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(真实)--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：

　　有史以来的人类社会中年轻人通常都会模仿偶像。直到1910年时，这仍是美国流行的一种风尚。受过教育的新来的移民会从各种渠道，包括好莱坞电影去学习美国人的说话、行为和思考方式。然而，由于各种原因，一个反对偶像模仿的时代已经到来。在文章第二段，作者运用了几个并列的with短语做状语，“a new era．。．”是主语，说明了这场运动的必然性。年轻人不再模仿生活中、或艺术及电影中的偶像，而是看到了真正来自于生活的没有被扭曲的偶像人物。

　　答案解析：

　　[36]C第一段第一句说明有史以来年轻人都会将各种各样的人作为偶像来模仿。

　　[37]A第一段倒数第二句第二代移民艺术家努力克服父辈缺陷的故事是用来激励移民变得有文化。

　　[38]A第二段第二句说明在反对好莱坞的运动中，真实的生活被呈现出来(a new erawas ushered in)。

　　[39]D第二段一开始，几个用with引导的短语说明原因是多种多样的。

　　[40]B这个句子说明在运动中，偶像不在是来自童话故事，而是来自于生活。这种生活尽可能保持原样(minimal)，而且未被严重歪曲(crucial)，此处歪曲即误解。故选B。