SAT真题免费下载0805S09

1. Certain clear patterns in the metamorphosis of a butterfly indicate that the process is ______.

A. systematic

B. voluntary

C. spontaneous

D. experimental

E. clinical

2. The book's final chapter on Mildred Imach Cleghorn suffers from an obvious ______: it fails to

cover Cleghorn's years as an Apache tribal leader.

A. omission

B. inconsistency

C. extravagance

D. misconception

E. assumption

3. To keep their negotiations ______, the leaders of rival groups in the country arranged meetings

that were ______.

A. relaxed…complex

B. covert…prestigious

C. secret…clandestine

D. productive…unscheduled

E. diplomatic…illicit

4.

Darrren's sensitivity

to

his

celebrity

clients

is

nothing

short

of

______:

he

is

able

to

______

their needs before they themselves are fully aware of them.

A. superfluous…gratify

B. unconditional…forestall

C. preternatural anticipate

D. interminable…formulate

E. legendary…minimize

5. Detractors attacked the study's ______, claiming that researchers used lax procedures to gather

and analyze date.

A. hypothesis

B. predictability

C. methodology

D. corroboration

E. inflexibility

6. The musical Scrambled Feet ______ the ______ of the theatrical world, poking fun at actors,

directors, playwrights, and audiences alike.

A. glorifies…heroes

B. spoofs…genres

C. avoids…pitfalls

D. satirizes…denizens

E. neglects…foibles

In

this

2002

passage,

the

author

discusses

the

feeling

known

as

sublime,

which

he

experiences

white

traveling

in

the

Sinai

desert.

The

definition

of

sublime

has

been

the

subject of much discussion and debate.

In my backpack I am carrying a flashlight, a sun hat and Edmund

Burke In 1757, at the age of

twenty-four

and

after

giving

up

his

legal

studies

in

London.

Burke

composed

A

Philosophical

Enquiry into the Orient of Our Ideas of the Sublime and Beautiful.. He was categorical

—

sublimity

had to do with a feeling of weakness. Many landscapes were beautiful

—

meadows in spring, soft

valleys, oak trees, banks of flowers (daisies especially)

—

but they were not sublime. The ideas of

the sublime and beautiful are frequently confounded.

applied

to

things

greatly

differing

and

sometimes

of

natures

directly

opposite

—

a

trace

of

Irritation on the purl of the young philosopher with those who gasped at a stream and called that

sublime.

A

landscape

could

arouse

the

sublime

only

when

it suggested

power

—

a

power

greater

than that of humans, and threatening to them. Sublime places embodied a defiance to human will.

Burke illustrated his argument with an analogy about oxen and bulls:

strength: but he is an innocent creature, extremely serviceable, and not at all dangerous: for which

reason the idea of an on is hy no means grand. A

bull is strong too: but his strength it or another

kind: often very destructive. The idea of a bull is therefore great, and it has frequently a place in

sublime descriptions, and elevating comparisons

There

were

oxlike

landscapes,

innocent

and

at

all

dangerous,

pliable

to

human

will:

landscape of farms, orchards, hedge, rivers and gardens. Then there were bull-like landscapes. The

essayist

enumerated

their

qualities;

they

were

vast,

empty

,

often

dark

and

apparently

infinite

because or the uniformity and succession of their elements. The Sinai was among them.

Bui why the pleasure? Why seek out this feeling of weakness

—

delight in it even? Why leave the

comforts of home, join a group of desert devotees and walk for miles with a heavy pac

k, all to

reach a place of rocks and silence where one must shelter from the sun like a Fugitive in the scam

shadow of giant boulders? Why exhilarate in such an environment, rather than despair?

One

answer Is

that

not

everything

that

is

more

powerful

than

us

must

always

be

hateful

to

us.

What

defies our will can provoke anger and resentment, but it may also arouse

awe and respect. It depends on whether the obstacle appears noble in us defiance or squalid and

insolent.

We

begrudge

the

defiance

of

a

cocky

acquaintance

even

as

we

honor

that

of

the

mist-shrouded mountain. We are humiliated by what is powerful and mean but awed by what is

powerful

and

noble.

To

extend

Burke's

animal

terminology,

a

bull

may

arouse

a

feeling

of

the

sublime, whereas a piranha cannot. It seems a matter of motives: we interpret the piranha's power

as being vicious and predatory, and the bull's as guileless and impersonal.

Even when we are not in deserts, the behavior of others and our own flaws are prone to leave us

feeling small, Humiliation is a perpetual risk in the human world. It is not unusual for our will to

be

defied

and

our

wishes

frustrated.

Sublime

landscapes

do

not

therefore

introduce

us

to

our

inadequacy; rather, to touch on the crux of their appeal, they allow us to conc

eive of a familiar

inadequacy in a new and more helpful way. Sublime places repeal in grand terms a lesson that

ordinary life typically introduces viciously: that the universe lit mightier than we are, that we are

frail and temporary and have no alternative but to accept limitations on our will, that we must bow