Passage 7
　　In most of the human civilization of which we have any proper records, youth has drawn oneither art or life for models, planning to emulate the heroes depicted in epics on the shadow play screen or the stage, or those known human beings, fathers or grandfathers, chiefs or craftsmen, whose every characteristic can be studied and imitated. As recently as 1910, this was the prevailing condition in the United States. If he came from a nonliterate background, the recent immigrant learned to speak, move, and think like an American by using his eyes and ears on the labor line and in the homes of more acculturated cousins, by watching school children, or by absorbing the standards of the teacher, the foreman, the clerk who served him in the store. For the literate and the literate children of the nouliterate, there was art--the story of the frustrated artist in the prairie town, of the second generation battling with the limitations of the first. And at a simpler level, there were the Western and Hollywood fairy tales which pointed a moral but did not, as a rule, teach table manners.
　　With the development of the countermovement against Hollywood, with the efflorescence (全盛)of photography, with Time-Life-Fortune types of reporting and the dead-pan New Yorker manner of describing the life of an old-clothes dealer in a forgotten street or of presenting the "accurate", "checked" details of the lives of people whose eminence gave at least a sort of license to attack them, with the passion for "human documents" in Depression days--a necessary substitute for proletarian art among middle class writers who knew nothing about proletarians, and middleclass readers who needed the shock of verisimilitude(真實(shí))--a new era in American life was ushered in, the era in which young people imitated neither life nor art nor fairy tale, but instead were presented with models drawn from life with minimal but crucial distortions. Doctored life histories, posed carelessness, "candid" shots of people in their own homes which took hours to arrange, pictures shot from real life to scripts written months before supplementedby national polls and surveys which assured the reader that this bobby soxer (少女)did indeed represent a national norm or a growing trend--replaced the older models.

　　36. This article is based on the idea that ________.

　　A) people today no longer follow models

　　B) People attach little importance to whoever they follow

　　C) people generally pattern their lives after models

　　D) People no longer respect heroes

　　37. Stories of the second generation battling against the limitations of the first were often re- sponsible for ______.

　　A) inspiring literate immigrants

　　B) frustrating educated immigrants

　　C) preventing the assimilation of immigrants

　　D) instilling into immigrants an antagonistic attitude toward their forebears

　　38. The countermovement against Hollywood was a movement ______

　　A) toward realism

　　B) toward fantasy

　　C) against the teaching of morals

　　D) away from realism

　　39. The author attributes the change in attitudes since 1910 to ____

　　A) a logical evolution of ideas

　　B) widespread moral decay.

　　C) the influence of the press

　　D) a philosophy of plenty

　　40. The word "distortions" at the end of the 2nd sentence in paragraph 2 is closest in meaningto ______.

　　A) presentations

　　B) misinterpretations

　　C) influences

　　D) limitations

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　　Passage 7

　　文章大意：

　　有史以來的人類社會中年輕人通常都會模仿偶像。直到1910年時，這仍是美國流行的一種風(fēng)尚。受過教育的新來的移民會從各種渠道，包括好萊塢電影去學(xué)習(xí)美國人的說話、行為和思考方式。然而，由于各種原因，一個反對偶像模仿的時代已經(jīng)到來。在文章第二段，作者運(yùn)用了幾個并列的with短語做狀語，“a new era．。．”是主語，說明了這場運(yùn)動的必然性。年輕人不再模仿生活中、或藝術(shù)及電影中的偶像，而是看到了真正來自于生活的沒有被扭曲的偶像人物。

　　答案解析：

　　[36]C第一段第一句說明有史以來年輕人都會將各種各樣的人作為偶像來模仿。

　　[37]A第一段倒數(shù)第二句第二代移民藝術(shù)家努力克服父輩缺陷的故事是用來激勵移民變得有文化。

　　[38]A第二段第二句說明在反對好萊塢的運(yùn)動中，真實(shí)的生活被呈現(xiàn)出來(a new erawas ushered in)。

　　[39]D第二段一開始，幾個用with引導(dǎo)的短語說明原因是多種多樣的。

　　[40]B這個句子說明在運(yùn)動中，偶像不在是來自童話故事，而是來自于生活。這種生活盡可能保持原樣(minimal)，而且未被嚴(yán)重歪曲(crucial)，此處歪曲即誤解。故選B。