2022年全国硕士研究生入学统一考试英语(一)试题

The idea that plants have some degree of consciousness first took root in the early 2000s; the term "plant neurobiology" was 1 around the notion that some aspects of plant behavior could be 2 to intelligence in animals.

植物具有某种程度意识的想法最早在2000年代初扎根；"植物神经生物学"这一术语1围绕着某些植物行为方面可以2动物智能的概念。

3 plants lack brains, the firing of electrical signals in their stems and leaves nonetheless triggered responses that 4 consciousness, researchers previously reported.

3 植物没有大脑，但它们茎叶中电信号的释放仍然触发了类似 4 意识的反应，研究人员之前曾报道过。

But such an idea is untrue, according to a new opinion article.

但这种想法是不正确的，根据一篇新的观点文章。

Plant biology is complex and fascinating, but it 5 so greatly from that of animals that so-called 6 of plants' intelligence is inconclusive, the authors wrote.

植物生物学复杂而迷人，但它与动物的 5 相差如此之大，以至于所谓植物智能的 6 是不明确的，作者写道。

Beginning in 2006, some scientists have 7 that plants possess neuron-like cells that interact with hormones and neurotransmitters, 8 "a plant nervous system, 9 to that in animals," said lead study author Lincoln Taiz, "They 10 claimed that plants have 'brain-like command centers' at their root tips.

自2006年以来，一些科学家7植物拥有能与激素和神经递质相互作用的神经元样细胞，8"植物神经系统，9动物中的那种"，该研究的主要作者Lincoln Taiz表示，"他们10声称植物的根尖有'类似大脑的指挥中心'"。

This 11 makes sense if you simplify the workings of a complex brain, 12 it to an array of electrical pulses; cells in plants also communicate through electrical signals.

如果简化复杂大脑的工作机制，12它为一连串电信号，那么11就有道理了；植物细胞也通过电信号进行交流。

13 , the signaling in a plant is only 14 similar to the firing in a complex animal brain, which is more than "a mass of cells that communicate by electricity," Taiz said.

13 ，植物中的信号传导只与复杂动物大脑中的放电 14 相似，这不仅仅是“一群通过电信号进行交流的细胞”，泰兹说道。

"For consciousness to evolve, a brain with a threshold 15 of complexity and capacity is required," he 16 .

意识要进化，需要一个具有复杂性和容量阈值15的大脑，他说16。

"Since plants don't have nervous systems, the 17 that they have consciousness are effectively zero.

由于植物没有神经系统，认为它们有意识的可能性实际上为零。

And what's so great about consciousness, anyway?

意识到底有什么了不起的呢？

Plants can't run away from 18 , so investing energy in a body system which 19 a threat and can feel pain would be a very 20 evolutionary strategy, according to the article.

植物无法逃离 18，因此根据文章所述，将能量投入到一个能 19威胁并能感受疼痛的身体系统中，将是一种非常 20的进化策略。

People often complain that plastics are too durable.

人们常常抱怨塑料过于耐用。

Water bottles, shopping bags, and other trash litter the planet, from Mount Everest to the Mariana Trench, because plastics are everywhere and don't break down easily.

水瓶、购物袋和其他垃圾遍布全球，从珠穆朗玛峰到马里亚纳海沟，这是因为塑料无处不在且不易分解。

But some plastic materials change over time.

但是一些塑料材料会随着时间而发生变化。

They crack and frizzle.

它们会开裂和起皱。

They "weep" out additives.

它们会渗出添加剂。

They melt into sludge.

它们会融化成污泥。

All of which creates huge headaches for institutions, such as museums, trying to preserve culturally important objects.

所有这些现象都给试图保存具有文化重要性物品的机构（如博物馆）带来了巨大的困扰。

The variety of plastic objects at risk is dizzying: early radios, avant-garde sculptures, celluloid animation stills from Disney films, the first artificial heart.

面临风险的塑料制品种类繁多：早期的收音机、先锋派雕塑、迪士尼电影中使用赛璐珞制作的动画静态画面，以及第一颗人造心脏。

Certain artifacts are especially vulnerable because some pioneers in plastic art didn't always know how to mix ingredients properly, says Thea van Oosten, a polymer chemist who, until retiring a few years ago, worked for decades at the Cultural Heritage Agency of the Netherlands.

某些文物尤其脆弱，因为一些塑料艺术的先驱者并不总是懂得如何正确地混合原料，荷兰文化 heritage 机构的聚合物化学家 Thea van Oosten 说，她几年前退休前一直在该机构工作了数十年。

"It's like baking a cake: If you don't have exact amounts, it goes wrong.

就像做蛋糕：如果没有精确的分量，就会出错。

she says.

她说。

"The object you make is already a time bomb.

你制作的物品本身就是一个定时炸弹。

And sometimes, it's not the artist's fault.

有时，问题并不在于艺术家本身。

In the 1960s, the Italian artist Piero Gilardi began to create hundreds of bright, colorful foam pieces.

20世纪60年代，意大利艺术家 Piero Gilardi 开始创作数百件色彩鲜艳、丰富多彩的泡沫制品。

Those pieces included small beds of roses and other items as well as a few dozen "nature carpets"—large rectangles decorated with foam pumpkins, cabbages, and watermelons.

这些作品包括小床玫瑰和其他物品，以及几十件被称为"自然地毯"（nature carpets）的大型矩形装饰品，上面装饰着泡沫雕刻的南瓜、卷心菜和西瓜。

He wanted viewers to walk around on the carpets—which meant they had to be durable.

他希望观众能在地毯上行走——这意味着地毯必须足够耐用。

Unfortunately, the polyurethane foam he used is inherently unstable.

不幸的是，他使用的聚氨酯泡沫本身就不稳定。

It's especially vulnerable to light damage, and by the mid-1990s, Gilardi's pumpkins, roses, and other figures were splitting and crumbling.

它尤其容易受到光照损害，到20世纪90年代中期，吉拉尔迪的南瓜、玫瑰和其他雕塑开始开裂并碎裂。

Museums locked some of them away in the dark.

博物馆将其中一些作品锁在黑暗中保存。

So van Oosten and her colleagues worked to preserve Gilardi's sculptures.

因此，范·奥斯特恩和她的同事致力于保护吉拉尔迪的雕塑。

They infused some with stabilizing and consolidating chemicals.

他们向其中一些雕塑注入了稳定和加固化学物质。

Van Oosten calls those chemicals "sunscreens" because their goal was to prevent further light damage and rebuild worn polymer fibers.

范·奥斯特恩将这些化学物质称为"防晒霜"，因为它们的目标是防止进一步的光照损害并修复磨损的聚合物纤维。

She is proud that several sculptures have even gone on display again, albeit sometimes beneath protective cases.

她为自己感到自豪，因为有几件雕塑甚至再次展出，尽管有时需要放在保护性展柜中。

Despite success stories like van Oosten's, preservation of plastics will likely get harder.

尽管有范·奥斯特恩这样的成功案例，塑料制品的保存工作可能会变得更加困难。

Old objects continue to deteriorate.

旧物件仍会持续劣化。

Worse, biodegradable plastics designed to disintegrate, are increasingly common.

更糟糕的是，那些设计用来分解的可生物降解塑料如今也越来越常见了。

And more is at stake here than individual objects.

在这里，所涉及的远不止是单个物品的问题。

Joana Lia Ferreira, an assistant professor of conservation and restoration at the NOVA School of Science and Technology, notes that archaeologists first defined the great material ages of human history—Stone Age, Iron Age, and so on—after examining artifacts in museums.

新大学科学与技术学院的文物保护与修复助理教授Joana Lia Ferreira指出，考古学家最初是在博物馆中研究文物后，才定义了人类历史上的主要材料时代——石器时代、铁器时代等等。

We now live in an age of plastic, she says, "and what we decide to collect today, what we decide to preserve.

我们现在生活在一个塑料时代，她说，我们今天决定收集什么，决定保存什么。

will have a strong impact on how in the future we'll be seen.

将对未来我们如何被看待产生重大影响。

As the latest crop of students pen their undergraduate application form and weigh up their options, it may be worth considering just how the point, purpose and value of a degree has changed and what Generation Z need to consider as they start the third stage of their educational journey.

当最新一批学生填写他们的本科申请表并权衡选择时，或许值得考虑一下学位的要点、目的和价值究竟发生了怎样的变化，以及Z世代在开始他们教育旅程的第三阶段时需要考虑哪些因素。

Millennials were told that if you did well in school, got a decent degree, you would be set up for life.

千禧一代被告知，只要你在学校表现好，获得一个不错的学位，你就能为一生奠定基础。

But that promise has been found wanting.

但这一承诺已被证明是站不住脚的。

As degrees became universal, they became devalued.

随着学位变得普遍，它们的价值也逐渐降低。

Education was no longer a secure route of social mobility.

教育不再是一条通往社会流动的可靠途径。

Today, 28 per cent of graduates in the UK are in non-graduate roles, a percentage which is double the average among OECD countries.

如今，在英国，28%的毕业生从事的是非毕业生岗位，这一比例是经合组织（OECD）国家平均水平的两倍。

This is not to say that there is no point in getting a degree, but rather stress that a degree is not for everyone, that the switch from classroom to lecture hall is not an inevitable one and that other options are available.

这并不是说获得学位没有意义，而是强调学位并不适合每个人，从教室转向讲堂并非必然的选择，还有其他可行的选项。

Thankfully, there are signs that this is already happening, with Generation Z seeking to learn from their millennial predecessors, even if parents and teachers tend to be still set in the degree mindset.

幸运的是，已有迹象表明这种情况正在发生，Z世代正在努力从千禧一代前辈身上学习，尽管父母和教师们往往仍固守着学位至上的观念。

Employers have long seen the advantages of hiring school leavers who often prove themselves to be more committed and loyal employees than graduates.

长期以来，雇主们就看到了雇佣应届中学毕业生的优势，这些毕业生通常比毕业生表现出更高的敬业度和忠诚度。

Many too are seeing the advantages of scrapping a degree requirement for certain roles.

许多人也看到了取消某些职位的学位要求所带来的优势。

For those for whom a degree is the desired route, consider that this may well be the first of many.

对于那些将学位视为理想路径的人来说，这可能只是众多选择中的第一个。

In this age of generalists, it pays to have specific knowledge or skills.

在这个通才的时代，拥有特定的知识或技能是有价值的。

Postgraduates now earn 40 per cent more than graduates.

硕士毕业生现在的收入比本科毕业生高出40%。

When more and more of us have a degree, it makes sense to have two.

当越来越多人拥有学位时，拥有两个学位就变得合情合理了。

It is unlikely that Generation Z will be done with education at 18 or 21; they will need to be constantly up-skilling throughout their career to stay employable.

Z世代在18岁或21岁完成教育的可能性不大；他们需要在整个职业生涯中不断提升技能，以保持就业竞争力。

It has been estimated that this generation, due to the pressures of technology, the wish for personal fulfilment and desire for diversity, will work for 17 different employers over the course of their working life and have five different careers.

据估计，由于技术压力、对个人实现的渴望以及对多样性的追求，这一代人一生中可能会为17个不同的雇主工作，并拥有五个不同的职业。

Education, and not just knowledge gained on campus, will be a core part of Generation Z's career trajectory.

教育，而不仅仅是校园内获得的知识，将是Z世代职业生涯的核心组成部分。

Older generations often talk about their degree in the present and personal tense: 'I am a geographer.

老一辈人经常用现在时和第一人称谈论他们的学位：我是一名地理学家。

or 'I am a classicist.

或者‘我是个古典主义者。’

Their sons or daughters would never say such a thing; it's as if they already know that their degree won't define them in the same way.

他们的子女或孩子绝不会这么说；就好像他们已经知道学位不会像以前那样定义自己。

Enlightening, challenging, stimulating, fun.

启人深思，富有挑战，激发灵感，充满乐趣。

These were some of the words that Nature readers used to describe their experience of art-science collaborations in a series of articles on partnerships between artists and researchers.

这些是《自然》读者在一系列关于艺术家与研究人员合作的文章中用来描述他们对艺术与科学合作体验的词语。

Nearly 40% of the roughly 350 people who responded to an accompanying poll said, they had collaborated with artists, and almost all said they would consider doing so in future.

在一项配套调查中，大约350名受访者中有近40%表示，他们曾与艺术家合作，几乎所有受访者都表示未来会考虑这样做。

Such an encouraging result is not surprising.

这样令人鼓舞的结果并不令人意外。

Scientists are increasingly seeking out visual artists to help them communicate their work to new audiences.

科学家们越来越倾向于寻求视觉艺术家的帮助，以向新的受众传达他们的研究成果。

"Artists help scientists reach a broader audience and make emotional connections that enhance learning.

艺术家帮助科学家触及更广泛的受众，并建立能增强学习效果的情感联系。

One respondent said.

一位受访者表示。

One example of how artists and scientists have together rocked the scenes came last month when the Sydney Symphony Orchestra performed a reworked version of Antonio Vivaldi's The Four Seasons.

艺术家与科学家共同引发轰动的一个例子是上个月悉尼交响乐团演奏了安东尼奥·维瓦尔第《四季》的重新编排版本。

They reimagined the 300-year-old score by injecting the latest climate prediction data for each season—provided by Monash University's Climate Change Communication Research Hub.

他们通过注入每个季节最新的气候预测数据，对这部300年前的乐谱进行了重新想象，这些数据由莫纳什大学气候变迁传播研究中心提供。

The performance was a creative call to action ahead of November's United Nations Climate Change Conference in Glasgow, UK.

这场表演是为11月在英国格拉斯哥举行的联合国气候变化大会所做的一次创意呼吁行动。

But a genuine partnership must be a two-way street.

但真正的合作伙伴关系必须是双向的。

Fewer artists than scientists responded to the Nature poll; however, several respondents noted that artists do not simply assist scientists with their communication requirements.

回应《自然》杂志调查的艺术家人数少于科学家；然而，一些受访者指出，艺术家不仅仅是协助科学家满足他们的传播需求。

Nor should their work be considered only as an object of study.

他们的作品也不应仅仅被视为研究对象。

The alliances are most valuable when scientists and artists have a shared stake in a project, are able to jointly design it and can critique each other's work.

当科学家和艺术家在一个项目中拥有共同的利益，能够共同设计该项目，并能相互批评彼此的作品时，这种联盟最有价值。

Such an approach can both prompt new research as well as result in powerful art.

这种方法既能激发新的研究，也能产生震撼人心的艺术作品。

More than half a century ago, the Massachusetts Institute of Technology opened its Center for Advanced Visual Studies (CAVS) to explore the role of technology in culture.

半个世纪以前，麻省理工学院开设了高级视觉研究中心（CAVS），以探索技术在文化中的作用。

The founders deliberately focused their projects around light—hence the "visual studies" in the name.

创始人们有意将他们的项目围绕光线展开——因此名字中才有"视觉研究"一词。

Light was a something that both artists and scientists had an interest in and therefore could form the basis of collaboration.

光是艺术家和科学家都感兴趣的领域，因此可以成为合作的基础。

As science and technology progressed, and divided into more sub-disciplines, the centre was simultaneously looking to a time when leading researchers could also be artists, writers and poets, and vice versa.

随着科学和技术的进步，并进一步细分为更多的子学科，中心同时也在展望一个时代，即领先的科研人员也可以是艺术家、作家和诗人，反之亦然。

Nature's poll findings suggest that this trend is as strong as ever, but, to make a collaboration work, both sides need to invest time and embrace surprise and challenge.

《自然》的调查结果表明，这一趋势依然强劲，但要使合作成功，双方都需要投入时间，并接受惊喜和挑战。

The reach of art-science tie-ups needs to go beyond the necessary purpose of research communication, and participants.

艺术与科学的合作范围需要超越科研传播这一必要目的，以及参与者的范畴。

Artists and scientists alike are immersed in discovery and invention, and challenge and critique are core to both, too.

艺术家和科学家都沉浸在发现和发明之中，挑战和批评也是两者的核心要素。

The personal grievance provisions of New Zealand's Employment Relations Act 2000 (ERA) prevent an employer from firing an employee without good cause.

新西兰《2000年雇佣关系法》（ERA）中的个人申诉条款规定，雇主不得无正当理由解雇员工。

Instead, dismissals must be justified.

相反，解雇必须有正当理由。

Employers must both show cause and act in a procedurally fair way.

雇主必须既说明理由，又在程序上做到公平。

Personal grievance procedures were designed to guard the jobs of ordinary workers from "unjustified dismissals.

个人申诉程序的设立是为了保护普通工人的工作免受"不公正解雇"的影响。

The premise was that the common law of contract lacked sufficient safeguards for workers against arbitrary conduct by management.

其前提是，合同的普通法缺乏足够的保障措施，以防止管理层的任意行为对工人造成损害。

Long gone are the days when a boss could simply give an employee contractual notice.

过去那种老板只需简单地给员工发出合同通知就能解雇他们的时代早已一去不复返了。

But these provisions create difficulties for businesses when applied to highly paid managers and executives.

但这些规定在应用于高薪经理和高管时，会给企业带来困难。

As countless boards and business owners will attest, constraining firms from firing poorly performing, high-earning managers is a handbrake on boosting productivity and overall performance.

正如无数董事会成员和企业主所证实的那样，限制企业解雇表现不佳但高薪的经理，会成为提高生产力和整体业绩的障碍。

The difference between C-grade and A-grade managers may very well be the difference between business success or failure.

C级经理与A级经理之间的差异，可能正是企业成败之间的差异。

Between preserving the jobs of ordinary workers or losing them.

在保护普通工人工作与失去工作之间。

Yet mediocrity is no longer enough to justify a dismissal.

然而，平庸本身已不再足以成为解雇的理由。

Consequently—and paradoxically—laws introduced to protect the jobs of ordinary workers may be placing those jobs at risk.

因此——并且具有讽刺意味的是——为了保护普通工人的工作而制定的法律，可能会使这些工作面临风险。

If not placing jobs at risk, to the extent employment protection laws constrain business owners from dismissing under-performing managers, those laws act as a constraint on firm productivity and therefore on workers' wages.

即使这些法律没有直接危及工作岗位，只要就业保护法限制了企业主解雇表现不佳的管理人员，这些法律就会对企业生产力造成制约，从而也制约了工人的工资。

Indeed, in "An International Perspective on New Zealand's Productivity Paradox" (2014), the Productivity Commission singled out the low quality of managerial capabilities as a cause of the country's poor productivity growth record.

事实上，在《从国际视角看新西兰的生产率悖论》（2014年）中，生产率委员会特别指出，管理人员能力低下是该国生产率增长记录不佳的原因之一。

Nor are highly paid managers themselves immune from the harm caused by the ERA's unjustified dismissal procedures.

而且，高薪管理人员本身也无法免受ERA（雇佣关系法）中不合理解雇程序造成的伤害。

Because employment protection laws make it costlier to fire an employee, employers are more cautious about hiring new staff.

由于就业保护法使得解雇员工的成本更高，雇主在雇佣新员工时会更加谨慎。

This makes it harder for the marginal manager to gain employment.

这使得那些处于边缘地位的管理人员更难找到工作。

And firms pay staff less because firms carry the burden of the employment arrangement going wrong.

此外，由于企业承担了雇佣关系出错的负担，企业会支付给员工更少的工资。

Society also suffers from excessive employment protections.

社会也会因过度的就业保护而受到损害。

Stringent job dismissal regulations adversely affect productivity growth and hamper both prosperity and overall well-being.

严格的解雇法规会对生产率增长产生负面影响，并阻碍繁荣和整体福祉。

Across the Tasman Sea, Australia deals with the unjustified dismissal paradox by excluding employees earning above a specified "high-income threshold" from the protection of its unfair dismissal laws.

在塔斯曼海的另一边，澳大利亚通过将收入超过特定“高收入门槛”的员工排除在不公平解雇法的保护范围之外，来应对无正当理由解雇的悖论。

In New Zealand, a 2016 private members' Bill tried to permit firms and high-income employees to contract out of the unjustified dismissal regime.

在新西兰，2016年的一项私人议员法案试图允许企业和高收入员工通过合同方式退出无正当理由解雇制度。

However, the mechanisms proposed were unwieldy and the Bill was voted down following the change in government later that year.

然而，该法案提出的机制过于繁琐，同年政府更迭后，该法案被投票否决。