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发布时间： 2023-03-01 08:58
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About a dozen years ago my wife and I planted a hedge of twenty-seven arborvitae trees along the border of our backyard, which, although our house sits on nineteen acres of fields and woods, is also the back border of our property. A sloping hayfield with a realtor’s dream of panoramic views lies directly behind us. So the hedge was our attempt to secure privacy for the future. The nurseryman who sold us the shrubs assured us they were the best species for our purpose and climate. I measured and marked the planting sites, called in “Chink” Norris (whose possibly racist nickname I’ve not looked into any more than I have the nurseryman’s credentials) to come with his small backhoe and dig the holes. As advised, I faithfully watered and fertilized each tree throughout the holes. As advised, I faithfully watered and fertilized each tree throughout the first year, with results that were everything I’d been promised: dense, hardy, and luxuriant, a towering bulwark of green. Thus began an episode of great vexation and buffoonery in my life, known and (I have no doubt) merrily recounted in local circles as the tale of “Garret and his trees”, or as my wife puts it, “Garret and the deer.” It so happens that we live next to one of the county’s most extensive “deer yard”, those areas of canopied woods to which the deer retire in winter, making networks of deeply furrowed tracks and foraging as best they can until there’s a declared winner in the yearly race between spring and starvation.
It also happens that deer find arborvitae a delicacy, related to the cedar that they also love, but thicker and more succulent. By the second winter they’d found and attacked my trees. I fought back, not with a vengeance—I stopped short of that—but with something close to obsession. I erected fence structures that made our backyard look like a scene from the Somme. I played recordings of wolves howling, recordings of me howling. I fired pistol shots at random hours of the night. I hung or sprinkled repellents of blood meal, urine, (mine), and deodorant soap. Hearing that deer were repelled by the scent of human hair, I asked some hair dressers to set aside their sweepings in a bag with, as the saying goes, my name on it.
As any warden will tell you, if deer are hungry enough they will get through anything, which this year included an electric fence hooked to a charger supposedly powerful enough to deter an elephant. So the farmer who’d helped me rig it up assured me. What he did not tell me, because he did not know, was that the insulating snowpack would prevent an animal from completing the circuit with the ground. In came the deer like a school of piranhas. This was shortly after a man from Connecticut purchased the hayfield behind our house for a price few of my neighbors could afforded and none of them could believe and set about measuring the foundations of a house.
What measure was NOT taken by the author to deter the deer?
本题解析：
文章第二段倒数第二句话描写了作者为了驱赶鹿群使用到的工具，作者写到了“repellents of blood meal, urine and deodorant soap.”没有提及watchdog，C正确。
About a dozen years ago my wife and I planted a hedge of twenty-seven arborvitae trees along the border of our backyard, which, although our house sits on nineteen acres of fields and woods, is also the back border of our property. A sloping hayfield with a realtor’s dream of panoramic views lies directly behind us. So the hedge was our attempt to secure privacy for the future. The nurseryman who sold us the shrubs assured us they were the best species for our purpose and climate. I measured and marked the planting sites, called in “Chink” Norris (whose possibly racist nickname I’ve not looked into any more than I have the nurseryman’s credentials) to come with his small backhoe and dig the holes. As advised, I faithfully watered and fertilized each tree throughout the holes. As advised, I faithfully watered and fertilized each tree throughout the first year, with results that were everything I’d been promised: dense, hardy, and luxuriant, a towering bulwark of green. Thus began an episode of great vexation and buffoonery in my life, known and (I have no doubt) merrily recounted in local circles as the tale of “Garret and his trees”, or as my wife puts it, “Garret and the deer.” It so happens that we live next to one of the county’s most extensive “deer yard”, those areas of canopied woods to which the deer retire in winter, making networks of deeply furrowed tracks and foraging as best they can until there’s a declared winner in the yearly race between spring and starvation.
It also happens that deer find arborvitae a delicacy, related to the cedar that they also love, but thicker and more succulent. By the second winter they’d found and attacked my trees. I fought back, not with a vengeance—I stopped short of that—but with something close to obsession. I erected fence structures that made our backyard look like a scene from the Somme. I played recordings of wolves howling, recordings of me howling. I fired pistol shots at random hours of the night. I hung or sprinkled repellents of blood meal, urine, (mine), and deodorant soap. Hearing that deer were repelled by the scent of human hair, I asked some hair dressers to set aside their sweepings in a bag with, as the saying goes, my name on it.
As any warden will tell you, if deer are hungry enough they will get through anything, which this year included an electric fence hooked to a charger supposedly powerful enough to deter an elephant. So the farmer who’d helped me rig it up assured me. What he did not tell me, because he did not know, was that the insulating snowpack would prevent an animal from completing the circuit with the ground. In came the deer like a school of piranhas. This was shortly after a man from Connecticut purchased the hayfield behind our house for a price few of my neighbors could afforded and none of them could believe and set about measuring the foundations of a house.
Why did the electric fence fail? It is because of _____.
本题解析：
文章第三段第三句话写到“…was that the insulating snowpack would prevent an animal from completing the circuit with the ground.”由此可见，由于积雪场绝缘，这样可以防止动物接触到地上的电路，D正确。
About a dozen years ago my wife and I planted a hedge of twenty-seven arborvitae trees along the border of our backyard, which, although our house sits on nineteen acres of fields and woods, is also the back border of our property. A sloping hayfield with a realtor’s dream of panoramic views lies directly behind us. So the hedge was our attempt to secure privacy for the future. The nurseryman who sold us the shrubs assured us they were the best species for our purpose and climate. I measured and marked the planting sites, called in “Chink” Norris (whose possibly racist nickname I’ve not looked into any more than I have the nurseryman’s credentials) to come with his small backhoe and dig the holes. As advised, I faithfully watered and fertilized each tree throughout the holes. As advised, I faithfully watered and fertilized each tree throughout the first year, with results that were everything I’d been promised: dense, hardy, and luxuriant, a towering bulwark of green. Thus began an episode of great vexation and buffoonery in my life, known and (I have no doubt) merrily recounted in local circles as the tale of “Garret and his trees”, or as my wife puts it, “Garret and the deer.” It so happens that we live next to one of the county’s most extensive “deer yard”, those areas of canopied woods to which the deer retire in winter, making networks of deeply furrowed tracks and foraging as best they can until there’s a declared winner in the yearly race between spring and starvation.
It also happens that deer find arborvitae a delicacy, related to the cedar that they also love, but thicker and more succulent. By the second winter they’d found and attacked my trees. I fought back, not with a vengeance—I stopped short of that—but with something close to obsession. I erected fence structures that made our backyard look like a scene from the Somme. I played recordings of wolves howling, recordings of me howling. I fired pistol shots at random hours of the night. I hung or sprinkled repellents of blood meal, urine, (mine), and deodorant soap. Hearing that deer were repelled by the scent of human hair, I asked some hair dressers to set aside their sweepings in a bag with, as the saying goes, my name on it.
As any warden will tell you, if deer are hungry enough they will get through anything, which this year included an electric fence hooked to a charger supposedly powerful enough to deter an elephant. So the farmer who’d helped me rig it up assured me. What he did not tell me, because he did not know, was that the insulating snowpack would prevent an animal from completing the circuit with the ground. In came the deer like a school of piranhas. This was shortly after a man from Connecticut purchased the hayfield behind our house for a price few of my neighbors could afforded and none of them could believe and set about measuring the foundations of a house.
Why the author sets up an electric fence?
本题解析：
文章第三段第一句话写到“…if deer are hungry enough they will get through anything, which this year included an electric fence hooked to a charger supposedly powerful enough to deter an elephant.”由此可见，修建电篱是为了防止鹿群太饿而冲进后院觅食，B正确。
About a dozen years ago my wife and I planted a hedge of twenty-seven arborvitae trees along the border of our backyard, which, although our house sits on nineteen acres of fields and woods, is also the back border of our property. A sloping hayfield with a realtor’s dream of panoramic views lies directly behind us. So the hedge was our attempt to secure privacy for the future. The nurseryman who sold us the shrubs assured us they were the best species for our purpose and climate. I measured and marked the planting sites, called in “Chink” Norris (whose possibly racist nickname I’ve not looked into any more than I have the nurseryman’s credentials) to come with his small backhoe and dig the holes. As advised, I faithfully watered and fertilized each tree throughout the holes. As advised, I faithfully watered and fertilized each tree throughout the first year, with results that were everything I’d been promised: dense, hardy, and luxuriant, a towering bulwark of green. Thus began an episode of great vexation and buffoonery in my life, known and (I have no doubt) merrily recounted in local circles as the tale of “Garret and his trees”, or as my wife puts it, “Garret and the deer.” It so happens that we live next to one of the county’s most extensive “deer yard”, those areas of canopied woods to which the deer retire in winter, making networks of deeply furrowed tracks and foraging as best they can until there’s a declared winner in the yearly race between spring and starvation.
It also happens that deer find arborvitae a delicacy, related to the cedar that they also love, but thicker and more succulent. By the second winter they’d found and attacked my trees. I fought back, not with a vengeance—I stopped short of that—but with something close to obsession. I erected fence structures that made our backyard look like a scene from the Somme. I played recordings of wolves howling, recordings of me howling. I fired pistol shots at random hours of the night. I hung or sprinkled repellents of blood meal, urine, (mine), and deodorant soap. Hearing that deer were repelled by the scent of human hair, I asked some hair dressers to set aside their sweepings in a bag with, as the saying goes, my name on it.
As any warden will tell you, if deer are hungry enough they will get through anything, which this year included an electric fence hooked to a charger supposedly powerful enough to deter an elephant. So the farmer who’d helped me rig it up assured me. What he did not tell me, because he did not know, was that the insulating snowpack would prevent an animal from completing the circuit with the ground. In came the deer like a school of piranhas. This was shortly after a man from Connecticut purchased the hayfield behind our house for a price few of my neighbors could afforded and none of them could believe and set about measuring the foundations of a house.
The author collects hair in bags to prevent the invasion of deer because he knows that _____.
本题解析：
文章第二段主要写到了冬天鹿群回来吃食作者种的数的枝叶，为了赶走鹿群，作者想了许多办法。此段最后一句话写到“Hearing that deer were repelled by the scent of human hair, I asked some hair dressers to set aside their sweepings in a bag…”由此可见，鹿群讨厌人类头发的气味，B正确。
About a dozen years ago my wife and I planted a hedge of twenty-seven arborvitae trees along the border of our backyard, which, although our house sits on nineteen acres of fields and woods, is also the back border of our property. A sloping hayfield with a realtor’s dream of panoramic views lies directly behind us. So the hedge was our attempt to secure privacy for the future. The nurseryman who sold us the shrubs assured us they were the best species for our purpose and climate. I measured and marked the planting sites, called in “Chink” Norris (whose possibly racist nickname I’ve not looked into any more than I have the nurseryman’s credentials) to come with his small backhoe and dig the holes. As advised, I faithfully watered and fertilized each tree throughout the holes. As advised, I faithfully watered and fertilized each tree throughout the first year, with results that were everything I’d been promised: dense, hardy, and luxuriant, a towering bulwark of green. Thus began an episode of great vexation and buffoonery in my life, known and (I have no doubt) merrily recounted in local circles as the tale of “Garret and his trees”, or as my wife puts it, “Garret and the deer.” It so happens that we live next to one of the county’s most extensive “deer yard”, those areas of canopied woods to which the deer retire in winter, making networks of deeply furrowed tracks and foraging as best they can until there’s a declared winner in the yearly race between spring and starvation.
It also happens that deer find arborvitae a delicacy, related to the cedar that they also love, but thicker and more succulent. By the second winter they’d found and attacked my trees. I fought back, not with a vengeance—I stopped short of that—but with something close to obsession. I erected fence structures that made our backyard look like a scene from the Somme. I played recordings of wolves howling, recordings of me howling. I fired pistol shots at random hours of the night. I hung or sprinkled repellents of blood meal, urine, (mine), and deodorant soap. Hearing that deer were repelled by the scent of human hair, I asked some hair dressers to set aside their sweepings in a bag with, as the saying goes, my name on it.
As any warden will tell you, if deer are hungry enough they will get through anything, which this year included an electric fence hooked to a charger supposedly powerful enough to deter an elephant. So the farmer who’d helped me rig it up assured me. What he did not tell me, because he did not know, was that the insulating snowpack would prevent an animal from completing the circuit with the ground. In came the deer like a school of piranhas. This was shortly after a man from Connecticut purchased the hayfield behind our house for a price few of my neighbors could afforded and none of them could believe and set about measuring the foundations of a house.
The author and his wife planted a hedge along their backyard for the purpose of _____.
本题解析：
文章第一段第三句话写到“So the hedge was our attempt to secure privacy for the future,”由此可见，作者和他的妻子修建树篱是为了保护隐私，B正确。
Modern technology and science have produced a wealth of new materials and new ways of using old materials. For the artist this means wider opportunities. There is no doubt that the limitations of materials and nature of tools both restrict and shape a man’s work. Observe how the development of plastics and light metals along with new methods of welding has changed the direction of sculpture. Transparent plastic materials allow one to look through an object, to see its various sides superimposed on each other (as in Cubism or in an X-ray). Today, welding is as prevalent as casting was in the past. This new method encourages open designs, where surrounding and intervening space becomes as important as form itself.
More ambiguous than other scientific inventions familiar to modern artists, but no less influential, are the psychoanalytic studies of Freud and his followers, discoveries that have infiltrated recent art, especially Surrealism. The Surrealists, in their struggle to escape the monotony and frustrations of everyday life, claimed that dreams were the only hope. Turning to the irrational world of their unconscious, they banished all time barriers and moral judgements to combine disconnected dream experiences from the past, present and intervening psychological states. The Surrealists were concerned with overlapping emotions more than with overlapping forms. Their paintings often become segmented capsules of associative experiences. For them, obsessive and often unrelated images replaced the direct emotional message of expressionism. They did not need to smash paint and canvas: they went beyond this to smash the whole continuity of logical thought.
There is little doubt that contemporary art has taken much from contemporary life. In a period when science has made revolutionary strides, artists in their studios have not been unaware of scientists in their laboratories. But this has rarely been a one-way street. Painters and sculptors, through admittedly influenced by modern science, have also molded and changed our world. If break-up has been a vital part of their expression, it has not always been a symbol of destruction. Quite the contrary: it has been used to examine more fully, to penetrate more deeply, to analyze more thoroughly, to enlarge, isolate and make more familiar certain aspects of lire that earlier we were apt to neglect. In addition, it sometimes provides rich multiple experiences so organized as not merely to reflect our world, but in fact to interpret it.
The sentence “But this has rarely been a one-way street.” in the last paragraph means that _____.
本题解析：
此题考查的是对句意的理解。这句话的意思是“但这几乎从来就不是单行道”。联系上下文可知，这句话是说明科学与艺术之间的影响是相互的，不是单方面的。D项的mutual一词意思是“相互的”，正确表达了句意，故选D。A项和B项的说法不全面。C项意思是艺术家可以成为科学家，科学家也可以成为艺术家，理解错误。
Modern technology and science have produced a wealth of new materials and new ways of using old materials. For the artist this means wider opportunities. There is no doubt that the limitations of materials and nature of tools both restrict and shape a man’s work. Observe how the development of plastics and light metals along with new methods of welding has changed the direction of sculpture. Transparent plastic materials allow one to look through an object, to see its various sides superimposed on each other (as in Cubism or in an X-ray). Today, welding is as prevalent as casting was in the past. This new method encourages open designs, where surrounding and intervening space becomes as important as form itself.
More ambiguous than other scientific inventions familiar to modern artists, but no less influential, are the psychoanalytic studies of Freud and his followers, discoveries that have infiltrated recent art, especially Surrealism. The Surrealists, in their struggle to escape the monotony and frustrations of everyday life, claimed that dreams were the only hope. Turning to the irrational world of their unconscious, they banished all time barriers and moral judgements to combine disconnected dream experiences from the past, present and intervening psychological states. The Surrealists were concerned with overlapping emotions more than with overlapping forms. Their paintings often become segmented capsules of associative experiences. For them, obsessive and often unrelated images replaced the direct emotional message of expressionism. They did not need to smash paint and canvas: they went beyond this to smash the whole continuity of logical thought.
There is little doubt that contemporary art has taken much from contemporary life. In a period when science has made revolutionary strides, artists in their studios have not been unaware of scientists in their laboratories. But this has rarely been a one-way street. Painters and sculptors, through admittedly influenced by modern science, have also molded and changed our world. If break-up has been a vital part of their expression, it has not always been a symbol of destruction. Quite the contrary: it has been used to examine more fully, to penetrate more deeply, to analyze more thoroughly, to enlarge, isolate and make more familiar certain aspects of lire that earlier we were apt to neglect. In addition, it sometimes provides rich multiple experiences so organized as not merely to reflect our world, but in fact to interpret it.
Which of the following is tree about Surrealists?
本题解析：
本题是关于Surrealists的，可以在第二段找到相关内容。B项“他们试图表达他们的潜意识世界”，subconscious（潜意识）与文中的unconscious（无意识）相近，符合题意。A项diminish（减少）与原文中的banish（排除）意思不符。C项“可以将现实存在转换成不连贯的梦境”，与原文中的第二段第三句不一致。D项意思是“他们想用直接的表达方式取代片断性的想象”，与文意完全相反。
Modern technology and science have produced a wealth of new materials and new ways of using old materials. For the artist this means wider opportunities. There is no doubt that the limitations of materials and nature of tools both restrict and shape a man’s work. Observe how the development of plastics and light metals along with new methods of welding has changed the direction of sculpture. Transparent plastic materials allow one to look through an object, to see its various sides superimposed on each other (as in Cubism or in an X-ray). Today, welding is as prevalent as casting was in the past. This new method encourages open designs, where surrounding and intervening space becomes as important as form itself.
More ambiguous than other scientific inventions familiar to modern artists, but no less influential, are the psychoanalytic studies of Freud and his followers, discoveries that have infiltrated recent art, especially Surrealism. The Surrealists, in their struggle to escape the monotony and frustrations of everyday life, claimed that dreams were the only hope. Turning to the irrational world of their unconscious, they banished all time barriers and moral judgements to combine disconnected dream experiences from the past, present and intervening psychological states. The Surrealists were concerned with overlapping emotions more than with overlapping forms. Their paintings often become segmented capsules of associative experiences. For them, obsessive and often unrelated images replaced the direct emotional message of expressionism. They did not need to smash paint and canvas: they went beyond this to smash the whole continuity of logical thought.
There is little doubt that contemporary art has taken much from contemporary life. In a period when science has made revolutionary strides, artists in their studios have not been unaware of scientists in their laboratories. But this has rarely been a one-way street. Painters and sculptors, through admittedly influenced by modern science, have also molded and changed our world. If break-up has been a vital part of their expression, it has not always been a symbol of destruction. Quite the contrary: it has been used to examine more fully, to penetrate more deeply, to analyze more thoroughly, to enlarge, isolate and make more familiar certain aspects of lire that earlier we were apt to neglect. In addition, it sometimes provides rich multiple experiences so organized as not merely to reflect our world, but in fact to interpret it.
We can learn from the text mat Freud’s studies _____.
本题解析：
该题是关于Freud’s studies的。文章第二段第一句表明，弗洛伊德的精神分析理论对超现实主义有影响，D项符合题意。A项than any other太绝对。B项other scientific inventions应改为recent art。C项“导致了超现实主义”错误，只是产生一定影响，不合题意。
Modern technology and science have produced a wealth of new materials and new ways of using old materials. For the artist this means wider opportunities. There is no doubt that the limitations of materials and nature of tools both restrict and shape a man’s work. Observe how the development of plastics and light metals along with new methods of welding has changed the direction of sculpture. Transparent plastic materials allow one to look through an object, to see its various sides superimposed on each other (as in Cubism or in an X-ray). Today, welding is as prevalent as casting was in the past. This new method encourages open designs, where surrounding and intervening space becomes as important as form itself.
More ambiguous than other scientific inventions familiar to modern artists, but no less influential, are the psychoanalytic studies of Freud and his followers, discoveries that have infiltrated recent art, especially Surrealism. The Surrealists, in their struggle to escape the monotony and frustrations of everyday life, claimed that dreams were the only hope. Turning to the irrational world of their unconscious, they banished all time barriers and moral judgements to combine disconnected dream experiences from the past, present and intervening psychological states. The Surrealists were concerned with overlapping emotions more than with overlapping forms. Their paintings often become segmented capsules of associative experiences. For them, obsessive and often unrelated images replaced the direct emotional message of expressionism. They did not need to smash paint and canvas: they went beyond this to smash the whole continuity of logical thought.
There is little doubt that contemporary art has taken much from contemporary life. In a period when science has made revolutionary strides, artists in their studios have not been unaware of scientists in their laboratories. But this has rarely been a one-way street. Painters and sculptors, through admittedly influenced by modern science, have also molded and changed our world. If break-up has been a vital part of their expression, it has not always been a symbol of destruction. Quite the contrary: it has been used to examine more fully, to penetrate more deeply, to analyze more thoroughly, to enlarge, isolate and make more familiar certain aspects of lire that earlier we were apt to neglect. In addition, it sometimes provides rich multiple experiences so organized as not merely to reflect our world, but in fact to interpret it.
The welding techniques _____.
本题解析：
根据题意，该题是关于welding techniques（焊接技术）的，可以在第一段后半部分找到相关内容。文章第一段第三句表明塑料和轻金属的发展给雕刻艺术带来很大影响。A项符合题意。B项和C项指的是新材料的作用而不是焊接技术的作用。D项artists与文意不合。
Modern technology and science have produced a wealth of new materials and new ways of using old materials. For the artist this means wider opportunities. There is no doubt that the limitations of materials and nature of tools both restrict and shape a man’s work. Observe how the development of plastics and light metals along with new methods of welding has changed the direction of sculpture. Transparent plastic materials allow one to look through an object, to see its various sides superimposed on each other (as in Cubism or in an X-ray). Today, welding is as prevalent as casting was in the past. This new method encourages open designs, where surrounding and intervening space becomes as important as form itself.
More ambiguous than other scientific inventions familiar to modern artists, but no less influential, are the psychoanalytic studies of Freud and his followers, discoveries that have infiltrated recent art, especially Surrealism. The Surrealists, in their struggle to escape the monotony and frustrations of everyday life, claimed that dreams were the only hope. Turning to the irrational world of their unconscious, they banished all time barriers and moral judgements to combine disconnected dream experiences from the past, present and intervening psychological states. The Surrealists were concerned with overlapping emotions more than with overlapping forms. Their paintings often become segmented capsules of associative experiences. For them, obsessive and often unrelated images replaced the direct emotional message of expressionism. They did not need to smash paint and canvas: they went beyond this to smash the whole continuity of logical thought.
There is little doubt that contemporary art has taken much from contemporary life. In a period when science has made revolutionary strides, artists in their studios have not been unaware of scientists in their laboratories. But this has rarely been a one-way street. Painters and sculptors, through admittedly influenced by modern science, have also molded and changed our world. If break-up has been a vital part of their expression, it has not always been a symbol of destruction. Quite the contrary: it has been used to examine more fully, to penetrate more deeply, to analyze more thoroughly, to enlarge, isolate and make more familiar certain aspects of lire that earlier we were apt to neglect. In addition, it sometimes provides rich multiple experiences so organized as not merely to reflect our world, but in fact to interpret it.
According to the passage, it is true that _____.
本题解析：
文章主要是讲现代科技中新材料的出现和原有材料的新方法的运用对艺术创造的影响。A项reproductions of modern technology（现代技术的复制品）过于广泛，不合原文。B项文中没有提及。D项the material world（物质世界）过于广泛，不合原文。C项科技进步和艺术创造之间有很大的联系，符合题意。
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