【正文】 tal events。因為人們認(rèn)為感受的過程不需要“硬思維”，非語言思維被視為認(rèn)知過程發(fā)展的一個原始階段而且比語言和數(shù)學(xué)思維差。在西方科技的發(fā)展 過程中，大體上是由非言語思維刻畫了我們物質(zhì)環(huán)境的輪廓并充實了其中的細(xì)節(jié)。 5. 【答案】 D 【考點解析】本題是一道細(xì)節(jié)推導(dǎo)題?？忌诮忸}時應(yīng)該重視關(guān)鍵的語言信號詞，更要加強(qiáng)反推的能力。本題的正確答案信息點在原文第一段的倒數(shù)第二句，該句強(qiáng)調(diào)“ nonverbal thinking”的重要性。 當(dāng)科爾特蘭尼開始為沖動唱片公司進(jìn)行音樂錄制時，他仍然在探索?？茽柭捎玫慕M織方式不同。 有兩種風(fēng)格特征影響了科爾特蘭尼演奏男高音薩克斯管的方式：他喜歡對建立于一種旋律上的音符進(jìn)行快速的演奏，同時也依賴于強(qiáng)有力的、有規(guī)律的重音節(jié)奏。這樣，二十世紀(jì)五十年代的比波普派輕視二十世紀(jì)四十年代的搖擺音樂派，而他們自己又受到二十世紀(jì)六十年代的自由爵士派的抨擊。第一段第四句的狀語從句明確指出了“ Coltrane”與其它音樂家的不同在于他吸收了各種風(fēng)格的爵士音樂。 3. 【答案】 D 【考點解析】這是一道細(xì)節(jié)理解題型。第一段的倒數(shù)第一、二句是全文的中心主旨句，全文就是根據(jù)這兩句話展開論述的。例如，一些小說所顯示的結(jié)構(gòu)散漫冗長。羅森通過題干中的“ Weldon Johnson’s Autobiography of an ExColored Man”可將本題的答案信息來源迅速確定在尾段的第二句，本句中的“ like”（例如）一詞暗示本題的正確選項應(yīng)該是含有“ specific example”的選項 D。 4. 【答案】 D 【考點解析】 這是一道寫作手法題型。通過仔細(xì)閱讀和理解倒數(shù)第二段，可將本題的答案信息來源確定在倒數(shù)第二段的第二句。 1 1. 關(guān)鍵詞語模板分析 Model 1 [文學(xué)類 ] 題目序號 題型歸類 第 1題 中心主旨題型 第 2題 審題定位與 反推 題型 第 3題 全文歸納推導(dǎo)題型 第 4題 寫作手法題型 第 5題 例（舉）證題型 Roger Rosenblatt’s book Black Fiction, in attempting to apply literary rather than sociopolitical criteria to its subject, successfully alters the approach taken by most previous studies. As Rosenblatt notes, criticism of Black writing has often served as a pretext for expounding on Black history. Addison Gayle’s recent work, for example, judges the value of Black fiction by overtly political standards, rating each work according to the notions of Black identity which it propounds. Although fiction assuredly springs from political circumstances, its authors react to those circumstances in ways other than ideological, and talking about novels and stories primarily as instruments of ideology circumvents much of the fictional enterprise. Rosenblatt’s literary analysis discloses affinities and connections among works of Black fiction which solely political studies have overlooked or ignored. Writing acceptable criticism of Black fiction, however, presupposes giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the facial identity of the authors, to group together works by Black authors? Second, how does Black fiction make itself distinct from other modern fiction with which it is largely contemporaneous? Rosenblatt shows that Black fiction constitutes a distinct body of writing that has an identifiable, coherent literary tradition. Looking at novels written by Black over the last eighty years, he discovers recurring concerns and designs independent of chronology. These structures are thematic, and they spring, not surprisingly, from the central fact that the Black characters in these novels exist in a predominantly white culture, whether they try to conform to that culture or rebel against it. Black Fiction does leave some aesthetic questions open. Rosenblatt’s thematic analysis permits considerable objectivity。尾段首句的“ such omissions”（這樣的忽略）暗示本題的答案 信息來源應(yīng)該在倒數(shù)第二段。考生在解題時一定要 抓住中心主旨句，并且對它們所表達(dá)的內(nèi)容要進(jìn)行分析和歸納。 4 5. 【答案】 D 【考點解析】 這是一道例（舉）證題。 雖然小說確實是源于政治環(huán)境，但作者反映這些環(huán)境的方法是非意識形態(tài)的，如把小說和故事的討論作為意識形態(tài)的工具，則會忽視了許多小說的成就。 《黑人小說》確實對一些美學(xué)的問題沒有給予回答，羅森布萊特的主題分析允許相當(dāng)?shù)目陀^性；他甚至直言，對各個 作品的優(yōu)劣判定不是他工作的意圖 ——然而他的猶豫看起來是不合時宜的，尤其是因為嘗試評定可能會導(dǎo)致一些有趣的結(jié)果。 Model 2 [藝術(shù)類 ] 題目序號 題型歸類 第 1題 中心主旨題型 第 2題 例（舉）證與細(xì)節(jié)理解題型 第 3題 細(xì)節(jié)理解題型 第 4題 審題定位題型 第 5題 歸納推導(dǎo)題型 Proponents of different jazz styles have always argued that their predecessor’s musical style did not include essential characteristics that define jazz as jazz. Thus, 1940’s swing was belittled by beboppers of the 1950’s who were themselves attacked by free jazzes of the 1960’s. The neoboppers of the 1980’s and 1990’s attacked almost everybody else. The titanic figure of Black saxophonist John Coltrane has plicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz. Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to openended improvisations on modal, Indian, and African melodies. On the other hand, this dogged student and prodigious technician — who insisted on spending hours each day practicing scales from theory books — was never able to jettison pletely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody. Two stylistic characteristics shaped the way Coltrane played the tenor saxophone: he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to “sheets of sound” where he raced faster and faster, piledriving notes into each other to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop. Three recordings illustrate Coltrane’s energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repeated motifs — an anizing principle unlike that of free jazz saxophone player Orte Coleman, who 6 modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own positions. Here the sheets of sound, downbeat accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltrane’s searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results were astounding. With the soprano’s piping sound, ideas that had sounded dark and b