figure expanded upon and popularized the theory
E) It criticizes Morgan's approach to supporting Hardy's theory
8. The author's attitude towards Morgan's contribution to the aquatic ape theory can best be described as:
A) Admiring of her persistence but skeptical of her methods
B) Neutral in presentation but implicitly critical of her lack of academic credentials
C) Surprised by her interest but appreciative of her efforts to compile evidence
D) Dismissive of her work due to her non-academic background
E) Enthusiastic about her ability to popularize a controversial scientific theory
AABACCDC
3.DI
The Seville Flamenco Festival, a venerable institution in the world of Spanish dance and music with a history spanning over a century, finds itself at the epicenter of a multifaceted and increasingly acrimonious debate that threatens to redefine the very essence of flamenco culture. The festival organizers, in a bold and controversial move, have extended an invitation to Carmen Morales, a polarizing figure in the flamenco world known for her avant-garde fusion of traditional flamenco with elements of electronic music, hip-hop, and even avant-garde performance art.
Morales, a prodigy who first gained attention for her precocious mastery of traditional flamenco forms before embarking on her experimental journey, has become a lightning rod for criticism from purists who view her work as a desecration of a sacred cultural heritage. Her performances, which often incorporate multimedia elements, unconventional instrumentation, and collaborations with artists from diverse musical traditions, have been both lauded as visionary and derided as sacrilegious.
The controversy surrounding Morales' invitation has ignited a fierce debate within the flamenco community, drawing in performers, critics, academics, and aficionados from across the globe. At the heart of this debate lie fundamental questions about the nature of artistic evolution, the role of tradition in a rapidly changing world, and the delicate balance between innovation and preservation in cultural practices.
Proponents of Morales' inclusion in the festival argue that flamenco, like all living art forms, must evolve to remain relevant and vibrant. They point to the historical development of flamenco, tracing its roots through diverse cultural influences and highlighting periods of innovation that have become canonized as "traditional" over time. These supporters contend that Morales' work represents a natural and necessary progression of the art form, one that speaks to contemporary audiences while maintaining a dialogue with its rich heritage.
Critics, however, view Morales' approach as a fundamental threat to the integrity of flamenco. They argue that her fusion style dilutes the profound emotional depth and technical rigor that are hallmarks of traditional flamenco, replacing them with superficial spectacle and commercialized appeal. Many traditionalists fear that embracing such radical departures from established forms will lead to a loss of flamenco's unique cultural identity and its deep connection to Andalusian history and the Gitano community.
The debate has spilled beyond the confines of artistic discourse, touching on sensitive issues of cultural appropriation, authenticity, and the commodification of traditional art forms in a globalized world. Some critics accuse Morales of exploiting flamenco's cultural cachet while stripping it of its soul, while her defenders argue that such criticisms are rooted in a narrow and essentialist view of cultural ownership that stifles creativity and cross-cultural dialogue.
The controversy has also raised important questions about the role of cultural institutions like the Seville Flamenco Festival in shaping the future of traditional art forms. As guardians of flamenco's legacy, do they have a responsibility to preserve its most traditional expressions, or should they serve as platforms for innovation and experimentation? How can they balance these competing imperatives while remaining true to the spirit of flamenco?
The economic implications of this debate are significant. Flamenco tourism is a major contributor to Andalusia's economy, with thousands of visitors flocking to the region each year to experience authentic performances. There are concerns that embracing more experimental forms of flamenco could alienate these traditional tourists, potentially impacting local businesses and communities that rely on flamenco-related income.
Conversely, proponents of innovation argue that expanding flamenco's appeal could attract new audiences and revitalize interest in the art form among younger generations. They point to declining enrollment in traditional flamenco schools and the aging demographic of flamenco audiences as evidence that the art form must evolve to survive.
The Seville Flamenco Festival now finds itself at a crossroads, forced to navigate these complex and often contradictory pressures. The decision to include or exclude Morales from the festival lineup has become a symbolic battleground in a larger war over the future of flamenco and, by extension, the nature of cultural preservation and evolution in the 21st century.
As the debate rages on, with impassioned arguments and counter-arguments flying from all sides, the festival organizers face a daunting task. They must weigh the artistic merits of Morales' work against the potential alienation of traditionalists, consider the long-term implications for flamenco's cultural heritage, and navigate the complex economic realities of cultural tourism in Andalusia.
The controversy has also drawn attention to broader issues within the flamenco community, including the representation of Gitano artists, the role of formal education in flamenco transmission, and the impact of social media and digital platforms on the dissemination and perception of flamenco performances.
Some scholars have proposed a middle ground, suggesting that the festival could create separate stages or programs for traditional and experimental performances, allowing audiences to experience both while maintaining a clear distinction. However, critics argue that this approach merely sidesteps the fundamental questions about flamenco's identity and future.
The international flamenco community has also weighed in on the debate, with artists and aficionados from Japan, the United States, and across Europe offering diverse perspectives on the globalization of flamenco and its implications for artistic authenticity.
As the festival date approaches, tensions continue to escalate. Protests have been organized by both supporters and opponents of Morales' inclusion, and social media campaigns have proliferated, often devolving into heated exchanges that reflect deeper cultural and generational divides.
The controversy has even attracted the attention of UNESCO, which recognized flamenco as an Intangible Cultural Heritage of Humanity in 2010. The organization has expressed concern about the potential impact of this debate on the preservation and safeguarding of flamenco's cultural significance.
In this charged atmosphere, the Seville Flamenco Festival finds itself not just curating a series of performances, but potentially shaping the future trajectory of an entire art form. The decision they make will likely reverberate through the flamenco world for years to come, influencing not only the artistic direction of flamenco but also its place in the broader landscape of global cultural heritage.
1. Based on the information provided in the passage, which of the following best describes the central conflict surrounding Carmen Morales' invitation to the Seville Flamenco Festival?
A) Traditional flamenco performers versus modern fusion artists
B) The economic interests of tourism versus artistic integrity
C) Preservation of cultural heritage versus artistic innovation and evolution
D) Local flamenco community versus international influences
E) Festival organizers versus UNESCO guidelines
2. Which of the following is NOT mentioned as one of the broader issues within the flamenco community highlighted by this controversy?
A) Representation of Gitano artists
B) The role of formal education in flamenco transmission
C) The impact of social media on flamenco performances
D) Gender equality in flamenco performances
E) The globalization of flamenco
3. How does the passage characterize the relationship between flamenco's historical development and the current debate over innovation?
A) As a complete departure from historical patterns
B) As a continuation of ongoing cycles of innovation and tradition
C) As irrelevant to the current debate
D) As a justification for rejecting all forms of innovation
E) As proof that flamenco has always been a static art form
4. Based on the information in the passage, which of the following statements about the economic impact of flamenco on Andalusia is most likely true?
A) It is insignificant compared to other industries
B) It primarily benefits large corporations
C) It is a major contributor to the local economy through tourism
D) It has been steadily declining over the past decade
E) It is immune to changes in artistic trends
5. The author's tone in discussing the various perspectives on Morales' work can best be described as:
A) Highly critical of innovation
B) Overtly supportive of traditionalists
C) Dismissive of the entire debate
D) Objective and balanced
E) Sarcastically mocking both sides
6. Based on the passage, which of the following statements about UNESCO's involvement in the controversy is most likely true?
A) UNESCO fully supports Morales' inclusion in the festival
B) UNESCO has threatened to revoke flamenco's cultural heritage status
C) UNESCO is concerned about the debate's impact on flamenco's cultural significance
D) UNESCO has offered to mediate between the opposing factions
E) UNESCO is completely uninvolved in the controversy
7. The passage suggests that the organizers of the Seville Flamenco Festival are in a difficult position primarily because:
A) They lack the financial resources to host the festival
B) They face pressure from the government to cancel the event
C) They must balance artistic, cultural, and economic considerations
D) They are personally opposed to Morales' style of performance
E) They lack the authority to make programming decisions
8. Which of the following best describes the function of the paragraph discussing international perspectives on the debate?
A) To undermine the importance of local opinions
B) To highlight the global appeal and influence of flamenco
C) To criticize foreign interpretations of flamenco
D) To suggest that the debate is irrelevant outside of Spain
E) To propose a solution to the controversy
9. According to the passage, critics of Morales' approach to flamenco are most concerned about:
A) The potential loss of flamenco's unique cultural identity
B) The financial success of Morales' albums
C) The technical difficulty of her performances
D) The use of electronic instruments in her music
E) Her popularity among younger audiences
10. The passage suggests that the decision made by the Seville Flamenco Festival regarding Morales' inclusion is likely to:
A) Only affect this year's festival programming
B) Have long-lasting impacts on flamenco's evolution and cultural status
C) Be quickly forgotten after the festival concludes
D) Lead to the immediate cancellation of all future festivals
E) Result in a government intervention in festival planning
CDBCDCCBAB
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发表于 2024-7-24 10:27:13
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