2025年全国硕士研究生招生考试英语(一)试题

Located in the southern Peloponnesian peninsula, Pavlopetri (the modern name of the site) emerged as a Neolithic settlement around 3500 B.C.

位于伯罗奔尼撒半岛南部的帕夫洛皮特里（该遗址的现代名称）大约在公元前3500年形成一个新石器时代聚落。

and became an important trading center for Mycenaean Greece (1650—1180 B.C.).

并成为迈锡尼希腊的重要贸易中心（公元前1650—1180年）。

This area of the Aegean Sea is 1 to earthquakes and tsunamis, which caused the city to 2 sink.

爱琴海的这一地区1地震和海啸，这导致了该城市的2下沉。

The slow sea level rise in the Mediterranean 3 the city more than 3,000 years ago.

地中海的海平面上升缓慢地3了这座城市3000多年前。

For millennia, the city's 4 lay unseen below some 13 feet of water.

数千年里，该城市的4未被发现，埋藏在约13英尺深的水下。

They were covered by a thick layer of sand 5 the island of Laconia.

它们被一层厚厚的沙子覆盖 5 拉科尼亚岛。

In recent decades, shifting 6 and climate change have eroded a natural barrier that 7 Pavlopetri.

近年来，移动的6和气候变化已经侵蚀了保护7帕夫洛彼得里的天然屏障。

In 1967 a scientific survey of the Peloponnesian coast was 8 data to analyze changes in sea levels 9 British oceanographer Nicholas Flemming first spotted the sunken 10 .

1967年，对伯罗奔尼撒海岸的一次科学调查8数据以分析海平面变化9英国海洋学家尼古拉斯·弗莱明首次发现沉没的10

A year later, he returned with a few students to 11 the location and map the site.

一年后，他带着几名学生返回第 11 个地点并测绘该地点。

The team identified some 15 buildings, courtyards, a network of streets, and two chamber tombs.

该团队确认了约15座建筑、庭院、街道网络以及两座墓室墓。

12 the exciting initial finds, the site would lie 13 for decades before archaeologists would return.

12 令人兴奋的初步发现，该遗址将闲置数十年，直到考古学家返回。

In 2009 archaeologists Chrysanthi Gallou and Jon Henderson 14 the excavation of Pavlopetri in cooperation with the Greek Ministry of Culture.

2009年考古学家Chrysanthi Gallou和Jon Henderson 14 与希腊文化部合作对Pavlopetri遗址进行考古发掘。

Since the 1960s, underwater archaeology 15 and tools had made huge advances.

自20世纪60年代以来，水下考古学15及其工具已取得巨大进展。

The team 16 robotics, sonar mapping, and state-of-the-art graphics to survey the site.

团队运用 16 种机器人技术、声呐测绘和尖端图形技术对现场进行勘察。

From 2009 to 2013 they were able to bring the underwater town to 17 .

从2009年到2013年他们成功地将水下城镇带到17。

Covering about two and a half acres, Pavlopetri's three main roads 18 some 50 rectangular buildings, all of which had open courtyards.

占地约两英亩半，Pavlopetri的三条主要道路18约50座矩形建筑，所有这些建筑都有开放的庭院。

Excavations revealed a large number of Minoan-style loom weights, 19 Pavlopetri was a thriving trade center with a 20 textile industry.

发掘揭示了大量米诺斯风格的织布机配重物，19帕夫洛皮特里是一个繁荣的贸易中心，拥有20纺织业。

The grammar school boy from Stratford-upon-Avon has landed a scholarly punch after groundbreaking research showed that Shakespeare does benefit children's literacy and emotional development.

这位来自斯特拉特福镇的文法学校男孩在一项开创性研究之后，获得了学术上的重大突破，该研究显示莎士比亚确实有助于儿童的读写能力和情感发展。

But only if you act him out.

但前提是你要将他表演出来。

A study found that a "rehearsal room" approach to teaching Shakespeare broadened children's vocabulary, and the complexity of their writing as well as their emotional literacy.

一项研究发现，采用"排练室"方式教授莎士比亚，有助于拓宽儿童的词汇量，同时提升他们写作的复杂性和情感素养。

"The research shows that the way actors work makes a big difference to the way children use language and also how they think about themselves," Jacqui O'Hanlon of the Royal Shakespeare Company (RSC), which commissioned the study, said.

皇家莎士比亚剧团（RSC）委托进行这项研究的雅琪·奥汉伦表示：'研究表明，演员的工作方式对儿童使用语言的方式以及他们对自己的思考方式都有很大影响。'

The randomised control trial involved hundreds of year 5 pupils—aged nine and ten—at 45 state primary schools that had not been "previously exposed to RSC pedagogy".

这项随机对照试验涉及45所未' previously exposed to RSC pedagogy '（此前未接触过RSC教学法）的公立小学中数百名五年级学生，这些学生年龄为九到十岁。

They were split into target and control groups and asked to write, for example, a message in a bottle as Ferdinand after the shipwreck in The Tempest.

他们被分为目标组和对照组，并被要求例如以《暴风雨》中船难后的费迪南德的身份写一封瓶中信。

The target group was given a 30-minute drama-based activity to accompany the passage.

目标组的学生被给予一个30分钟的基于戏剧的活动来配合这段文字。

The peer-reviewed results showed that the target group of pupils drew on a wider vocabulary, used words "classed as more sophisticated or rarer", and wrote at greater length.

经过同行评审的结果显示，目标组的学生使用了更广泛的词汇，使用了'被归类为更复杂或更罕见的词汇'，并且写得更长。

They also "appear to be more comfortable writing in role.

他们似乎更习惯以角色身份写作。

while [control] pupils imagine how they themselves would react to being shipwrecked, [target] children put themselves in the shoes of a literary character and express that character's emotion".

对照组学生想象自己遭遇船难时会如何反应，而目标组儿童则代入文学作品中的角色并表达该角色的情感。

The Time to Act study also found that while control pupils relied on "desert island cliches" such as palm trees, target pupils were "more expansive [giving] a broader picture of the sky, the sea and the atmospheric conditions".

《Time to Act》研究还发现，对照组学生依赖诸如棕榈树之类的'荒岛陈词滥调'，而目标组学生则'更加丰富地描绘了天空、大海和大气条件的全貌。'

O'Hanlon said she had been most surprised by the "emotional literacy that was evident in the [target] children's writing" and that they were "more resilient in their writing, more hopeful".

奥汉伦表示，她最惊讶的是'目标组儿童写作中表现出的情感素养'，并且他们'在写作中更加坚韧，更加充满希望。'

She added: "The emotional understanding was very evident and it is probably related to the [rehearsal room process] where you are used to trying to imagine your way through.

她补充道："情感理解非常明显，这可能与[排练室过程]有关，因为在排练室中你习惯于尝试通过想象来应对。"

They were comfortable in describing different emotional states and part of what you do in drama is put yourself in different shoes.

他们很自如地描述了不同的情感状态，而戏剧的一部分就是让自己置身于不同的处境中。"

The study showed the importance of embedding arts in education, she said.

她说，这项研究显示了将艺术融入教育的重要性。"

But could the results be replicated with any old dramatist?

但是，这些结果是否能用任何普通的戏剧家来重复呢？"

O'Hanlon said more research would be needed but suggested that Shakespeare's use of 20,000 words, compared with the everyday 2,000 words, gave a "massive expansion of language into children's lives", which was combined with children "using their whole bodies to bring words to life".

奥汉隆表示需要更多的研究，但她指出，与日常使用的2000个单词相比，莎士比亚使用了20000个单词，这为孩子们的生活带来了"语言使用的巨大扩展"，同时孩子们也"用全身来赋予语言生命"。"

I was shocked to learn recently that some scientists want to scale back their research in an effort to decrease carbon emissions.

我最近震惊地得知，一些科学家希望缩减他们的研究规模，以努力减少碳排放。"

The crisis is here, they said, and we need to cut back on our energy-intensive modelling.

他们说，危机已经来临，我们需要减少能源密集型的建模工作。"

At the very least, we need to make our energy use far more sustainable.

至少，我们需要使能源使用变得更加可持续。

It is unarguable that our laboratories, scientific instruments, rockets and satellites—the tools we scientists need to measure the planet's pulse—demand significant amounts of energy both in their construction and operation.

不可否认的是，我们的实验室、科学仪器、火箭和卫星——科学家们用来测量地球脉动的工具——在建造和运行过程中都需要消耗大量的能源。

And it is equally true that science's unrelenting appetite for information has caused a mushrooming of energy-intensive data centres around the world.

同样真实的是，科学对信息永不满足的渴望，已经导致全球范围内能源密集型的数据中心迅速增长。

According to the International Energy Agency, these buildings now consume about 1 per cent of the world's electricity.

根据国际能源署的数据，这些建筑物现在消耗了全球约1%的电力。

However, this is a price we must pay for understanding the world.

然而，这是我们为了理解世界必须付出的代价。

How can we inform decision makers about the best ways to bring down carbon emissions if we can't track the amount of carbon dioxide in the atmosphere, where it's coming from and who's producing it?

如果我们无法追踪大气中的二氧化碳含量、它的来源以及是谁排放的，又怎能向决策者提供最佳减少碳排放方式的信息呢？

The carbon emissions from technological research are well spent: ultimately this research will safeguard the future of our planet.

科技研究产生的碳排放是值得的：最终，这项研究将保障我们星球的未来。

It can be hard for scientists to make the case because our work is complex, often takes place behind closed doors and does not always lend itself to easy interpretation or explanation.

科学家们很难说服他人，因为我们的工作很复杂，通常在封闭的环境中进行，并不总是易于解释或理解。

But demonstrating the efficacy of science will be crucial if we are to solve humanity's greatest challenges.

但如果我们要解决人类面临的最大挑战，展示科学的有效性将是至关重要的。

Recognising the hope that science and engineering can bring was the impetus behind the creation of the Millennium Technology Prize, which is now entering its 20th year as a celebration of human ingenuity.

认识到科学和工程能够带来的希望，是设立千年技术奖的初衷，如今该奖项已进入第20个年头，作为对人类智慧的庆祝。

One of the past winners, Professor Martin Green from the University of New South Wales, Australia, is the inventor of the Passivated Emitter and Rear Cell technology which is now found in most of the world's solar panels.

过去的一位获奖者，来自澳大利亚新南威尔士大学的马丁·格林教授，是钝化发射极和背面电池（Passivated Emitter and Rear Cell）技术的发明者，这种技术现在被世界上大多数太阳能板所采用。

Thanks to his invention, we have a real chance to decrease the world's carbon emissions.

得益于他的发明，我们真正有机会减少全球的碳排放。

Every day, scientists, technologists and engineers are discovering new ways to exploit renewable energy sources and develop techniques not just to use power more intelligently but to power our intelligence.

每天，科学家、技术人员和工程师都在发现新的方法来利用可再生能源，并开发技术，不仅更智能地使用电力，还用电力推动我们的智慧。

A great example of this is Europe's largest supercomputer, LUMI in Finland, which is astonishingly carbon-negative.

这方面的一个绝佳例子是欧洲最大的超级计算机——位于芬兰的LUMI，它令人惊讶地实现了碳负排放。

Established in an old paper mill, it is powered by a nearby river and its remote heat warms the people who live in the surrounding town of Kajaani.

它建在一座旧纸厂内，由附近的河流供电，其远程热能还为周边城镇凯亚尼（Kajaani）的居民供暖。

If the world is to meet its net-zero ambitions, we must think hard about how we can deliver sustainable computing and deliver more LUMIs.

如果世界要实现其净零排放的目标，我们必须认真思考如何提供可持续的计算方式，并打造更多像LUMI这样的项目。

Ever since taking on Netflix Inc. at its own game, old Hollywood has struggled to turn a profit in streaming, with the likes of Disney+, Peacock and Paramount+ losing billions of dollars each year, sparking concerns that the services will never be as profitable as cable once was.

自从老好莱坞在流媒体领域与Netflix公司正面竞争以来，它一直难以盈利，迪士尼+、Peacock和Paramount+等平台每年亏损数十亿美元，引发了人们对这些服务是否能像有线电视那样盈利的担忧。

But the age of streaming has been a boon for some unintended winners: pirates that use software to rip a film or television show in seconds from legitimate online video platforms and host the titles on their own, illegitimate services, which rake in about $2 billion annually from ads and subscriptions.

然而，流媒体时代对一些意想不到的赢家来说是一次福音：这些盗版网站利用软件在几秒钟内从合法的在线视频平台下载电影或电视剧，并将其托管在自己的非法服务平台上，每年通过广告和订阅获得约20亿美元的收入。

With no video production costs, illegal streaming sites have achieved profit margins approaching 90%, according to the Motion Picture Association (MPA), a trade group representing Hollywood studios that's working to crack down on the thousands of illegal platforms that have cropped up in recent years.

据代表好莱坞制片公司的行业协会——电影协会（MPA）称，这些非法流媒体网站没有视频制作成本，因此实现了接近90%的利润率，该协会正在努力打击近年来涌现的数千个非法平台。

Initially the rise of legitimate online businesses such as Netflix actually helped curb digital piracy, which had largely been based on file uploads.

最初，合法的在线企业如Netflix的兴起实际上有助于遏制基于文件上传的数字盗版。

But now piracy involving illegal streaming services as well as file-sharing costs the US economy about $30 billion in lost revenue a year and some 250,000 jobs, estimates the US Chamber of Commerce's Global Innovation Policy Center.

但现在，据美国商会全球创新政策中心估计，涉及非法流媒体服务和文件共享的盗版每年使美国经济损失约300亿美元的收入，并导致约25万个就业岗位流失。

The global impact is about $71 billion annually.

全球的经济损失约为每年710亿美元。

"The people who are stealing our movies and our television shows and operating piracy sites are not mom and pop operations," says Charlie Rivkin, chief executive officer of the MPA.

MPA首席执行官查理·里夫金（Charlie Rivkin）表示："那些盗取我们的电影和电视剧并运营盗版网站的人，并不是普通的家庭式小作坊。"

"This is organized crime.

这是有组织的犯罪。

Rivkin joined the MPA in 2017 after the organization failed five years earlier to build consensus between Hollywood and Silicon Valley to win passage of legislation in Congress aimed at stopping online piracy.

里夫金于2017年加入MPA，此前该组织在五年前未能在好莱坞和硅谷之间达成共识，以推动国会通过旨在遏制网络盗版的立法。

In 2017 the association formed the Alliance for Creativity and Entertainment (ACE), an enforcement task force of about 100 detectives circling the globe to help local authorities arrest streaming pirates.

2017年，该协会成立了创意与娱乐联盟（ACE），这是一个由约100名侦探组成、在全球范围内行动的执法特别行动组，旨在协助地方当局逮捕盗版流媒体传播者。

ACE says it's helped shrink the number of illegal streaming services in North America to 126, from more than 1,400 in 2018, aided in part by the MPA's support for a 2020 federal law that made large-scale streaming of copyrighted material a serious crime.

ACE表示，在MPA支持2020年联邦法律的部分帮助下，北美地区的非法流媒体服务平台数量已从2018年的1400多家减少到目前的126家，该法律将大规模传播受版权保护内容的行为定为严重犯罪。

Consulting firm Parks Associates predicts that legitimate US streaming services' cumulative loss from piracy since 2022 will reach $113 billion in the next two years.

咨询公司Parks Associates预测，自2022年以来，美国合法流媒体服务平台因盗版造成的累计损失将在未来两年内达到1130亿美元。

"While there is some optimism that emerging countermeasures and best practices may see piracy begin to plateau by 2027, there is no consensus among stakeholders as to when it may begin to decline," says analyst Steve Hawley.

分析师史蒂夫·霍利（Steve Hawley）表示："尽管有一些乐观情绪认为，随着新兴的反盗版措施和最佳实践的出现，盗版可能在2027年前后开始趋于稳定，但利益相关方对于盗版何时可能开始下降尚无共识。"

Visit any antiques store and you'll encounter artifacts from the past: photographs, letters, a brochure detailing the Sinclair dinosaur exhibit from the 1964—65 World's Fair, the ephemera of history.

走进任何一家古董店，你都会看到来自过去的物品：照片、信件，还有1964—65年世界博览会期间关于辛克莱尔恐龙展览的宣传册，这些都是历史的短暂痕迹。

Yet these objects aren't truly ephemeral, because they're still here, decades, even centuries later.

然而，这些物品并非真正短暂，因为它们至今仍然存在，甚至几十年、几个世纪之后依然如此。

Why?

为什么？

Because they're tangible.

因为它们是有形的。

Have you pondered the life cycle of intangible formats, digital information, given that those who produce these artifacts seldom make provision for their long-term preservation?

你是否曾思考过无形格式和数字信息的生命周期？毕竟，这些物品的制作者很少为它们的长期保存做出安排。

For millennia, we've known what we've known due to artifacts that have survived, often despite their original creators' neglect.

在数千年的时间里，我们所知道的一切都是通过那些得以保存下来的文物，而这些文物往往即使在原作者忽视的情况下也依然留存下来。

The thing itself is the medium that delivers the information.

物品本身即是传递信息的媒介。

At the time of creation, no attempts were made at intentional preservation, yet analog materials have a chance of surviving and serving as the historical record that biographers, historians, and novelists rely on.

在创作之时，并未有人刻意尝试去保存它们，但模拟材料仍有机会留存下来，并作为传记作家、历史学家和小说家所依赖的历史记录。

Libraries and archives have traditionally shouldered the responsibility of organization, preservation, and access to information.

传统上，图书馆和档案馆承担着信息的组织、保存和获取的责任。

Librarians digitize the tangible so that researchers the world over can quickly search and access their holdings.

图书管理员将有形的资料数字化，以便全球的研究人员能够快速地搜索和获取馆藏资源。

The result is an embarrassment of historical riches, which brings its own needle-and-haystack problems.

其结果是历史财富的过剩，这也带来了自己特有的大海捞针式的问题。

Librarians' selfless devotion can act against us when users point to universality of access by holding up a cell phone and saying, "it's all in here" as evidence that libraries are less vital for researchers today.

然而，当用户举起手机并说"所有内容都在这里"，以此证明如今图书馆对研究人员的重要性降低时，图书管理员无私的奉献反而可能对我们不利。

Yet how was that universality of access made possible and, perhaps more importantly, how is it maintained?

然而，这种获取信息的普遍性是如何实现的？更重要的是，它又是如何被维持的？

Who curates what is preserved?

谁来负责保存哪些内容？

When it comes to born-digital information, the terrifying answer can be: if not librarians and archivists, then no one.

当涉及到原生数字信息时，令人不寒而栗的答案可能是：如果不是图书管理员和档案管理员，那就没有人了。

Digital information requires a great deal more care than analog.

数字信息比模拟信息需要更多的细心呵护。

Even when a digital object is preserved, it may only be the carrier that's saved, not the information itself.

即使一个数字对象被保存下来，保存的可能只是载体，而不是信息本身。

As technology advances and a format becomes obsolete, the object is useless.

随着技术的发展和一种格式变得过时，这个对象就变得毫无用处了。

Have you ever stared helplessly at a ZIP disk, thinking: how do I get the files off this?

你有没有曾经无助地盯着一个ZIP磁盘，想着：我该怎么把里面的文件取出来？

Without constant migration of digital assets, a nightmare about the foreseeable future is what keeps historians up at night: a historical record that abruptly stops when digital replaces analog.

如果没有持续不断地迁移数字资产，历史学家们就会被一个关于未来的噩梦困扰：当数字技术取代模拟技术时，历史记录会突然中断。

As a librarian whose day job revolves around special collections and digital assets, I share the night terrors of historians, and I'd be lying if I said a comprehensive preservation solution currently exists.

作为一名日常工作的核心围绕特藏和数字资产的图书管理员，我与历史学家们共享这种夜晚的恐惧，如果我说目前存在一个全面的保存解决方案，那我就是在撒谎。

Yet researchers can take some comfort in the fact that there are a multitude of librarians devoted to discovering, organizing, and preserving digital information for researchers current and future.

然而，研究人员可以从这样一个事实中得到一些安慰：有许多图书管理员致力于为当前和未来的研究人员发现、整理和保存数字信息。

While future researchers may find the digital realm a challenging place to ply their trade, they won't find it an impossible one.

虽然未来的研究人员可能会发现数字领域是一个充满挑战的工作场所，但他们不会发现它是一个无法完成任务的地方。