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y of styles, these gardens speak os various other fundamental urges, beyond that of decoration and creative expression.
One of these urges had to do with creating a state of peace in the midst of turbulence, a “still point of the turning world,” to borrow a phrase from T. S. Eliot. (47)A sacred place of peace, however crude it may be, is a distinctly human need, as opposed to shelter, which is a distinctly animal need. This distinction is so much so that where the latter is lacking, as it is for these unlikely gardens, the foemer becomes all the more urgent. Composure is a state of mind made possible by the structuring of one’s relation to one’s environment. (48) The gardens of the homeless which are in effect homeless gardens introduce from into an urban environment where it either didn’t exist or was not discernible as such. In so doing they give composure to a segment of the inarticulate environment in which they take their stand.
Another urge or need that these gardens appear to respond to, or to arise from is so intrinsic that we are barely ever conscious of its abiding claims on us. When we are deprived of green, of plants, of trees, (49)most of us give into a demoralization of spirit which we usually blame on some psychological conditions, until one day we find ourselves in garden and feel the expression vanish as if by magic. In most of the homeless gardens of New York City the actual cultivation of plants is unfeasible, yet even so the compositions often seem to represent attempts to call arrangement of materials, an institution of colors, small pool of water, and a frequent presence of petals or leaves as well as of stuffed animals. On display here are various fantasy elements whose reference, at some basic level, seems to be the natural world. (50)It is this implicit or explicit reference to nature that fully justifies the use of word garden though in a “liberated” sense, to describe these synthetic constructions. In them we can see biophilia- a yearning for contact with nonhuman life-assuming uncanny representational forms.
46. yet when one looks at the photographs of the gardens created by the homeless, it strikes one that, for all their diversity of styles, these gardens speak of various other fundamental urges beyond that of decoration and creative expression.
47. A sacred place of peace, however, crude it may be, is a distinctly human need, as opposed to shelt which is a distinctly animal need.
48. The gardens of the homeless which are in efffect homeless garden introduce from in to an urban environment where it either didn’t exist or was not discernible as such
49 . Mast of us give in to a demoralization of spirit which we usually blame on some psychological conditions until one day we find ourselves in a garden and feel the oppression vanish as if by magic
50. It is this implicit or explicit reference to nature that fully justifies the use of the word garden, though in a “liberated” sense, to describe these synthetic constructions.
Section III Writing
Part A
51.Directions:
Write an e-mail of about 100 words to a foreign teacher in your college,inviting him/her to be a judge for the upcoming English speech contest.
You should include the details you think necessary.
You should write neatly on the ANSWER SHEET.
Do not sign your own name at the end of the e-mail.Use “Li Ming”instead.
Do not write the address.(10 points)
Part B
52.Directions:
Write an essay of 160-200 words based on the following drawing .In your essay,you should
1) describe the drawing briefly.
2) interpret its intended meaning ,and
3) give your comments.
You should write neatly on the ANSWER SHEET.(20points)
2013年全国研究生入学考试英语一答案
1.A(grants)
2. B(external)
3. C（picture）
4. D(for example)
5. B(fearful)
6. D(on)
7. A(if)
8. A(test)
9. D(success)
10.C(chosen)
11.A(otherwise)
12.C(conducted)
13.B(rated)
14.C(took)
15.B(then)
16.C(marked)
17.D(before)
18.D(drop)
19.B(undo)
20.A(necessary)
Text 1
21. Priestly criticizes her assist
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