英語(yǔ)六級(jí)閱讀真題，不僅強(qiáng)化詞匯與句型理解，更提升閱讀速度與綜合分析能力。實(shí)戰(zhàn)演練，讓考生熟悉題型變化，掌握解題技巧，是沖刺六級(jí)高分不可或缺的寶貴資源。今天，小編將分享2021年6月大學(xué)英語(yǔ)六級(jí)閱讀真題以及答案（卷三）相關(guān)內(nèi)容，希望能為大家提供幫助！
Section A
Directions: In this section,there is apassage with ten blanks.You are required to select one word for each blank from a list of choices given in a word bankfollowing the passage.Read the passage through carefully before making your choices.Each choice in the bank is identified by a leter.Please mark the corresponding leter for each item on Answer Sheet 2 with a single line through thecentre.You may not use any of the words in the bank morethan once.
At 43,I'vereachedthe stage where women are warned to watch out for the creeping sadness of middle age.We're served up an endless stream of advice on“howto survive your 40s”,as if we're in the endurance stage of a slow limp toward 26 .This is the age women start to become“invisible”—our value,attractiveness and power supposedly 27 by the vanishing of youth.But I don't feel like I'm fading into 28 .I feel more seen than I ever have,and for the first time in my life,I have a clear-eyed view of myself that is 29 ,compassionate and accepting.
When I look in the mirror,I'm proud of who I am—even those“broken”parts that for so long seemed impossible to love.So when advertisers try to sell me ways to“turn back the clock”,I have to 30 a laugh.I wouldn't go back to the crippling self-consciousness of my youth if you paid me.This hard-won sense of self-acceptance is one of the joys of being an older woman.But it's a narrative often 31 out by the shame that marketers rely on to peddle us their diet pills,miracle face creams and breathable yoga pants—as if self-love is a 32 commodity.
For some women I know,thissense of trust and self-belief later in life gave them the courage to leave dysfunctionalrelationships or 33 on new career paths.Others talked about enjoying their own company,of growth through 34 ,deepening bonds of friendships,the ability to be more compassionate,less judgmental and to listen more and appreciate the small pleasures.Life past 40 is far from smooth sailing,but it's so much more than the reductive 35 we see in women's magazines and on the Hollywood big screen.
A)adversity
B)authentic
C)convey
D)depictions
E)diminished
F)drowned
G)embark
H)fragility
I)neglected
J)obscurity
K)outlines
L)prevalent
M)purchasable
N)submit
O)suppress
Section B
Directions: In this section,you are going to read a passage with ten statements attached to it.Each statement contains information given in oneof the paragraphs.Identify the paragraph from which the information is derived.You may choose a paragraph more than once.Each paragraph is marked with a letter.Answer the questions by marking thecorresponding letter on Answer Sheet 2.
What Are the Ethics of CGI Actors—And Will They Replace Real Ones?
A)Digital humans are coming to a screen near you.As computer-generated imagery(CGI)has become cheaper and more sophisticated,the film industry can now convincingly recreate people on screen—even actors who have been dead for decades.The technology's ability to effectively keep celebrities alivebeyond the grave is raising questions about public legacies and imagerights.
B)Late in 2019,it was announced that US actor James Dean,who died in 1955,will star in a Vietnam War film scheduled forrelease later this year.In the film,which will becalled Finding Jack,Dean will be recreated on screen with CGI based on old footage (影片鏡頭) and photographs,with another actor voicing him.The news was met with excitement by those keen to see Deandigitally brought back to life for only his fourth film,but it also drew sharp criticism.“This is puppeteering the dead for their fame alone,”actress Zelda Williams wrote on Twitter.“It sets such an awful precedent for the future of performance.”Her father,Robin Williams,who died in 2014,was keen to avoid the same fate.Before his death,he filed a deed protecting the use of his image until 2039,preventing others from recreating him using CGIto appear in a film,TV show or as a hologram(全息影像).
C)The James Dean film isa way to keep the actor's image relevant for younger generations,says Mark Roesler of CMG Worldwide,the firm that represents Dean's estate.“I think this is the beginning of an entire wave,”says Travis Cloyd,CEO of Worldwide XR,one of the companies behind the digital recreation of Dean.“Moving into the future,we want James Dean to be brought into different gaming environments,or different virtual reality environments,or augmented reality environments,"he says.
D)Other actors have been revived,with the permssion of their estates,for advertising purposes:for example,a 2011 advertisement for Dior featured contemporary actress Charlize Theron alongside iconic 20th-century stars Marilyn Monroe,Grace Kelly and Marlene Dietrich.Later,Audrey Hepburn was digitally recreated for a chocolate commercial in 2013.In the same year,a CGI Bruce Lee appeared in a Chinese-language ad for a whisky brand,which offended many fans because Lee was widely known not to drink alcohol at all.“In the last five years,it's become more affordable and more achievable in a whole movie,”says Tim Webber at UK visual effects firm Framestore,the company behindthe Hepburn chocolate ad.Framestore used body doubles with resemblance to Hepburm's facial structure and body shape as a framework for manual animation.The process was extremely difficult and expensive,says Webber,but the technology has moved on.
E)Now,a person can be animated from scratch.“If they'realive today,you can put them in scanning rigs,you can get every detail of their body analysed very carefully and that makes it much easier, whereas working from available photographs is tricky,"says Webber,who won an Academy Award for his visual effects work on the2013 film Gravity.“I also see a lot of actors today who will have the desire to take advantage of this technologyto have their likeness captured and stored for future content,”says Cloyd.“They foresee this being something that could give their estates and give their families the ability to make money from their likeness when they're gone.”
F)A hidden hazard of digitally recreating a deceased(已故的)celebrity is the riskof damaging their legacy.“Wehave to respect the security and the integrity of rights holders,"”says John Canning at Digital Domain,a US firm that created a hologram of rapper(說(shuō)唱藝人)Tupac Shakur,which appeared at the Coachella music festival in 2012,15 years after his death
G)Legally,a person's rights to control the commercial use of their name and image beyond their death differ between and even within countries.In certain US states,for example,these rights are treated similarly to property rights,and are transferable to a person's heirs.In California,under the Celebrities Rights Act,the personality rights for a celebrity last for 70 years after their death. “We'vegot a societal debate going on about access to ourpublic commons,as it were,about famous faces,”says Lilian Edwards at Newcastle University,UK.Should the public be allowed to use or reproduce images of famous people,given how iconic they are?And what is in the best interest of a deceased person's legacy may conflict with the desires of their family or the public, says Edwards.
H)A recreation,however lifelike,will never be indistinguishable from a real actor,says Webber “When we are bringing someone back,representing someone who is no longer alive on the screen,what we are doing is extremely sophisticated digital make-up,”he says.“A performance is a lot more than a physical resemblance.”
I)As it becomes easier to digitally recreate celebrities and to entirely manufacture on-screen identities, could this kind of technology put actors out of jobs?“I think actors are worried aboutthis,”says Edwards.“But I think it will take a very long time.”This is partly because of the risk that viewers find virtual humans scary.Edwards cites widespread backlash to the digital recreation of Carrie Fisher as a young Princess Leia in Rogue One,a trick later repeated in the recent Star Wars:The Rise of Skywalker,which was filmed after Fisher's death in 2016.“People didn't like it,”she says. “They discovered the uncanny valley(詭異谷). ”
J)This refers to the idea that when objects trying to resemble humans aren't quite perfect,they can make viewers feel uneasy because they fall somewhere between obviously non-human and fully human.“That's always a danger when you're doing anythinghuman or human-like,”says Webber.“There are athousand things that could go wrong with a computer-generated facial performance, and any oneof those could make it fall intothe uncanny valley,"he says.“Your brain just knows there's something wrong.”Theproblem often arises around the eyes or mouth,says Webber. “They're the areas that you look atwhen you're talking to someone.”
K)An unfamiliar digitalhuman that has been created through CGI will also face the same challenge as an unknown actor:they don't have the appeal of an established name.“You have to spend substantial capital in creatingawareness aroundtheir likeness and making sure peopleare familiar with who they are,"says Cloyd.This is now starting to happen.“The way you pre-sell a movie in aforeign market is based on relevant talent,"he says.“I think we're a long way away from having virtual beings that have the ability to pre-sell content.”
L)Webber expects that we will see more digital humans on screen.“It's happening because it can happen,”he says.Refering to a line from Jurassic Park(侏羅紀(jì)公園),he adds:“People are too busy thinking about what they can do to think about whether they should do it.”
36.There is an ongoing debate among the public as to whether the imagesof deceased celebrities shouldbe recreated.
37.The CGI technology allows the image of the deceased James Dean to be presented to young people in new settings.
38.It is very likely that the CGI-recreated image of a deceased celebrity will fail to match the real actor especially in facial expressions.
39.The use ofdigital technology can bring images of deceased celebrities back to the screen.
40.Recreating a deceased famous actor or actress may violate their legitimate rights.
41.More CGI-recreated images of deceased celebrities are expected to appear on screen.
42.The image of James Dean will berecreated on screen with his voice dubbed by someone else.
43.Howeveradvanced the CGI technology is,therecreated image will differ in a way from the real actor.
44.Alotof actors today are likely to make use of the CGI technology to have their images stored for the benefit of their families
45.Some actors are concermedthat they may lose jobsbecause of the CGI technology.
Section C
Directions: There are 2 passages in this section.Each passage is followed by some questions or unfinished statements.Foreach of them there are four choices marked A),B),C)and D).You should decide on the best choice and mark the corresponding letter on Answer Sheet 2 with a single line through the centre.
Passage One
Questions 46 to 50 are based on the following passage.
You can't see it,smell it,or hear it,and people disagree on how precisely to define it,or where exactly it comes from.It isn't a school subject or an academic discipline,but it can be learned.It is a quality that is required of artists,but it is also present in the lives of scientists and entrepreneurs.All of usbenefit from it and we thrive mentally and spiritually when we are able to wield it.It is a delicate thing,easily stamped out;in fact,it flourishes most fully when people are playful and childlike.Meanwhile,it works best in conjunction with deep knowledgeand expertise.
This mysterious—but teachable—qualityis creativity,the subject of a recently-published report by Durham Commission on Creativity and Education.The report concludes that creativity should not inhabit the school curriculum only as it relates to drama,music,art and other obviouslycreative subjects,but that creative thinking ought to run through all of school life,infusing(充滿)the way humanities and natural sciences are learmed.
The authors,who focus on education in England,offer a number of sensible recommendations,some of which are an attempt to alleviate the uninspiring and fact-based approach to education that has crept into policy in recent years.When children are regarded as vessels to be flled with facts, creativitydoes not prosper;nor does it when teachers'sole objective is coaching childrentowards exams.One suggestion from the commission is a network of teacher-led“creativity collaboratives”,along the lines of existing maths hubs(中心) ,with the aim of supporting teaching for creativity through the school curriculum.
Nevertheless,it is arts subjects through which creativity can most obviously be fostered.The value placed on them by the independent education sectoris clear.One only has to look at the remarkable arts facilities at Britain's top private schools to comprehend this.But in the state sector the excessive focus on English,maths and science threatens to crush arts subjects;meanwhile,reduced school budgets mean diminishing extracurricular activities.There has been a 28.1% decline in students taking creative subjects at high schools since 2014,though happily,art and design have seen a recent increase.
This discrepancy between state and private education is a matter of social justice.It is simply wrong and unfair that most children have a fraction of the access to choirs,orchestras,art studios and drama that their more privileged peers enjoy.As lives are affected by any number of looming challenges—climate crisis,automation in the workplace—humans are going to need creative thinking more than ever.For all of our sakes,creativity in education,and for all,must become a priority.
46.What do we learn from the passage about creativity?
A)It develops bestwhen people are spiritually prepared.
B)It is most often wielded by scientists and entrepreneurs.
C)It is founded on scientific knowledgeand analytical skills.
D)It contributes to intellectual growth but can easily be killed.
47.What is the conclusion of a recently-published report?
A)Natural sciences should be learned the way humanities courses are.
B)Cultivation of creativity should permeate the entire school curriculum.
C)Art courses should be made compulsory for all students.
D)Students should learn more obviously creative subjects.
48.What does the report say is detrimental to the fostering of creativity?
A)Alleviation of pressure.
B)Teacher-led school activities.
C)Test-oriented teaching.
D)Independent learning.
49.What do we lean about the private schools in the UK?
A)They encourage extracurricular activities.
B)They attach great importance to arts education.
C)They prioritize arts subjects over maths and sciences.
D)They cater to students from different family backgrounds.
50.What should be done to meet the future challenges?
A)Increasing govemment investment in school education.
B)Narrowing the existing gap between the rich and the poor.
C)Providing all children with equal access to arts education.
D)Focusing on meeting the needs of under-privileged students.
Passage Two
Questions 51 to 55 are based on the following passage.
Emulating your conversation partner3s actions is a common human behavior classified as “mirroring”and has been known and studied by psychologists for years.We all tend to subconsciously copy gestures of people we like.But why do we act like this?
As a rule,mirroring means that conversationalists enjoy their communication and that there's a certain level of agreement between them.The topic of discussion is equally interesting for both and they know their interests meet.
Repeating someone's behavioris typical of talented communicators,not always because the person is sympathetic,but because there is a goal to be achieved.This way new idols have been brought to the stage:politicians,celebrities,and other big names.Popular culture makes people want to look popular,and act and speak like popular people.
Nowadays celebrities steal lyrics from each other and struggle with copyright violation accusations or straightforwardly claim themselves to be the authors,even though all the work was done by otherpeople.
Among celebrities,it'strendy nowadays to use their own speech writers as politicians do.The so-called“ghostwriting”can take various forms:books,articles,autobiographies,and even social media posts.
Who is a true copycat(抄襲者)and who gets copycatted?Sometimes,it is a hard nut to crack without an expert's help.But new authorship defending methods based on identifying individual writing pattems are already here.Their aim is to protect intellectual property.Using scientific methods,some of them can define authorship with 85% accuracy.
Writing is not an easy craft to master.If you want to write like a professional without plagiarism (抄襲),there are a few lessons to learn and the first one is:“Copy from one,it's plagiarism;copy from two,it's research.”The correct interpretation of this statement is not about copying,but rather about creatingyour own style.When you study an author's writing style,don't stop on a single one, but explore numerous styles instead.Examine types of sentences they use,pay attention to their metaphors,and focus on stories you feel you could write a pretty cool sequel(續(xù)篇)to.
Imitation is rather paradoxical.As an integral part of learning,it brings about positive changes,making people develop and grow.However,it may do a lot of harm.Copying someone's thoughts,ideas or inventions is completely unacceptable.It infringes on intellectual property rights of others.
Stll,many things we do are about copying others one way or another.So if you want to compliment someone on the work they have done and imitate it,just make sure you do it the right way to avoid committing plagiarism.
51.What do people tend to do while engaging in a conversation?
A)Repeat what their partners say one way or another.
B)Focus as much as possible on topics of mutual interest.
C)Imitate their partners'gestures without their knowing it.
D)Observe carefully how their partners make use of gestures.
52.When does mirroring usually take place in a conversation?
A)When both sides are sympathetic with each other.
B)When both sides have a lot of things in common.
C)When both sides make interesting contributions.
D)When both sides try to seek common ground.
53.What do we leam about popular culture?
A)It encourages people to imitate.
B)It appeals mostly to big names.
C)It acquaints young people with their idols.
D)It can change people's mode ofcognition.
54.Why is the saying“copy from two,it's research”a lesson to learn?
A)It facilitates the creation of one's own writing style.
B)It helps to protect one's intellectual property rights.
C)It fosters correct interpretation ofprofessional writing.
D)It enables one to write intriguing sequels to famous stories.
55.Why does the author say imitation is rather paradoxical?
A)It is liable to different interpretations.
B)It is by and large a necessary evil.
C)It can giverise to endless disputes.
D)It may do harmas well as good.
26.答案：H)fragility
解析：首句指出，43歲的女性會(huì)被警告要小心中年逐漸滋長(zhǎng)的悲傷情緒?？崭窬?②句)指出，我們不斷得到關(guān)于“如何渡過(guò)40多歲”的建議，仿佛我們正處于一個(gè)蹣跚著邁向_____的痛苦階段。③句提到，這(指40s)是一個(gè)女性開(kāi)始變得“隱形”的年紀(jì)。三句構(gòu)建語(yǔ)義場(chǎng)“人們普遍認(rèn)為中年期女性開(kāi)始走向衰退”,空格詞應(yīng)傳達(dá)消極語(yǔ)義。備選項(xiàng)中，H)fragility契合creeping sadness、slow limp所傳達(dá)的“逐漸衰弱”之意。
27.答案：E)diminished
解析：空格句指出，在這個(gè)年齡段，女性開(kāi)始變得“隱形”——我們的價(jià)值、魅力和能力據(jù)說(shuō)隨青春的消逝而_____。破折號(hào)提示后一部分是對(duì)前一部分的解釋說(shuō)明，by the vanishing of youth(青春消逝)對(duì)應(yīng)This is the age,指向“邁入中年”;our value,attractiveness and power(價(jià)值、魅力、能力)為優(yōu)勢(shì)/閃光點(diǎn)，可見(jiàn)our value...supposedly對(duì)應(yīng)become “invisible”,指向“閃光點(diǎn)消失/減弱，變得隱形平庸”,E項(xiàng)正確。
28.答案：J)obscurity
解析：句首But I don't feel like提示論述視角從“慣常認(rèn)知(樹(shù)靶)”轉(zhuǎn)入“作者看法(打靶)”。前一句提到，人們認(rèn)為女性的價(jià)值、魅力、能力會(huì)隨青春消逝而減弱，中年女性會(huì)變得隱形。后一句提到，作者認(rèn)為自己比以往任何時(shí)侯都更“可見(jiàn)”?？赏浦?，作者的觀點(diǎn)為“(身為中年女性的)自己并未變得隱形/泯然/默默無(wú)聞”,J項(xiàng)符合空28文意，同時(shí)也可明確空26不選J項(xiàng)。
29.答案：B)authentic
解析：空格所在句提到，有生以來(lái)第一次，我對(duì)自己有了一種清晰的認(rèn)識(shí)：_____、富有同情心且樂(lè)于接受?？崭裨~應(yīng)與“富有同情心、樂(lè)于接受”指向一致，為某種積極、正面的性格特征，備選項(xiàng)中只有B項(xiàng)符合文意。
30.答案：O)suppress
解析：第二段①句指出，照鏡子時(shí)，我為自己感到驕傲，甚至為那些“褶皺”部分驕傲。②句指出，當(dāng)廣告商試圖向我推銷“時(shí)光倒流”之法時(shí)，我不得不_____大笑。③句指出，即便有人付錢給我，我也不愿回到年輕時(shí)有殘缺的自我意識(shí)狀態(tài)中。聯(lián)系三句可知，作者對(duì)自己的中年?duì)顟B(tài)感到滿意，不愿退回到年輕狀態(tài)?？崭窬渲?，“時(shí)光倒流之法”指向重返年輕，空格所在部分應(yīng)體現(xiàn)對(duì)這一做法的不屑/反對(duì)。suppress a laugh字面義為“忍住大笑”,即“按捺住自己，沒(méi)大笑出來(lái)”,暗藏對(duì)這種做法的嘲諷與反對(duì)，故O項(xiàng)正確。
31.答案：F)drowned
解析：空格前句指出，這種來(lái)之不易的自我接納感(指接納自己的中年?duì)顟B(tài))是作為一名更成熟女性的喜悅之一?？崭窬渲赋觯@種說(shuō)法卻常常被我們的羞恥心所_____,營(yíng)銷者靠這種羞恥心來(lái)向我們兜售減肥藥、神奇面霜和透氣瑜伽褲。其中，“減肥藥、面霜、瑜伽褲”為保持年輕的常見(jiàn)產(chǎn)品，可見(jiàn)“羞恥心”指“因出現(xiàn)衰老跡象而感到難堪”。結(jié)合兩句間轉(zhuǎn)折(But)及營(yíng)銷策略可知，空格所在部分應(yīng)表示“對(duì)中年?duì)顟B(tài)的接納(narrative所指)”被“對(duì)衰老狀態(tài)的羞恥心”所掩蓋/遮蔽/遮掩等，drown out為固定搭配，意為“壓過(guò)；蓋沒(méi)”,F項(xiàng)符合文意。
32.答案：M)purchasable
解析：空格句指出，營(yíng)銷者依靠女性對(duì)衰老的羞恥心來(lái)向其兜售各種保持年輕的產(chǎn)品——仿佛自愛(ài)是一種_____商品。不難發(fā)現(xiàn)，破折號(hào)后內(nèi)容是作者對(duì)“依靠商品來(lái)保持外在形象的年輕(以挽回自愛(ài))”這一做法的評(píng)價(jià)、定性。結(jié)合前四句內(nèi)容，可推知作者的觀點(diǎn)為：自愛(ài)源自對(duì)中年期自我的坦然接納，而非通過(guò)購(gòu)買商品來(lái)永葆年輕，即自愛(ài)源自內(nèi)心而非通過(guò)外部購(gòu)買所得，空格詞應(yīng)表示“可購(gòu)買的/可交換的”,M項(xiàng)符合文意。
33.答案：G)embark
解析：空格所在句指出，中年時(shí)的這種信任和自信感給予了一些女性放下失敗婚姻或_____嶄新職業(yè)道路的勇氣?！皪湫侣殬I(yè)道路”應(yīng)與“放下失敗婚姻”一樣，指向“中年期的信任和自信感給女性帶來(lái)的新生/機(jī)遇”,embark on為固定搭配，表示“開(kāi)始；從事”,embark on new carcer paths即“走上新的職業(yè)道路”,符合文意。
34.答案：A)adversity
解析：空格句指出，其他女性談到了享受自我獨(dú)處，談到了通過(guò)_____成長(zhǎng)，(談到了)加深友誼的紐帶，(談到了)多共情、少評(píng)判、多傾聽(tīng)以及對(duì)小確幸心存感激的能力。不難發(fā)現(xiàn)，該句承接上句，進(jìn)一步列舉邁入中年帶給女性的成長(zhǎng)、發(fā)展。growth through adversity為常用表達(dá)，意為“在逆境中成長(zhǎng)”,符合句內(nèi)語(yǔ)境，因此A項(xiàng)符合空34文意，同時(shí)可確定空26不選A項(xiàng)。
35.答案：D)depictions
解析：空格句指出，40歲過(guò)后的人生遠(yuǎn)非一帆風(fēng)順，但它遠(yuǎn)不止我們?cè)谂噪s志和好萊塢大銀幕上看到的簡(jiǎn)化_____。其中，“女性雜志、好萊塢大銀幕”為展現(xiàn)女性形象的常見(jiàn)平臺(tái)(且往往呈現(xiàn)刻板化、模式化的女性形象),可見(jiàn)空格詞應(yīng)表示“描述/展現(xiàn)/刻畫(huà)”等，D項(xiàng)正確。
36.[答案]G
[精解]G段④⑤句指出，社會(huì)上正在進(jìn)行一場(chǎng)關(guān)于公眾是否應(yīng)該被允許使用或復(fù)制名人形象的爭(zhēng)論。試題是對(duì)兩句的近義轉(zhuǎn)述，其中celebrities同義替換⑤句famous people,whether...should berecreated正確傳達(dá)句中Should the public be allowed to...reproduce...的疑問(wèn)之意。
37.[答案]C
[精解]C段先介紹制作CGI版迪恩并使其參演電影的目的：讓迪恩的形象仍為年輕一代所知。后指出CGI版迪恩將被帶入到游戲、虛擬現(xiàn)實(shí)、增強(qiáng)現(xiàn)實(shí)等新興虛擬環(huán)境之中。綜合可知，迪恩的形象將于新的場(chǎng)景中展現(xiàn)給年輕人。試題是對(duì)C段內(nèi)容的提取與概括，其中allows the image of...James Dean to bepresented to young people同義轉(zhuǎn)述①句keep the actor's image relevant for younger generations。
38.[答案]J
[精解]J段先解釋詭異谷理論，指出制作任何人類或類人形象時(shí)都存在陷入詭異谷的風(fēng)險(xiǎn)，隨后具體說(shuō)明計(jì)算機(jī)生成的面部表情(尤其是眼睛或嘴巴周圍的區(qū)域)極易出現(xiàn)這一問(wèn)題。試題是基于全文關(guān)注事件(利用CGI技術(shù)再現(xiàn)已故名人)與該段大意做出的合理推斷。
39.[答案]A
[精解]A段②句指出，如今的電影業(yè)可借助CGI技術(shù)(屬于數(shù)字技術(shù))將人——甚至是已故幾十年的演員——再現(xiàn)于銀幕之上。試題是對(duì)該句的同義轉(zhuǎn)述，其中bring images of deceased celebritiesback to the screen同義改寫句中recreate people on screen—even actors who have been dead for decades。
40.[答案]F
[精解]F段①句指出，運(yùn)用數(shù)字技術(shù)再現(xiàn)已故名人的潛在風(fēng)險(xiǎn)在于名人的遺產(chǎn)可能受到損害，也即名人對(duì)其身后遺產(chǎn)所擁有的合法權(quán)利可能受到侵害。試題是對(duì)該句內(nèi)容的轉(zhuǎn)述，其中may violatetheir legitimate rights對(duì)應(yīng)A hidden hazard...is the risk of damaging their legacy。
41.[答案]L
[精解]L段①句指出，韋伯預(yù)計(jì)我們將在銀幕上見(jiàn)到更多的數(shù)字人類，由上文可推知，此處的數(shù)字人類包括利用CGI技術(shù)再現(xiàn)的名人形象和利用CGI技術(shù)創(chuàng)造的全新人物形象，試題的意思符合前者。
42.[答案]B
[精解]B段②句介紹事件：已故演員詹姆斯·迪恩將借助CGI技術(shù)重返銀幕，另一位演員會(huì)給他配音。試題是對(duì)該句的同義改寫。
43.[答案]H
[精解]H段①句指出，無(wú)論CGI技術(shù)所再現(xiàn)的名人形象如何逼真，都不可能與真人演員沒(méi)有區(qū)別。試題是對(duì)該向的同義轉(zhuǎn)述，其中However advanced the CGI technology is是對(duì)A recreation,howeverlifelike的同義改寫，willdiffer in a way是對(duì)句中雙重否定(never...indistinguishable)的同義改寫。
44.[答案]E
[精解]E段③④句談及許多演員對(duì)CGI技術(shù)的態(tài)度：渴望利用這項(xiàng)技術(shù)將自己的肖像記錄并留存下來(lái)，以使遺產(chǎn)代理人及家人在自己離世后仍能利用自己的肖像變現(xiàn)。試題是對(duì)兩句的概括與轉(zhuǎn)述，其中make use of同義替換③向take advantage of。
45.[答案]I
[精解]I段①②句指出，隨著CGI技術(shù)再現(xiàn)名人以及從零開(kāi)始打造銀幕形象變得越來(lái)越容易，一些演員擔(dān)心CGI技術(shù)會(huì)因此搶走他們的飯碗。試題是對(duì)此兩句的綜合概括，其中they may lose jobs because ofthe CGI technology以肯定語(yǔ)氣轉(zhuǎn)述①句could this kind of technology put actors out of jobs的疑問(wèn)之意。
46.[定位]本題考查創(chuàng)造力的具體特征。根據(jù)題干關(guān)鍵詞creativity可直接定位到第二段首句(Thismysterious—but teachable—quality is creativity),并進(jìn)一步根據(jù)This的回指作用以及題文同序原則定位到首段。
[答案解析]D。首段先以it代指，并具體描述其特征。第二段直接點(diǎn)明it即為“創(chuàng)造力(creativity)”,由此可知首段整體是對(duì)創(chuàng)造力的描述。其中④句指出當(dāng)人們利用創(chuàng)造力時(shí)，智力與精神將得到極大發(fā)展(thrivementally and spiritually);⑤句指出創(chuàng)造力極其嬌弱，很容易被扼殺(delicate...easily stamped out)?？梢?jiàn)，D項(xiàng)是對(duì)這些內(nèi)容的概括，為正確項(xiàng)，其中contributes to intellectual growth和easily be killed是對(duì)原文信息的同義改寫。
47.[定位]本題考查最近發(fā)表報(bào)告的結(jié)論。根據(jù)題干關(guān)鍵詞the conclusion of...report可定位至第二段②句(The report concludes that...)。
[答案解析]B。②向指出創(chuàng)造力教育不應(yīng)僅存在于諸如戲劇等明顯的創(chuàng)作類科目中，創(chuàng)新性思維應(yīng)貫穿學(xué)校生活的所有方面(run through all of school life),融入到人文科學(xué)和自然科學(xué)的學(xué)習(xí)方式中(humanitiesand natural sciences),即擴(kuò)展至全部課程，B項(xiàng)是對(duì)原文信息的準(zhǔn)確概括。
48.[定位]本題考查創(chuàng)造力培養(yǎng)的阻礙因素。根據(jù)the report、is detrimental to the fostering ofcreativity及題文同序原則可定位至第三段②句(...creativity dose not prosper、nor does it...)。
[答案解析]C。第三段具體介紹報(bào)告的內(nèi)容(The authors指報(bào)告的作者),其中②句指出，當(dāng)教師唯一的目標(biāo)是訓(xùn)練孩子們的應(yīng)試技巧時(shí)，創(chuàng)造力也不會(huì)蓬勃發(fā)展(nor does it等同于it does not prosper either),即應(yīng)試教育不利于培養(yǎng)創(chuàng)造力，C項(xiàng)正確，Test-oriented teaching是對(duì)文中when teachers'sole objective iscoaching children towards exams的正確概括。
49.[定位]本題考查有關(guān)英國(guó)私立學(xué)校的信息。根據(jù)private schools in the UK可定位至第四段前半部分(the independent education sector、Britain's top private schools)以及第五段前半部分(private education)。
[答案解析]B。第四段①②③句指出，藝術(shù)類科目是最能明顯培養(yǎng)創(chuàng)造力的科目，只需看看英國(guó)頂尖私立學(xué)校中令人矚目的藝術(shù)設(shè)施，就能明白它們對(duì)藝術(shù)學(xué)科的重視。由此可知英國(guó)私立學(xué)校非常重視藝術(shù)教育，B項(xiàng)正確。
50.[定位]本題考查作者的建議(如何應(yīng)對(duì)未來(lái)的挑戰(zhàn))。根據(jù)the future challenges可定位至第五段③句(looming challenges)。
[答案解析]C。第五段③句指出人類面臨諸多重大挑戰(zhàn)，比以往任何時(shí)候都更需要?jiǎng)?chuàng)造性思維；④句則提出建議：必須把creativity in education,and for all當(dāng)作首要之事；聯(lián)系本段①②句論述的教育不公問(wèn)題可知creativity in education,and for all強(qiáng)調(diào)的是“平等無(wú)差別地向所有孩子提供享受藝術(shù)教育的機(jī)會(huì)(以培養(yǎng)創(chuàng)新思維)”,C項(xiàng)正確。
51.[定位]本題考查“交談中的行為傾向”,根據(jù)題干關(guān)鍵詞tend to和conversation可定位至第一段(conversation partner's...We all tend to...)。
[答案解析]C。第一段指出，模仿談話對(duì)象的舉止是一種常見(jiàn)的人類行為，我們往往會(huì)下意識(shí)地模仿我們喜歡的人士的舉止。C項(xiàng)正確。
52.[定位]本題考查“鏡像模仿發(fā)生的情境”,根據(jù)題文同序原則(上題people tend to針對(duì)第一段，下題popular culture針對(duì)第三段)以及題干中mirroring usually take place可推斷本題應(yīng)定位至第二段(As a rule,mirroring mean that...)。
[答案解析]B。第二段指出，鏡像模仿意味著談話雙方在一定程度上意見(jiàn)一致，對(duì)談?wù)摰脑掝}同樣感興趣且趣味相投，B項(xiàng)是對(duì)這一信息的準(zhǔn)確概括，為正確項(xiàng)。
53.[定位]本題考查關(guān)于“流行文化”的事實(shí)，根據(jù)題干關(guān)鍵詞popular culture可定位至第三段(Popularculture makes people...)。
[答案解析]A。第三段末句指出，流行文化讓人們希望自己的外表和言行舉止都像流行人物，即流行文化鼓勵(lì)人們模仿流行人物，A項(xiàng)正確。
54.[定位]本題考查作者對(duì)“模仿兩個(gè)人，則是研究”的解讀。根據(jù)題干中引號(hào)內(nèi)的內(nèi)容直接定位至第七段。
[答案解析]A。第七段②句先引出培養(yǎng)專業(yè)寫作技能的最重要的一條經(jīng)驗(yàn)：模仿一人是抄襲，模仿兩人是研究。隨后③句對(duì)這一說(shuō)法做出正確解讀：模仿兩人關(guān)乎創(chuàng)造自己的寫作風(fēng)格。④⑤句做出具體解釋：對(duì)多位作家的寫作句型、隱喻表達(dá)、故事續(xù)篇進(jìn)行探索(以創(chuàng)造自己的寫作風(fēng)格)?？梢?jiàn)，“模仿兩人是研究”這種說(shuō)法之所以說(shuō)是一條經(jīng)驗(yàn)，是因?yàn)樗兄趥€(gè)人創(chuàng)造自己的寫作風(fēng)格，A項(xiàng)正確。
55.[定位]本題考查“模仿具有矛盾性的原因”。根據(jù)題干關(guān)鍵詞imitation...paradoxical可定位至第八段。
[答案解析]D。第八段先指出“模仿是極為矛盾的(行為)”,后說(shuō)明模仿會(huì)帶來(lái)積極的變化，使人成長(zhǎng)、進(jìn)步，也可能造成許多危害，比如侵犯他人的知識(shí)產(chǎn)權(quán)。由此可見(jiàn)，模仿極具矛盾性指的是“模仿有益亦有害”,D項(xiàng)正確。
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