广东梅州市兴宁市第一中学2026-2027学年高三上学期11月期中英语试题

兴宁一中高三英语质检试卷

第二部分 阅读理解 （共两节，满分 50 分）

第一节（共15小题；每小题2.5分，满分37.5分）

阅读下列短文，从每题所给的A、B、C和D四个选项中，选出最佳选项。

A

Riverside Arts Centre --- Autumn Season 2026

Following a record-breaking summer, Riverside Arts Centre returns with an autumn programme that balances crowd favourites with less familiar offerings. Tickets go on sale to members on 1 August and to the general public on 8 August. Early booking is strongly advised.

Exhibition: Light and Silence

3 September–28 October, Tuesday – Sunday, 10 a. m.–6 p. m.

This exhibition brings together works by twelve contemporary photographers exploring how natural light shapes our sense of place. The centre's curator, Dr Helen Marsh, will give a free introductory talk on 5 September at 11 a. m. in the main hall; no booking is required, but seating is on a first-come, first-served basis. Visitors should note that the west wing, home to the permanent collection, will remain closed for renovation until November.

Theatre: The Long Room

12–20 September, 7:30 p. m. (matinee 2:30 p. m. on 14 and 20 September)

A new production of Alan Reeve’s celebrated play, directed by Priya Nair. The play contains scenes of a disturbing nature and is not recommended for anyone under 14. Running time is approximately two hours and forty minutes, including one interval. Tickets: £18–£32. Members receive a 15% discount on opening night only.

Workshop: Writing for Radio

3–4 October, 10 a. m.–4 p. m.

Led by award-winning radio dramatist Tom Fielding, this two-day workshop is aimed at writers who already have some experience and wish to develop their skills for the medium. Participants are asked to submit a short sample of writing as reservation in advance. Places are strictly limited to 14 and are allocated on a first-come, first-served basis. Fee: £85 (members £70), including lunch on both days.

Family Event: Tales from the River

18 October, 11 a. m. and 2 p. m.

A storytelling session for children aged 5–10 and their families, inspired by local legends. Each session lasts about 50 minutes. Admission is free, but tickets must be booked in advance owing to limited capacity. Children must be accompanied by an adult at all times.

For full details and booking, visit riversidearts.org.uk or call the box office on 555-0192 (Tuesday–Saturday, 10 a. m.–5 p. m.).

21. What is true of the exhibition Light and Silence?

A. It can be visited on Mondays.

B. It is held mainly in the west wing.

C. It requires booking for the curator’s talk.

D. It leaves out part of the centre’s usual displays.

22. What do the Writing for Radio workshop and Tales from the River have in common?

A. They both charge a fee. B. They both offer lunch.

C. They are both intended for adults. D. They both require advance booking.

23. What is the main purpose of the text?

A. To persuade readers to become members.

B. To review the centre’s summer programme.

C. To provide information about upcoming events.

D. To explain a change in the centre’s opening hours.

B

In a crowded gallery in the 1940s, a student of traditional Chinese painting, Duan Wenjie, gazed at the vivid Mogao murals (壁画) and felt an immediate urge to visit Dunhuang. "I was like a hungry ox breaking into a vegetable garden," he recalled, "and enjoying a spiritual feast." From that moment on, thoughts of the murals filled Duan's mind. His initial idea of a brief visit had transformed into a lifelong mission.

Duan's work began in the caves, where he painted copies of the murals. Due to the severe damage done to some of the murals, this was at times an almost impossible task. Determined, Duan labored through hundreds of reference sources, making numerous notes on how to best reproduce the all-but-invisible images. Sometimes, years of painstaking work yielded only one single copy. Starting in 1946, he copied nearly 400 ancient murals mostly by himself, covering an area of about 150 square metres.

Despite such remarkable achievements in restoration work, the situation was far less encouraging when it came to academic research. For a long time, Dunhuang studies were largely carried out in other countries, such as Japan, France and Russia. This was the direct consequence of a tragic history. Starting in the early 1900s, foreign explorers smuggled (走私) thousands of ancient manuscripts and relics (遗物) out of the Mogao Grottoes. As a result, those irreplaceable materials became scattered across the globe. Renowned Chinese historian Chen Yinque once referred to Dunhuang studies as an example of "our sad academic history".

In 1982, Duan Wenjie became Dunhuang Academy's second director and spared no effort to change this situation. Dunhuang studies quickly expanded in range, and Duan led his colleagues in publishing Dunhuang Research, the first Chinese academic journal of Dunhuang studies. "Dunhuang is the whole of my life," he once said. Thanks to his decades of sustained efforts, the Mogao Grottoes were added to the UNESCO World Heritage List in 1987.

24. What inspired Duan Wenjie to go to Dunhuang?

A. An academic conference on cave art.

B. A spiritual feast in a vegetable garden.

C. His desire for a lifelong mission in Dunhuang.

D. His strong fascination with a mural exhibition.

25. How did Duan address the challenge of copying the murals?

A. By restoring the damaged images.

B. By working with mural researchers.

C. By consulting extensive materials carefully.

D. By producing several copies of the same mural.

26. Why did Chen see Dunhuang studies as a case of "our sad academic history"?

A. Overseas studies caused thefts. B. The murals were gradually damaged.

C. Chinese scholars showed little interest. D. Historical losses led to foreign dominance.

27. Which of the following best describes Duan Wenjie?

A. Thorough and devoted. B. Independent and ambitious. 

C. Creative and practical. D. Curious and adventurous.

C

For decades, marine researchers have faced major obstacles in ocean conservation. Remote, dark coastal waters shelter rare marine species, largely inaccessible to human divers. Traditional cameras perform poorly in dim conditions, and costly human surveys cover less than 3 percent of global shallow marine areas yearly. To solve these problems, a modern AI bioacoustics (生物声学的) monitoring system has been developed to boost conservation efficiency.

Jointly created by environmental tech teams and marine reserves, this innovative system adopts low-cost underwater microphones to record complex ocean soundscapes. Equipped with advanced machine learning technology, it is able to identify various marine species according to their unique acoustic (声音的) features automatically. Compared with traditional approaches, it reduces survey costs by 62 percent and expands detectable sea areas by over 18 times. Inspired by dolphins' echolocation, its bionic algorithm (算法) can block interference from waves and ship engines, accurately recognizing faint and mixed underwater sounds.

In a 12-month field study off Ghana's western coast, Dr. Lena Marquez's team placed 46 solar-powered hydrophones (水听器). The AI uncovered three locally extinct fish species, missed by human divers' annual searches for five years. It also locates hidden seagrass and coral habitats overlooked by humans. Guided by its data, local fishermen adopted seasonal fishing bans, raising young fish populations by 41 percent in eight months.

Nevertheless, the system has two noticeable limitations. It fails to identify silent marine creatures such as shellfish with no acoustic signals. Additionally, its high-precision analysis demands steady internet access and basic digital training, which many remote island regions lack. To overcome these obstacles, researchers are optimizing offline data processing systems and offering free professional training for coastal residents in relevant regions.

This bionic AI technology marks a significant breakthrough in marine ecological protection. Rather than isolating technology from natural ecosystems, it learns and follows natural biological rules to repair damaged ocean habitats. As affordable hydrophones and open-source AI programs gain global popularity, local coastal communities are empowered to guard marine resources effectively, turning abstract ocean protection theories into practical daily action.