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2018英語(yǔ)專四閱讀練習(xí)及答案匯總
應(yīng)屆畢業(yè)生網(wǎng)小編為大家整理了2018英語(yǔ)專四閱讀練習(xí)及答案5篇匯總，供各位考生參考。
成長(zhǎng)與家庭危機(jī)
Parents are often upset when their children praise the homes of their friends and regard it as a slur (詆毀) on their own cooking, or cleaning, or furniture, and often are foolish enough to let the adolescents see that they are annoyed. They may even accuse them of disloyalty, or make some spiteful remark about the friends' parents. Such a loss of dignity and descent into childish behavior on the part of the adults deeply shocks the adolescents, and makes them resolve that in future they will not talk to their parents about the place or people they visit. Before very long the parents will be complaining that the child is so secretive and never tells them anything, but they seldom realize that they have brought this on themselves.
Disillusionment with the parents, however good and adequate they may be both as parents and as individuals, is to some degree inevitable. Most children have such a high ideal of their parents, unless the parents themselves have been unsatisfactory, that it can, hardly hope to stand up to a realistic evaluation. Parents would be greatly surprised and deeply touched if they realized how much belief their children usually have in their character and infallibility, and how much this faith means to a child. If parents were prepared for this adolescent reaction, and realized that it was a sign that the child was growing up and developing valuable powers of observation and independent judgment they would not be so hurt, and therefore would not drive the child into opposition by resenting and resisting it.
The adolescent, with his passion for sincerity, always respects a parent who admits that he is wrong, or ignorant, or even that he has been unfair or unjust. What the child cannot forgive is the parent's refusal to admit these charges if the child knows them to be true.
Victorian parents believed that they kept their dignity by retreating behind an unreasoning authoritarian attitude; in fact they did nothing of the kind, but children were then too cowed to let them know how they really felt. Today we tend to go to the other extreme, but on the whole this is a healthier attitude both for the child and the parent. It is always wiser and safer to face up to reality, however painful it may be at the moment.
1. According to the passage, children would arouse parents' disappointment for
A. admiring their friends' homes.
B. talking back to their parents.
C. complaining home-made dishes.
D. making some spiteful remark.
2. When adolescents feel disillusion with their parents, it means that they
A. feel disappointed with their parents.
B. are developing into maturity.
C. just want to hurt their parents.
D. are expressing their discontentment.
3. Adolescents in Victorian times
A. had shown more respect for parents than today.
B. always answered back to deal with the problem.
C. admired the authoritarian attitude of their parents.
D. were too afraid to tell what they really thought.
4. What is the tone of the passage?
A. Critical.
B. Humorous.
C. Serious.
D. Ambiguous.
5. What does this passage mainly discuss?
A. Children will become more and more mature when growing up.
B. Parents have to change their ways in educating their children.
C. The conflicts between parents and their children are inevitable.
D. Parents have made mistakes in communication with children.
答案解析：
1.[A]細(xì)節(jié)判斷題。根據(jù)題干中的arouse parents’disappointment及各選項(xiàng)內(nèi)容定位到第1段。第1段指出，家長(zhǎng)聽(tīng)到孩子贊揚(yáng)朋友的家就會(huì)感到不安，常常誤以為孩子是在抱怨家里的飯菜、清潔等。據(jù)此分析，A為正確選項(xiàng);C是父母自己的推測(cè)，并不是孩子本意，所以C可排除。文中指出，家長(zhǎng)甚至責(zé)備孩子不忠，或是講些孩子朋友父母的壞話，故D應(yīng)予排除。B“與父母頂嘴”找不到原文依據(jù)。
2.[B]細(xì)節(jié)判斷題。根據(jù)題干中的feel disillusion定位到第2段。本題考查孩子對(duì)父母幻想破滅的本質(zhì)。文中指出，如果父母確實(shí)了解孩子的這一看法，就會(huì)知道這意味著孩子此時(shí)正處在走向成熟的階段……因此B符合原文的意思。根據(jù)原文，孩子對(duì)家長(zhǎng)幻想的破滅是孩子不斷成熟的表現(xiàn)，A、D都是孩子對(duì)家長(zhǎng)幻想破滅的表象，不是問(wèn)題的實(shí)質(zhì)， 應(yīng)予以排除;父母了解孩子這一反應(yīng)的實(shí)質(zhì)之后就不會(huì)感到難過(guò)，可見(jiàn)孩子并不是故意傷害父母.因而C也應(yīng)予以排除。
3.[D]細(xì)節(jié)判斷題。 根據(jù)題干中的Victorian times定位到末段。文中明確指出，維多利亞時(shí)代的父母之所以可以鎮(zhèn)住孩子，倒不是因?yàn)楹⒆映缟袩o(wú)理的權(quán)威，而是他們被這樣的氣勢(shì)嚇得不敢說(shuō)實(shí)話。據(jù)此，D的表述與原文相符，為應(yīng)選答案，同時(shí)排除B、C。維多利亞時(shí)代的孩子對(duì)于父母的尊敬還建立在屈服的基礎(chǔ)之上，不能因此就判斷他們比現(xiàn)在的孩子更多尊敬父母。據(jù)此分析，A也應(yīng)排除。
4.[C]文章基調(diào)題。本文主要敘述了孩子在青春發(fā)育過(guò)程中的變化及其實(shí)質(zhì)，父母和孩子之間出現(xiàn)的常見(jiàn)問(wèn)題和應(yīng)對(duì)措施，并指出處理不當(dāng)可能帶來(lái)的危害和不良后果。鑒于本文論述嚴(yán)謹(jǐn)。觀點(diǎn)明確，所以可以判斷文章的基本論調(diào)是“嚴(yán)肅”的，因此C為應(yīng)選答案。文章 雖然提到父母有錯(cuò)誤和不足，但同時(shí)也提出了解決的建議和方法，因而本文也不是批判性質(zhì)的，A也應(yīng)予排除。
5.[B]全文主旨題。本文講述青少年成長(zhǎng)過(guò)程中的一些變化，分析家長(zhǎng)應(yīng)該怎樣正確予以看待并提出正確教育孩子的一些建議。由此可知，B為本題答案。孩子逐漸走向成熟以及他們與父母發(fā)生沖突都是本文的部分內(nèi)容，不能代替全文的內(nèi)容，因此A、C應(yīng)排除;本文不僅提到D的內(nèi)容，還提出了解決建議，因而D也是片面的，應(yīng)予以排除。
差異性
What comes to mind when you hear the word--diversity? Issues of race or gender may spring to mind.Equal rights? Or minority issues?
I encourage people to look at a much wider definition of the word.1 would tend to say diversity is “differentness” in any form.A good example of this kind of diversity has been experienced by every person who ever left behind the comforts of home and moved into uncharted territory.Issues of diversity are informed not only by your cultural background and context，but also by your religion，age，field of work，family situation， personality，and countless other factors that make us unique.Diversity affects everyone.
It’s for this reason that diversity has become such a buzz word.The buzz happens because it’s all about how you handle it.It’s very much like the job a composer has when creating a great musical composition.If the composer understands what each unique note and dynamic mark is capable of in combination with the other parts，the result achieved is extraordinary.If, however，none of the parts is communicating with the others，we’re left with a cacophony(刺耳的聲音).
On a personal level.it’s this understanding and acceptance of “the other” which rests at the core of diversity.Whether we’re talking about navigating through a multicultural urban environment or uprooting and moving to a new foreign social context，it is necessary to set aside rigid assumptions about “the other” and put oneself in the other's shoes. So how do we make this leap? It's often as simple as asking questions and being careful not to assume that what you see is necessarily what the other side sees.
Often in my workshops I give a magic lesson to the audience to illustrate this principle. I first present the magic and accomplish the "impossible". The participants receive the same props but simply can't manage. We look more carefully at the situation and realize that the assumptions they made about it actually blocked them from achieving this feat; a feat they suddenly are empowered to do which, moments ago, was impossible.
The goal in being sensitive to diversity is to cultivate a culture of respect for people's differences and understand that such an environment is beneficial to everyone involved.
Diversity awareness is an evolution. We can't get there by snapping our fingers, and it isn't a matter of training people to have textbook politically correct attitudes. Instead it's a case of looking at the big picture of how we see the world, understanding why we see it that way, and then making sure we do our part to genuinely value difference and benefit from it.
1. According to the author, diversity is
A. confusing.
B. extraordinary.
C. quite common.
D. universal.
2. "It" in Paragraph Three refers to
A. diversity.
B. the buzz.
C. how to handle diversity.
D. the formation of diversity.
3. The author believes that
A. to handle diversity one should put himself in others' shoes.
B. when you are in a foreign environment, do as the Romans do.
C. diversity can hardly be defined.
D. diversity derives from cultural difference.
4. The example of a magic lesson is to show
A. everyone can do magic.
B. magic is nothing but a feat.
C. what blocks people from handling diversity.
D. it is possible to achieve anything.
5. How to raise diversity awareness according to the author?
A. By living in an unfamiliar environment.
B. By having politically correct attitudes.
C. By being sensitive to everything one experiences.
D. By understanding people's differences.
答案解析：
1.[D]細(xì)節(jié)判斷題。第2段有對(duì)該詞的定義，從any form，every person，not only…but als0等這些詞可推斷“差異性”具有普遍性，故選D。C為強(qiáng)干擾項(xiàng)，common偏指普通的，常見(jiàn)的，注意這里更強(qiáng)調(diào)的是“差異性”的普遍性。
2.[C]代詞指代題。考查It所指代的對(duì)象。查找到It所在的句子，前句指出“差異性之所以時(shí)髦是因?yàn)樗Q于你如何對(duì)待它”，然后就指出“這就好 像作曲家在創(chuàng)作一首偉大的樂(lè)曲一樣”，故It在此指代的就是如何對(duì)待差異性的問(wèn)題，故選C。D有一定的干擾性，但差異性的形成并沒(méi)有在It前面提到，故排除。
3.[A]觀點(diǎn)態(tài)度題。由第4段倒數(shù)第3句可知A正確，該段還提到搬遷到一個(gè)陌生的社會(huì)環(huán)境必須拋棄對(duì)他人的固執(zhí)想法，B與原文表述不符;第2段首句就有對(duì)”差異性“的定義。故C錯(cuò)誤;第2段提到“差異性問(wèn)題不僅體現(xiàn)于你的文化背景，還體現(xiàn)于……”，D表述過(guò)于片面，故排除。
4.[C]例證細(xì)節(jié)題。根據(jù)magic lesson定位到第5段。該例子表明觀眾從“不會(huì)”到“會(huì)”魔術(shù)這門技藝，說(shuō)明是他們?cè)鹊囊芟胱璧K了他們對(duì)這種技藝的掌握，進(jìn)而說(shuō)明是什么阻礙了人們正確對(duì)待文化差異，故選C。A“每個(gè)人都能玩魔術(shù)”和B“魔術(shù)只不過(guò)是一門技藝”不是例證要說(shuō)明的問(wèn)題，故排除。
5.[D]細(xì)節(jié)判斷題。 根據(jù)diversi awareness定位到最后一段。該段最后一句表明，差異性意識(shí)的提升就應(yīng)從我們?nèi)绾斡^察世界這個(gè)大問(wèn)題著眼，理解我們?yōu)槭裁茨菢涌创町�，并切�?shí)保證我們能真正重視事物的差異，故選D。由該段第2句可知B錯(cuò)誤;到了不熟悉的環(huán)境中，會(huì)碰到“差異性”的問(wèn)題，但它不是提升差異意識(shí)的途徑，故A錯(cuò)。C文中沒(méi)有提到。
黑暗中的堅(jiān)持
I lost my sight when I was four years old by falling off a box car in a freight yard in Atlantic City and landing on my head. Now I am thirty two. I can vaguely remember the brightness of sunshine and what color red is. It would be wonderful to see again, but a calamity can do strange things to people. It occurred to me the other day that I might not have come to love life as I do if I hadn't been blind. I believe in life now. I am not so sure that I would have believed in it so deeply, otherwise. I don't mean that I would prefer to go without my eyes. I simply mean that the loss of them made me appreciate the more what I had left.
Life, I believe, asks a continuous series of adjustments to reality. The more readily a person is able to make these adjustments, the more meaningful his own private world becomes. The adjustment is never easy. I was bewildered and afraid. But I was lucky. My parents and my teachers saw something in me--a potential to live, you might call it--which I didn't see, and they made me want to fight it out with blindness.
The hardest lesson I had to learn was to believe in myself. That was basic. If I hadn't been able to do that, I would have collapsed and become a chair rocker on the front porch for the rest of my life. When I say belief in myself I am not talking about simply the kind of self confidence that helps me down an unfamiliar staircase alone. That is part of it. But I mean something bigger than that: an assurance that I am, despite imperfections, a real, positive person; that somewhere in the sweeping, intricate pattern of people there is a special place where I can make myself fit.
It took me years to discover and strengthen this assurance. It had to start with the most elementary things. Once a man gave me an indoor baseball. I thought he was mocking me and I was hurt. "I can't use this." I said. "Take it with you," he urged me, "and roll it around." The words stuck in my head. "Roll it around! "By rolling the ball I could hear where it went. This gave me an idea how to achieve a goal I had thought impossible: playing baseball. At Philadelphia's Overbrook School for the Blind I invented a successful variation of baseball. We called it ground ball.
All my life I have set ahead of me a series of goals and then tried to reach them, one at a time. I had to learn my limitations. It was no good to try for something I knew at the start was wildly out of reach because that only invited the bitterness of failure. I would fail sometimes anyway but on the average I made progress.
1. We can learn from the beginning of the passage that
A. the author lost his sight because of a car crash.
B. the author wouldn't love life if the disaster didn't happen.
C. the disaster made the author appreciate what he had.
D. the disaster strengthened the author's desire to see.
2. What's the most difficult thing for the author?
A. How to adjust himself to reality.
B. Building up assurance that he can find his place in life.
C. Learning to manage his life alone.
D. To find a special work that suits the author.
3. According to the context, "a chair rocker on the front porch" in paragraph 3 means that the author
A. would sit in a rocking chair and enjoy his life.
B. was paralyzed and stayed in a rocking chair.
C. would lose his will to struggle against difficulties.
D. would sit in a chair and stay at home.
4. According to the passage, the baseball and encouragement offered by the man
A. hurt the author's feeling.
B. gave the author a deep impression.
C. directly led to the invention of ground ball.
D. inspired the author.
5. According to the passage, which of the following is CORRECT?
A. The author set goals for himself but only invited failure most of the time.
B. The author suggested not trying something beyond one's ability at the beginning.
C. The bitterness of failure prevented the author from trying something out of reach.
D. Because of his limitations, the author tried to reach one goal at a time.
答案解析：
1.[C]細(xì)節(jié)判斷題。第l段最后一句指出“所失去的讓我更懂得珍惜現(xiàn)在擁有的”，故選C。作者失明是因?yàn)樗麖囊惠v貨車(box car)A摔下來(lái)，而不是因?yàn)槠囀鹿�，故排除A;B的推斷沒(méi)有原文依據(jù);文中提到他渴望重見(jiàn)光明。D的表述與原文有出入。
2.[B]細(xì)節(jié)判斷題。the most difficult thin9是The hardest lesson的同義改寫(xiě)，故可定位到第3段。該段首句指出最困難的事情是“相信自己”，But所在的句子做了更具體的解釋即“對(duì)自己的一種堅(jiān)信，我還是 我，盡管不是完美的……堅(jiān)信自己可以找到一個(gè)適合自己的位置”，故選B。A太籠統(tǒng);由第2段可知他的生活并不是孤單的，他還有父母、老師等的支持，故C錯(cuò) 誤;D文中沒(méi)有提到。
3.[C]句意理解題。本題可用排除法。第3段第3句提到，“如果我不堅(jiān)信自己，我會(huì)崩潰，變成一個(gè)坐在輪椅里的廢人了，在門廊前度此余生”，由此可知C正確。
4.[D]細(xì)節(jié)判斷題。根據(jù)baseball定位到倒數(shù)第2段。從該段最后兩句可知棒球和那個(gè)男人的鼓勵(lì)給作者以啟示和鼓舞.從而發(fā)明了一種叫“滾球”的運(yùn)動(dòng)，故選D。該段提到作者以為那個(gè)男人是在嘲諷他，但后來(lái)在他的激勵(lì)下有所啟發(fā)，故A錯(cuò)誤;B“給作者留下了深刻印象”在文中沒(méi)有提及;C中的directly錯(cuò)誤，男人的話只是給了作者啟發(fā)。
5.[B]細(xì)節(jié)判斷題。最后一段第2、3句表明我們要意識(shí)到自己的局限性，在開(kāi)始時(shí)嘗試那些遙不可及的東西只會(huì)徒勞無(wú)益，故B正確;由該段第1句和最后一句可知作者為自己不斷設(shè)立目標(biāo)并實(shí)現(xiàn)了大部分的目標(biāo)，故A錯(cuò)誤：最后一句的anyway but可知C錯(cuò)誤;文中并沒(méi)有指出他每次嘗試一個(gè)目標(biāo)是因?yàn)樗约旱木窒�，故D屬干隨意捏造。
從才華到藝術(shù)
I have known very few writers, but those I have known, and whom I respected, confess at once that they have little idea where they are going when they first set pen to paper. They have a character, perhaps two; they are in that condition of eager discomfort which passes for inspiration; all admit radical changes of destination once the joumey has begun; one, to my certain knowledge, spent nine months on a novel about Kashmir, then reset the whole thing in the Scottish Highlands. I never heard of anyone making a "skeleton", as we were taught at school. In the breaking and remaking, in the timing, interweaving, beginning afresh, the writer comes to discern things in his material which were not consciously in his mind when he began.
This organic process, often leading to moments of extraordinary self-discovery, is of an indescribable fascination. A blurred image appears, he adds a brushstroke and another, and it is gone; but something was there, and he will not rest till he has captured it. Sometimes the’ yeast within a writer outlives a book he has written. I have heard of writers who read nothing but their own books, like adolescents they stand before the mirror, and still cannot fathom the exact outline of the vision before them. For the same reason, writers talk interminably about their own books, winkling out hidden meanings, superimposing new ones, begging response from those around them.
Of course a writer doing this is misunderstood: he might as well try to explain a crime or a love affair. He is also. Incidentally, an unforgivable bore. This temptation to cover the distance between himself and the reader, to study his image in the sight of those who do not know him, can be his undoing: he has begun to write to please.
A young English writer made the pertinent observation a year or two back that the talent goes into the first draft, and the art into the drafts that follow. For this reason also the writer, like any other artist, has no resting place, no crowd or movement in which he may take comfort, no judgment from outside which can replace the judgment from within. A writer makes order out of the anarchy of his heart; he submits himself to a more ruthless discipline than any critic dreamed of, and when he flirts with fame, he is taking time off from living with himself, from the search for what his world contains at its inmost point.
1. The writers that the author is familiar with confess that they would
A. work out the ending of a novel in advance.
B. follow the writing methods learned at school.
C. remodel the main character in writing.
D. make changes to the stories they first construct.
2. According to the passage, the process of writing
A. depends on skillful planning.
B. is predictable and methodological.
C. depends on the writers' experiences.
D. is disorderly and unsystematic.
3. The word "undoing" in the third paragraph probably suggests
A. success.
B. happiness.
C. failure.
D. sorrow.
4. According to the passage, the writer has no resting place because
A. he is not clear about what he will write at the beginning.
B. he should constantly edit his work to make it perfect.
C. he has to face a lot of responses given by readers.
D. he should add brushstrokes to the appearing blurred images.
5. Which of the following statements about writers is TRUE according to the last paragraph?
A. They have little ideas before they start writing.
B. Their talent goes into all their drafts.
C. It does harm to their writing when they flirt with fame.
D. They try to increase communication with readers.
答案解析：
1.[D]細(xì)節(jié)判斷題。根據(jù)familiar with，confess及各選項(xiàng)內(nèi)容定位到第1段。第1段指出，這些作家在寫(xiě)作前后，作品的內(nèi)容往往可能發(fā)生極大的變化，其中作者提到，有一位作家就將小說(shuō)的背景從克什米爾搬到了蘇格蘭高地。由此可見(jiàn)，D的表述符合文意，為本題答案。文中指出，這些作家動(dòng)筆之前不會(huì)有整篇的構(gòu)思，也不會(huì)按學(xué)校所教的那樣列出提綱，A、B可排除。文中只說(shuō)作者開(kāi)始寫(xiě)作時(shí)可能心中已經(jīng)設(shè)定了一兩個(gè)角色，并沒(méi)有提到會(huì)否重新塑造或改變作品的主要角色，故C應(yīng)排除。
2.[D]細(xì)節(jié)推斷題。第1段明確指出，作者熟悉的那些作家在寫(xiě)作過(guò)程中沒(méi)有既定的思路，情節(jié)設(shè)置也往往根據(jù)需要或更深了解素材后才做出相應(yīng)的變化和調(diào)整，這就表明，寫(xiě)作過(guò)程有點(diǎn)“混亂”，構(gòu)思也不很系統(tǒng)化;此外，第2段提到。如果作家腦海中出現(xiàn)了朦朧的形象，他們會(huì)在此基礎(chǔ)上做任意的改動(dòng)。由此可見(jiàn)，D正確。根據(jù)文中介紹，寫(xiě)作過(guò)程并沒(méi)有完整的構(gòu)思，也無(wú)法預(yù)見(jiàn)，只是在寫(xiě)作過(guò)程中不斷完善，可很快將A、B排除。此外。作家在寫(xiě)作的過(guò)程中會(huì)更多地了解所搜集的素材，這也與經(jīng)歷無(wú)關(guān)，故C也排除。
3.[C]詞義推斷題。第3段指出作家如果試圖拉近自己與讀者的距離，企圖通過(guò)他人的評(píng)論了解自己塑造的形象，就相當(dāng)于為取悅他人而寫(xiě)作。四個(gè)選項(xiàng)中，較能概括這種行為性質(zhì)的是C。此外，undoing有“毀滅”之義，故C為本題答案。
4.[B]因果關(guān)系題。根據(jù)題干中的no resting place定位到第4段。第4段段首提到：作家的才華體現(xiàn)在初稿，而藝術(shù)則體現(xiàn)在之后不斷修改的稿子中。第2句以For this reason(鑒于此)引出作家不能休息的情形。由此可見(jiàn)，第4段首句的內(nèi)容，即作家需不斷創(chuàng)作和修改作品：以實(shí)現(xiàn)由才華到藝術(shù)的轉(zhuǎn)變是作家無(wú)法休息的真正原因。故8為答案，A、C、D不合文意。
5.[C]細(xì)節(jié)判斷題。末段末旬指出：“當(dāng)他追逐名利時(shí)，他就脫離了自我生活，脫離了對(duì)自己內(nèi)心最深處世界的探索”，故C符合文意，為本題答案。選項(xiàng)A、D均來(lái)自文中，但與末段無(wú)關(guān)，可排除。B與原文表述“作家的才華體現(xiàn)在初稿，而藝術(shù)則體現(xiàn)在之后不斷修改的稿子中”不符，可排除。
手足情深
For a long time, researchers have tried to nail down just what shapes us--or what, at least, shapes us most. And over the years, they've had a lot of exclamation moments. First it was our parents, particularly our mothers. Then it was our genes. Next it was our peers, who show up last but hold great sway. And all those ideas were good ones--but only as far as they went.
Somewhere, there was a sort of temperamental dark matter exerting an invisible gravitational pull of its own. More and more, scientists are concluding that this unexplained force is our siblings.
From the time we are born, our brothers and sisters are our collaborators and co-conspirators, our role models and cautionary tales. They are our scolds, protectors, goads, tormentors, playmates, counselors, sources of envy, objects of pride. They teach us how to resolve conflicts and how not to; how to conduct friendships and when to walk away from them. Sisters teach brothers about the mysteries of girls; brothers teach sisters about the puzzle of boys. Our spouses arrive comparatively late in our lives; our parents eventually leave us. Our siblings may be the only people we'll ever know who truly qualify as partners for life. "Siblings," says family sociologist Katherine Conger, "are with us for the whole journey."
Within the scientific community, siblings have not been wholly ignored, but research has been limited mostly to discussions of birth order.Older sibs were said to be strivers;younger ones rebels;middle kids the lost souls.The stereotypes were broad，if not entirely untrue，and there the discussion mostly ended.
But all that’s changin9.At research centers in the U.S.，Canada，Europe and elsewhere，investigators are launching a wealth of new studies into the sibling dynamic，looking at ways brothers and sisters steer one another int0—or away from--risky behavior how they form a protective buffer(減震器)against family upheaval;how they educate one another about the opposite sex;how all siblings compete for family recognition and come to terms--or blows--over such impossibly charged issues as parental favoritism.
From that research，scientists are gaining intriguing insights into the people we become as adults.Does the manager who runs a harmonious office call on the peacemaking skills learned in the family playroom? Does the student struggling with a professor who plays favorites summon up the coping skills acquired from dealing with a sister who was Daddy’s girl? Do husbands and wives benefit from the inter—gender negotiations they waged when their most important partners were their sisters and brothers? All that is under investigation.“Siblings have just been off the radar screen until now，”says Conger.But today serious work is revealing exactly how our brothers and sisters influence us.
1.The beginning of the passage indicates that
A.researchers have found out what shapes us.
B.our peer is the last factor influencing us.
C.what researchers found contributes in a limited way.
D.what researchers found is good and trustworthy.
2.In the third paragraph, the author tries to demonstrate that our siblings
A.offer us much useful information.
B.have great influences on us.
C.are the ones who love us completely.
D.accompany us throughout our life.
3.In scientific community, previous research on siblings
A.mostly focused on the sibling order.
B.studied the characteristics of the kids.
C.studied the matter in a broad sense.
D.wasn’t believable and the discussion ended.
4.Which of the following is NOT sibling dynamic?
A.A brother cautions his sister against getting into trouble.
B.Sisters have quarrels with each other.
C.Siblings compete for parental favoritism.
D.Older kids in a family try hard to achieve.
5.From the last paragraph，we can conclude that
A.managers learned management skills from the family playroom.
B.spouses learned negotiation skills from their siblings.
C.studies on siblings are under the way。
D.studies on siblings need thorough investigation.
答案解析：
1.[C]細(xì)節(jié)判斷題。第1段指出了研究人員研究什么塑造我們，并取得了一些成果，最后一句“但這僅僅是就目前的研究而言”表明目前研究的局限性，C 表達(dá)了這個(gè)含義。由第1段可知，研究者還在探索到底是什么塑造了我們，故A錯(cuò)誤;該段倒數(shù)第2句提到雖然我們的同齡人出現(xiàn)得最晚，但是影響卻最深刻，故B 也錯(cuò)了;trustworthy在文中沒(méi)有依據(jù)，故排除D。
2.[B]段落大意題。第3段講到了兄弟姐妹在我們生活中扮演的各種角色對(duì)我們生命的影響，故選B;A“提供給我們有用的信息”屬段落細(xì)節(jié)，不是作者在第3段想要說(shuō)明的問(wèn)題;C“完完全全愛(ài)我們的人”過(guò)于絕對(duì)且在文中找不到對(duì)應(yīng) 信息點(diǎn);D“伴隨我們一生”只是影響我們的一個(gè)方面，故D也可排除。
3.[A]細(xì)節(jié)判斷題。根據(jù)scientific community定位到第4段首句。由該句but轉(zhuǎn)折處可知答案應(yīng)為A。第2句提到年長(zhǎng)的、年小的、中間的孩子共有的定式，并沒(méi)有對(duì)他們的個(gè)性特征進(jìn)行研究，故B排除;最后一句說(shuō)這種定式很普遍，但并不意味著從廣義上來(lái)研究兄弟姐妹對(duì)我們的影響，故C排除;D在文中沒(méi)有依據(jù)。
4.[D] 細(xì)節(jié)判斷題。根據(jù)sibling dynamic定位到第5段。本題可用排除法。A、B對(duì)應(yīng)steer away from risky behavior;C在該段提及，也屬sibling dynamic。D在第4段有提到，但不屬于sibling dynamic。
5.[C]細(xì)節(jié)推斷題。末段倒數(shù)第3旬提到All that is under investigation，C與此同義，為正確答案。A、B只是該段中的個(gè)別例證;最后一句提到要進(jìn)一步研究兄弟姐妹是如何影響我們的，D項(xiàng)的表述與原文有出入。
本文關(guān)鍵字： 2018英語(yǔ)專四
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