2022考研英语一真题+参考答案

2022考研英语一真题+参考答案 2022年全国硕士研究生入学统一考试 英语（一）试题 Section I Use of English Directions: 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 plants’ intelligence is inconclusive, the authors wrote. Beginning in 2006, some scientists have 7 that plants possess neuron-like cells that interact with hormones and neurotransmitters, 8 “a plant nervous system, 9 to that in animals,” said lead study author Lincoln Taiz, “They 10 claimed that plants have ‘brain-like command centers’ at their root tips.” This 11 makes sense if you simplify the workings of a complex brain, 12 it to an array 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,” 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 what’s 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.coined B.discovered C.collected D.issued 2.A.attributed B.directed C. compared D.confined 3.A.unless B.when C.once D.though 4.A.coped with B.consisted of C.hinted at D.extended 5.A.suffers B.benefits C.develops D.differs 6.A.acceptance B.evidence C.cultivation D.creation 7.A.doubted B.denied C.argued D.requested 8.A.adapting B.forming C.repairing D.testing 9.A.analogous B.essential C.suitable D.sensitive 10.A.just B.ever C.still D.even 11.A.restriction B.experiment C.perspective D.demand 12.A.attaching B.reducing C.returning D.exposing 13.A.However B.Moreover C.Therefore D.Otherwise 14.A.temporarily B.literally C.superficially D.imaginarily 15.A.list B.level C.label D.local 16.A.recalled B.agreed C.questioned D.added 17.A.chances B.risks C.excuses D.assumptions 18.A.danger B.failure C.warning D.control 19.A.represents B.includes C.reveals D.recognizes 20.A.humble B.poor C.practical D.easy SectionⅡ Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on the ANSWER SHEET. (40 points) Text 1 People 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,” she says. “The object you make is already a time bomb.” And sometimes, it’s not the artist’s fault. In the 1960s, the Italian artist Picro Gilardi began to create hundreds of bright, colorful foam pieces. Those pieces included small beds of roses and other items as well as a few dozen “nature carpets” —large rectangles decorated with foam pumpkins, cabbages, and watermelons. He wanted viewers to walk around on the carpets—which meant they had to be durable. Unfortunately, the polyurethane foam 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 spitting and crumbling. Mu