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2025 年全国硕士研究生招生考试英语（一） 试题
Section I Use of English
Directions: Read the following text. Choose the best word (s)for each
numbered blank and mark A, B, C or D on the ANSWER SHEET . (10
points)
Located in the southern Peloponnesian peninsula, Pavlopetri (the
modern name of the site) emerged as a Neolithic settlement around 3500
B.C. This area of the Aegean Sea is 1 to earthquakes and tsunamis,
which caused the city to 2 sink. The slow sea level rise in the
Mediterranean 3 the city more than 3000 years ago.
For millennia, the city's 4 lay unseen below some 13 feet of water.
They were covered by a thick layer of sand 5 the island of Laconia. In
recent decades, shifting 6 and climate change have eroded a natural
barrier that 7 Pavlopetri. In 1967, a scientific survey of the
Peloponnesian coast was 8 data to analyze change in sea levels 9
British oceanographer Nicholas Flemming first spotted the sunken 10 .
A year later, he returned with a few students to 11 the location and map
the site. The team identified some 15 buildings, courtyards, a network of
streets, and two chamber tombs. 12 the exciting initial finds, the site
would lie 13 for decades before archaeologists would return.
In 2009 archaeologists Chrysanthi Gallon and Jon Henderson 14
excavation of Pavlopetri in cooperation with the Greek Ministry of Culture.
1Since the 1960s, underwater archaeology 15 and tools had made huge
advances. The team 16 robotics, sonar mapping, and state-of-the-art
graphics to survey the site. From 2009 to 2013 they were able to bring the
underwater town to 17 . Covering about two and a half acres,
Pavlopetri three main roads 18 some 50 rectangular buildings, all of
which had open courtyards, Excavations revealed a large number of
Minoan-style loom weights, 19 Pavlopetri was a thriving trade center
with a 20 textile industry.
1. [A] relevant [B] prone [C] available [D] alien
2. [A] accidentally [B] frequently [C] gradually [D] temporarily
3. [A] disguised [B] submerged [C] relocated [D] isolated
4. [A] legends [B] programs [C] remains [D]surroundings
5. [A] across [B] off [C] under [D] via
6. [A] currents [B] rivers [C] seasons [D] winds
7. [A] elevated [B] separated [C] comprised [D] protected
8. [A] gathering [B] restoring [C] updating [D] supplying
9. [A] when [B] until [C] after [D] once
10. [A] belongings [B] resources [C] products [D] structures
11. [A] preserve [B] select [C] display [D] examining
12. [A] Despite [B] Unlike [C] Besides [D] Among
13. [A] unchallenged [B] unknown [C] unorganized [D] undisturbed
214. [A] suspended [B] transferred [C] resumed [D] canceled
15. [A] policies [B] theories [C] documents [D] techniques
16. [A] ordered [B] provided [C] employed [D] adjusted
17. [A] effect [B] light [C] reality [D] mind
18. [A] crossed [B] connected [C] blocked [D] altered
19. [A] expecting [B] suggesting [C] predicting [D] recalling
20. [A] robust [B] diverse [C] marginal [D] dependent
Section II Reading Comprehension
Part A
Directions: Read thefollowingfour texts. Answer the questions below
each text by choosing A, B, C or D. Mark your answers on the ANSWER
SHEET. (40 points)
Text 1
The grammar school boy from Stratford-upon-Avon has landed a
scholarly punch after groundbreaking research showed that Shakespeare
does benefit Children's literacy and emotional development. But only if
you act him out.
A study found that a "rehearsal worn" approach to teaching
Shakespeare broadened children's vocabulary and the complexity of their
3writing as well as their emotional literacy." The research shows that the
way actors work makes a big difference to the way children use language
and also how they think about themselves," Jacqui O'Hanlon of the Royal
Shakespeare Company (RSC), which commissioned the study said.
The randomised control trial involved hundreds of years pupils -aged
nine and ten-at 45 state primary schools that had not been" previously
exposed to RSC pedagogy." They were split into target and control groups
and asked to write, for example, a message in a bottle as Fordinand after
the shipwreck in The Tempest. The target group was given a 30-minute
drama-based activity to accompany the passage.
The peer-reviewed results showed that the target group of pupils drew
on a wider vocabulary, used words “classed as more sophisticated or rarer”,
and wrote at greater length. They also “appear to be more comfortable
writing in role...while[control]pupils imagine how they themselves would
react to being shipwrecked, [target] children put themselves in the shoes of
a library character and express that character ’s emotion”.
The Time to Act study also found that while control pupils retied on "
desert island cliche's" such as palm trees, target pupils were "more
expansive giving a broader picture of the sky, the sea and the atmospheric
conditions".
O’Hanlon said she had been most surprised by the “emotional literacy
that was evident in the [target] children’s writing and that they were “more
4resilient in their writing, more hopeful”. She added “The emotional
understanding was very evident and it is probably related to the [rehearsal
room process] where you are used to trying to imagine your way through.
The were comfortable in describing different emotional states and part of
what you do in drama is put yourself in different shoes”. The study showed
the importance of embedding arts in education, she said.
"But could the results be replicated with any old dramatist? O'Hanlon
said more research would be needed but suggested that Shakespeare's use
of 20000 words, compared with the everyday 2000 words, gave a “massive
expansion of language into children's lives”, which was combined with
children 'using their whole bodies to bring words to life'."
21.The "rehearsal room" approach requires pupils to
[A]rewrite the lines from Shakespeare.
[B] Watch RSC actors' performances.
[C]play the roles in Shakespeare.
[D] Study drama under RSC artist.
22.The study divided the pupils into two groups to find whether
[A]The change in instruction enhances learning outcomes.
[B]expanding vocabulary helps develop reading fluency.
[D] emotion affects understanding of sophisticated works.
5[D]the classroom activity stimulates interest in the acts.
23. Control pupils' reliance on "desert island click’s" shows their
[A] weakness in description
[B] omission of small
details. [C]casual style of
writing.
[D]preference for big words
24. what can promote children's emotional literacy according to O'Hanlon?
[A] Writing in an imaginative manner.
[B] Identifying with literary
characters. [C]Drawing inspiration
from nature.
[D]Concentrating on real-life situations.
25. It can be inferred from the last paragraph that
[A] the new teaching method may work best with
Shakespeare. [B]the language of Shakespeare may be
formidable for pupils.
[C] other old dramatists may be included in primary education
[D]pupils may be reluctant to work on other old dramatists.
Text 2
I was shocked to learn recently that some scientists want to scale back
6their research in an effort to decrease carbon emissions. The crisis is here,
7they said, and we need to cut back on our energy-intensive modelling. At
the very least, we need to make our energy use far more sustainable.
It is unarguable that our laboratories, scientific instruments, rockets
and satellites - the tools we scientists need to measure the planet's pulse
-demand significant amounts of energy both in their construction and
operation. And it is equally true that science's unrelenting appetite for
information has caused a mushrooming of energy-intensive data centres
around the world. According to the International Energy Agency, these
buildings now consume about 1 percent of the world's electricity.
If the world is to meet its net-zero ambitions, we must think hard
about how we can deliver sustainable computing and deliver more LUMIS.
Every day, scientists, technologists and engineers are discovering new
ways to exploit renewable energy sources and develop techniques not just
to use power more intelligently but to power our intelligence. A great
example of this is Europe's largest super computer, LUMI in Finland,
which is astonishingly carbon- negative, established in an old paper mill, it
is powered by a nearby river and its remote heat warms the people who
live in the surrounding town ofKajaani
26. The author expressed great surprise at some scientists’ .
[A] unwillingness to cut carbon emissions
[B] intention to reduce their research
[C]suspicions about sustainable
energy
8[D]waste of electricity in their projects
27. The author believes that carbon emissions from research .
[A] have caused grave consequences
[B] have caused groundless worries
[C] are hard to handle at present
[D] are justifiable in the long run
28. The example of Green in Paragraph 5 is used to illustrate, .
[A] the achievements of great scientists
[B] the urgency of addressing climate change
[C] the rewards of scientific endeavors
[D] the value of fostering human ingenuity
29. It can be learned from the last two paragraph .
[A] Is a model of sustainability efforts
[B]Is a triumph against energy shortage
[C]owes much to global het-20
initiatives
[D]aims to explore the power of intelligence
30. Which of the following statements would the author agree with?
.
[A] Emission-free modelling demands extra
funding [B]The need for supercomputers is
difficult to meet
9[C]Energy-intensive research work is inevitable.
[D]The goals of researchers ought to be realistic.
Text 3
Ever since taking on Netflix Inc at its own game, old Hollywood has
struggled to turn a profit in streaming, with the likes of Disneyt, Pealock
and Paramount losing billions of dollars each year, sparking concerns that
the services will never be as profitable as cable once was. But the age of
streaming has been a boon for some unintended winners: pirates that use
software to rip a film or television show in seconds from legitimate online
video platforms and host the titles on their own, illegitimate services,
which rake in about $2 billion annually from ads and subscriptions.
With no video production costs, illegal streaming sites have achieved
profit margins approaching 90%, according to the Motion Picture
Association (MPA),a trade group representing Hollywood studios that's
working.to crack down on the thousands of illegal platforms that have
cropped up in recent years.
Initially the rise of legitimate online businesses such as Netflix
actually helped curb digital piracy, which had largely been based on file
uploads. But now piracy involving illegal streaming services as well as
file-sharing costs the US economy about $30 billion in lost revenue a years
and some 250,000 jobs estimates the US Chamber of Commerce’s Global
1
0Innovation Policy Center. The global impact is about $71 billion annually.
“ The people who are stealing our movies and our television shows
and operating piracy sites are not mom and pop operations," says Charlie
Rivkin, chief executive officer of the MPA. "This is organized crime."
Rivkin joined the MPA in 2017 after the organization failed five years
earlier to build consensus between Hollywood and Silicon Valley to win
passage of legislation in Congress aimed at stopping online piracy. In 2017
the association formed the Alliance for Creativity and Entertainment
(ACE).an enforcement taskforce of about 100 detectives circling the globe
to help local authorities arrest streaming pirates.
ACE says it's helped shrink the number of illegal streaming services
in North America to 126, from more than 1,400 in 2018, aided in part by
the MPA's support for a 2020 federal law that made large-scale streaming
of copyright material a serious crime.
Consulting firm Parks Associates predicts that legitimate US
streaming services' cumulative loss from piracy since 2022 will reach$113
billion in the next two years." While there is some optimism that emerging,
counter measures and best practices may see piracy begin to plateau by
2027, there is no consensus among stake holders as to when it may begin
to decline," says analyst Steve Hawley.
31.According to Paragraph 1, legitimate streaming services .
[A] have drawn lessons from Hollywood
10[B] have surpassed cable in revenue
[C] are unpopular with advertisers
[D] are confronted with a real threat
32.It can be learned that streamers like Netpix .
[A] played a part in the fight against illegal file-sharing
[B] reaped benefits from the war with digital pirates
[C] promised to become big job creators in the US
[D] used to collaborate with file uploading platforms
33.It can be inferred from paragraph 4 that the MPA .
[A] was denied cooperation by silicon valley
[B] led a national protest against online piracy
[C] was urged to from an enforcement taskforce
[D] failed to win support from local authorities
34.According to Hawley, digital piracy: .
[A] cannot be checked in spite of new legislation
[B] will possibly overwhelm legitimate streamers
[C] is unlikely to diminish in the near future
[D] has been underestimated by some analysts
35.Which of the following is emphasized in the text?
[A] The need to coordinate anti-piracy action
11[B] The criminal nature of copyright violation
[C] The prospect of eliminating online piracy
[D] The economic harm from illegal streaming
Text 4
Visit any antiques store and you’ll encounter artifacts from the past:
photographs, letters, a brochure detailing the Sinclair dinosaur exhibit from
the 1964-65 World’s Fair, the ephemera of history. Yet these objects aren’t
truly ephemeral, because they’re still here, decades, even centuries later.
Why? Because they’re tangible.
Have you pondered the life cycle of intangible formats, digital
information, given that those who produce these artifacts seldom make
provision for their long-term preservation? For millennia, we’ve known
what we’ve known due to artifacts that have survived, often despite their
original creators’ neglect. The thing itself is the medium that delivers the
information. At the time of creation, no attempts were made at intentional
preservation, yet analog materials have a chance of surviving and serving
as the historical record that biographers, historians, and novelists rely on.
Libraries and archives have traditionally shouldered the responsibility of
organization, preservation, and access to information. One of S. R.
Ranganathan’s foundational Laws of Library Science is “Save the time of
the reader.” Thus, librarians digitize the tangible so that researchers the
world over can quickly search and access their holdings. The result is an
12embarrassment of historical riches, which brings its own
needle-and-haystack problems.
Librarians’ innate altruism can act against us when users point to
universality of access by holding up a cell phone and saying, “it’s all in
here,” or noting “I never have to leave my laptop” as evidence that libraries
are less vital for researchers today. Yet how was that universality of access
made possible and, perhaps more importantly, how is it maintained? Who
curates what is preserved? When it comes to born-digital information, the
terrifying answer can be: if not librarians and archivists, then no one.
Digital information requires a great deal more care than analog. Even when
a digital object is preserved, it may only be the carrier that’s saved, not the
information itself. As technology advances and a format becomes obsolete,
the object is useless. Have you ever stared helplessly at a ZIP disk,
thinking: how do I get the files off this? Without constant migration of
digital assets, a nightmare about the foreseeable future is what keeps
historians up at night: a historical record that abruptly stops when digital
replaces analog.
This phenomenon is frightening because it’s pervasive, from the
photos on your phone to the official U.S. federal government publications
integral to documenting our republic and informing its electorate. There’s
also the horror of sheer volume; we are drowning in a sea of unorganized
digital information. Digital objects increase exponentially in a way tangible
13formats do not. In the 1990s, a family might had a few hours of home
movies documenting three generations. My millennial sister has thousands
of hours of video from her two-year-old’s still brief time on this planet
with no organizational metadata (i.e., it’s unsearchable). So when it comes
to preservation, the situation is akin to bailing that digital sea with a teacup.
From a “historical record” standpoint, this doesn’t even touch on the issue
of authentication, which is increasingly important in an era of deep fakes,
manipulation, and after-the-fact revision ofprimary sources.
36. The author mentions the artifacts from the past to .
[A] introduce the collection of antiques
[B] contrast them with everyday items
[C] bring up the issue ofpreservation
[D] comment on their historical value
37. Compared with digital objects, tangible artifacts .
[A] are less subject to their creators’ neglect
[B] convey information in a more direct way
[C] require more international preservation
[D] are less likely to suffer serious damage
38. According to Paragraph 3, librarians work may result in .
[A] oversupply of materials
[B] undervaluation of libraries
14[C] researchers’ underperformance
[D] users’ overreliance on technology
39.The "ZIP disk" is cited as an example to show .
[A] the hazard of retrieving files through unusual means.
[B] the infeasibility of constantly migrating digital assets.
[C] the possibility of losing information in obsolete formats.
[D] the inconvenience of storing information on analog devices.
40. Which of the following statements best summarizes the test?
[A] Hard work should be done to preserve artifacts.
[B] Contributions of librarians should be recognized.
[C] Accessing databases is essential to researchers.
[D] Keeping digital historical records is a challenge
Part B
Directions:For Questions 41-45, choose the most suitable paragraphs
from the list A-G and fill them into the numbered boxes to form a coherent
text. Paragraph F and G have been correctly placed. Mark your answers on
the ANSWER SHEET. (10 points)
[A] Peters likes to photograph butterflies in a landscape, celebrating
the beauty of their surroundings as well as the insects themselves. His
pictures of a Glanville fritillary rising from the sea-pinks beside the chalk
15cliffs of Compton Bay on the Isle of Wight are particularly glorious. These
tale-off shots are even more challenging because they require a wide-angle
lens, which means he must be less than 2cm from the butterfly. It's
incredibly difficult to get that close to a skittish sun-warmed insect. Unlike
some photographers, who "cheat" by keeping insects in a fridge to slow
them down. Peters refuses to temper with wild butterflies.
[B] Peters' signature shot is a butterfly "take -off", showing the
multiple wing-beats of one butterfly in one frame as it lifts off from a
flower. How does he capture it ? Technology helps. A typical digital
SLR camera shoots 20 frames a second. He uses a high-speed OM System
which shoots 120 frames a second.
[C] Britain has relatively few butterfly species compared with
mainland Europe and 80% are in decline, mostly because intensive
chemical farming has reduced many species to tiny fragments of habitat
and small nature reserves. Global heating is benefiting some species but
others are too isolated to find suitable new habitat, and gardening
habits-paving over gardens and using pesticides - aren't helping either.
Butterflies may not pollinate as many plants as wild bees and hoverflies,
but because British butterflies are the best-studied group of insects in the
world. they are an extremely useful indicator of the wider declines in flying
insects.
[D] Five years ago, at summer's end, Andrew Fusek Peters was
16diagnosed with bowel cancer. "I was waiting for surgery, feeling really ill,
sitting in my garden. It was amazing weather and there were painted lady
butterflies everywhere," he says. "They were a symbol of fragile life, of
hope and defiance, and something appealed to my soul.
[E] That makes it sound easy, and artificial, but Peters insists it is still a
massive challenge. He typically takes between 10,000 and 20,000 shots to
get one butterfly take-off sequence in focus. At such high shutter speeds,
the depth of field is tiny, and as butterflies do hot fly in a straight line they
swiftly flutter out of focus. As well as thousands of attempts, it takes
patience and field craft to anticipate a butterfly's likely flight-line-and catch
it-in focus
[F] so What's the appeal of a long, sweaty day in pursuit of an elusive,
fasting-moving wild animal? "It just feels bloody brilliant, " says Peters,
“If I've had a full day of good encounters with butterflies, met interesting
butterfly people and I've got some good shots, that becomes a vault in my
spiritual bank. It' s a happy feeling. "
[G] A children's author and poet who had become a keen amateur
photographer, peters watched the butterflies and idly wondered if he could
capture them in flight. It swiftly become an obsession as he recovered from
a successful operation to remove the cancer. In recent summers, he has
travelled the length and breadth of Britain to photograph all 58 native
species of butterfly. Now the fruits of those summers have seen published
17in a beautiful new book.
[H] A butterfly takes off so quickly it is still impossible to react
quickly enough to capture that take-off but if he half-presses the shutter,
the camera saves the 70 previous frames before the moment he actually
takes the picture. "It's time travel, so I don't miss the moment of take-off,”
he says. After he's captured the butterfly taking off, he layers 10 to 15
frames together in Photoshop.
G→ 41. → 42. → 43. → 44. → 45. → F
Part C
Directions: Read the following text carefully and then translate the
underlined segments into Chinese. Write your answers on the ANSWER
SHEET. (10 points)
Innovation and research have relied on public participation in science
for centuries. It was a musician who discovered the planet Uranus in the
18th century by making his own telescope with mirrors composed of
copper and tin. (46) Recent decades have seen more engagement in the
subject can only be done through institutions such as a university. Citizen
science provides an opportunity for greater public engagement and the
democratisation of science.
In the information era, large data sets, small teams and financial
restrictions have slowed scientific process. (47)But by utilising the natural
18curiosity of the general public it is possible to overcome many of these
challenges by engaging non-scientists directly in the research process.
Anyone can be a citizen scientist, regardless of age, nationality or
academic experience. You don't even need any formal training, just an
inquisitive mind and the enthusiasm to join one of the thousands of citizen
science projects to generate new knowledge and the means to understand a
genuine scientific outcome.
(48)Scientists have employed a variety of ways to engage the general
public in their research, such as making data analysis into an online game
or sample collection into a smartphone application. They've implored
citizens to help with bug counting and categorising cancer cells, and even
identifying distant galaxies.
This form of accessible science means that great minds are able to join
the race to create and develop projects with the potential to change the
world. A citizen science-based approach can extend the field of vision and
include different ideas and different brains to problem-solve and create,
making innovation faster and more effective.
The rise of citizen science has grown alongside the rise of
do-it-yourself biology laboratories around the world.(49) These groups of
people are part of a rapidly expanding biotechnological social movement
of citizen scientists and professional scientists seeking to take discovery
out of institutions and put it into the hands of anyone with the enthusiasm .
19There are around 40 official do-it-yourself biology centres across the
globe in locations including Paris, London, Sydney, and Tel Aviv.
(50)They pool resources, collaborate, think outside the box, and find
solutions and ways around obstacles to explore science for the sake of
science without the traditional boundaries of working inside a formal
setting. So is it time to take the Petri dish out of the laboratory and into the
garage?
Section III Writing
Part A
51. Directions：
Read the following email from your classmate Paul and write him a
reply.
Dear Li Ming,
I was really excited to hear that you’d invite some young craftsmen to
demonstrate their innovative craft-making on campus. May I know more
about what they’ll show? Also, I’d like to help with your presentation work
.
Please let me know what I can do.
Yours,
Paul
Write your answer in about 100 words on the ANSWER SHEET.
Do not use your own name in the email; use “Li Ming” instead. ( 10
points)
20Part B
52. Directions:
Write an essay of 160-200 words based on the following drawing. In your
essay you should
1) describe the drawing briefly,
2) explain its intended meaning, and
3) give your comments.
You should write neatly on the ANSWER SHEET. (20 points)
年 空调（台） 洗衣机（台） 电冰箱（柜）（台）
2014 75.2 83.7 85.5
2017 96.1 91.7 95.3
2020 117.7 96.7 101.8
2023 145.9 98.2 103.4
近年来全国居民平均每百户年末主要耐用消费品拥有量
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