[G] Ground surveys allow archaeologists to pinpoint the places where digs will be successful. Most ground surveys involve a lot of walking, looking for surface clues such as small fragments of pottery. They often include a certain amounts of digging to test for buried materials at selected points across a landscape. Archaeologists also may locate buried remains by using such technologies as ground radar, magnetic-field recording, and metal detector. Archaeologists commonly use computers to map sites and the landscapes around sites. Two and three-dimensional maps are helpful tools in planning excavations, illustrating how sites look, and presenting the results of archaeological research.
41 --- A --- 42. --- E ---43 --- 44 --- 45
解析：本文选自发表于2003年The International History Project的文章，题目为Archeology.
41. 此题是首段，所以需要找寻综述性的段落。其中A和E选项是给出的，所以只需从余下选项进行选择。B选项中有another，所以不会是第一段。E选项中代词their没有指代对象。F中有however,也不会是第一段。因此，只留下C和D选项。在C选项最后一句提到survey和test sample也很重要。而在D选项开头就提到了survey,而且整段都是，由此可看出D是对C的分述。所以C是首段。 42. 此题排在A项之后，所以内容上应该是衔接的。A项主要谈论的是大部分考古地点是通过仔细搜寻之后找到的，而其他的很多是被偶然发现的，接着举了一些例子。接下来在看各段首句的时候，发现F项中提到大部分考古地点是被考古学家们特意寻找发现的，和A提到的偶然发现意思相反，所以F正确。
43. 此题排在E项之后。E选项最后一句提到天空的搜寻，而在G选项的开头提到地面搜寻，正好形成对应，所以为正确答案。
44. 此时，只留下B和D选项。其中B选项开头提到了in another case,所以前面一段一定要提到in one case, 而D选项中有in one case.所以，D选项在前。
45. 根据上面的分析，此题只能选B。 核心”的各个方法。排除A，选择B Part C Directions:
Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written on the ANSWER SHEET(10 points)
Music means different things to different people and sometimes even different things to the same person at different moments of his life. It might be poetic, philosophical, sensual, or mathematical, but in any case it must, in my view, have something to do with the soul of the human being. Hence it is metaphysical; but the means of expression is purely and exclusively physical: sound. I believe it is precisely this permanent coexistence of metaphysical message through physical means that is the strength of music.46) It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itself. Beethoven’s importance in music has been principally defined by the revolutionary nature of his compositions. He freed music from hitherto prevailing conventions of harmony and structure. Sometimes I feel in his late works a will to break all signs of continuity. The music is abrupt and seemingly disconnected, as in the last piano sonata. In musical expression, he did not feel restrained by the weight of convention. 47) By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let alone the performance, of his works. This courageous attitude in fact becomes a requirement for the performers of Beethoven’s music. His compositions demand the performer to show courage, for example in the use of dynamics. 48) Beethoven’s habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him. Beethoven was a deeply political man in the broadest sense of the word. He was not interested in daily politics, but concerned with questions of moral behavior and the larger questions of right and wrong affecting the entire society.49) Especially significant was his view of freedom, which, for him, was associated with the rights and responsibilities of the individual: he advocated freedom of thought and of personal expression. Beethoven’s music tends to move from chaos to order as if order were an imperative of human existence. For him, order does not result from forgetting or ignoring the disorders that plague our existence; order is a necessary development, an improvement that may lead to the Greek ideal of spiritual elevation. It is not by chance that the Funeral March is not the last movement of the Eroica Symphony, but the second, so that suffering does not have the last word. 50) One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living. 46. It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itself. 【句型分析】本句主句主干为it is the reason，why引导定语从句，修饰the reason。定语从句的主干是all we can do is articulate our
reactions and not grasp music itself，其表语是不定式短语，由于主语中含有do，不定式符号to省略：articulate our reactions and not grasp music itself。our reactions之后to it为其定语，it指代music。定语从句中还包含when引导的时间状语从句。
【翻译要点】①本句主干的主句是主系表结构，reason后why引导的定语从句较长，翻译时可以与主干部分结合，调整表达为：这也就是为什么….。
②定语从句中，when引导时间状语从句，其中with words做状语，翻译时需调整语序到其修饰的to describe之前，可以表达为“当我们尝试用语言来描述音乐时”。定语从句的主干顺译即可，其中reaction根据语境，可以翻译为“感受”，其定语to it在表达时前置，it指代还原为“音乐”，则可以翻译为“所有我们能做的，就是明确表达我们对于音乐的感受”，或者调整表达为“我们只能明确表达我们对于音乐的感受”。and之后，grasp依据语境，需要翻译为“理解”。 【译文总结】这也是为什么当我们试图用语言来描述音乐时，我们只能明确表达我们对于音乐的感受，而不能完全理解音乐本身。 47. By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let alone the performance, of his works. 【句型分析】本句为并列句。第一个分句he was a freethinking person, and a courageous one，句首by all accounts为固定搭配，意思是“根据各方面说”。第二个分句的主干为I find courage an essential quality，其中宾语为courage，而an essential quality是宾语补足语。quality后介词短语for the understanding of his work为其定语，其中还包含一个插入结构let alone the performance。
【翻译要点】① 第一个分句结构比较简单，句首固定搭配by all accounts，可以调整表达，翻译为“据大家所说”。主干顺译即可，其中he指代“贝多芬”，one指代person。这一部分可以翻译为“贝多芬是个思想自由、充满勇气的人”。
②第二个分句，主干为“我发现勇气是一个关键品质”，quality后为其定语for the understanding of his work，其中the understanding of his work意思为“对于其作品的理解”，做词性转化后，可以表达为“理解其作品”，这个介词短语需要调整语序前置于quality，可以翻译为“理解他作品的关键品质”，则第二个分句可以表达为“我发现勇气，是理解他作品的关键品质”。还可以调整表达为“我发现勇气这一品质，是理解他作品的关键”。
③在定语for the understanding of his work中的插入成分，在逻辑上let alone并列the understanding和the performance，二者共用定语of his works，顺译句末即可：更不必说是演出其作品的关键品质。 【译文总结】人们普遍认为，他(贝多芬)是个思想自由、充满勇气的人，我发现勇气这一品质，是理解他作品的关键，更不必说是演出其作品的关键。
48. Beethoven’s habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him. 【句型分析】本句主干为Beethoven’s habit was used by composers before him。本句的谓语为被动语态，主语habit后介词短语of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage为其定语，是由介词of与and并列的两个动名词短语increasing the volume with an extreme intensity 和then abruptly following it with a sudden soft passage构成。