2015年12月四级阅读真题第一套卷答案
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Children do not think the way adults do. For most of the first year of life, if
something is out of sight, it    ' s out of mind. If you cover a baby    ' s 36 toy with a piece
cloth, the baby thinks the toy has disappeared and stops look ing for it. A 4-year-old may
37 that a sister has more fruit a juice when it is only the shape of the glasses that differ ,
not the 38 of juice.
Yet children are smart in their own way. Like good little scientists, children are
always testi ng their child-sized 39 about how things work. Whe n your childre n throws
her spo on on the floor for the sixth time as you try to feed her , and you say.    “ T
eno ugh! I will not pick up yo ur spo on aga in!    ” the child will 40 test your claim. Are you
serous? Are you an gry? What will happe n if she throws the spo on aga in? She is not doing
this to drive you 41 ; rather, she is learning that her desires and yours can differ, and that sometimes those 42 are importa nt and sometimes they are not.
How and why does chidren ' s thinking change? In the 1920s. Swiss psychologist
Jean Piaget proposed that children    ' s认知ngniae(ties unfold 43, like the
blooming of a flower, almost independent of what else is 44 in their lives. Although
many of his specific con clusi ons
have bee n 45 or modified over the years, his ideas in spired thousa nds of studies by investigators all over the world.
A.advocate
B.am ount
C.con firmed
D.crazy
E.defi nite
F.differe nces
G.favorite
H.happe ning
[immediately
J.    n aturally
K.    obtai ning
L.primarily
M.    protest
N.    rejected
O.    theories
答案:GMBOIQFJHN
The Perfect Essay
ALook ing back on too many years of educati on, I can ide ntify one truly
impossible teacher. She cared about me, and my in tellectual life,
eve n whe n I did n
't. Her expectations werehpglssibly so. She was an English teacher. She was also my mother.
BWhen good students turn in an essay, they dream of their instructor
returning it to them in exactly the same condition, save for a single wor d added in
the margin of the final page:    ” Flawless. ” This dream came true for me one after noon in
the ninth grade. Of course, I had heard that genius could show itself at an early age, so I
was on ly
slightly take n aback that I had achieved perfecti on at the ten der age of 14. Obviously,
I did what any professi onal writer would do; I
CMy mother, who is just shy of five feet tall, is n ormally in credibly
soft-spoke n, but on the rare occasi on whe n she got an gry, she was terrifyi ng. I am not sure if she was more upset by my hubrig得意忘形 or by the fact that my English teacher had let my ego get so out of hand. In any eve nt, my mother and her red pen showed me how
deeply flawed a flawless essay could be. At the time, I am sure she thought she was teach ing me about mecha ni cs, tran siti on过渡,
structure, style and voice. But what I learned, and what stuck with me through my time teach ing writi ng at Harvard, was a deeper less on about the n ature of creative criticism.
DFist off, it hurts. Genuine criticism, the type that leaves a lasting mark
on you as a writer, also leaves an existential imprin印记 on you as a person. I have heard people say that a writer should n ever take
criticism pers on ally. I say that we should n ever liste n to these people.
ECriticism, at its best, is deeply pers on al, and gets to the heart of why we write the way we do. The intimate nature of genuine criticism implies somethi ng about who is able to give it, n amely, some one who knows you well eno ugh to show you how your men tal life is getting in the way of good writing. Conveniently, they are also the people who care
eno ugh to see you through this painful realizati on.
For me it took the form of my first, and I hope only, encounter with writer    lock—    ' s I
I was not able to produce anything for three years.
FFranz Kafka once said:    ” Writing is utter so独处de(he descent
into the cold abyss深渊 of on eself.    “ My mother ' s criticism had show n me that
Kafka is right about the cold abyss, and whe n you make the in trospectivep内省的 dece nt
that writ ing requires you are out always pleased by what you find.    ” But, in the years tl
followed, her susta ined tutori ng suggested that Kafka might be
wrong about the solitude. I was lucky eno ugh to find a critic and
teacherwho was willi ng to make the journey of writ ing with me.    “It is a thi ng of no
carigreat difficulty, ” accord ing to Plutarch,    “ to raise object ions aga inst ano ther man

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