SECTION 7 Time -30 minutes
" c4 H* i$ I) W, I$ j+ ~6 T 38 Questions
@! J9 \# g3 ~/ \7 Q: m8 q. n 1. In the nineteenth century, novelists and unsympathetic travelers portrayed the American West as a land of—— adversity, whereas promoters and idealists created —— image of a land of infinite promise.# m. S& P8 u# O) ~( X
(A) lurid…… a mundane9 D7 n7 [" k; ?) G
(B) incredible…… an underplayed
' d+ P# e# q. D# ~- s# q8 V6 u (C) dispiriting…… an identical
/ D _) K0 R1 F9 Q4 r: g (D) intriguing…… a luxuriant4 u1 i" V% y" K( p5 R" j" f
(E) unremitting…… a compelling
3 T2 I* I, m. H" m7 o r2 ^ 2. Honeybees tend to be more —— than earth bees: the former, unlike the latter, search for food together and signal their individual findings to one another.$ A+ }) P5 T& J: z! e
(A) insular9 i" F7 Y+ C5 J, z
(B) aggressive- y& o6 P: M- W# _ W, V
(C) differentiated" p# U3 V( s r2 c% F1 R& N
(D) mobile5 K1 y% R' Z2 N3 Z! F
(E) social
' n- P% T: g" ~ 3. Joe spoke of superfluous and —— matters with exactly the same degree of intensity, as though for him serious issues mattered neither more nor less than did ——。
+ p+ |. \) _) R# o$ N o4 A& i (A) vital…… trivialities
6 M0 y" ]( U, I6 j8 {$ y: d (B) redundant…… superficialities
0 \% N- v" j" ]2 q (C) important…… necessities
7 o" T! a K" i0 P2 O2 Y) ^: z (D) impractical…… outcomes+ `$ W5 s: |4 s! a
(E) humdrum…… essentials% d' G/ x9 Y- H) @5 T" w. c
4. The value of Davis' sociological research is com- promised by his unscrupulous tendency to use materials—— in order to substantiate his own claims, while —— information that points to other possible conclusions./ i c6 ]+ g0 v4 e3 Y3 ?; p& N
(A) haphazardly…… deploying
8 c% I# g! N N$ t! N/ v' h (B) selectively…… disregarding: q g. J, Q- w& m! T: F# V
(C) cleverly…… weighing& E3 I" ^- Y; }, E
(D) modestly…… refuting( f) z9 ^; v/ C9 v% h- c9 e0 [
(E) arbitrarily…… emphasizing, U. A7 s* P, N7 y2 B6 E3 o
5. Once Renaissance painters discovered how to ——volume and depth, they were able to replace the medieval convention of symbolic, two-dimensional space with the more —— illusion of actual space.
6 h% ?, c+ ?2 l# t8 `8 Q4 E (A) reverse…… conventional
& _* C C3 I' d (B) portray…… abstract7 } |( m( {1 H
(C) deny…… concrete( r) z Z o3 V' g; ~
(D) adumbrate…… fragmented
; t. E* E0 u* o% U (E) render…… realistic
+ x+ o) l- ?# N& Q; [ 6. He had expected gratitude for his disclosure, but instead he encountered —— bordering on hostility.9 z& r" _+ w u; S- ]
(A) patience
! f; Z. c4 v Z. I; \& J (B) discretion& v' D# Y+ }3 ~* m
(C) openness8 I# i7 I( H6 V6 A
(D) ineptitude5 W% u& r/ [7 S5 a
(E) indifference
8 G M' b; @9 p: ^- S. C$ p2 R 7. The diplomat, selected for her demonstrated patience and skill in conducting such delicate negotiations,—— to make a decision during the talks because any sudden commitment at that time would have been ——。
0 n. P$ F) [5 N9 Q5 `; K (A) resolved…… detrimental: F8 ]9 j! N ^" _( u2 Z* V
(B) refused…… apropos
5 F! s- V. R8 ^3 S- x (C) declined…… inopportune9 m. Y* i' M- z3 L5 x; |
(D) struggled…… unconscionable! S' e5 m8 c* ?9 v
(E) hesitated…… warranted5 a8 c! g% Y1 C
8. CONDUCTOR: INSTRUMENTALIST::
: p$ V; K/ e6 g (A) director: actor8 ~' h5 I! @7 r* _
(B) sculptor: painter( c/ o. w# U9 Q" R9 i% g1 N% e
(C) choreographer: composer
0 p8 h5 d7 y2 J" u (D) virtuoso: amateur
+ f/ `7 U! Z# W2 z8 g (E) poet: listener
+ v# t; W" V: T, B" O4 R 9. QUARRY: ROCK
; v; L& `( o5 m F5 Y2 v (A) silt: gravel
x1 L, u5 ]# T (B) sky: rain" x2 R- e F( m3 w
(C) cold: ice
% y9 l" U& J4 k0 z5 A (D) mine: ore2 |0 s1 k4 f# R: d# U
(E) jewel: diamond
# Q. V2 i( G) w2 o2 @% s F5 M 10. STICKLER: EXACTING::
/ ]8 ]* P5 N+ `+ l (A) charlatan: forthright
" O+ T5 R9 [6 L/ m& H (B) malcontent: solicitous$ ?+ O' P$ B" \9 }
(C) misanthrope: expressive l% g! Z! _9 E9 ~
(D) defeatist: resigned7 Q% g1 {2 e% z- V, G
(E) braggart: unassuming 11. WALK: AMBLE::
9 p- `3 ~' I* E4 G* N (A) dream: imagine
& n. _- j6 N& B% v8 X- O# A (B) talk: chat
0 @. T9 D! P' d0 _6 j (C) swim: float
4 i+ i8 v: R( D7 D (D) look: stare
! J6 Y1 o) G3 E4 l0 G) _ (E) speak: whisper
$ n/ Z+ z0 n$ X3 Z) j 12. JAZZ: MUSIC::
$ o# |+ O( t* Z2 ^1 J' ?+ B' f (A) act: play
' ^: ?( P' j) k; v6 D4 | (B) variety: vaudeville8 ~, z/ J. E/ l
(C) portraiture: painting
, o/ @- j8 C& n. c; E (D) menu: restaurant
5 |' o! k3 z; v' e8 M8 ]" j (E) species: biology
7 D& s1 S) e/ @) k3 ~ 13. REPATRIATE: EMIGRATION::; A" [3 Q) V9 a
(A) reinstate: election* s/ S" m, K9 h& V
(B) recall: impeachment
6 h( i Q$ }. h, |# z% X! n (C) appropriate: taxation
4 _$ p0 s5 h A- w6 x/ n" ~ (D) repeal: ratification
& M$ R2 x w+ g3 H (E) appeal: adjudication
1 x; ~2 H2 w3 Q4 G5 |2 {) _4 [& n5 @7 I 14. PLACEBO: INNOCUOUS::
2 {* L2 Y. y7 W) _+ E7 |: t (A) antibiotic: viral; z/ e N W) B9 f0 s; Q
(B) vapor: opaque
/ d3 T8 t! M7 m* @9 ? (C) salve: unctuous
7 W m- g) |9 |5 d (D) anesthetic: astringent" G; A1 J( G8 k. Y, x
(E) vitamin: synthetic
7 U K1 b& A, r) T7 F' r; A) D 15. DISSEMINATE: INFORMATION::
) w1 h/ |9 e" M' O& k (A) amend: testimony% x) B8 u1 y' ~: T/ D0 W! @% @
(B) analyze: evidence
4 n0 S& W; V: q7 Q- X* { (C) investigate: crime7 Z$ U; B" _7 R2 W+ B: D1 A9 @
(D) prevaricate: confirmation
9 d+ ^( ^5 m' V8 I2 A1 `9 m (E) foment: discontentment; @1 D( G( t2 c2 W& Z0 \4 L2 D _6 W
16. VOICE: QUAVER::
4 Q4 [. ?1 D4 T% Z; ^ (A) pace: quicken! P, K/ v% m: h* y/ {4 S
(B) cheeks: dimple
9 r/ M# w7 x: C# r9 k. O# |9 g9 D
(C) concentration: focus |