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1.CR
A new washing machine model has been introduced by a manufacturer, claiming to be more energy-efficient. However, tests have shown that this new model consumes more electricity per full load compared to older models. Despite this, the new model has been selling well. Which of the following, if true, best explains the apparent contradiction?
(A) The price of the new washing machine model is significantly lower than that of older models.
(B) The new washing machine model offers a wider range of settings and features compared to older models.
(C) The new washing machine model has a significantly larger capacity per load compared to older models.
(D) The time required for the new washing machine model to complete a full load is significantly shorter than that of older models.
(E) The new washing machine model is designed to leave clothes less damp after the wash cycle compared to older models.Archaeologists have discovered numerous snail shells in a cave in Mexico, with the backs of the shells pried open, indicating that the snails were consumed. Some archaeologists hypothesize that the Mayans ate the snails during ceremonial rituals in the cave. However, others argue that the snails were eaten elsewhere and the shells were discarded in the cave, as no shells that were pried open were found scattered in the cave.
Which of the following is an underlying assumption of the argument that the Mayans did not consume the snails in the cave?
(A) The Mayans conducted ceremonial rituals outside the cave where they consumed the snails.
(B) The Mayans used snail shells for decorative or other purposes rather than for consumption.
(C) If the Mayans had eaten the snails in the cave, there would be evidence of shells scattered in the cave that had been pried open.
(D) The presence of snail shells in the cave is not sufficient evidence to conclude that the Mayans consumed snails during ceremonial rituals.
(E) The Mayans did not inhabit the area where the cave is located during the time period in which the snail shells were deposited.
答案：
CC
2.DI
The French perfume industry, a paragon of unrivaled artistry and olfactory sophistication, has a rich and storied history that spans centuries. From the opulent courts of Versailles to the glamorous boulevards of Paris, perfume has long been an integral part of French culture, a symbol of luxury, refinement, and joie de vivre.
The origins of French perfumery can be traced back to the 16th century when Catherine de Medici, the Italian noblewoman who became Queen of France, introduced the art of perfumery to the French court. Under her patronage, the first guild of perfumers was established in 1190, laying the foundation for the development of a thriving industry that would eventually become synonymous with French savoir-faire.
Over the centuries, French perfumers have been at the forefront of innovation, constantly pushing the boundaries of their craft to create ever more complex and captivating fragrances. In the 18th century, the French city of Grasse, nestled in the hills of Provence, emerged as the world's capital of perfume, thanks to its ideal climate for growing fragrant flowers such as jasmine, rose, and lavender. The perfumers of Grasse developed new techniques for extracting and blending essential oils, creating scents of unparalleled depth and sophistication.
The 19th century saw the birth of some of the most iconic French perfume houses, such as Guerlain, Houbigant, and Lubin, which catered to the tastes of the aristocracy and the emerging bourgeoisie. These houses created fragrances that were not only works of art but also powerful status symbols, reflecting the wearer's refinement, elegance, and social standing.
In the early 20th century, the French perfume industry underwent a profound transformation with the advent of modern chemistry and the rise of the great couturiers, such as Coco Chanel and Christian Dior. These visionaries saw perfume as an essential complement to their fashion creations, a way to express a woman's personality and style. Chanel No. 5, launched in 1921, became the first "abstract" fragrance, a complex blend of synthetic and natural ingredients that defied traditional classification and revolutionized the world of perfume.
The post-war years saw the French perfume industry reach new heights of creativity and prestige, with the launch of iconic fragrances such as Dior's Miss Dior, Yves Saint Laurent's Opium, and Guerlain's Shalimar. These fragrances not only captured the spirit of their time but also became enduring classics, beloved by generations of women around the world.
In recent decades, the French perfume industry has faced new challenges, such as the rise of globalization, the changing preferences of younger consumers, and the imperative for sustainable and ethical sourcing practices. However, the industry has proven remarkably resilient, adapting to these challenges with its characteristic ingenuity and savoir-faire.
Today, the French perfume industry remains a bastion of unrivaled craftsmanship and creativity, with a global reputation for excellence that is second to none. From the venerable houses of Guerlain and Chanel to the cutting-edge creations of niche brands such as Frédéric Malle and Serge Lutens, French perfumers continue to push the boundaries of their art, creating fragrances that are not only works of beauty but also powerful expressions of emotion, memory, and desire.
As the industry navigates the challenges and opportunities of the 21st century, it remains committed to its timeless values of quality, innovation, and savoir-faire, while also embracing new technologies and sustainable practices to ensure its continued relevance and success. The French perfume industry is not only a vital part of France's cultural heritage but also a powerful ambassador for the country's values of beauty, refinement, and art de vivre, inspiring and enchanting people around the world with its olfactory masterpieces.
In a world that is increasingly complex and fast-paced, the French perfume industry offers a rare oasis of beauty, creativity, and emotion, inviting us to pause, to dream, and to savor the exquisite pleasures of the senses. As Coco Chanel once said, "A woman who doesn't wear perfume has no future." The French perfume industry, with its unrivaled heritage and savoir-faire, is not only a guardian of the past but also a beacon for the future, illuminating the path to a world of beauty, elegance, and joie de vivre.
- According to the passage, which of the following historical figures played a significant role in introducing the art of perfumery to the French court?
(A) Louis XIV
(B) Marie Antoinette
(C) Catherine de Medici
(D) Napoleon Bonaparte
(E) Coco Chanel
- The passage suggests that the French city of Grasse became the world's capital of perfume in the 18th century due to:
(A) Its proximity to Paris and the French court
(B) The influence of the aristocracy and the emerging bourgeoisie
(C) The development of new techniques for extracting and blending essential oils
(D) Its ideal climate for growing fragrant flowers such as jasmine, rose, and lavender
(E) The patronage of iconic French perfume houses such as Guerlain and Houbigant
- According to the passage, which of the following French perfume houses was NOT established in the 19th century?
(A) Guerlain
(B) Houbigant
(C) Lubin
(D) Chanel
(E) Dior
- The author mentions Chanel No. 5, launched in 1921, as an example of:
(A) A traditional fragrance that reflected the wearer's social standing
(B) The first "abstract" fragrance that revolutionized the world of perfume
(C) A powerful status symbol favored by the aristocracy
(D) A fragrance that captured the spirit of the post-war years
(E) An enduring classic beloved by generations of women around the world
- According to the passage, which of the following challenges has the French perfume industry faced in recent decades?
(A) The rise of globalization
(B) The changing preferences of younger consumers
(C) The imperative for sustainable and ethical sourcing practices
(D) The advent of modern chemistry
(E) The rise of the great couturiers
- The passage suggests that the French perfume industry has adapted to recent challenges by:
(A) Focusing exclusively on traditional fragrance classifications
(B) Rejecting the influence of modern chemistry and technology
(C) Embracing new technologies and sustainable practices
(D) Catering solely to the tastes of the aristocracy and the bourgeoisie
(E) Abandoning its commitment to quality and craftsmanship
- According to the passage, which of the following best describes the current state of the French perfume industry?
(A) A declining industry struggling to remain relevant in the 21st century
(B) An industry focused solely on preserving its traditional values and techniques
(C) A thriving industry that has abandoned its heritage in favor of modern trends
(D) A resilient industry that combines timeless values with innovation and adaptability
(E) An industry that has lost its global reputation for excellence and creativity
- The author's tone throughout the passage can best be described as:
(A) Critical and dismissive
(B) Nostalgic and sentimental
(C) Objective and impartial
(D) Celebratory and reverential
(E) Skeptical and questioning
- The passage implies that the French perfume industry's success in the 21st century will depend on:
(A) Its ability to replicate the fragrances of the past
(B) The continued patronage of the aristocracy and the bourgeoisie
(C) The rejection of modern chemistry and technology
(D) Its commitment to quality, innovation, and sustainability
(E) The abandonment of its timeless values and heritage
- Which of the following best summarizes the main idea of the passage?
(A) The French perfume industry is a declining industry that has lost its relevance in the modern world.
(B) The French perfume industry is solely focused on preserving its traditional values and techniques.
(C) The French perfume industry has sacrificed its heritage and quality in favor of modern trends and technologies.
(D) The French perfume industry is a thriving and resilient industry that combines timeless values with innovation and adaptability.
(E) The French perfume industry's success is entirely dependent on its ability to replicate the iconic fragrances of the past.
CDDBCCDDDD
3.RC
When Matthew Blakeslee shapes hamburger patties with his hands, he experiences a vivid bitter taste in his mouth. Esmerelda Jones (a pseudonym) sees blue when she listens to the note C sharp played on the piano; other notes evoke different hues—so much so that the piano keys are actually color-coded. And when Jeff Coleman looks at printed black numbers, he sees them in color, each a different hue. Blakeslee, Jones and Coleman are among a handful of otherwise normal people who have synesthesia. They experience the ordinary world in extraordinary ways and seem to inhabit a mysterious no-man's-land between fantasy and reality. For them the senses—touch, taste, hearing, vision and smell—get mixed up instead of remaining separate.
Modern scientists have known about synesthesia since 1880, when Francis Galton, a cousin of Charles Darwin, published a paper in Natureon the phenomenon. But most have brushed it aside as fakery, an artifact of drug use or a mere curiosity. About seven years ago, however, we and others began to uncover brain processes that could account for synesthesia. Along the way, we also found new clues to some of the most mysterious aspects of the human mind, such as the emergence of abstract thought and metaphor.
A common explanation of synesthesia is that the affected people are simply experiencing childhood memories and associations. Maybe a person had played with refrigerator magnets as a child, and the number 5 was red and 6 was green. This theory does not answer why only some people retain such vivid sensory memories, however. You might think of cold when you look at a picture of an ice cube, but you probably do not feel cold, no matter how many encounters you may have had with ice and snow during your youth.
Another prevalent idea is that synesthetes are merely being metaphorical when they describe the note C sharp as red or say that chicken tastes pointy—just as you and I might speak of a loud shirt or sharp cheddar cheese. Our ordinary language is replete with such sense-related metaphors, and perhaps synesthetes are just especially gifted in this regard.
We began trying to find out whether synesthesia is a genuine sensory experience in 1999. This deceptively simple question had plagued researchers in the field for decades. One natural approach is to start by asking the subjects outright: Is this just a memory, or do you actually see the color as if it were right in front of you? When we asked this question, we did not get very far. Some subjects did respond, Oh, I see it perfectly clearly. But a more frequent reaction was, I kind of see it, kind of dont or No, it is not like a memory. I see the number as being clearly red, but I also know it isnt; it's black. So it must be a memory, I guess.
To determine whether an effect is truly perceptual, psychologists often use a simple test called pop-out or segregation. If you look at a set of tilted lines scattered amid a forest of vertical lines, the tilted lines stand out. Indeed, you can instantly segregate them from the background and group them mentally to form, for example, a separate triangular shape. Similarly, if most of a background's elements were green dots and you were told to look for red targets, the red ones would pop out. On the other hand, a set of black 2's scattered among 5's of the same color almost blend in [see box on page 81]. It is hard to discern the 2's without engaging in an item-by-item inspection of numbers, even though any individual number is just as clearly different from its neighbors as a tilted line is from a straight line. We thus may conclude that only certain primitive, or elementary, features, such as color and line orientation, can provide a basis for grouping. More complex perceptual tokens, such as numbers, cannot.
We wondered what would happen if we showed the mixed numbers to synesthetes who experience, for instance, red when they see a 5 and green with a 2. We arranged the 2's so that they formed a triangle.
When we conducted these tests with volunteers, the answer was crystal clear. Unlike normal subjects, synesthetes correctly reported the shape formed by groups of numbers up to 90 percent of the time (exactly as nonsynesthetes do when the numbers actually have different colors). This result proves that the induced colors are genuinely sensory and that synesthetes are not just making things up. It is impossible for them to fake their success.
- According to the passage, which of the following best describes the relationship between synesthesia and metaphorical thinking?
(A) Synesthesia is a form of metaphorical thinking that is common among gifted individuals.
(B) Synesthesia and metaphorical thinking are entirely distinct phenomena with no overlap.
(C) Synesthesia is often mistaken for metaphorical thinking due to the similarities in how they are described.
(D) Metaphorical thinking is a prerequisite for developing synesthesia.
(E) The relationship between synesthesia and metaphorical thinking remains unclear and requires further research.
- The author's discussion of the "pop-out" or "segregation" test serves to:
(A) demonstrate the complexity of the brain processes underlying synesthesia.
(B) provide evidence that synesthesia is a genuine sensory experience rather than a memory or association.
(C) highlight the differences between synesthetes and non-synesthetes in their ability to group complex perceptual tokens.
(D) illustrate the limitations of using psychological tests to study subjective experiences like synesthesia.
(E) suggest that the "pop-out" effect is a unique feature of synesthesia that cannot be explained by current theories of perception.
- Which of the following can be inferred from the passage about the prevalence of synesthesia?
(A) Synesthesia is a rare condition that affects only a small percentage of the population.
(B) The prevalence of synesthesia has been steadily increasing since it was first documented in the 19th century.
(C) Synesthesia is more common among artists and creative individuals than in the general population.
(D) The prevalence of synesthesia has been underestimated due to the difficulty in distinguishing it from other perceptual phenomena.
(E) The true prevalence of synesthesia is unknown, as many individuals may not report their experiences due to fear of stigmatization.
- Based on the information provided in the passage, which of the following statements about the nature of synesthesia is most accurate?
(A) Synesthesia is a purely psychological phenomenon with no basis in sensory perception.
(B) Synesthesia is a neurological condition caused by abnormal brain connectivity.
(C) Synesthesia is a learned association between different sensory modalities that develops during childhood.
(D) Synesthesia is a form of creative expression that allows individuals to experience the world in unique ways.
(E) The nature of synesthesia remains a mystery, and current theories cannot fully account for its underlying mechanisms.
- The author's use of the phrase "no-man's-land between fantasy and reality" to describe the experiences of synesthetes suggests that:
(A) synesthesia blurs the boundaries between what is real and what is imagined.
(B) synesthetes are unable to distinguish between their synesthetic experiences and reality.
(C) synesthesia is a form of escapism that allows individuals to retreat into a fantasy world.
(D) the experiences of synesthetes are not grounded in any objective reality.
(E) synesthesia is a manifestation of the inherent subjectivity of all human perception.
- The passage implies that one reason why synesthesia has been dismissed by some scientists is that:
(A) the experiences of synesthetes are highly subjective and difficult to verify objectively.
(B) synesthesia is a rare condition that does not warrant significant scientific attention.
(C) the mechanisms underlying synesthesia are too complex to be understood by current scientific methods.
(D) synesthesia is not a genuine sensory experience but rather a form of associative memory.
(E) the study of synesthesia does not have any practical applications or relevance to other areas of scientific inquiry.
- According to the passage, which of the following is a key challenge in studying synesthesia?
(A) Identifying the genetic basis of synesthesia and developing targeted treatments for the condition.
(B) Designing experimental paradigms that can reliably distinguish synesthetic experiences from other forms of perception.
(C) Recruiting a large enough sample of synesthetes to draw generalizable conclusions about the condition.
(D) Developing a standardized classification system for the different types of synesthetic experiences.
(E) Overcoming the skepticism and resistance of the scientific community towards the legitimacy of synesthesia as a genuine phenomenon.
- The author's discussion of the various theories about the origins of synesthesia suggests that:
(A) there is a lack of consensus among researchers about the underlying causes of synesthesia.
(B) the theory that synesthesia is a result of childhood memories and associations has been widely discredited.
(C) the most promising explanation for synesthesia is that it is a form of metaphorical thinking.
(D) researchers have recently converged on a single, unified theory that can account for all aspects of synesthesia.
(E) the study of synesthesia has been hampered by the lack of testable theories about its origins.
- The findings from the author's research on synesthesia, as described in the passage, suggest that:
(A) synesthesia is a purely perceptual phenomenon that does not involve any higher-level cognitive processes.
(B) the experiences of synesthetes can provide valuable insights into the nature of human consciousness and perception.
(C) synesthesia is a disorder that should be treated with targeted interventions to minimize its impact on daily functioning.
(D) the study of synesthesia is unlikely to yield any significant advances in our understanding of the human mind.
(E) the neural mechanisms underlying synesthesia are fundamentally different from those involved in normal perception.
- Which of the following questions about synesthesia is left unanswered by the passage?
(A) What are the specific brain processes that give rise to synesthetic experiences?
(B) How do the experiences of synesthetes differ from those of non-synesthetes in terms of their subjective quality?
(C) Are there any practical applications or benefits associated with the study of synesthesia?
(D) To what extent is synesthesia influenced by cultural, linguistic, or environmental factors?
(E) All of the above.
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发表于 2024-8-23 08:36:21
