发布时间 : 星期四 文章上海市浦东新区2020届高三上学期期末教学质量检测(一模)英语试题 Word版含答案更新完毕开始阅读
Criticism of the Fast Fashion
In the 2006 film version of The Devil Wears Prada, Miranda Priestly, played by Meryl Streep, scolds her unattractive assistant for imagining that high fashion doesn’t affect her. Priestly explains how the deep blue color of the assistant’s sweater was 31 over the years from fashion shows to departments stores and to the bargain bin in which the poor girl probably found her clothes.
This top-down concept of the fashion business couldn’t be more out of date or in conflict with the mad world described in Overdressed, Elizabeth Cline’s three-year accusation of “fast fashion”. In the last decade or so, 32 in technology have allowed mass-market labels such as Zara, H&M, and Uniqlo to react to trends more quickly and predict demand more
33 . Quicker turnarounds mean less wasted stock, more frequent release, and more profit. These labels encourage style-conscious consumers to see clothes as disposable—meant to last only a wash or two, although they don’t advertise that—and to 34 their wardrobe( 衣 橱 ) every few weeks. By offering on-trend items at dirt-cheap prices, Cline argues, these brands have controlled fashion cycles, shaking an industry long 35 to a seasonal pace. The 36 of this revolution, of course, are not limited to designers. For H&M to offer a $5.95 knit miniskirt in all its 2,300-plus stores around the world, it must rely on low-wage overseas labor, order in volumes that 37 natural resources, and use massive amounts of harmful chemicals.
Towards the end of Overdressed, Cline introduced her ideal, a Brooklyn woman named Sarah Kate Beaumont, who since 2008 has made all of her own clothes—and beautifully. But as Cline is the first to note, it took Beaumont decades to perfect her craft; her example can’t be imitated.
Though several fast-fashion companies have made efforts to 38 their impact on labor and the environment—including H&M, with its green Conscious Collection line—Cline believes lasting change can only be made by customers. She exhibits the idealism 39 to many advocates of sustainability, be it in food or in energy. Vanity( 虚 荣 心 ) is a constant; people will only start shopping more 40 when they can’t afford not to.
III. Reading
Comprehension Section A
Directions: For each blank in the following passage there are four words or phrases marked A, B, C and D. Fill in each blank with the word or phrase that best fits the context.
- 5 -
The networked computer is an amazing device. It is the first media machine that serves as the mode of production (you can make stuff), means of distribution (you can upload stuff to the network), site of 41 (you can download stuff and interact with it), and place of praise and criticism (you can comment on the stuff you have downloaded or uploaded). 42 , the computer is the 21st century’s culture machine.
But for all the reasons there are to 43 the computer, we must also act with caution. This is because the networked computer has started a secret war between downloading and uploading—between passive consumption and active 44 —whose outcome will shape our collective future in ways we can only begin to imagine.
All animals download, but only a few upload anything besides faces and their own bodies. Humans are 45 in their capacity to not only make tools but then turn around and use them to create superfluous( 过 剩 的 ) material goods (paintings, sculpture and architecture) and superfluous experiences (music, literature, religion and philosophy). 46 , it is precisely these superfluous things that define human culture and ultimately what it is to be human. Downloading and consuming culture requires great skills, but 47 to move beyond downloading is to rob oneself of a defining ingredient of humanity.
Despite the possibilities of our new culture machines, most people are still 48 download mode, brought about by television watching. Even after the 49 of widespread social media, a pyramid of production remains, with a small number of people uploading material, a slightly larger group commenting on or modifying that content, and a huge percentage remaining satisfied to just 50 . The networked computer offers the first chance in 50 years to 51 the flow caused by TV viewing, to encourage thoughtful downloading and, even more importantly, meaningful uploading. The computer offers the opportunity to bring about a complete 52 from the culture of television and a shift from a consumption model to a production model. This is a historic opportunity. Fifty years of television dominance has given birth to an unhealthy culture. The 53 is now in our collective grasp. It involves controlling our intake, or downloading, and 54 our levels of activity—uploading.
Of course people will still download. Nobody uploads more than a tiny percentage of the culture they consume. But using the networked computer as a download-only device, or even a download-mainly device, is a 55 opportunity that history affords us. Therefore, the goal must be to establish a balance between consumption and production.
41. A. celebration 42. A. Without doubt
B. conversations B. In return
C. reception C. In particular
- 6 -
D. ceremonies D. By contrast
43. A. liberate 44. A. request 45. A. unique 46. A. In addition 47. A. striving
B. celebrate B. support B. familiar
B. In fact B. comparing B. unfamiliar with B. emergence B. neglect B. quicken B. exposure B. cure B. maintaining B. treasured
C. concern C. defense C. efficient
C. For instance C. failing C. stuck in C. encounter C. combine C. reverse C. break C. regret C. featuring C. multiplied
D. reject D. creation D. loyal
D. By the way D. attempting D. ashamed of D. maintenance D. innovate D. extend D. evolution D. favor D. increasing D. revised
48. A. optimistic about 49. A. transformation 50. A. consume 51. A. enhance 52. A. outcome 53. A. puzzle 54. A. analysing 55. A. wasted
Section B
Directions: Read the following three passages. Each passage is followed by several questions or unfinished statements. For each of them there are four choices marked A, B, C and D. Choose the one that fits best according to the information given in the passage you have read.
（A）
Dame Zaha Hadid, the Iraqi-born British architect whose tall structures left a mark on skylines and imaginations around the world and in the process reshaped architecture for the modern age.
She was not an average designer. She liberated architectural geometry( 几何), giving it a whole new
expressive identity. Geometry became, in her hands, a vehicle for unprecedented and eye-popping new spaces. Her buildings elevated uncertainty to an art, conveyed in the odd ways.
Her work implying mobility, speed, freedom and uncertainty spoke to a worldview widely shared by a younger generation. “I am not European, I don’t do conventional work and I am a woman,’’ Strikingly Ms. Hadid never allowed herself on her work to be categorized by her background or her gender. And she was one of a kind, a path breaker. In 2004, she became the first woman to win the Pritzker Prize, architecture’s Nobel.
Zaha Hadid was born in Baghdad on October 31, 1950. Then in 1972, she arrived at the architectural association in London, a center for experimental design. Her teachers included Elia Zenghelis and Rem Koolhaas. “They aroused my ambition,” she would recall, “and taught me to
- 7 -
trust even my strangest instincts.” By the 1980s she had established her own practice in London. And she began to draw attention with an unrealized plan in 1982—1983 for the Peak Club.
Her partner, Patrick Schumacher, played an instrumental and collaborative role in her career. Mr. Schumacher coined the term parametric(参数的) design to include the computer-based approach that helped the firm’s most weird concepts become reality. Ms. Hadid called what resulted in an organic language of architecture, based on these new tools, which allow us to combine highly complex forms into a fluid(流线的) and complete whole.
Her sources were nature, history or whatever she sought useful. When her Rosenthal Center, a relatively modest project, opened in 2003, Herbert Muschamp, the architecture critic declared it “the most important American building to be completed since the end of the cold war”.
“She was bigger than life, a force of nature,” as Amale Andraos, the dean of Columbia University’s architecture school, put it, “she was a pioneer.”
She was. For women, for what cities can desire to build and for the art of architecture.
56. What features the structures designed by Zaha Hadid? A. Free architectural geometry. C. Odd imagination.
B. Conventional design. D. Colorful patterns.
57. According to Paragraphs 3 and 4, which of the following statement is TRUE? A. Zaha Hadid taught herself to trust instincts. B. The plan for the Peak Club hasn’t been carried out. C. The architect’s gender influenced her work dramatically. D. Zaha Hadid was the first architect to win the Pritzker Prize.
58. How did the computer-based approach make a difference to Zaha Hadid’s work? A. It contributes to realizing the strange ideas. B. It simplifies the complex structure as a whole. C. It provides new tools to translate the language. D. It serves as an instrument to interpret the concepts. 59. The purpose of the passage is to A. present Zaha Hadid’s life experience B. praise Zaha Hadid’s inspiration and diligence C. compare Zaha Hadid’s works in different times D. show Zaha Hadid’s great contributions to architecture
.
- 8 -