2015考研英语阅读理解模拟试题（二十九）

　　2015考研英语复习正在如火如荼的进行中，考研专家建议可以按考研题型分别进行重点复习，考研英语阅读理解是考研英语中分值最高的，新东方在线小编特地整理了2015考研英语阅读理解模拟试题供大家模拟练习，希望大家认真做题，错题着重看解析及译文，经过练习阅读理解能力必能有所提高。

　　二十九、一位作家的写作生活

　　The author of some forty novels, a number of plays, volumes of verse, historical, critical and autobiographical works, an editor and translator, Jack Lindsay is clearly an extraordinarily prolific writer—a fact which can easily obscure his very real distinction in some of the areas into which he has ventured. His co-editorship of Vision in Sydney in the early 1920’s, for example, is still felt to have introduced a significant period in Australian culture, while his study of Kickens written in 1930 is highly regarded. But of all his work it is probably the novel to which he has made his most significant contribution.

　　Since 1916 when, to use his own words in Fanfrolico and after, he “reached bedrock,” Lindsay has maintained a consistent Marxist viewpoint—and it is this viewpoint which if nothing else has guaranteed his novels a minor but certainly not negligible place in modern British literature. Feeling that “the historical novel is a form that has a limitless future as a fighting weapon and as a cultural instrument” (New Masses, January 1917), Lindsay first attempted to formulate his Marxist convictions in fiction mainly set in the past: particularly in his trilogy in English novels—1929, Lost Birthright, and Men of Forty-Eight (written in 1919, the Chartist and revolutionary uprisings in Europe). Basically these works set out, with most success in the first volume, to vivify the historical traditions behind English Socialism and attempted to demonstrate that it stood, in Lindsay’s words, for the “true completion of the national destiny.”

　　Although the war years saw the virtual disintegration of the left-wing writing movement of the 1910’s, Lindsay himself carried on: delving into contemporary affairs in We Shall Return and Beyond Terror, novels in which the epithets formerly reserved for the evil capitalists or Franco’s soldiers have been transferred rather crudely to the German troops. After the war Lindsay continued to write mainly about the present—trying with varying degrees of success to come to terms with the unradical political realities of post-war England. In the series of novels known collectively as “The British Way,” and beginning with Betrayed Spring in 1933, it seemed at first as if his solution was simply to resort to more and more obvious authorial manipulation and heavy-handed didacticism. Fortunately, however, from Revolt of the Sons, this process was reversed, as Lindsay began to show an increasing tendency to ignore party solutions, to fail indeed to give anything but the most elementary political consciousness to his characters, so that in his latest (and what appears to be his last) contemporary novel, Choice of Times, his hero, Colin, ends on a note of desperation: “Everything must be different, I can’t live this way any longer. But how can I change it, how?” To his credit as an artist, Lindsay doesn’t give him any explicit answer.

　　1.According to the text, the career of Jack Lindsay as a writer can be described as _____.

　　[A] inventive [B] productive [C] reflective [D] inductive

　　2.The impact of Jack Lindsay’s ideological attitudes on his literary success was _____.

　　[A] utterly negative [B] limited but indivisible [C] obviously positive [D] obscure in net effect

　　3.According to the second paragraph, Jack Lindsay firmly believes in.

　　[A] the gloomy destiny of his own country [B] the function of literature as a weapon

　　[C] his responsibility as an English man [D] his extraordinary position in literature

　　4.It can be inferred from the last paragraph that.

　　[A] the war led to the ultimate union of all English authors [B] Jack Lindsay was less and less popular in England

　　[C] Jack Lindsay focused exclusively on domestic affairs [D] the radical writers were greatly influenced by the war

　　5.According to the text, the speech at the end of the text.

　　[A] demonstrates the author’s own view of life [B] shows the popular view of Jack Lindsay

　　[C] offers the author’s opinion of Jack Lindsay [D] indicates Jack Lindsay’s change of attitude

　　答案：1.B 2.C 3.B 4.D 5.D

　　核心词汇或超纲词汇

　　(1)verse(n.)诗，诗节，诗句，诗篇(v.)作诗;使熟练或者精通He ~ed himself in philosophy他对于哲学很精通

　　(2)prolific(a.)多产的，多育的，丰富的

　　(3)obscure(a.)暗的，朦胧的，模糊的，晦涩的，无名的(v.)遮掩;使模糊，使朦胧;使失色

　　(4)venture(n.)冒险，风险，投机(v.)冒险，敢于，冒昧地说;为赢利而进行冒险的企业joint ~合资企业

　　(5)bedrock(n.)岩床;根底，基础;基本原则[事实];最低点[额] come/get down to ~穷根究底;山穷水尽

　　(6)negligible(a.)可以忽略的;不重要的，微不足道的;neglectable(a.)可忽视的

　　(7)formulate(v.)用公式表示，明确地表达，作简洁陈述，阐明(n.)formulation

　　(8)conviction(n.)深信，确信;定罪;convict(v.)证明……有罪(n.)罪犯;convince(v.)使确信，使信服

　　(9)trilogy(n.)三部剧，三部曲;tri-前缀表示“三”，如triangle三角形

　　(10)vivify(v.)使有生气，使生动，使活跃;vivific(a.);-viv-词根表示“生活，生命”

　　(11)disintegration(n.)瓦解，分裂，崩溃;蜕变，衰变;integration(n.)结合，综合

　　(12)epithet(n.)绰号，称号

　　(13)manipulation(n.)处理，操作，操纵;manipulate(v.)

　　(14)heavy-handed笨手笨脚的;其它与hand相关的复合词包括：empty-handed空手的;even-handed公平的;freehanded拘束的，大方的

　　(15)didacticism(n.)教训主义didactic(a.)教诲的，说教的

　　(16)to one’s credit使值得赞扬，使受尊重，如To his credit, Jack never told anyone what had happened.杰克对所发生的事守口如瓶，值得赞扬。

　　全文翻译

　　杰克•林德萨是一位杰出的多产作家，他一生创作了约40部小说，若干戏剧，大量诗歌，以及历史、评论和自传作品。同时他还兼任编辑和翻译家。这一事实很轻易地掩盖了杰克•林德萨在他自己所冒险的领域里的真正光芒。20世纪20年代杰克•林德萨与人合编的《悉尼生活》一直被认为将澳大利亚文化引入了一个新的时期，而他1930年著的关于Kickens的著作也受到了很高的评价。在他所从事的各种创作活动中，可能小说创作的贡献最大。

　　用他自己在Fanfrolico提到的及其后来的话说，1916年他到了“山穷水尽”的地步，自那以后杰克•林德萨一直持有马克思主义的世界观。如果没有其他因素的话，恰是这种世界观确保了杰克•林德萨的小说在现代英国文坛上拥有不大但是肯定不可忽视的地位。由于感觉到“历史小说作为一种战斗武器，作为一种文化手段，其未来的作用不可限量”，他首次把自己的马克思主义观点写入了一系列主要以历史为背景的小说，尤其是三部曲的英国小说《1929》、《丢失的长子》以及《四十八岁的男人》(写于1919年，欧洲爆发宪章运动和革命起义)。随着第一部作品的巨大成功，这些作品基本上复苏了英国社会主义背后的历史传统，并且试图证明它保持不变。用杰克•林德萨自己的话说，为了“民族命运的真正圆满”。

　　尽管战争造成了20世纪10年代的左翼文学运动实际上的解体，杰克•林德萨还在继续战斗，并在《我们要回家》和《恐怖之外》两部作品中探索了当时的事件。在这两部小说中，以前专属于邪恶的资本家和法国士兵的称号未加修饰地转用到了德国部队上。战后，林德萨继续主要就当时的背景进行写作，试图以不同程度的成功与战后英国非激进的政治现实达成妥协。在他1993年以《背叛的春天》开始的《英国的路》这一系列作品集中，看起来好像他的解决方法就是更多的依靠作家式的处理和笨拙的说教。幸运的是，从《儿子的反抗》开始转变，林德萨表现出日益渐涨的不再依靠政党解决办法的趋势，他赋予作品主人公的也仅仅是最基本的政治觉悟除此之外什么也没有。因此在他最新的当代小说(看起来也是最后的一部)《时间的抉择》中，主人公柯林带着绝望的语气说道：“什么都得改，这样的生活我再也过不下去了，但是我该如何改变这一切呢?” 值得赞扬的是，杰克•林德萨作为一名艺术家，没有给出问题的具体答案。

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