2006年全国硕士研究生入学考试英语试题

31、The extinction of large prehistoric animals is noted to suggest that 
A、 large animal were vulnerable to the changing environment 
B、 small species survived as large animals disappeared 
C、 large sea animals may face the same threat today. 
D、 Slow-growing fish outlive fast-growing ones 

32、who can infer form Dr Myers and Dr. Worm’s paper that 
A、 the stock of large predators in some old fisheries has reduced by 90% 
B、 there are only half as many fisheries are there were 15 years ago 
C、 the catch sizes in new fisheries are only 20% of the original amount 
D、 the number of larger predators dropped faster in new fisherish than in the old 

33、By saying these figures are conservative (line in ,paragragf-3), Dr worm means that 
A、 fishing technology has improved rapidly 
B、 then catch-sizes are actually smaller then recorded 
C、 the marine bio mass has suffered a greater loss 
D、 the date collected so far are pit pf date. 

34 、Dr Myers and other researchers hold that 
A、people should look for a baseline that can’t work for a longer time 
B、fisheries should keep the yield below 50% of the biomass 
C、the ocean biomass should restored its original level. 
D、people should adjust the fishing baseline to changing situation. 

35、The author seems to be mainly concerned with most fisheries’ 
A、 management efficiency 
B、 biomass level 
C、 catch-size limits 
D、 technological application. 
Text 4 
Many things make people think artists are weird and the weirdest may be this: artists’ only job is to explore emotions, and yet they choose to focus on the ones that feel bad. 
This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century, more artists began seeing happiness as insipid, phony or, worst of all, boring as we went from Wordsworth’s daffodils to Baudelaire’s flowers of evil. 
You could argue that art became more skeptical of happiness because modern times have seen such misery. But it’s not as if earlier times didn’t know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there is too much damn happiness in the world today. 
After all, what is the one modern form of expression almost completely dedicated to depicting happiness? Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology. 
People in earlier eras were surrounded by reminders of misery. They worked until exhausted, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. Given all this, they did not exactly need their art to be a bummer too. 
Today the messages your average Westerner is bombarded with are not religious but commercial, and forever happy .Fast-food eaters, news anchors, text messengers, all smiling, smiling. Our magazines feature beaming celebrities and happy families in perfect homes. And since these messages have an agenda--to lure us to open our wallets to make the very idea of happiness seem unreliable. "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks. 
What we forget--what our economy depends on is forgetting--is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us as religion once did, Memento mori: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It’s a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air.