六级阅读共6套.docx
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六级阅读共6套.docx
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六级阅读共6套
2015年6月大学英语六级考试真题(第一套)
SectionA
Innovation,theelixir(灵丹妙药)ofprogress,hasalwayscostpeopletheirjobs.IntheIndustrialRevolutionhandweaverswere___36___asidebythemechanicalloom.Overthepast30yearsthedigitalrevolutionhas___37___manyofthemid-skilljobsthatunderpinned20th-centurymiddle-classlife.Typists,ticketagents,banktellersandmanyproduction-linejobshavebeendispensedwith,justastheweaverswere.
Forthosewhobelievethattechnologicalprogresshasmadetheworldabetterplace,suchdisruptionisanaturalpartofrising___38___.Althoughinnovationkillssomejobs,itcreatesnewandbetterones,asamore___39___societybecomesricheranditswealthierinhabitantsdemandmoregoodsandservices.AhundredyearsagooneinthreeAmericanworkerswas___40___onafarm.Todaylessthan2%ofthemproducefarmorefood.Themillionsfreedfromthelandwerenotrendered___41___,butfoundbetter-paidworkastheeconomygrewmoresophisticated.Todaythepoolofsecretarieshas___42___,butthereareevermorecomputerprogrammersandwebdesigners.
Optimismremainstherightstarting-point,butforworkersthedislocatingeffectsoftechnologymaymakethemselvesevidentfasterthanits___43___.Evenifnewjobsandwonderfulproductsemerge,intheshorttermincomegapswillwiden,causinghugesocialdislocationandperhapsevenchangingpolitics.Technology's___44___willfeellikeatornado(旋风),hittingtherichworldfirst,but___45___sweepingthroughpoorercountriestoo.Nogovernmentispreparedforit.
A) benefits B) displaced C) employed D) eventually
E) impact F) joblessG) primarilyH) productive
I) prosperityJ) responsiveK) rhythmL) sentiments
M) shrunkN) sweptO) withdrawn
SectionB
WhytheMonaLisaStandsOut
[A]Haveyoueverfallenforanovelandbeenamazednottofinditonlistsofgreatbooks?
Orwalkedaroundasculpturerenownedasaclassic,strugglingtoseewhatthefussisabout?
Ifso,you’veprobablyponderedthequestionCuttingaskedhimselfthatday:
howdoesaworkofartcometobeconsideredgreat?
[B]Theintuitiveansweristhatsomeworksofartarejustgreat:
ofintrinsicallysuperiorquality.Thepaintingsthatwinprimespotsingalleries,gettaughtinclassesandreproducedinbooksaretheonesthathaveprovedtheirartisticvalueovertime.Ifyoucan’tseethey’resuperior,that’syourproblem.It’sanintimidatinglyneatexplanation.Butsomesocialscientistshavebeenaskingawkwardquestionsofit,raisingthepossibilitythatartisticcanonsarelittlemorethanfossilisedhistoricalaccidents.
[C]Cutting,aprofessoratCornellUniversity,wonderedifapsychologicalmechanismknownasthe“mere-exposureeffect”playedaroleindecidingwhichpaintingsrisetothetopoftheculturalleague.Cuttingdesignedanexperimenttotesthishunch.Overalecturecourseheregularlyshowedundergraduatesworksofimpressionismfortwosecondsatatime.Someofthepaintingswerecanonical,includedinart-historybooks.Otherswerelesserknownbutofcomparablequality.Thesewereexposedfourtimesasoften.Afterwards,thestudentspreferredthemtothecanonicalworks,whileacontrolgroupofstudentslikedthecanonicalonesbest.Cutting’sstudentshadgrowntolikethosepaintingsmoresimplybecausetheyhadseenthemmore.
[D]Cuttingbelieveshisexperimentoffersaclueastohowcanonsareformed.Hepointsoutthatthemostreproducedworksofimpressionismtodaytendtohavebeenboughtbyfiveorsixwealthyandinfluentialcollectorsinthelate19thcentury.Thepreferencesofthesemenbestowedprestigeoncertainworks,whichmadetheworksmorelikelytobehungingalleriesandprintedinanthologies.Thefamepasseddowntheyears,gainingmomentumfrommereexposureasitdidso.Themorepeoplewereexposedto,themoretheylikedit,andthemoretheylikedit,themoreitappearedinbooks,onpostersandinbigexhibitions.Meanwhile,academicsandcriticscreatedsophisticatedjustificationsforitspre-eminence.Afterall,it’snotjustthemasseswhotendtoratewhattheyseemoreoftenmorehighly.AscontemporaryartistslikeWarholandDamienHirsthavegrasped,criticalacclaimisdeeplyentwinedwithpublicity.“Scholars”,Cuttingargues,“arenodifferentfromthepublicintheeffectsofmereexposure.”
[E]TheprocessdescribedbyCuttingevokesaprinciplethatthesociologistDuncanWattscalls“cumulativeadvantage”:
onceathingbecomespopular,itwilltendtobecomemorepopularstill.Afewyearsago,Watts,whoisemployedbyMicrosofttostudythedynamicsofsocialnetworks,hadasimilarexperiencetoCuttinginanotherParismuseum.Afterqueuingtoseethe“MonaLisa”initsclimate-controlledbulletproofboxattheLouvre,hecameawaypuzzled:
whywasitconsideredsosuperiortothethreeotherLeonardosinthepreviouschamber,towhichnobodyseemedtobepayingtheslightestattention?
[F]WhenWattslookedintothehistoryof“thegreatestpaintingofalltime”,hediscoveredthat,formostofitslife,the“MonaLisa”remainedinrelativeobscurity.Inthe1850s,LeonardodaVinciwasconsiderednomatchforgiantsofRenaissanceartlikeTitianandRaphael,whoseworkswereworthalmosttentimesasmuchasthe“MonaLisa”.Itwasonlyinthe20thcenturythatLeonardo’sportraitofhispatron’swiferocketedtothenumber-onespot.Whatpropelledittherewasn’tascholarlyre-evaluation,butatheft.
[G]In1911amaintenanceworkerattheLouvrewalkedoutofthemuseumwiththe“MonaLisa”hiddenunderhissmock.Parisianswereaghastatthetheftofapaintingtowhich,untilthen,theyhadpaidlittleattention.Whenthemuseumreopened,peoplequeuedtoseethegapwherethe“MonaLisa”hadoncehunginawaytheyhadneverdoneforthepaintingitself.Fromthenon,the“MonaLisa”cametorepresentWesterncultureitself.
[H]Althoughmanyhavetried,itdoesseemimprobablethatthepainting’suniquestatuscanbeattributedentirelytothequalityofitsbrushstrokes.Ithasbeensaidthatthesubject’seyesfollowthevieweraroundtheroom.Butasthepainting’sbiographer,DonaldSassoon,drylynotes,“Inrealitytheeffectcanbeobtainedfromanyportrait.”DuncanWattsproposesthatthe“MonaLisa”ismerelyanextremeexampleofageneralrule.Paintings,poemsandpopsongsarebuoyedorsunkbyrandomeventsorpreferencesthatturnintowavesofinfluence,ripplingdownthegenerations.
[I]“Sayingthatculturalobjectshavevalue,”BrianEnooncewrote,“islikesayingthattelephoneshaveconversations.”Nearlyalltheculturalobjectsweconsumearrivewrappedininheritedopinion;ourpreferencesarealways,tosomeextent,someoneelse’s.Visitorstothe“MonaLisa”knowtheyareabouttovisitthegreatestworkofarteverandcomeawayappropriatelyimpressed—orletdown.Anaudienceataperformanceof“Hamlet”knowitisregardedasaworkofgenius,sothatiswhattheymostlysee.Wattsevencallsthepre-eminenceofShakespearea“historicalaccident”.
[J]Althoughtherigidhigh-lowdistinctionfellapartinthe1960s,westillusecultureasabadgeofidentity.Today’sfashionforeclecticism—“IloveBach,AbbaandJayZ”—is,ShamusKhan,aColumbiaUniversitypsychologist,argues,anewwayforthemiddleclasstodistinguishthemselvesfromwhattheyperceivetobethenarrowtastesofthosebeneaththeminthesocialhierarchy.
[K]Theintrinsicqualityofaworkofartisstartingtoseemlikeitsleastimportantattribute.Butperhapsit’smoresignificantthanoursocialscientistsallow.Firstofall,aworkneedsacertainqualitytobeeligibletobeswepttothetopofthepile.The“MonaLisa”maynotbeaworthyworldchampion,butitwasintheLouvreinthefirstplace,andnotbyaccident.Secondly,somestuffissimplybetterthanotherstuff.Read“Hamlet”afterreadingeventhegreatestofShakespeare’scontemporaries,andthedifferencemaystrikeyouasunarguable.
[L]Astudyinthe BritishJournalofAesthetics suggeststhattheexposureeffectdoesn’tworkthesamewayoneverything,andpointstoadifferentconclusionabouthowcanonsareformed.Thesocialscientistsarerighttosaythatweshouldbealittleskepticalofgreatness,andthatweshould alwayslookinthenextroom.Greatartandmediocritycangetconfused,evenbyexperts.Butthat’swhyweneedtosee,andread,asmuchaswecan.Themorewe’reexposedtothegoodandthebad,thebetterweareattellingthedifference.Theeclecticistshaveit.
46.AccordingtoDuncanWatts,thesuperiorityofthe"MonaLisa"toLeonardo'sotherworksresultedfromthecumulativeadvantage.
47.Somesocialscientistshaveraiseddoubtsabouttheintrinsicvalueofcertainworksofart.
48.Itisoftenrandomeventsorpreferencesthatdeterminethefateofapieceofart.
49.Inhisexperiment,Cuttingfoundthathissubjectslikedlesserknownworksbetterthancanonicalworksbecauseofmoreexposure.
50.Theauthorthinksthegreatnessofanartworkstillliesinitsintrinsicvalue.
51.Itistrueofcriticsaswellasordinarypeoplethatthepopularityofartisticworksiscloselyassociatedwithpublicity.
52.Weneedtoexposeourselvestomoreartandliteratureinordertotellthesuperiorfromtheinferior.
53.Astudyofthehistoryofthegreatestpaintingssuggestsevenagreatworkofartcouldexperienceyearsofneglect.
54.Cultureisstillusedasamarktodistinguishonesocialclassfromanother.
55.Opinionsaboutandpreferencesforculturalobjectsareofteninheritable.
SectionC
PassageOne
Whentherightpersonisholdingtherightjobattherightmoment,thatperson'sinfluenceisgreatlyexpanded.ThatisthepositioninwhichJ
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