2022年成人考研英语一真题

2022考研真题解析暨复试备考策略2022考研英语一真题Section I Use of EnglishDirections:Read the following text. Choose the best word(s) for each numbered blank and mark A, B, C, or D on the ANSWER SHEET. (10 points)The idea that plants have some degree of consciousness first took root in the early 2000s; the term "plant neurobiology" was (1) around the notion that some aspects of plant behavior could be (2) to intelligence in animals. (3) plants lack brains, the firing of electrical signals in their stems and leaves nonetheless triggered responses that (4) consciousness, researchers previously reported.But such an idea is untrue, according to a new opinion article. Plant biology is complex and fascinating, but it ( 5 ) so greatly from that of animals that so-called ( 6 ) of plants5 intelligence is inconclusive, the authors wrote.Beginning in 2006, some scientists have (7) that plants possess neuron一like cells that interact with hormones and neurotransmitters, (8) "a plant nervous system, (9) to that in animals,55 said lead study author Lincoln Taiz, "They (10) claimed that plants have "brain-like command centers" at their root tips.55This (11) makes sense if you simplify the workings of a complex brain, (12) it to an anay of electrical pulses; cells in plants also communicate through electrical signals. (13) , the signaling in a plant is only (14) similar to the firing in a complex animal brain, which is more than "a mass of cells that communicate by electricity,55 Taiz said."For consciousness to evolve, a brain with a threshold (15) of complexity and capacity is required,he (16) Since plants don't have nervous systems, the (17) that they have consciousness are effectively zero."And whafs so great about consciousness, anyway? Plants can't run away from (18) , so investing energy in a body system which (19) a threat and can feel pain would be a very (20) evolutionary strategy, according to the article.1 .A.coinedB. discoveredC.collectedD.issued2.A.attributedB. directedC. comparedD.confined3.A.unlessB.whenC.onceD. though4.A.cope withB.consisted ofC .hinted atD.extended in5.A.suffersB .benefitsC. developsD.differs6.A.acceptanceB. evidenceC. cultivationD.creation7. A. doubtedB. deniedC. arguedD.requested8.A.adaptingB.formingC .repairingD. testing9.A.analogousB.essentialC. suitableD. sensitivelO.A.justB.everC. stillD.even11 .A.restrictionB. experimentC .perspectiveD. demand12.A.attachingB .reducingC .returningD.exposing13.A.HoweverB .MoreoverC. ThereforeD. Otherwise14.A.temporarilyB.literallyC. superficiallyD.imaginarily15.A.listB.levelC. labelD.local16.A.recalledB. agreedC. questionedD.added17.A.chancesB .risksC. excusesD.assumptions18.A. dangerB.failureC .warningD. control19.A.representsB. includesC .revealsD.recognizes2O.A.humbleB.poorC .practicalD.easySection II Reading ComprehensionPart ADirections:Read die following fbur texts. Answer the questions below each text by choosing A, B, C, or D, Mark your answers on the ANSWER SHEET. (40 points)Text 1People often complain that plastics are too durable. Water bottles, shopping bags, and other trash litter the planet, from Mount Everest to the Mariana Trench, because plastics are everywhere and don't break down easily. But some plastic materials change over time. They crack and frizzle.They "weep" out additives. They melt into sludge. All of which creates huge headaches for institutions, such as museums, trying to preserve culturally important objects. The variety of plastic objects at risk is dizzying: early radios, avant-garde sculptures, celluloid animation stills from Disney films, the first artificial heart.Certain artifacts are especially vulnerable because some pioneers in plastic art didn't always know how to mix ingredients properly, says Thea van Oosten, a polymer chemist who, until retiring a few years ago, worked for decades at the Cultural Heritage Agency of the Netherlands. "It's like baking a cake: If you don't have exact amounts, it goes wrong,55 she says. "The object you make is already a time bomb/5And sometimes, ifs not the artisfs fault. In the 1960s, the Italian artist Piero Gilardi began to create hundreds of bright, colorful fbam pieces. Those pieces included small beds of roses and other items as well as a few dozen "nature carpets" -large rectangles decorated with fbam pumpkins, cabbages, and watermelons. He wanted viewers to walk around on the carpets -which meant they had to be durable.Unfortunately, the polyurethane fbam he used is inherently unstable. It's especially vulnerable to light damage, and by the mid-1990s, Gilardi's pumpkins, roses, and other figures were splitting and crumbling. Museums locked some of them away in the dark. So van Oosten and her colleagues worked to preserve Gilardi5s sculptures. They infused some with stabilizing