Although scientists observe that an organism’s behavior falls into rhythmic patterns, they disagree about how these patterns are affected when the organism is transported to a new environment. One experimenter, Brown, brought oysters from Connecticut waters to Illinois waters. She noted that the oysters initially opened their shells widest when it was high tide in Connecticut, but that after fourteen days their rhythms had adapted to the tide schedule in Illinois. Although she could not posit an unequivocal causal relationship between behavior and environmental change, Brown concluded that a change in tide schedule is one of several possible exogenous influences (those outside the organism) on the oysters’ rhythms. Another experimenter, Hamner, however, discovered that hamsters from California maintain their original rhythms even at the South Pole. He concluded that endogenous influences (those inside the organism) seem to affect an organism’s rhythmic behavior.

　　17. All of the following could be considered examples of exogenous influences on an organism EXCEPT the influence of the

　　(A) level of a hormone on a field mouse’s readiness for mating

　　(B) temperature of a region on a bear’s hibernation

　　(C) salt level of a river on a fish’s migration

　　(D) humidity of an area on a cat’s shedding of its fur

　　(E) proximity of an owl on a lizard’s searching for food

　　18. Which of the following statements best describes the conclusion drawn by Brown (lines 14-17)

　　(A) A change in tide schedule is the primary influence on an oyster’s rhythms.

　　(B) A change in tide schedule may be an important exogenous influence on an oyster’s rhythms.

　　(C) Exogenous influences, such as a change in tide schedule, seldom affect an oyster’s rhythms.

　　(D) Endogenous influences have no effect on an oyster’s rhythms.

　　(E) Endogenous influences are the only influences on an oyster’s rhythms.

　　19. The passage suggests that Brown’s study was similar to Hamner’s in which of the following ways?

　　I. Both experimenters discovered that a new environment had a significant effect on an organism’s behavior rhythms.

　　II. Both experimenters observed an organism’s behavioral rhythms after the organism had been transported to a new environment.

　　III. Both experimenters knew an organism’s rhythmic patterns in its original environment.

　　(A) I only

　　(B) II only

　　(C) I and II only

　　(D) II and III only

　　(E) I, II, and III

　　20. Which of the following, if true, would most weaken Brown’s conclusion?

　　(A) The oyster gradually closed their shells after high tide in Illinois had passed.

　　(B) The oysters’ behavioral rhythms maintained their adaptation to the tide schedule in Illinois throughout thirty days of observation.

　　(C) Sixteen days after they were moved to Illinois, the oysters opened their shells widest when it was high tide in Connecticut.

　　(D) A scientist who brought Maryland oysters to Maine found that the oysters opened their shells widest when it was high tide in Maine.

　　(E) In an experiment similar to Brown’s, a scientist was able to establish a clear causal relationship between environmental change and behavioral rhythms.

　　Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observe who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.

　　These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in “taking” a picture. Accordingly, the ideal of a photographer as observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.

　　An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever the claims that photography might make to be a form of personal expression on a par (on a par: adv.同等) with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of “fast seeing.” Cartier-Bresson, in fact, claims that the modern camera may see too fast.

　　This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time (over time: 随着时间的过去) with the wish to return to a purer past—when images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.

　　21. According to the passage, interest among photographers in each of photography’s two ideals can be described as

　　(A) rapidly changing

　　(B) cyclically recurring

　　(C) steadily growing

　　(D) unimportant to the viewers of photographs

　　(E) unrelated to changes in technology

　　22. The author is primarily concerned with

　　(A) establishing new technical standards for contemporary photography

　　(B) analyzing the influence of photographic ideals on picture-taking

　　(C) tracing the development of camera technology in the twentieth century

　　(D) describing how photographers’ individual temperaments are reflected in their work

　　(E) explaining how the technical limitations imposed by certain photographers on themselves affect their work

　　23. The passage states all of the following about photographs EXCEPT:

　　(A) They can display a cropped reality.

　　(B) The can convey information.

　　(C) They can depict the photographer’s temperament.

　　(D) They can possess great formal beauty.

　　(E) They can change the viewer’s sensibilities.

　　24. The author mentions the work of Harold Edgerton in order to provide an example of

　　(A) how a controlled ambivalence toward photography’s means can produce outstanding pictures

　　(B) how the content of photographs has changed from the nineteenth century to the twentieth

　　(C) the popularity of high-speed photography in the twentieth century

　　(D) the relationship between photographic originality and technology

　　(E) the primacy of formal beauty over emotional content

　　25. The passage suggests that photographers such as Walker Evans prefer old-fashioned techniques and equipment because these photographers

　　(A) admire instruments of fast seeing

　　(B) need to feel armed by technology

　　(C) strive for intense formal beauty in their photographs

　　(D) like the discipline that comes from self-imposed limitations

　　(E) dislike the dependence of photographic effectiveness on the powers of a machine

　　26. According to the passage, the two antithetical ideals of photography differ primarily in the

　　(A) value that each places on the beauty of the finished product

　　(B) emphasis that each places on the emotional impact of the finished product

　　(C) degree of technical knowledge that each requires of the photographer

　　(D) extent of the power that each requires of the photographer’s equipment

　　(E) way in which each defines the role of the photographer

　　27. Which of the following statements would be most likely to begin the paragraph immediately following the passage?

　　(A) Photographers, as a result of their heightened awareness of time, are constantly trying to capture events and actions that are fleeting.

　　(B) Thus the cult of the future, the worship of machines and speed, is firmly established in spite of efforts to the contrary by some photographers.

　　(C) The rejection of technical knowledge, however, can never be complete and photography cannot for any length of time pretend that it has no weapons.

　　(D) The point of honor involved in rejecting complex equipment is, however, of no significance to the viewer of a photograph.

　　(E) Consequently the impulse to return to the past through images that suggest a handwrought quality is nothing more that a passing fad.

　　答案：17-27：ABDCBBEDEEC

       以上就是本文的全部内容，更多精彩请随时关注新东方长春学校官网。

相关推荐

长春新东方GRE课程

长春新东方GRE 资讯

长春新东方GRE在线咨询