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ËäÈ»´ð°¸ÊǾø¶ÔÖÒÓÚÔ­ÎĵÄ£¬µ«ËüµÄ³öÏÖÍùÍù¶¼Åû×ÅÃÔ»óÈ˵ÄÍâÒ£¬Í¬Ê±ÆäËûËĸöËÆÊǶø·ÇµÄÑ¡ÏîÒ²»á¶Ô¿¼Éú½øÐиÉÈÅ¡£¶ÔÔ­ÎÄÖоä×Ó±äÐεķ½·¨¶àÖÖ¶àÑù£¬±äÐκóµÄ¾ä×ÓËùʹÓõľäʽºÍ´Ê×é´îÅä³£³£²»Í¬ÓÚÔ­¾ä£¬Ò»°ã»áÊǶÔÔ­¾äµÄ½âÊͺ͸ÅÀ¨£¬µ«»ù±¾¿ò¼Ü²»±ä¡£Ò»µ©ÕýÈ·ÕÆÎÕÁËÔ­¾äµÄ¸´Ôӽṹ£¬Ñ¡Ôñ³öÕýÈ·´ð°¸¾Í²»»áÀ§ÄÑÁË¡£ÒÔϼ¸¸öÀý×Ó¶¼À´×Ô¿¼ÉúÈÝÒ×Ñ¡´íµÄÌâÄ¿£º

Eg1. According to the passage£¬ random failures in automatic control systems are "not merely trivial aberrations" because

(A) Automatic control systems are designed by engineers who have little practical experience in the field

(B) The failures are characteristic of systems designed by engineers relying too heavily on concepts in mathematics

(C) The failures occur too often to be taken lightly

(D) Designers of automatic control systems have too little training in the analysisofmechanical difficulties

(E) Designers of automatic control systems need more help from scientists who have a better understanding of the analytical problems to be solved before such systems can work efficiently

±¾ÌâÔÚÔ­ÎÄÖеĶ¨Î»Îª£ºAbsurd random failures that plague automatic control systems are not merely trivial aberrations; they are a reflection of the chaos that results when design is assumed to be primarily a problem in mathematics. Õâ¸ö¾ä×ÓÖмäÓ÷ֺŸô¿ª£¬·ÖºÅǰµÄ²¿·Ö¶ÔÓ¦×ÅÌâ¸ÉÖеÄÎÊÌ⣬·ÖºÅºó¼´ÊǶÔǰ°ë¾äµÄ½âÊÍ£¬Ò²¾ÍÊÇ˵Õâ¸ö¾ä×Ó±¾Éí¾ÍÊÇÒ»ÎÊÒ»´ðÐÍ£¬´ð°¸¾ÍÊǺó°ë¾ä»°£¬ÔÚÑ¡Ôñ´ð°¸Ê±ÎÒÃÇÖ»Òª¿´ÄĸöÑ¡ÏîÊǶÔÕâ¾ä»°µÄ±äÐμ´¿É¡£×¢ÒâÕâ°ë¾ä»°ÖÐchaosÊÇÒ»¸ö¹Ø¼ü´Ê£¬that Òýµ¼¶¨Óï´Ó¾ä£¬¶øÕâ¸ö¶¨Óï´Ó¾äÖÐÓÖÓÐÒ»¸ö¹Ø¼ü¶ÌÓresult in£¬Õâ¸ö¶ÌÓïÊDZíʾ½á¹ûµÄ£¬È»ºó¿´ËüµÄ±öÓïÊÇmathematics£¬¶øÕâ¸öÃû´ÊÊDz»Äܱ»Ìæ»»µôµÄ£¬Ö±½Ó´ÓÎå¸öÑ¡ÏîÖÐÌôÑ¡£¬Ö»ÓÐB˵³öÁËmathematics£¬ÎÞÒÉÕâ¾ÍÊÇÕýÈ·´ð°¸ÁË¡£½â´ð±¾ÌâʱÄÜ¿´³ömathematicsÕâÒ»ÖØÐÄÖ®ºó£¬¸ù±¾²»ÐèÒª×Ô¼º½øÐÐÈκÎ×ܽáºÍ¸ÅÀ¨£¬¿´³öÄĸöÑ¡ÏîÊǶÔÔ­¾äµÄ±äÐξÍÈ«²¿¸ã¶¨ÁË¡£ÎÒÃÇÔÙ×Ðϸ¿´Ò»ÏÂB´ð°¸£¬ÆäÖÐrely heavily on´úÌæÁËÔ­¾äÖеÄchaos result in£¬¶øÒâÒåÓëÏÈǰ±£³ÖÒ»Ö¡£

Eg2. According to the passage£¬ certain serious contemporary photographers expressly make which of the following claims about their photographs?

(A)Their photographs could be created by almost anyone who had a camera and the time to devote to the activity.

(B)Their photographs are not examples of art but are examples of the photographers' impartial observation of the world.

(C)Their photographs are important because of their subjects but not because of the responses they evoke in viewers.

(D)Their photographs exhibit the same ageless principles of form and shading that have been used in painting.

(E) Their photographs represent a conscious glorification of the mechanical aspects oftwentieth-century life.

±¾ÌâÔÚÔ­ÎÄÖеĶ¨Î»Îª£ºSerious photographers variously claim to be finding£¬ recording£¬ impartially observing£¬ witnessing events£¬ exploring themselves-anything but making works of art. ×¢Òâanything but ÊÇ¡°¾ö²»¡±µÄÒâ˼£¬B´ð°¸¾ÍÊǶÔÕâ¾ä»°µÄ±äÐΣ¬Ö»²»¹ýÊǰÑÔ­ÎÄÖÐËùÁгöµÄ¼¸ÖÖÐÎʽÓÃexamples¸ÅÀ¨°ÕÁË¡£ÔÚÕâ¸öÀý×ÓÖл¹Òª×¢ÒâµÄÊÇÔ­¾äÖеÄanything but×¢¶¨ÁËÆä±äÐÎÓ¦¸Ã±íʾ·ñ¶¨£¬°´ÕÕÕâÖÖÀí½âºÜÈÝÒ×Ñ¡³öÕýÈ·´ð°¸¡£

Eg3. According to the passage£¬ what did Hargrave and GREen do in the laboratory?

(A) They compared the grazing rates of individual zooplankton species in the laboratory with the natural grazing rates of these species.

(B) They hypothesized about the population density of grazers in natural habitats by using data concerning the population density of grazers in the laboratory.

(C) They estimated the community grazing rates of zooplankton in the laboratory by using data concerning the natural community grazing rates of zooplankton.

(D) They estimated the natural community grazing rates of zooplankton by using data concerning the known population density of phytoplankton.

(E) They estimated the natural community grazing rates of zooplankton by using laboratory data concerning the grazing rates of individual zooplankton species.

±¾ÌâÔÚÔ­ÎÄÖеĶ¨Î»Îª£ºStudies by Hargrave and GREen estimated natural community grazing rates by measuring feeding rates of individual zooplankton species in the laboratory and then computing community grazing rates for field conditions using the known population density of grazers. Ô­¾ä±È½Ï¸´ÔÓ£¬²¢ÇÒʹÓÃand then½éÉܲÙ×÷˳Ðò£¬ÔÚÀí½âÔ­¾äʱҪ·ÖÇåÖ÷Òª¶¯×÷ºÍ´ÎÒª¶¯×÷£¬¶øÑ¡ÏîÖиø³öµÄ¾ä×Ó¶¼·Ç³£¶Ì£¬Ò²¾ÍÊÇÒª¶ÔÔ­¾ä½øÐÐѹËõ£¬ÕÒ³öÖ÷Òª¶¯×÷¡£Àí½âÁËÕâÖÖ±äÐÎÖ®ºó£¬²»ÄÑ·¢ÏÖÕýÈ·´ð°¸ÎªE¡£

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