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掌握了gre阅读里的长难句，到了实战演习的时候了。gre阅读练习每日一篇帮助gre考生循序渐进地进行练习和总结。希望gre考生在进行gre阅读练习时，也按着考试时候的时间规定自己的练习，这样才能有效果。
The transplantation of organs from one individual to another normally involves two major problems: organ rejection is likely unless the transplantation antigens capable of stimulating an immune response) of both individuals are nearly identical, and the introduction of any unmatched transplantation antigens induces the development by the recipient of donor-specific lymphocytes that will produce violent rejection of further transplantations from that donor. However, we have found that among many strains of rats these normal rules of transplantation are not obeyed by liver transplants. Not only are liver transplants never rejected, but they even induce a state of donor-specific unresponsiveness in which subsequent transplants of other organs, such as skin, from that donor are accepted permanently. Our hypothesis is that many strains of rats simply cannot mount a sufficiently vigorous destructive immune-response to outstrip the livers relatively great capacity to protect itself from immune-response damage and that the systemic unresponsiveness observed is due to concentration of the recipients donor-specific lymphocytes at the site of the liver transplant.
17. The primary purpose of the passage is to treat the accepted generalizations about organ transplantation in which of the following ways?
Explicate their main features
Suggest an alternative to them
Examine their virtues and limitations
Criticize the major evidence used to support them
Present findings that qualify them
18. It can be inferred from the passage that the author believes that an important difference among strains of rats is the
size of their livers
constitution of their skin
strength of their immune-response reactions
sensitivity of their antigens
adaptability of their lymphocytes
19. According to the hypothesis of the author, after a successful liver transplant, the reason that rats do not reject further transplants of other organs from the same donor is that the
transplantation antigens of the donor and the recipient become matched
lymphocytes of the recipient are weakened by the activity of the transplanted liver
subsequently transplanted organ is able to repair the damage caused by the recipients immune-response reaction
transplanted liver continues to be the primary locus for the recipients immune-response reaction
recipient is unable to manufacture the lymphocytes necessary for the immune-response reaction
20. Which of the following new findings about strains of rats that do not normally reject liver transplants, if true, would support the authors hypothesis?
I. Stomach transplants are accepted by the recipients in all cases.
II. Increasing the strength of the recipients immune-response reaction can induce liver-transplant rejection.
III. Organs from any other donor can be transplanted without rejection after liver transplantation.
IV. Preventing lymphocytes from being concentrated at the liver transplant produces acceptance of skin transplants.
II only
I and III only
II and IV only
I, II, and III only
I, III, and IV only
Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith . Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance. His appreciation of the cameras possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.
Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since . These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.
Besides developing the cinemas language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffiths introduction of the American-made multireel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historicophilosophical spectacle, reached the unprecedented length of four reels, or one hours running time 执行时间, 运行时间). From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.
21. The primary purpose of the passage is to
discuss the importance of Griffith to the development of the cinema
describe the impact on cinema of the flashback and other editing innovations
deplore the state of American cinema before the advent of Griffith
analyze the changes in the cinema wrought by the introduction of the multireel film
document Griffiths impact on the choice of subject matter in American films
22. The author suggests that Griffiths film innovations had a direct effect on all of the following EXCEPT:
film editing
camera work
scene composing
sound editing
directing
23. It can be inferred from the passage that before 1910 the normal running time of a film was
15 minutes or less
between 15 and 30 minutes
between 30 and 45 minutes
between 45 minutes and 1 hour
1 hour or more
24. The author asserts that Griffith introduced all of the following into American cinema EXCEPT:
consideration of social issues
adaptations from Tennyson
the flashback and other editing techniques
photographic approaches inspired by Victorian painting
dramatic plots suggested by Victorian theater
25. The author suggests that Griffiths contributions to the cinema had which of the following results?
I. Literary works, especially Victorian novels, became popular sources for film subjects.
II. Audience appreciation of other film directors experimentations with cinematic syntax was increased.
III. Many of the artistic limitations thought to be inherent in filmmaking were shown to be really nonexistent.
II only
III only
I and II only
II and III only
I, II, and III
26. It can be inferred from the passage that Griffith would be most likely to agree with which of the following statements?
The good director will attempt to explore new ideas as quickly as possible.
The most important element contributing to a films success is the ability of the actors.
The camera must be considered an integral and active element in the creation of a film.
The cinema should emphasize serious and sober examinations of fundamental human problems.
The proper composition of scenes in a film is more important than the details of their editing.
27. The authors attitude toward photography in the cinema before Griffith can best be described as
sympathetic
nostalgic
amused
condescending
hostile
掌握了gre阅读里的长难句，到了实战演习的时候了。gre阅读练习每日一篇帮助gre考生循序渐进地进行练习和总结。希望gre考生在进行gre阅读练习时，也按着考试时候的时间规定自己的练习，这样才能有效果。
The transplantation of organs from one individual to another normally involves two major problems: organ rejection is likely unless the transplantation antigens capable of stimulating an immune response) of both individuals are nearly identical, and the introduction of any unmatched transplantation antigens induces the development by the recipient of donor-specific lymphocytes that will produce violent rejection of further transplantations from that donor. However, we have found that among many strains of rats these normal rules of transplantation are not obeyed by liver transplants. Not only are liver transplants never rejected, but they even induce a state of donor-specific unresponsiveness in which subsequent transplants of other organs, such as skin, from that donor are accepted permanently. Our hypothesis is that many strains of rats simply cannot mount a sufficiently vigorous destructive immune-response to outstrip the livers relatively great capacity to protect itself from immune-response damage and that the systemic unresponsiveness observed is due to concentration of the recipients donor-specific lymphocytes at the site of the liver transplant.
17. The primary purpose of the passage is to treat the accepted generalizations about organ transplantation in which of the following ways?
Explicate their main features
Suggest an alternative to them
Examine their virtues and limitations
Criticize the major evidence used to support them
Present findings that qualify them
18. It can be inferred from the passage that the author believes that an important difference among strains of rats is the
size of their livers
constitution of their skin
strength of their immune-response reactions
sensitivity of their antigens
adaptability of their lymphocytes
19. According to the hypothesis of the author, after a successful liver transplant, the reason that rats do not reject further transplants of other organs from the same donor is that the
transplantation antigens of the donor and the recipient become matched
lymphocytes of the recipient are weakened by the activity of the transplanted liver
subsequently transplanted organ is able to repair the damage caused by the recipients immune-response reaction
transplanted liver continues to be the primary locus for the recipients immune-response reaction
recipient is unable to manufacture the lymphocytes necessary for the immune-response reaction
20. Which of the following new findings about strains of rats that do not normally reject liver transplants, if true, would support the authors hypothesis?
I. Stomach transplants are accepted by the recipients in all cases.
II. Increasing the strength of the recipients immune-response reaction can induce liver-transplant rejection.
III. Organs from any other donor can be transplanted without rejection after liver transplantation.
IV. Preventing lymphocytes from being concentrated at the liver transplant produces acceptance of skin transplants.
II only
I and III only
II and IV only
I, II, and III only
I, III, and IV only
Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith . Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance. His appreciation of the cameras possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.
Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since . These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.
Besides developing the cinemas language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffiths introduction of the American-made multireel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historicophilosophical spectacle, reached the unprecedented length of four reels, or one hours running time 执行时间, 运行时间). From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.
21. The primary purpose of the passage is to
discuss the importance of Griffith to the development of the cinema
describe the impact on cinema of the flashback and other editing innovations
deplore the state of American cinema before the advent of Griffith
analyze the changes in the cinema wrought by the introduction of the multireel film
document Griffiths impact on the choice of subject matter in American films
22. The author suggests that Griffiths film innovations had a direct effect on all of the following EXCEPT:
film editing
camera work
scene composing
sound editing
directing
23. It can be inferred from the passage that before 1910 the normal running time of a film was
15 minutes or less
between 15 and 30 minutes
between 30 and 45 minutes
between 45 minutes and 1 hour
1 hour or more
24. The author asserts that Griffith introduced all of the following into American cinema EXCEPT:
consideration of social issues
adaptations from Tennyson
the flashback and other editing techniques
photographic approaches inspired by Victorian painting
dramatic plots suggested by Victorian theater
25. The author suggests that Griffiths contributions to the cinema had which of the following results?
I. Literary works, especially Victorian novels, became popular sources for film subjects.
II. Audience appreciation of other film directors experimentations with cinematic syntax was increased.
III. Many of the artistic limitations thought to be inherent in filmmaking were shown to be really nonexistent.
II only
III only
I and II only
II and III only
I, II, and III
26. It can be inferred from the passage that Griffith would be most likely to agree with which of the following statements?
The good director will attempt to explore new ideas as quickly as possible.
The most important element contributing to a films success is the ability of the actors.
The camera must be considered an integral and active element in the creation of a film.
The cinema should emphasize serious and sober examinations of fundamental human problems.
The proper composition of scenes in a film is more important than the details of their editing.
27. The authors attitude toward photography in the cinema before Griffith can best be described as
sympathetic
nostalgic
amused
condescending
hostile
