gre閱讀36套第一套翻譯解析(編輯修改稿)
2025-07-23 20:52 本頁(yè)面
【文章內(nèi)容簡(jiǎn)介】 es of a vertebrate are proportional to the vertebrate‘s size is based on which of the following assumption?文章中關(guān)于有脊椎動(dòng)物所吸收的全部無(wú)氧能量與有脊椎動(dòng)物的體型大小成比例關(guān)系的設(shè)想是基于以下哪一個(gè)論據(jù)？A、 larger vertebrates conserve more energy than smaller vertebrates大型有脊椎動(dòng)物比小型有脊椎動(dòng)保存更多能量。（錯(cuò)誤，文中并沒(méi)有提及大型有脊椎動(dòng)物及小型有脊椎動(dòng)物與保存能量之間的關(guān)系。）B、 larger vertebrates use less oxygen per unit weight than smaller vertebrates大型有脊椎動(dòng)物比小型有脊椎動(dòng)物在每單位重量下用更少的氧。（錯(cuò)誤，文中并沒(méi)有提到大型有脊椎動(dòng)物和小型有脊椎動(dòng)物每單位重量下氧的用量，并且也沒(méi)有指出氧氣用量與無(wú)氧能量吸收及體型的比例關(guān)系。）C、 the ability of a vertebrate to consume food is a function of its size有脊椎動(dòng)物消耗食物的能力是其體型的基本功能。（錯(cuò)誤，文中并未提及消耗食物等概念。）D、 the amount of muscle tissue in a vertebrate is directly related to its size有脊椎動(dòng)物肌肉組織的總量直接與其體型大小有關(guān)。（正確，文中提到糖原存在于有脊椎動(dòng)物中，%，“The amount of energy that can be produced anaerobically is a function of the amount of glycogen present—in all vertebrates about percent of their muscles wet weight”，這就表明有脊椎動(dòng)物體型越大其肌肉組織越多，肌肉組織中糖原越多，可得出其吸收或產(chǎn)生的無(wú)氧能量越多。）E、 the size of a vertebrate is proportional to the quantity of energy it can utilize有脊椎動(dòng)物體型的大小與它可以利用的能量的多少成比例關(guān)系。（錯(cuò)誤， 文中并未提及能量的利用率與無(wú)氧能量的吸收及有脊椎動(dòng)物體型大小的比例關(guān)系）【Passage 4】Extraordinary creative activity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will bee accepted.超凡的創(chuàng)造力被刻畫為變革者的特征，公然對(duì)抗那些已經(jīng)建立的事物，創(chuàng)造不被現(xiàn)在所接受但終將會(huì)被接受的事物。According to this formulation, highly creative activity transcends the limits of an existing form and establishes a new principle of organization. 根據(jù)這種描述，非凡的創(chuàng)造力超越現(xiàn)有體制的限制，并建立一種新的組織原則。However, the idea that extraordinary creativity transcends established limits is misleading when it is applied to the arts, even though it may be valid for the sciences. 然而，當(dāng)超凡的創(chuàng)造力超越現(xiàn)有限制這一概念運(yùn)用在藝術(shù)領(lǐng)域時(shí)便成了一種誤導(dǎo)，盡管這一概念可能對(duì)科學(xué)領(lǐng)域有價(jià)值。Difference between highly creative art and highly creative science arise in part from a difference in their goals. 極富創(chuàng)造力的藝術(shù)與極富創(chuàng)造力的科學(xué)之間的差異的產(chǎn)生部分來(lái)源于它們之間不同的目標(biāo)。For the sciences, a new theory is the goal and end result of the creative act. 對(duì)于科學(xué)，創(chuàng)新行為的目標(biāo)以及最終結(jié)果是得出一種新理論。Innovative science produces new propositions in terms of which diverse phenomena can be related to one another in more coherent ways. 革新的科學(xué)產(chǎn)生新的主張，依據(jù)這些新的主張，不同的現(xiàn)象能夠以更連貫的方法一個(gè)接一個(gè)聯(lián)系起來(lái)。Such phenomena as a brilliant diamond or a nesting bird are relegated to the role of data, serving as the means for formulating or testing a new theory. 這些現(xiàn)象例如閃耀的鉆石或者正在筑巢的小鳥都一種數(shù)據(jù)模式相關(guān)，這種模式作為正式闡述或測(cè)試新理論的一種手段。The goal of highly creative art is very different: the phenomenon itself bees the direct product of the creative act. 而極富創(chuàng)造力的藝術(shù)的目標(biāo)則非常不同：現(xiàn)象成為創(chuàng)造行為直接的結(jié)果。Shakespeare39。s Hamlet is not a tract about the behavior of indecisive princes or the uses of political power。 nor is Picasso39。s painting Guernica primarily a propositional statement about the Spanish Civil War or the evils of fascism. 莎士比亞的哈姆雷特不是有關(guān)于優(yōu)柔寡斷的王子的行為或政治權(quán)力用途的小冊(cè)子，同樣地，畢加索的名畫格爾尼卡中主要的命題陳述也不是關(guān)于西班牙內(nèi)戰(zhàn)或法西斯主義邪惡。What highly creative artistic activity produces is not a new generalization that transcends established limits, but rather an aesthetic particular. 高度創(chuàng)意的藝術(shù)活動(dòng)所產(chǎn)生的并不是超越已有限制的一種新的普遍性說(shuō)明，而是一種審美上的獨(dú)特之物。Aesthetic particulars produced by the highly creative artist extend or exploit, in an innovative way, the limits of an existing form, rather than transcend that form.美學(xué)上的獨(dú)特之物由高度創(chuàng)新的藝術(shù)家以一種創(chuàng)新的方式延生或是利用現(xiàn)有的形式的局限，而不是超越這種形式。This is not to deny that a highly creative artist sometimes establishes a new principle of organization in the history of an artistic field。 the poser Monteverdi,who created music of the highest aesthetic value, es to mind. 這并不是對(duì)于那些極富創(chuàng)造力的藝術(shù)家某時(shí)在藝術(shù)領(lǐng)域的歷史中所建立的新的組織原則的一種否定。創(chuàng)造了音樂(lè)的最高審美價(jià)值的作曲家蒙泰韋爾迪由此進(jìn)入我們的心中。More generally, however, whether or not a position establishes a new principle in the history of music has little be
研究報(bào)告相關(guān)推薦
鄂ICP備17016276號(hào)-1