(6) Much horror literature is grounded in superstition, fear of demons, and the dread of death. No single tale brings all of these elements together so well as the vampire legend, an ancient folk superstition. The vampire is described as undead, an entombed individual who rises each night to feed on the blood of the living. In literature its best representation is Dracula (1897) by Bram Stoker. The legend was retold in Interview with the Vampire (1976) by Anne Rice. The Dracula story was eagerly taken up by Hollywood in the 1931 film that starred Bela Lugosi, and numerous movies on the theme have been made since.

     The word “entombed” in the sixth paragraph means（）.

Toward the end of the nineteenth century, a small group of artists working in France and Germany began to re-evaluate the meaning and function of art. In the preceding century, art had lost many of its traditional functions. It had ceased to be an important method for recording the way things look because that job had been taken over by the camera. Artists now sought to isolate the special province of art, to define its own particular essence. Painters and sculptors joined other intellectuals in questioning classical standards based on rationalized patterns and generalized ideals. The world view of the 1890s had been so altered by the tumultuous changes of the nineteenth century that the cool, orderly classical figure style and static Renaissance compositions no longer seemed appropriate forms of expression.

The word "compositions" in this paragraph means （）.

This technical term has a wider meaning than the “culture” of history and literature. A humble cooking pot is as much a cultural product as is a Beethoven sonata. In ordinary speech a man of culture is a man who can speak languages other than his own, who is familiar with history, literature, philosophy, or the fine arts. In some circles that definition is still narrower. The cultured person is one who can talk about James Joyce, Scarlatti, and Picasso. To the anthropologist, however, to be human is to be cultured. The general abstract notion serves to remind us that we cannot explain acts solely in terms of the biological properties of the people concerned, their individual past experience, and the immediate situation. The past experience of other men in the form of culture enters into almost every event. Each specific culture constitutes a kind of blueprint for all of life's activities.

In this paragraph, the underlined word “constitutes” means（）.

(1) “During the whole of a dull, dark and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher.” Thus Edgar Allan Poe opened his story of “The Fall of the House of Usher” in 1839. In this beautifully crafted sentence he captured so much that is essential to the horror story—darkness, ominous solitude, foreboding calm, apprehension and uncertainty, and a deep feeling of melancholy that could soon turn to fear.

In this paragraph, “ominous” means（）.

In Paragraph 5, the word"ubiquity"means _______.

(2) Many kinds of fiction are self-explanatory: mysteries, westerns, love stories, spy thrillers, and science fiction define themselves by the terms used to name them. The horror story is less easily defined, perhaps because other types of fiction so often use the trappings of terror to enhance their plots. Charles Dickens used the vehicle of an old-fashioned ghost Story to tell “A Christmas Carol”, but that book is not a horror story. Nor does a Grimm brothers fairy tale such as “Hänsel and Gretel,” with its child-devouring witch, belong to the genre.
 In this paragraph, the sentence “Many kinds of fiction are self-explanatory” means（）.

     The belief that the dead can return to haunt and harm the living has long been an element of fiction. Ghost stories are at least as old as the Bible: in the Old Testament, King Saul calls up the ghost of Samuel to foretell the outcome of a battle. In Shakespeare’s Hamlet, the ghost of the slain king provides the information from which Hamlet plots revenge for his father’s murder. One of the masters of the modern ghost story was Ambrose Bierce, some of whose stories were collected in Ghost and Horror Stories of Ambrose Bierce (1964). A variation on the ghost theme is the haunted house, about which hundreds of stories have been written.

     In this paragraph, “slain” means（）.

阅读文章，回答下列问题。

(1)Toward the end of the nineteenth century, a small group of artists working in France and Germany began to re-evaluate the meaning and function of art. In the preceding century, art had lost many of its traditional functions. It had ceased to be an important method for recording the way things look because that job had been taken over by the camera. Artists now sought to isolate the special province of art, to define its own particular essence. Painters and sculptors joined other intellectuals in questioning classical standards based on rationalized patterns and generalized ideals. The world view of the 1890s had been so altered by the tumultuous changes of the nineteenth century that the cool, orderly classical figure style and static Renaissance compositions no longer seemed appropriate forms of expression.
(2)In 1886 the painter Vincent van Gogh(1853-1890) came from Holland to France, where he produced a revolution in the use of color. He used purer, brighter colors than artists had used before he also recognized that color, like other formal qualities, could act as a language in and of itself. He believed that the local or "real" color of an object does not necessarily express the artist's experience. Artists, according to van Gogh, should seek to paint things not as they are, but as the artists feel them. In Public garden at Arles, the colors of the pathway, the trees, and the sky are all far more intense and pure than the garden's real colors. Thus, van Gogh captures the whole experience of walking alone in the stillness of a hot afternoon.
(3) Practically unknown in his lifetime, van Gogh's art became extremely influential soon after his death in 1890. One of the first artists to be affected by his style was a Norwegian artist named Edward Munch(1863-1944), who discovered van Gogh's use of color in Paris. In The Dance of Life, Munch used strong, simple line and intense color to explore the unexpressed sexual stresses and conflicts that Sigmund Freud's studies were bringing to light. In Germany the tendency to use color for its power to express psychological forces continued in the work of artists known as the German Expressionists.
(4) Alongside the revolution in color, another revolution was occurring in the use of space. Ever since the Renaissance, European artists had treated the outside edges of paintings as window frames. The four sides of a frame bounded an imaginary cube of space--a three dimensional world-in which figures and background were presented. From about 1880 on, Paul Cezanne(1839-1906) explored a new way of expressing the experience of seeing. He sought to create painting with perfectly designed compositions, true both to the subject matter and to his own perceptions. He also wanted to include and build upon tradition.
(5)Between 1909 and 1914, Pablo Picasso( 1881-1973)and Georges Braque (1882-1963) worked together to develop a new style that is called cubism. Like Cezanne, they explored the interplay between the flat world of the art of painting and the three-dimensional world of visual perception. The two worlds influence each other, so that in art as in life. one confuses symbols or painted representations with the objects in the real world for which they stand. This observation about experience is explicit in a cubist work like The Violin. Illustrations of fruit cut from an actual book are pasted in the corner. These sheets are real objects introduced into a drawing or symbol, but the illustrations are also printed reproductions of drawings that were based on real fruit.
(6)In a typical Renaissance or baroque painting, objects are set inside an imaginary block of space, and they are represented from a single stationary point of view. A cubist work is constructed on a different system, so that it re-creates the experience of seeing in a space of time. One can only know the nature of a volume by seeing it from many angles. Therefore, cubist art presents objects from multiple viewpoints. Furthermore, vision is conditioned by context, memories, and events in time. In The violin, some of the words cut from real newspapers refer ironically to an artist's life. The numerous fragmentary images of cubist art make one aware of the complex experience of seeing.
(7)The colors used in early cubist art are deliberately banal, and the subjects represented are ordinary objects from everyday life. Picasso and Braque wanted to eliminate eye-catching color and intriguing subject matter so that their audiences would focus on the process of seeing itself.
(8)Throughout the period from 1890 to 1914, avant-garde artists were de-emphasizing subject matter and stressing the expressive power of such formal qualities as line, color, and space. It is not surprising that some artists finally began to create work that did not refer to anything seen in the real world. Piet Mondrian( 1872-1944), a Dutch artist, came to Paris shortly before World War I. There he saw the cubist art of Picasso and Braque. The cubists had compressed the imaginary depth in their paintings so that all the objects seemed to be contained within a space only a few inches deep. They had also reduced subject matter to insignificance. It seemed to Mondrian that the next step was to eliminate illusionistic space and subject matter entirely. His painting Composition 7, for example, seems entirely flat.
(9)Mondrian, like several other early masters of modern art, was a philosophical idealist. He held that the objects of perception are actually manifestations of another independent and changeless realm of essences. Art, he believed should take its audience beyond the world of appearances into the other, more "real" reality. Logically, he eliminated from his paintings any references to the visible world.
(10)The revolution in art that took place near the turn of the twentieth century is reverberating still. After nearly a hundred years, these masters of modern art continue to inspire their audiences with their passion and vision. 

In this section, there are ten incomplete statements or questions, followed by four choices marked A, B, C and D. Choose the beat answer.

​（1）Mounting social and academic pressures mean that higher education can be a challenge for any student. A study found that 80％ of those studying in higher education reported symptoms of stress or anxiety, while one university survey found that nine in 10 students experienced stress.

（2）Uncertainty around Brexit and rising living costs mean that many students don’t feel confident about finding a job. Alex, an international relations and politics student at the University of Leicester, says he’s constantly worried about graduate life. “There’s that fear of having to adjust back to life back home. I always think, what sector do I want to work in? How am I going to get started? Is my CV up to scratch?” While his institution offers career guidance, his plans weigh on his mind.
（3）Hannah Smith, a psychotherapist and the higher education lead at The Student Room, says students are increasingly questioning whether university is worth the cost. “The pressure to be successful and get a lucrative job role after graduation is high. Students worry that it won’t work out and they won’t achieve the success or personal return on investment." She recommends speaking to student advisers about hardship funding. “The majority of universities also offer bursaries(助学金), grants and scholarships—and many go unclaimed.”
（4） Leaving the structures of home and family for the first time can often exacerbate mental health problems. A 2019 poll of almost 38,000 UK students found that psychological illnesses are on the rise in higher education institutes, with a third stating they suffer from loneliness. “Spending all day and night studying in the library will certainly help you feel more in control of your personal success,” says Smith, “but book time in to do things you enjoy with people you like spending time with. Join in with student meets and societies. You don’t have to commit indefinitely, just dip in and out and try new things in order to grow your social circle.”
（5）For many students, a poor work-life balance is a huge contributing factor to mental health issues and stress. Smith advises sticking to a schedule with space for recreational activities. “Give yourself permission to create a routine which gets the best out of you. Often when we’re feeling the burn we stop doing things that make us feel good, like working out and cooking balanced meals.”
（6） Minority students can experience a different level of isolation. Much has been written about how higher education can marginalise black students, with figures from the Office for Students recently reporting that white students are more likely to be awarded first class or upper second class degrees than black students.
（7）Sexism within STEM subjects, meanwhile, has been reported at all levels of academia. Grace Arena, a master’s student in prosthetics and sculpture at Buckinghamshire New University, says she’s picked up on gender biases from her tutors, almost all of whom are male. “I definitely feel there’s a gap in understanding between male tutors and female students and that can be quite difficult. It’s always in the back of your mind that you’re being taught by men, you’re going to be applying for jobs with men, the workshops are run by men... The prospect of being one of the best in the field, without having females in the industry already to look up to, is really quite hard.”
（8） Rianna Walcott, 24, is a PhD candidate at King’s College London in digital humanities, and co-author of the book The Colour Of Madness. While studying, Walcott co-founded Project Myopia to promote inclusivity and run workshops around the minority experience in academia. “There needs to be more support for students right now—and especially minority students,” she says. “If we want the culture to change, students and staff need to take a stand.”
（9）Stress isn’t only rising among undergraduates. A report commissioned by the Higher Education Policy Institute revealed that staff referrals to counselling and occupational health services have soared over recent years. The culture of academia is unstructured and performance-driven, often lending itself to overwork. For master’s and PhD students who also teach, the lines between work and leisure-time are often blurred.
（10）“Stress is unavoidable because you can’t clock out,” says Walcott. “If you don’t get a grant, you have to be able to support yourself in your PhD. Then there’s a lot of invisible stuff you need to do to become employable; you have to be involved in conferences, teaching, networking. Your responsibilities increase the older you get in academia, but of course you’re still living as student with not nearly enough to actually live on.” 

Reading Comprehension

（1）It’s easy to keep your aging brain as nimble as it was in college. Log on to a website full of brain games or download the right apps, and within 20 minutes you’ll be doing your part to sharpen your memory and slow the inexorable decline of your mental functions. At least that’s what the companies behind this booming industry would have you believe. But is it true?
（2）Concrete proof about the benefits of brain games is hard to come by, experts say, when it comes to measurably improving aspects of mental fitness, like having a good memory or sound reasoning. “People would really love to believe you could do something like this and make your brain better, make your mind better，” says Randall W. Engle, a primary investigator at the Attention and Working Memory Lab at the Georgia Institute of Technology. “There’s just no solid evidence.”
（3）That’s not to say brain games are without benefit. Experts say these kinds of mental exercises can change your brain —just not in a way that necessarily slows its aging. The brain changes with just about everything you do, including mental training exercises. But numerous studies have shown that brain games lack what researchers call “transfer”. In other words, repeating a game over and over again teaches you how to play the game and get better at it but not necessarily much else.
（4）“It’s like, you walk through fresh snow, you leave a trace. If you walk the same route again, the trace gets deeper and deeper，” says Ursula Staudinger, director of the Butler Columbia Aging Center at Columbia University. “The fact that structural changes occur [ in the brain ] does not imply that in general this brain has become more capable. It has become more capable of doing exactly the tasks it was practicing. ’’
（5）Brain-game designers, not surprisingly, disagree. Michael Scanlon, chief scientific officer at Lumosity, a large brain-game company, refers to a 2007 study he led as support for his company’s getting into the brain-game business in the first place. “Our basic intention was to release a product that helps people improve cognitive abilities，’’ he says. Scanlon says the re-search, which Lumosity funded and conducted, found that online-based brain training can improve thinking. The small study of 23 people is one of several studies Lumosity has performed, though most have not been peer-reviewed.
（6）As the brain-game industry has grown—revenue topped $1 billion in 2012 and is projected to hit $6 billion by 2020, according to a report from neuroscience market-research firm Sharp Brains—so has the criticism. More than 70 prominent brain scientists and psychologists signed a withering statement on the subject last year. The open letter, organized by the Stanford Center on Longevity and covered by media outlets across the world, argued that claims on behalf of brain games about improved cognition were “frequently exaggerated and at times misleading”. The scientists also laid out criteria that the games would have to meet to convince them of their merit. It ’ s a tough list.
（7）Still, Staudinger allows that brain games do have the benefit of being fun—which may make them a worthwhile way for people of any age to spend time. There? s no question that many consumers have become devoted to them. Lumosity, which offers some games free and a premium membership at a cost, says it reached 50 million members in 2013.
（8）The issue most scientists have with people playing the games frequently is the opportunity cost： you could be doing something else that actually would improve your cognitive ability. Most researchers agree that the activity most clearly proven to slow aging in the brain is aerobic exercise. Other factors that sound scientific research has shown to help an aging brain include healthy dietary choices, regular meditation and learning new things.
（9）As brain games evolve and new, impartial research conducted, it5 s possible that the scientific consensus about their impact on the brain will change. But Engle doesn’t think it’s likely. “ I need fairly substantial evidence that it’s not kind of a gimmick，” he says. “I’m a scientist. ”

(1) “During the whole of a dull， dark and soundless day in the autumn of the year， when the clouds hung oppressively low in the heavens， I had been passing alone， on horseback， through a singularly dreary tract of country; and at length found myself， as the shades of the evening drew on， within view of the melancholy House of Usher.” Thus Edgar Allan Poe opened his story of “The Fall of the House of Usher” in 1839. In this beautifully crafted sentence he captured so much that is essential to the horror story—darkness， ominous solitude， foreboding calm， apprehension and uncertainty， and a deep feeling of melancholy that could soon turn to fear. 

In this paragraph， Edgar Allan Poe’s story is used to tell us that（ ）.

In Paragraph9，the word“fickle”means _______.

According to Paragraph 5, the author tends to agree that _____.

     The belief that the dead can return to haunt and harm the living has long been an element of fiction. Ghost stories are at least as old as the Bible: in the Old Testament, King Saul calls up the ghost of Samuel to foretell the outcome of a battle. In Shakespeare’s Hamlet, the ghost of the slain king provides the information from which Hamlet plots revenge for his father’s murder. One of the masters of the modern ghost story was Ambrose Bierce, some of whose stories were collected in Ghost and Horror Stories of Ambrose Bierce (1964). A variation on the ghost theme is the haunted house, about which hundreds of stories have been written.

     Stories of haunted houses refer to the theme of（）

Toward the end of the nineteenth century, a small group of artists working in France and Germany began to re-evaluate the meaning and function of art. In the preceding century, art had lost many of its traditional functions. It had ceased to be an important method for recording the way things look because that job had been taken over by the camera. Artists now sought to isolate the special province of art, to define its own particular essence. Painters and sculptors joined other intellectuals in questioning classical standards based on rationalized patterns and generalized ideals. The world view of the 1890s had been so altered by the tumultuous changes of the nineteenth century that the cool, orderly classical figure style and static Renaissance compositions no longer seemed appropriate forms of expression.

According to this paragraph, in the 1890s artists sought to （）.

In Paragraph6，the word“divorced”means ______.

The study mentioned in Paragraph 6 shows that some Americans believe that _____.

What can be learned from Paragraph3? 

Why do the Chinese dislike milk and milk products? Why do some nations trace descent through the father, others through the different instincts? Not because they were destined by God or Fate to different habits not because the weather is different in China and the United States. Sometimes keen common sense has an answer that is close to that of the anthropologist: "Because they were brought up that way." By "culture" anthropology means the total life way of a people, the social legacy the individual acquires from his group. Or culture can be regarded as that part of the environment that is the creation of man.

According to this paragraph, people from different cultures have different habits because（）. 

阅读文章，回答下列问题。

(1)Toward the end of the nineteenth century, a small group of artists working in France and Germany began to re-evaluate the meaning and function of art. In the preceding century, art had lost many of its traditional functions. It had ceased to be an important method for recording the way things look because that job had been taken over by the camera. Artists now sought to isolate the special province of art, to define its own particular essence. Painters and sculptors joined other intellectuals in questioning classical standards based on rationalized patterns and generalized ideals. The world view of the 1890s had been so altered by the tumultuous changes of the nineteenth century that the cool, orderly classical figure style and static Renaissance compositions no longer seemed appropriate forms of expression.
(2)In 1886 the painter Vincent van Gogh(1853-1890) came from Holland to France, where he produced a revolution in the use of color. He used purer, brighter colors than artists had used before he also recognized that color, like other formal qualities, could act as a language in and of itself. He believed that the local or "real" color of an object does not necessarily express the artist's experience. Artists, according to van Gogh, should seek to paint things not as they are, but as the artists feel them. In Public garden at Arles, the colors of the pathway, the trees, and the sky are all far more intense and pure than the garden's real colors. Thus, van Gogh captures the whole experience of walking alone in the stillness of a hot afternoon.
(3) Practically unknown in his lifetime, van Gogh's art became extremely influential soon after his death in 1890. One of the first artists to be affected by his style was a Norwegian artist named Edward Munch(1863-1944), who discovered van Gogh's use of color in Paris. In The Dance of Life, Munch used strong, simple line and intense color to explore the unexpressed sexual stresses and conflicts that Sigmund Freud's studies were bringing to light. In Germany the tendency to use color for its power to express psychological forces continued in the work of artists known as the German Expressionists.
(4) Alongside the revolution in color, another revolution was occurring in the use of space. Ever since the Renaissance, European artists had treated the outside edges of paintings as window frames. The four sides of a frame bounded an imaginary cube of space--a three dimensional world-in which figures and background were presented. From about 1880 on, Paul Cezanne(1839-1906) explored a new way of expressing the experience of seeing. He sought to create painting with perfectly designed compositions, true both to the subject matter and to his own perceptions. He also wanted to include and build upon tradition.
(5)Between 1909 and 1914, Pablo Picasso( 1881-1973)and Georges Braque (1882-1963) worked together to develop a new style that is called cubism. Like Cezanne, they explored the interplay between the flat world of the art of painting and the three-dimensional world of visual perception. The two worlds influence each other, so that in art as in life. one confuses symbols or painted representations with the objects in the real world for which they stand. This observation about experience is explicit in a cubist work like The Violin. Illustrations of fruit cut from an actual book are pasted in the corner. These sheets are real objects introduced into a drawing or symbol, but the illustrations are also printed reproductions of drawings that were based on real fruit.
(6)In a typical Renaissance or baroque painting, objects are set inside an imaginary block of space, and they are represented from a single stationary point of view. A cubist work is constructed on a different system, so that it re-creates the experience of seeing in a space of time. One can only know the nature of a volume by seeing it from many angles. Therefore, cubist art presents objects from multiple viewpoints. Furthermore, vision is conditioned by context, memories, and events in time. In The violin, some of the words cut from real newspapers refer ironically to an artist's life. The numerous fragmentary images of cubist art make one aware of the complex experience of seeing.
(7)The colors used in early cubist art are deliberately banal, and the subjects represented are ordinary objects from everyday life. Picasso and Braque wanted to eliminate eye-catching color and intriguing subject matter so that their audiences would focus on the process of seeing itself.
(8)Throughout the period from 1890 to 1914, avant-garde artists were de-emphasizing subject matter and stressing the expressive power of such formal qualities as line, color, and space. It is not surprising that some artists finally began to create work that did not refer to anything seen in the real world. Piet Mondrian( 1872-1944), a Dutch artist, came to Paris shortly before World War I. There he saw the cubist art of Picasso and Braque. The cubists had compressed the imaginary depth in their paintings so that all the objects seemed to be contained within a space only a few inches deep. They had also reduced subject matter to insignificance. It seemed to Mondrian that the next step was to eliminate illusionistic space and subject matter entirely. His painting Composition 7, for example, seems entirely flat.
(9)Mondrian, like several other early masters of modern art, was a philosophical idealist. He held that the objects of perception are actually manifestations of another independent and changeless realm of essences. Art, he believed should take its audience beyond the world of appearances into the other, more "real" reality. Logically, he eliminated from his paintings any references to the visible world.
(10)The revolution in art that took place near the turn of the twentieth century is reverberating still. After nearly a hundred years, these masters of modern art continue to inspire their audiences with their passion and vision.