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2022年考研英语一阅读理解真题及参考答案

Section II Reading Comprehension

Part A

Directions:

Read the following four texts. Answer the questions below each text by choosing A, B,C or D. Mark your answers on ANSWER SHEET 1. (40 points)

Text 1

People often complain that plastics are too durable. Water bottles, shopping bags, and other trash litter the planet, from Mount Everest to the Mariana Trench, because plastics are everywhere and don't break down easily. But some plastic materials change over time. They crack and frizzle. They “weep” out additives. They melt into sludge.

All of which creates huge headaches for institutions, such as museums, trying to preserve culturally important objects. The variety of plastic objects at risk is dizzying: early radios, avant-gardes culptures, celluloid animation stills from Disney films, the first artificial heart.

Certain artifacts are especially vulnerable because some pioneers in plastic art didn't always know how to mix ingredients properly, says Thea van osten, a polymer chemist who, until retiring a few years ago, worked for decades at the Cultural Heritage Agency of the Netherlands (RCE).“It's like baking a cake: If you don't have exact amounts, it goes wrong,”she says.“The object you make isalready a time bomb."

And sometimes, it's not the artist's fault. In the 1960s, the Italian artist Piero Gilardi began to create hundreds of bright, colorful foam pieces. Thosepices included small beds of roses and other items as well as a few dozen“nature carpets”一large rectangles decorated with foam pumpkins, cabbages, and watermelons. He wanted viewers to walk around on the carpets- whichmeant they had to be durable.

Unfortunately, the polyurethane foam he used is inherently unstable. It's especially vulnerable to light damage, and by the mid-1990s, Gilardi's pumpkins, roses, and other figures were splitting and crumbling. Museums locked some of them away in the dark.

So van Oosten and colleagues worked to preserve Gilardi's sculptures. They infused some with stabilizing and consolidating chemicals. Van Oosten callsthose chemicals“sunscreens”because their goal was to prevent further light damage and rebuild worn polymer fibers. She is proud that several sculptures have even gone on display again, albeit sometimes beneath protective cases.

Despite success stories like van Oosten's, preservation of plastics will likely get harder. Old objects continue to deteriorate. Worse, biodegradable plastics, designed to disintegrate, are increasingly common.

And more is at stake here than individual objects. Joana Lia Ferreira, an assistant professor of conservation and restoration at the NOVA School of Science and Technology, notes that archaeologists first defined the great material ages of human history一Stone Age, Iron Age, and so on一after examining artifacts in museums. We now live in an age of plastic, she says,“and what we decide to collect today, what we decide to preserve..will have a strong impact on how in the future we'll be seen.”

21. According to Paragraph 1, museums are faced with difficulties in

[A] maintaining their plastic items.

[B] obtaining durable plastic artifacts.

[C] handling outdated plastic exhibits.

[D] classifying their plastic collections.

22. Van Oosten believes that certain plastic objects are

[A] immune to decay.

[B] improperly shaped.

[C] inherently flawed.

[D] complex in structure.

23. Museums stopped exhibiting some of Gilardi's artworks to_

[A] keep them from hurting visitors.

[B] duplicate them for future display.

[C] have their ingredients analyzed.

[D] prevent them from further damage.

24. The author thinks that preservation of plastics is

[A] costly.

[B] unworthy.

[C] unpopular.

[D] challenging.

25. In Ferreira's opinion, preservation of plastic artifacts_

[A] will inspire future scientific research.

[B] has profound historical significance.

[C] will help us separate the material ages.

[D] has an impact on today's cultural life.

【答案解析】

21、

【答案】A

【解析】第一段③至⑥句指出部分塑料材料会变形变质,⑦⑧句进而指出这给博物馆带来了大麻烦,博物馆努力保护重要文物，而多种塑料文物岌岌可危。可见,博物馆面临的困难是“难以保护老化变质的塑料文物”,A项正确。

 A项是对⑦⑧句( preserve culturally important objects. .. plastic objects at risk) 的概括。B项由①②句内容“公众抱怨塑料太过耐久”及随后所述博物馆塑料文物面临的险情“变形变质、岌岌可危"臆断出“博物馆渴望拥有耐久的塑料文物而不得(difficulties in obtaining...)”,实际上误读段落前后两部分的关系。C项将⑦句对早期收音机等塑料物品的定性“具有重要文化意义( culturally important)”窜改为“陈旧过时(outdated)”,更将博物馆的努力方向“保护/保存具有重要文化意义的塑料物品/展品(preserve... )”曲解为“处置/处理过时的塑料展品( handling...)”。D项由⑧句碎片信息“博物馆塑料文物种类繁多( The variety、 dizzying)” 捏造出“博物馆难以对其塑料藏品实行分类(classifying)”,但文中实则指出“博物馆岌岌可危的塑料文物种类繁多”。

22、

【答案】C

【解析】第二段①句间接援引范•奥斯藤观点指出“某些塑料手工艺品之所以格外脆弱,是因为先驱艺术家并不总是知道如何正确地混合各种成分”,②③则以直接引语作以阐释,先将“制作手工艺品”与“烤蛋糕”作类比,指出“如若用量不精准,就会出问题”,后将“所做的手工艺品/蛋糕”比喻为“定时炸弹",指出“物品损毁只是时间问题”。可见,他认为某些塑料物件“当初制作之时便配比不当,存在先天缺陷,因而终究会出问题”,C项正确。

 C项体现①句所述塑料物件的先天缺陷“各成分用量、配比不当"(din't.. mix .ingredients properly)。A项immune to decay (immune to意为“不受.....影响的”)与①句“某些手工艺品格外脆弱(易变形变质)”完全相悖。B项将①句“艺术家对原料成分的混合不当”扭曲为“艺术家对艺术品外形的塑造不，当”。注:shape 意为“使成形;塑造”。D项错将第三段③句个别雕塑作品(“自然之毯")的特点“装饰繁多”等同于“构造复杂",且泛化为某些塑料物件的共有特征。而且这无关范•奥斯藤的观点。

23、

【答案】D

【解析】第四段先介绍吉拉尔迪雕塑的材料特点“本身不稳定,特别易被光照损伤(especially .vulnerable to light damage)”,随后说明约30年后雕塑的状态“纷纷碎裂、坍塌”,最后指出博物馆应对之举“将部分雕塑锁起来藏于暗处(locked...away in the dark)”。由此可推知,博物馆暂停展出吉拉尔迪的部分作品是为“保护它们免遭更严重的光损伤",D项正确。

D项是结合“吉拉尔迪所用材料的特点(vulnerable to light damage)和博物馆举措(locked... away in the dark)”做出的合理推断。A项由第四段②句“吉拉尔迪的手工艺品都在碎裂、坍塌”臆断出“这些手工艺品可能伤及参观者，故博物馆将其撤展”,而文中保护对象是“手工艺品”，并非“参观者”。B项中“复制雕塑品(duplicate... )”偷换第五段信息“修复雕塑品(rebuild...)”,且“其中几件雕塑品得以重新展出”是后来努力的成果，当初撤展时并无此预期。C项由第二段和第四段关键词ingredients polyurethane foam捏造出“博物馆分析了吉拉尔迪作品的成分,确定其聚氨酯泡沫”,文章并未提及。

24、

【答案】D

【解析】第六段中作者先提出观点“保护塑料文物很可能会愈加困难”,随后论证观点“旧物件持续老化变质,更糟的是,可生物降解的新型塑料日益普遍”。可见,塑料文物保护工作将会是“极为艰难、充满挑战的”,D项正确。

D项challenging概括第六段get harder、Worse等体现的难度。A项由“塑料文物难以保护”主观推断出“保护塑料文物化费极大”,但文中并未提及花费问题。B项由②③句“旧物件持续老化变质;可降解塑料日益普遍”主观得出“塑料文物保护工作只会劳而无功”,而这两种趋势只能体现塑料文物保护工作“难度加大”,不涉及主观态度“不值得/划不来”。C项对①句断章取义,理解为“尽管有范•奧斯藤这样的成功故事,但保护塑料物件的工作会更加困难,因此会少有人涉足”,但结合后两句可知，作者意在强调“保护工作会非常困难”,并未论及“人们是否还会热衷于保护工作”。

25、

【答案】B

【解析】末段①句指出“面临威胁的不只是单个物件”,②③句援引费雷拉观点指出“考古学家曾在考察博物馆中的文物/人工制品之后界定了材料时代，塑料时代收藏、保存的文物也必将影响后世如何看待我们”,也即“保存塑料文物关乎后世对我们的评判、界定,具有深远的历史意义”,B项正确。

B项是对③句have a strong impact on how in the future we'll be seen的合理概括。A项将②③句碎片信息examining.in the future杂糅,两处信息分别指“考古学家当初对馆藏文物/人工制品的研究”以及“后世会如何看待我们”,无关“未来的科学研究"。C项混淆②③句信息,帮助我们划分.界定材料时代的是“材料时代的人工制品”,并非“塑料制品”。D项偷换概念,将③句“影响后世如何看待如今的我们”改为“影响当今的文化生活”。

Text 2

As the latest crop of students pen their undergraduate application form and weigh up their options, it may be worth considering just how the point, purpose and value of a degree has changed and what Generation Z need to consider as they start the third stage of their educational journey.

Millennials were told that if you did well in school, got a decent degree, you would be set up for life. But that promise has been found wanting. As degrees became universal, they became devalued. Education was no longer a secure route of social mobility. Today, 28 per cent of graduates in the UK are in non-graduate roles, a percentage which is double the average among the OECD countries.

This is not to say that there is no point in getting a degree, but rather stress that a degree is not for everyone, that the switch from classroom to lecture hall is not an inevitable one and that other options are available.

Thankfully, there are signs that this is already happening, with Generation Z seeking to learn from their millennial predecessors, even if parents and teachers tend to be still set in the degree mindset. Employers have long seen the advantages of hiring school leavers who often prove themselves to be more committed and loyal employees than graduates. Many too are seeing the advantages of scrapping a degree requirement for certain roles.

For those for whom a degree is the desired route, consider that this may well be the first of many. In this age of generalists, it pays to have specific knowledge or skills.

Postgraduates now earn 40 per cent more than graduates. When more and more of us have a degree, it makes sense to have two.

It is unlikely that Generation Z will be done with education at 18 or 21; they will need to be constantly upskilling throughout their career to stay employable. It has been estimated that this generation, due to the pressures of technology, the wish for personal fulfilment and desire for diversity, will work for 17 different employers over the course of their working life and have five different careers. Education, and not just knowledge gained on campus, will be a core part of Generation Z's career trajectory.

Older generations often talk about their degree in the present and personal tense: I am a geographer' or 'I am a classicist'. Their sons or daughters would never say such a thing; it's as if they already know that their degree won't define them in the same way.

26. The author suggests that Generation Z should

[A] be careful in choosing a college.

[B] be diligent at each educational stage.

[C] reassess the necessity of college education.

[D] postpone their undergraduate application.

27. The percentage of UK graduates in non-graduate roles reflects

[A] Milennial's opinion about work.

[B] the shrinking value of a degree.

[C] public discontent with education.

[D] the desired route of social mobility.

28. The author considers it a good sign that

[A] Generation Z are seeking to earn a decent degree.

[B] school leavers are willing to be skilled workers.

[C] employers are taking a realistic attitude to degree.

[D] parents are changing their minds about education.

29. It is advised in Paragraph 5 that those with one degree should

[A] make an early decision on their career.

[B ] attend on-the-job training programs.

[C] team up with high- paid postgraduates.

[D] further their studies in a specific field.

30. What can be concluded about Generation Z from the last two paragraphs?

[A] Lifelong learning will define them.

[B ] They will make qualified educators.

[C] Degrees will no longer appeal them.

[D] They will have a limited choice of jobs.

【答案解析】

26、

【答案】C

【解析】由题干中Generation Z should 和选项中choosing a college. educational stage、undergraduate application等词可定位至首段。首段指出,在最新一批学生(即Z世代)填写本科人学申请表、斟酌备选学校之时,思考“大学学位的意义、目的和价值到底已发生何种变化”以及“即将开始大学教育的Z世代需要考虑什么”这两个问题或许是值得的,言外之意即大学学位的作用和价值已经发生变化，可能不再如先前那么重要,Z世代需要重估大学教育的必要性。因此[C]正确。

27、

【答案】B

【解析】根据题干中The percentage of UK graduates in non-graduate roles 可定位至第二段⑤句。该句指出,超过四分之一的英国大学毕业生从事着无需本科学历的工作。再看前文内容:随着大学学位的普及,其价值不免降低;教育不再是实现社会阶层流动的可靠途径。联系可知.⑤句所援引的数据是在说明大学学位不再被就业市场看重,意即学位价值降低。故[B]正确。

28、

【答案】C

【解析】根据题干关键词a good sign可定位至第四段。该段首先指出,有迹象表明“大学不是Z世代的唯一出路”这一情形已经出现,随后明确有哪些迹象:1. Z世代已经谋求向千禧前辈学习从事无需本科学历的工作;2.雇主早已认识到相较大学毕业生来说雇用中学毕业生的好处;3.许多雇主还认识到取消某些职位的大学学历要求的诸多好处;其中2.3点表明中学毕业生在一定程度，上受到了雇主的青睐,即雇主不再将有无大学学位视为判断员工是否适合雇用的标准。故[C]正确。

29、

【答案】D

【解析】根据题干关键词Paragraph 5、those with one degree可定位至第五段。该段首句先提出建议:认为获取大学学位是理想路线的人应把大学学位当作是许多学位中的第一个。随后进一步阐释:在目前这个通才时代，掌握专门的知识或技能大有裨益;研究生薪资比本科生高40%;肖越来越多的人拥有一个学位时，拥有两个便是明智之举。可见,作者认为那些拥有了一个学位(本科学位)的人应继续深造。因此,[D]正确。

30、

【答案】A

【解析】根据题干可定位至第六、七段。第六段指出,Z世代在其职业生涯中会从事5种职业、为17个雇主工作,他们需要不断提升职业技能才能保持就业能力。所以教育(不仅仅是学校里学的知识)将是Z世代职业轨迹的核心部分。第七段指出,对于一生所从事的职业和大学所学专业高度相关的老一辈人来说,大学学位是定义其身份的关键因素,然而对于Z世代却并非如此(言外之意:终身学习才能定义Z世代)。故[A]正确。

Text 3

Enlightening, challenging, stimulating, fun. These were some of the words that Nature readers used to describe their experience of art-science collaborations in a series of articles on partnerships between artists and researchers. Nearly 40% of the roughly 350 people who responded to an accompanying poll said, they had collaborated with artists; and almost all said they would consider doing so in future.

Such an encouraging result is not surprising. Scientists are increasingly seeking out visual artists to heIp them communicate their work to new audiences. “Artists help scientists reach a broader audience and make emotional connections that enhance learning," one respondent said.

One example of how artists and scientists have together rocked the scenes came last month when the Sydney Symphony Orchestra performed a reworked version of Antonio Vivaldi's The Four Seasons. They reimagined the 300-year-old score by injecting the latest climate prediction data for each season- provided by Monash University's Climate Change Communication Research Hub. The performance was a creative call to action ahead of November' s United Nations Climate Change Conference in Glasgow, UK.

But a genuine partnership must be a two-way street. Fewer artists than scientists responded to the Nature poll, however, several respondents noted that artists do not simply assist scientists with their communication requirements. Nor should their work be considered only as an object of study. The alliances are most valuable when scientists and artists have a shared stake in a project, are able to jointly design it and can critique each other's work. Such an approach can both prompt new research as well as result in powerful art.

More than half a century ago, the Massachusetts Institute of Technology opened its Center for Advanced Visual Studies (CAVS) to explore the role of technology in culture.

The founders deliberately focused their projects around light 一hence the“visual studies”in the name. Light was a something that both artists and scientists had an interest in, and therefore could form the basis of collaboration. As science and technology progressed, and divided into more sub-disciplines， the centre was simultaneously looking to a time when leading researchers could also be artists, writers and poets, and vice versa.

Nature's poll findings suggest that this trend is as strong as ever, but, to make a collaboration work, both sides need to invest time, and embrace surprise and challenge.

The reach of art-science tie-ups needs to go beyond the necessary purpose of research communication, and participants must not fall into the trap of stereotyping each other.

Artists and scientists alike are immersed in discovery and invention, and challenge and critique are core to both, too.

31. According to Paragraph 1, art-science collaborations have

[A] caught the attention of critics.

[B ] received favorable responses.

[C] promoted academic publishing.

[D] sparked heated public disputes.

32. The reworked version of The Four Seasons is mentioned to show that

[A] art can off er audiences easy access to science.

[B] science can help with the expression of emotions.

[C] public participation in science has a promising future.

[D] art is effective in facilitating scientific innovations.

33. Some artists seem to worry about in the art-science partnership

[A] their role may be underestimated.

[B] their reputation may be impaired.

[C] their creativity may be inhibited.

[D] their work may be misguided.

34. What does the author say about CAYS?

[A] It was headed alternately by artists and scientists.

[B ] It exemplified valuable art-science alliances.

[C] Its projects aimed at advancing visual studies.

[D] Its founders sought to raise the status of artists.

35. In the last paragraph, the author holds that art-science collaborations

[A] are likely to go beyond public expectations.

[B] will intensify interdisciplinary competition.

[C] should do more than communicating science.

[D] are becoming more popular than before.

【答案解析】

31、

【答案】B

【解析】由题干信息Paragraph 1、art-science collaborations 可定位至首段(②句art-science collaborations.③句collaborated)。全段介绍《自然》杂志随附调查问卷的调查结果:大约350名读者接受了调查,他们用“富于启发、颇具挑战、振奋人心、饶有乐趣”来表达自己对科艺合作的感受,其中大约40%的人说自己与艺术家合作过,而且几乎所有人都表示希望在未来能与艺术家合作。可见,科艺合作已经得到了积极响应与一致认可，且第二段首句中的指代性表达Such an encouraging result 也传递了对这一调查结果的定性“令人鼓舞的,振奋人心的(encouraging)”,故B项正确。

32、

【答案】A

【解析】由题干信息The reworked version of The Four Seasoms可定位至第三段(a reworked version of... The Four Seasons)。第三段首句首先指出悉尼交响乐团上个月的《四季》改编之作就是艺术家与科学家携手打造、震撼全场的一个例子,②③句随后介绍了这一改编之作的具体信息:悉尼交响乐团利用最新气候预测数据对这部有着300年历史的乐曲进行了重构,旨在呼吁人们关注气候变化。可见，本段除了①句中有提及“科艺联袂打造震撼之作",并无其他特别明确的观点表达,故需借助上下文判断其主旨。下文句首But表语义转折,故排除;上文主要论述艺术对于科学传播的重要作用,恰能与第三段首句“科学家与艺术家联袂打造巅峰之作”形成呼应,也能与第三段全段形成“观点/论点一例子/论据"关联,共同说明“艺术是传播科学的有力媒介”,A项与之对应。

33、

【答案】A

【解析】由题干关键词Some artists、 worry、art- science partnership并结合试题命制顺序可定位至第四段(But a genuine partnership. .. Fewer artists... noted...)。第四段①句转承(But表语义转折) 上段指出真正的合作必须是相互成就的(暗示当前的科艺合作存在问题),②③句引出艺术家的担忧(间接说明问题):艺术不应该只被视为科学的传播工具或研究对象(意即艺术还具有更多作用)。由此可见，在科艺合作的关系中，艺术家们认为他们的作用被低估了,A项正确。

34、

【答案】B

【解析】由题干信息CAVS可定位至第五段(CAVS)。第五段①句点明麻省理工学院设立高级视觉研究中心(CAVS)的初衷“探索科技在人文艺术中的作用”,②③句揭示该中心促成科艺合作的关键因素“以双方的兴趣/利益共同点为基础”,④句补充指出该中心一直坚持与时俱进,谋求科学与艺术的深度融合。结合第四段末两句“真正最有价值的科艺合作是双方都有共同的利益关系,能够共同参与项目设计并评判彼此成果,这种合作才能既推动科技创新又赋能艺术”可判断,作者高度认可CAVS的做法,认为它是有价值的科艺联盟之典范,B项与之对应。

35、

【答案】C

【解析】由题干信息last paragraph. art-science collaborations 可定位至末段①②句(collaboration, art- science tie -ups)。末段①句指出科艺合作是大势所趋,为保证合作成功，双方都需要投人时间,并乐于接受意外与挑战。②句进一步升华观点:科艺合作应突破现有的合作边界,除了为传播科学服务外,还应探索更多的可能性。综上可知C项正确。

C项do more than communicating science 是对原文②句go beyond the necessary purpose of research communication的同义替换。

Text 4

The personal grievance provisions of New Zealand's Employment Relations Act 2000 (ERA) prevent an employer from firing an employee without good cause. Instead, dismissals must be justified. Employers must both show cause and act in a procedurally fair way.

Personal grievance procedures were designed to guard the jobs of ordinary workers from “unjustified dismissals". The premise was that the common law of contract lacked sufficient safeguards for workers against arbitrary conduct by management. Long gone are the days when a boss could simply give an employee contractual notice.

But these provisions create difficulties for businesses when applied to highly paid managers and executives. As countless boards and business owners will attest, constraining firms from firing poorly performing, high-earning managers is a handbrake on boosting productivity and overall performance. The difference between C-grade and A-grade managers may very well be the difference between business success or failure.

Between preserving the jobs of ordinary workers or losing them. Yet mediocrity is no longer enough to justify a dismissal.

Consequently- and paradoxically- -laws introduced to protect the jobs of ordinary workers may be placing those jobs at risk.

If not placing jobs at risk, to the extent employment protection laws constrain business owners from dismissing under-performing managers, those laws act as a constraint on firm productivity and therefore on workers’ wages. Indeed, in “An International Perspective on New Zealand's Productivity Paradox” (2014)， the Productivity Commission singled out the low quality of managerial capabilities as a cause of the country's poor productivity growth record.

Nor are highly paid managers themselves immune from the harm caused by the ERA'S unjustified dismissal procedures. Because employment protection laws make it costlier to fire an employee, employers are more cautious about hiring new staff. This makes it harder for the marginal manager to gain employment. And firms pay staff less because firms carry the burden of the employment arrangement going wrong.

Society also suffers from excessive employment protections. Stringent job dismissal regulations adversely affect productivity growth and hamper both prosperity and overall well-being.

Across the Tasman Sea, Australia deals with the unjustified dismissal paradox by excluding employees earning above a specified “high-income threshold" from the protection of its unfair dismissal laws. In New Zealand, a 2016 private members' Bill tried to permit firms and high-income employees to contract out of the unjustified dismissal regime. However, the mechanisms proposed were unwieldy and the Bill was voted down following the change in government later that year.

36. The personal grievance provisions of the ERA are intended to

[A] punish dubious corporate practices.

[B ] improve traditional hiring procedures.

[C ] exempt employers from certain duties.

[D] protect the rights of ordinary workers.

37. It can be learned from Paragraph 3 that the provisions may

[A] hinder business development.

[B] undermine managers' authority.

[C] affect the public image of the firms.

[D] worsen labor-management relations.

38. Which of the following measures would the Productivity Commission support?

[A] Imposing reasonable wage restraints.

[B] Enforcing employment protection laws.

[C] Limiting the powers of business owners.

[D] Dismissing poorly performing managers.

39. What might be an effect of ERA's unjustified dismissal procedures?

[A] Highly paid managers lose their jobs.

[B] Employees suffer from salary cuts.

[C] Society sees a rise in overall well-being.

[D] Employers need to hire new staff.

40. It can be inferred that the “high. income threshold” in Australia

[A] has secured managers' earnings.

[B] has produced undesired results.

[C] is beneficial to business owners.

[D] is difficult to put into practice

【答案解析】

36、

【答案】D

【解析】结合题干关键词personal grievance provisions与are intended to可定位至第二段①句。第二段①句指出,ERA的个人申诉程序旨在保护普通员工的工作岗位,避免员工被“不正当解雇",意即:保障普通员工“免遭不正当解雇”的权利，故答案锁定D项。

题干+D项契合第二段①句文意:personal grievance provisions of the ERA为Personal grievance procedures的全称，are intended to protect the rights of ordinary workers 则同义改写were designed to guard the jobs of ordinary workers from “unjustified dismissals" 。

37、

【答案】A

【解析】由题干关键词Paragraph3、the provisions可定位至第三段(these provisions)。第三段①句概述指出“个人申诉条款如应用于管理人员,会给企业带来不少难题”。②句明确具体难题:限制企业解雇能力不佳的管理人员,阻碍生产效率以及整体业绩的提高,即阻碍企业发展,故A项正确。

 A项hinder business development 高度概括了②句中a handbrake on boosting productivity and overall performance,契合①句中create difficulties for businesses.

38、

【答案】D

【解析】由题干关键词the Productivity Commission可定位至第五段②句。第五段①句提出论点:限制企业主解雇表现不佳的经理可能限制企业生产效率和员工薪资。②句引用新西兰生产力委员会的结论具体说明:管理能力低下是该国生产率增长数据不佳的原因之一。联系委员会的职责“促进本国生产率增长”可反推其可能支持企业解雇表现不佳的经理,以提高整体管理能力,故D项正确。

 D项Dismissing poorly performing managers由第五段①句constrain. .. from dismissing under- performing managers.②句the low quality of managerial capabilities 反推而来。

39、

【答案】B

【解析】结合题文同序的出题规律及本题关键词effect、ERA's unjustified dismissal procedures.可定位至第六、七段(caused/ make( s) /because/ suffers from/ afct/ hamper、ERA 's unjustified dismissal procedures)。第六段介绍ERA的不正当解雇程序对高薪经理自身的伤害:使能力平平的经理们更难被雇用,并使包括经理在内的全体员工薪酬减少。B项契合第六段④句,为正确项。

B项Employees suffer from salary cuts同义改写第六段④句中ERA的不正当解雇程序对全体员工的伤害firms pay staff less。

40

【答案】C

【解析】由题干关键词“high-income threshold" in Australia 可定位至第八段①句( Australia..."high-income threshold")。第八段①句指出,澳大利亚为应对“不正当解雇悖论”.将超过特定"高收入门槛”的员工排除在“不公平解雇法”的保护范围之外。联系上文“不正当解雇法应用于高薪管理人员会阻碍企业发展”,可反推知,澳大利业政府的“高收人门槛"有利于保障企业主的权益,确定答案为C项。

C项is beneficial to businessowners契合澳大利亚政府设置“高收人门槛”的目的(deals with the unjustified dismissal paradox)。