《2026年水木金卷高考模拟试卷精编英语》

B
In 2019, I began learning Chinese at the Confucius Institute in Rome. Already fluent in several European languages, I sought a new challenge—something truly different that would expand my worldview. Chinese, with its intricate characters resembling abstract art, melodic tones that sounded like singing, and sentence structures reversing European logic, fascinated me from the first lesson.
However, my interest soon branched out beyond linguistics into China's cultural heritage. I started with Tang Dynasty poetry, renowned for its concise elegance and emotive power. Poems by Li Bai and Du Fu introduced me to China's poetic tradition. Intrigued by its roots, I then turned to earlier works like the *Shi Jing* (The Book of Songs), an anthology of poems often attributed as one of the earliest reflections of the Chinese soul. Later, I explored the *Chu Ci* (Songs of Chu, or Poetry of the South), further broadening my understanding of regional literary expressions.
My classes soon multiplied, as I took courses on Chinese history, literature, philosophy and art history. Confucianism's emphasis on social harmony, Taoism's natural spontaneity, and Buddhism's cyclical worldview formed a philosophical triad that explained many modern Chinese values. Yet it was Chinese art history, especially scroll painting, that truly fired my imagination. The graceful brushstrokes, the interplay of ink and water, and the visual storytelling contained within those scrolls made me see art in an entirely new light.
During my journey, I was particularly drawn to the stories of influential women in Chinese history, such as military leader Fu Hao, and Emperor Wu Zetian. Learning about these extraordinary women expanded my understanding of China's societal transformations and how women's contributions have often been overlooked, yet undeniably crucial.
These discoveries inspired me to create a bilingual English-Montenegrin magazine about Chinese culture. Unlike academic journals, it would mix thorough research with engaging stories—featuring Tang poetry analyses alongside profiles of contemporary Chinese innovators. A planned column "From Terra Cotta to Tech" would trace historical continuities, while a culinary section might explore how Sichuan peppercorns traveled the Silk Road.
This publishing venture(活动) is both exciting and challenging. From selecting articles to editing translations, I'm constantly learning. And that, in itself, is part of what fascinates me so much about China: Its cultural depth is an ever-expanding puzzle—one that can never be fully completed, but becomes more fascinating with each piece we add. Ultimately, my hope is that by creating this bilingual magazine, I can contribute to a mutual understanding.
41. What initially motivated the author to learn Chinese?
A. The complexity of the Chinese language.
B. The desire to become a linguistic teacher.
C. The influence of several European languages.
D. The opportunity to study at the Confucius Institute.
42. In her exploration of Chinese culture, which of the following topics does the author NOT cover?
A. The principles of Confucianism and Taoism.
B. The expressive qualities of Tang Dynasty poetry.
C. The artistic skills involved in Chinese calligraphy.
D. The storytelling elements in Chinese scroll painting.
43. What does the author find most significant about the stories of influential women in Chinese history?
A. Their success in challenging traditional gender roles.
B. Their contributions to China's societal transformations.
C. Their artistic achievements in both poetry and painting.
D. Their overlooked yet crucial thoughts of Chinese culture.
44. What makes the author's magazine different from academic journals?
A. Use of bilingual content and comments from readers.
B. Exclusion of serious and deep historical analysis.
C. Main focus on modern technology and innovations.
D. Integration of academic depth and appealing stories.
45. Why does the author compare "Chinese cultural depth" to "an ever-expanding puzzle" in the last paragraph?
A. To emphasize that Chinese culture is too complicated to understand.
B. To criticize the lack of systematic study of Chinese traditions.
C. To demonstrate that Chinese culture is disconnected and incomplete.
D. To highlight its complexity and the endless opportunities for discovery.

答案： 41.A 推理判断题。题干意为:最初是什么激励了作者去学习汉语?根据第一段中“Chinese,with its intricate characters...melodic tones...and sentence structures reversing European logic,fascinated me”可知,汉语以其复杂的汉字,悦耳的声调,以及颠覆欧洲语言逻辑的句式结构深深吸引了作者。由此可推知,汉语的复杂性是作者学习汉语的最初动机。故选A。
42.C 细节理解题。题干意为:在作者对中国文化的探索中,她没有涉及下列哪个主题?根据第二段中“I started with Tang Dynasty poetry...then turned to earlier works like the Shi Jing(The Book of Songs)...explored the Chu Ci(Songs of Chu,or Poetry of the South)”和第三段中“Confucianism’s emphasis on social harmony,Taoism’s natural spontaneity,and Buddhism’s cyclical worldview formed a philosophical triad...Yet it was Chinese art history,especially scroll painting...and the visual storytelling contained within those scrolls...light.”可知,作者研究了唐代诗歌,像《诗经》这样的早期作品,《楚辞》,儒家、道家、佛家思想以及中国艺术史,尤其是卷轴画的叙事元素等,她未探究中国书法的艺术技巧。故选C。
43.B 细节理解题。题干意为:关于中国历史上有影响力的女性的故事,作者认为最重要的是什么?根据第四段中“Learning about these extraordinary women expanded my understanding of China’s societal transformations and how women’s contributions have often been overlooked,yet undeniably crucial.”可知,作者发现这些女性对社会变革的贡献最为重要。故选B。
44.D 细节理解题。题干意为:是什么让作者的杂志不同于学术期刊的?根据倒数第二段中“Unlike academic journals,it would mix thorough research with engaging stories—featuring Tang poetry analyses alongside profiles of contemporary Chinese innovators.”可知,作者的杂志会将深入的研究与引人入胜的故事相结合——既有对唐诗的分析,也有关于当代中国创新者的简介。由此可知,作者的杂志的不同之处在于它融合了学术深度和吸引人的故事。故选D。
45.D 推理判断题。题干意为:在最后一段中,将“中国文化的渊博”比作“一个不断扩大的拼图”?根据最后一段中“Its cultural depth is an ever-expanding puzzle—one that can never be fully completed,but becomes more fascinating with each piece we add”可知,作者认为中国文化的渊博是一个不断扩大的拼图,“我们”永远无法完全掌握它,但每探索一部分都会有惊喜。由此可推知,进行此比喻是为了强调其复杂性和探索的无限可能。故选D。