【阅读】新托福阅读艺术类文章大汇总
托福阅读文化艺术类短篇练习
托福阅读文化艺术类短篇练习- Neoclassicaltheater托福阅读是让很多考生头疼的一大难题，如何提高阅读速度，怎样提升阅读成绩呢现在请大家跟三立在线小编一起来看看下面这篇文章吧。
Neoclassical theaterNeoclassical theater was the most importantform of theater from the sixteent h to the eighteenth century in Western Europe.Elaborate scenery and costume s were very important in neoclassical theater, aswere overacting and maintaini ng common themes and methods of acting. Inneoclassical theater, the plots were similar and repetitive just likemodern-day soap operas. They also tended to use a lot of farce and tragedy.Neoclassical theater developed in Franceduring the sixteenth century, and it c hanged the way the playwrights wrotetheir plays. It also changed methods of production and the way sets were designed. French neoclassical theaterwas based largely on unities; these were unity of time, unity of place, andseveral others. In other words, the French neoclassical dramatists wanted thetime, pla ce, and action of the play to be unified and to be more like reallife. Therefor e, according to the neoclassicists, there could not be a changeof day in the play without a sunset and then a sunrise, just like in real life.Also, when the action of the play changedfrom one place to another, the bac kground scenery had to be changed as well.Another important aspect of neo classical theater was the use of farce, which isa way of making important situ ations or people seem ridiculous. The opposite offarce, tragedy, was also com monly used in neoclassical theater. Tragedy is adramatic method where peopl e make sad situations seem even sadder. The threemost popular neoclassical playwrights were Pierre Corneille, Jean Racine, andMoliere. They all had differ ent styles of writing, and they lived and worked inParis at the same time.Parisian audiences loved watching thedifferent styles of the playwrights and c omparing the three. Comeille was thefirst to begin writing, and the content o f his plays created a lot ofcontroversy. His most famous play, Le Cid, written in 1637, was popular andcontroversial simply because it did not follow the es tablished unities ofneoclassical theater. To this day, critics argue about wheth er it should beclassified as a neoclassical play or not. Unlike Corneille, Jean R acine triedto stick to the rules of neoclassical theater as much as possible. Hi s mostfamous tragedy, Andromache, written in 1664, is perhaps the best exa mple ofneoclassical theater Meanwhile, Moliere was the king of farce and the mostinfluential neoclassical playwright. His characters were used to depict realpeople, and he was interested n showing the reality of human weakness as muchas possible.Passage summaryWestern European theater in (1) ________ - usedelaborate scenery and costume s- overacting- (2) ________ plotsDevelopment - began in sixteenth century France- was based on unities ---unities of (3)________ and others- utilized farce making important situations seem (4) ________ridiculous- utilized tragedy made sad situationssadderPopular playwrights - Pierre Corneille, Jean Racine, andMoliere- had different styles but lived in Parisat same time- (5) ________ was most famous and most influential参考答案：•Moliere –5•ridiculous –4•16 -18th century –1•similar and repetitive –2•time, action, place –3Questions for general comprehensionQuestion 1According to paragraph 2, all of thefollowing is true about neoclassical theate r EXCEPT:1.It unified the time, place, and action of the play.2.It made use of both farce and tragedy as part of its repertoire. 4.5.It caused playwrights to change their way of writing.6.7.It insisted that a play be performed within a day.8.Question 2The word depict in the passage is closestin meaning to1.ridicule2.3.amuse5.describe6.7.imitate8.Question 3Why does the author mention modern-day soapoperas in paragraph1?1.To help readers understand the plots of neoclassical theater2.3.To show that farce and tragedy were essential components of neoclassical th eater4.5.To indicate that soap operas have similar themes to neoclassical theater 6.7.To contrast neoclassical theater with present-day dramas8.Question 4The author discusses Pierre Corneille, JeanRacine, and Moliere in order to 1.show that neoclassical theater embraced various styles of writing2.3.argue that good plays should cause much controversy4.5.give good examples of neoclassical theater6.7.explain why they succeeded in attracting audiences8.参考答案：答案1：D解析：根据part2中的第四句话（S4）dramatists wanted the time, place, and actio n of the play to beunified可知A正确。
托福阅读真题(最新最全)
托福阅读真题3PASSAGE 3The Native Americans of northern California were highly skilled at basketry, using the reeds,grasses, barks, and roots they found around them to fashion articles of all sorts and sizes- not only trays, containers, and cooking pots, but hats, boats, fish traps, baby carriers, and ceremonialobjects.Of all these experts, none excelled the Pomo — a group who lived on or near the coast during the 1800's, and whose descendants continue to live in parts of the same region to this day. They made baskets three feet in diameter and others no bigger than a thimble. The Pomo people were masters of decoration. Some of their baskets were completely covered with shell pendants; others with feathers that made the baskets' surfaces as soft as the breasts of birds. Moreover, the Pomo people made use of more weaving techniques than did their neighbors. Most groups made all their basketwork by twining — the twisting of a flexible horizontal material, called a weft, around stiffer vertical strands of material, the warp. Others depended primarily on coiling — a process in which a continuous coil of stiff material is held in the desired shape with tight wrapping of flexible strands. Only the Pomo people used both processes with equal ease and frequency. In addition, they made use of four distinct variations on the basic twining process, often employing more than one of them in a single article.Although a wide variety of materials was available, the Pomo people used only a few. The warp was always made of willow, and the most commonly used weft was sedge root, a woody fiber that could easily be separated into strands no thicker than a thread. For color, the Pomo people used the bark of redbud for their twined work and dyed bullrush root for black incoiled work. Though other materials were sometimes used, these four were the staples in their finest basketry.If the basketry materials used by the Pomo people were limited, the designs were amazingly varied. Every Pomo basketmaker knew how to produce from fifteen to twenty distinct patterns that could be combined in a number of different ways.1. What best distinguished Pomo baskets from baskets of other groups?(A) The range of sizes, shapes, and designs(B) The unusual geometric(C) The absence of decoration(D) The rare materials used2. The word "fashion" in line 2 is closest in meaning to(A) maintain(B) organize(C) trade(D) create3. The Pomo people used each of the following materials to decorate baskets EXCEPT(A) shells(B) feathers(C) leaves(D) bark4. What is the author's main point in the second paragraph?(A) The neighbors of the Pomo people tried to improve on the Pomo basket weaving techniques.(B) The Pomo people were the most skilled basket weavers in their region.(C) The Pomo people learned their basket weaving techniques from other Native Americans.(D) The Pomo baskets have been handed down for generations.5. The word "others " in line 9 refers to(A) masters(B) baskets(C) pendants(D) surfaces6. According to the passage , a weft is a(A) tool for separating sedge root(B) process used for coloring baskets(C) pliable maternal woven around the warp(D) pattern used to decorate baskets7. According to the passage , what did the Pomo people use as the warp in their baskets?(A) bullrush(B) willow(C) sedge(D) redbud8. The word "article" in line 17 is close in meaning to(A) decoration(B) shape(C) design(D) object9. According to the passage . The relationship between redbud and twining is most similar to the relationship between(A) bullrush and coiling(B) weft and warp(C) willow and feathers(D) sedge and weaving10. The word "staples" in line 23 is closest in meaning to(A) combinations(B) limitations(C) accessories(D) basic elements11. The word "distinct" in lime 26 is closest in meaning to(A) systematic(B) beautiful(C) different(D) compatible12. Which of the following statements about Pomo baskets can be best inferred from the passage ?(A) Baskets produced by other Native Americans were less varied in design than those of the Pomo people.(B) Baskets produced by Pomo weavers were primarily for ceremonial purposes.(C) There were a very limited number of basketmaking materials available to the Pomo people.(D) The basketmaking production of the Pomo people has increased over the years.PASSAGE 4The term "Hudson River school" was applied to the foremost representatives ofnineteenth- century North American landscape painting. Apparently unknown during the golden days of the American landscape movement, which began around 1850 and lasted until the late 1860's, the Hudson River school seems to have emerged in the 1870's as a direct result of the struggle between the old and the new generations of artists, each to assert its own style as the representative American art. Theolder painters, most of whom were born before 1835, practicedin a mode often self-taught and monopolized by landscape subject matter and were securely established in and fostered by the reigning American art organization, the National Academy of Design. The younger painters returning home from training in Europe worked more with figural subject matter and in a bold and impressionistic technique; their prospects for patronage in their own country were uncertain, and they sought to attract it by attaining academic recognition in New York. One of the results of the conflict between the two factions was that what in previous years had been referred to as the "American", "native", or, occasionally, "New York" school — the most representative school of American art in any genre — had by 1890 become firmly established in the minds of critics and public alike as the Hudson River school.The sobriquet was first applied around 1879. While it was not intended as flattering, it was hardly inappropriate. The Academicians at whom it was aimed had worked and socialized inNew York, the Hudson's port city, and had painted the river and its shores with varyingfrequency. Most important, perhaps, was that they had all maintained with a certain fidelity a manner of technique and composition consistent with those of America's first popular landscape artist, Thomas Cole,who built a career painting the Catskill Mountain scenery bordering the Hudson River. A possible implication in the term applied to the group of landscapists was that many of them had, like Cole,lived on or near the banks of the Hudson. Further, the river had long served as the principal route toother sketching grounds favored by the Academicians, particularly the Adirondacks and the mountains of Vermont and New Hampshire.1. What does the passage mainly discuss?(A) The National Academy of Design(B) Paintings that featured the Hudson River(C) North American landscape paintings(D) The training of American artists in European academies2. Before 1870, what was considered the most representative kind of American painting?(A) Figural painting(B) Landscape painting(C) Impressionistic painting(D) Historical painting3. The word "struggle" in line 5 is closest in meaning to(A) connection(B) distance(C) communication(D) competition4. The word "monopolized" in line 7 is closest in meaning to(A) alarmed(B) dominated(C) repelled(D) pursued5. According to the passage , what was the function of the National Academy of Design for the painters born before 1835?(A) It mediated conflicts between artists.(B) It supervised the incorporation of new artistic techniques.(C) It determined which subjects were appropriate.(D) It supported their growth and development.6. The word "it" in line 12 refers to(A) matter(B) technique(C) patronage(D) country7. The word "factions" in line 13 is closest in meaning to(A) sides(B) people(C) cities(D) images8. The word "flattering" in line 18 is closest in meaning to(A) expressive(B) serious(C) complimentary(D) flashy9. Where did the younger generation of painters receive its artistic training?(A) In Europe(B) In the Adirondacks(C) In Vermont(D) In New Hampshire答案：PASSAGE 3 BDCBB CBDAD CAPASSAGE 4 BBDBD CACA。
托福TPO阅读真题之CaveArtinEurope
托福TPO阅读真题之CaveArtinEurope下面是一篇托福TPO阅读真题，这篇托福阅读真题的主要内容是关于欧洲的岩洞艺术的相关信息。
欧洲的岩洞艺术已经有几万年的历史了，这些岩洞艺术反映出了当初人们的什么文化，这些艺术有什么作用呢?下面是详细内容。
The earliest discovered traces of art are beads and carvings, and then paintings, from sites dating back to the Upper Paleolithic period. We might expect that early artistic efforts would be crude, but the cave paintings of Spain and southern France show a marked degree of skill. So do the naturalistic paintings on slabs of stone excavated in southern Africa. Some of those slabs appear to have been painted as much as 28,000 years ago, which suggests that painting in Africa is as old as painting in Europe. But painting may be even older than that. The early Australians may have painted on the walls of rock shelters and cliff faces at least 30,000 years ago, and maybe as much as 60,000 years ago.The researchers Peter Ucko and Andree Rosenfeld identified three principal locations of paintings in the caves of western Europe: (1) in obviously inhabited rock shelters and cave entrances; (2) in galleries immediately off the inhabited areas of caves; and (3) in the inner reaches of caves, whose difficulty of access has been interpreted by some as a sign that magical-religious activities were performed there.The subjects of the paintings are mostly animals. The paintings rest on bare walls, with no backdrops or environmental trappings. Perhaps, like many contemporary peoples, UpperPaleolithic men and women believed that the drawing of a human image could cause death or injury, and if that were indeed their belief, it might explain why human figures are rarely depicted in cave art. Another explanation for the focus on animals might be that these people sought to improve their luck at hunting. This theory is suggested by evidence of chips in the painted figures, perhaps made by spears thrown at the drawings. But if improving their hunting luck was the chief motivation for the paintings, it is difficult to explain why only a few show signs of having been speared. Perhaps the paintings were inspired by the need to increase the supply of animals. Cave art seems to have reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing.The particular symbolic significance of the cave paintings in southwestern France is more explicitly revealed, perhaps, by the results of a study conducted by researchers Patricia Rice and Ann Paterson. The data they present suggest that the animals portrayed in the cave paintings were mostly the ones that the painters preferred for meat and for materials such as hides. For example, wild cattle (bovines) and horses are portrayed more often than we would expect by chance, probably because they were larger and heavier (meatier) than other animals in the environment. In addition, the paintings mostly portray animals that the painters may have feared the most because of their size, speed, natural weapons such as tusks and horns, and the unpredictability of their behavior. That is, mammoths, bovines, and horses are portrayed more often than deer and reindeer. Thus, the paintings are consistent with the idea that the art is related to the importance of hunting in the economy of Upper Paleolithic people. Consistent with this idea, according to theinvestigators, is the fact that the art of the cultural period that followed the Upper Paleolithic also seems to reflect how people got their food. But in that period, when getting food no longer depended on hunting large game animals (because they were becoming extinct), the art ceased to focus on portrayals of animals.Upper Paleolithic art was not confined to cave paintings. Many shafts of spears and similar objects were decorated with figures of animals. The anthropologist Alexander Marshack has an interesting interpretation of some of the engravings made during the Upper Paleolithic. He believes that as far back as 30.000 B.C., hunters may have used a system of notation, engraved on bone and stone, to mark phases of the Moon. If this is true, it would mean that Upper Paleolithic people were capable of complex thought and were consciously aware of their environment. In addition to other artworks, figurines representing the human female in exaggerated form have also been found at Upper Paleolithic sites. It has been suggested that these figurines were an ideal type or an expression of a desire for fertility.Paragraph 1: The earliest discovered traces of art are beads and carvings, and then paintings, from sites dating back to the Upper Paleolithic period. We might expect that early artistic efforts would be crude, but the cave paintings of Spain and southern France show a marked degree of skill. So do the naturalistic paintings on slabs of stone excavated in southern Africa. Some of those slabs appear to have been painted as much as 28,000 years ago, which suggests that painting in Africa is as old as painting in Europe. But painting may be even older than that. The early Australians may have painted on the walls of rockshelters and cliff faces at least 30,000 years ago, and maybe as much as 60,000 years ago.1.The word “marked” in the passage is closest in meaning to○Considerable○Surprising○Limited○Adequate2.Paragraph 1 supports which of the following statements about painting in Europe?○It is much older than painting in Australia.○It is as much as 28,000 years old.○It is not as old as painting in southern Africa.○It is much more than 30,000 years old.Paragraph 2：The researchers Peter Ucko and Andree Rosenfeld identified three principal locations of paintings in the caves of western Europe: (1) in obviously inhabited rock shelters and cave entrances; (2) in galleries immediately off the inhabited areas of caves; and (3) in the inner reaches of caves, whose difficulty of access has been interpreted by some as a sign that magical-religious activities were performed there.3.The word “principal” in the passage is closest in meaning to○Major○Likely○Well protected○Distinct4.According to paragraph 2, what makes some researchers think that certain cave paintings were connected with magical-religious activities?○The paintings were located where many people could easily see them, allowing groups of people to participate in the magical-religious activities.○Upper Paleolithic people shared similar beliefs with contemporary peoples who use paintings of animals in their magical-religious rituals.○Evidence of magical-religious activities has been found in galleries immediately off the inhabited areas of caves.○The pa intings were found in hard-to-reach places away from the inhabited parts of the cave.Paragraph 3：The subjects of the paintings are mostly animals. The paintings rest on bare walls, with no backdrops or environmental trappings. Perhaps, like many contemporary peoples, Upper Paleolithic men and women believed that the drawing of a human image could cause death of injury, and if that were indeed their belief, it might explain why human figures are rarely depicted in cave art. Another explanation for the focus on animals might be that these people sought to improve their luck at hunting. This theory is suggested by evidence of chips in the painted figures, perhaps made by spears thrown at the drawings. But if improving their hunting luck was the chief motivation for the paintings, it is difficult to explain why only a few show signs of having been speared. Perhaps the paintings were inspired by the need to increase the supply of animals. Cave art seems to have reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing.5.The word “trappings” in the passage is closest in meaning to○Conditions○Problems○Influences○Decorations6. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.○Upper Paleolithic people, like many contemporary peoples, believed that if they drew a human image in their cave art, it would cause death or injury.○Many contemporary people believe that the drawing of a human image can cause death or injury, so they, like Upper Paleolithic people, rarely depicted human figures in their cave art.○If Upper Paleolithic people, like many contemporary peoples, believed that the drawing of a human image could cause death or injury, this belief might explain why human figures are rarely depicted in cave art.○Although many contemporary peoples believe that the drawing of a human image can cause death or injury, researchers cannot explain why Upper Paleolithic people rarely depicted human figures in their cave art.7.According to paragraph 3, scholars explained chips in the painted figures of animals by proposing that○Upper Paleolithic artists used marks to record the animals they had seen○the paintings were inspired by the need to increase the supply of animals for hunting○the artists had removed rough spots on the cave walls○Upper Paleolithic people used the paintings to increase their luck at hunting8.Why does the author mention that Upper Paleolithic cave art seemed to have “reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing”?○To argue that Upper Paleolithic art creased to include animals when herds of game became scarce○To provide support for the idea that the aim of the paintings was to increase the supply of animals for hunting○To emphasize the continued improvement in the quality of cave art throughout the Upper Paleolithic period○To show the direct c onnection between the decrease in herds of game and the end of the Upper Paleolithic period Paragraph 4：The particular symbolic significance of the cave paintings in southwestern France is more explicitly revealed, perhaps, by the results of a study conducted by researchers Patricia Rice and Ann Paterson. The data they present suggest that the animals portrayed in the cave paintings were mostly the ones that the painters preferred for meat and for materials such as hides. For example, wild cattle (bovines) and horses are portrayed more often than we would expect by chance, probably because they were larger and heavier (meatier) than other animals in the environment. In addition, the paintings mostly portray animals that the painters may have feared the most because of their size, speed, natural weapons such as tusks and horns, and the unpredictability of their behavior. That is, mammoths, bovines, and horses are portrayed more often than deer and reindeer. Thus, the paintings are consistent with the idea that the art is related to the importance of hunting in the economy of Upper Paleolithic people. Consistent with this idea, according to the investigators, is the fact that the art of the cultural period that followed the Upper Paleolithic also seems to reflect how people got their food. But in that period, when getting food no longer depended on hunting large game animals (because they were becoming extinct), the art ceased to focus on portrayals of animals.9.According to paragraph 4, scholars believe that wild cattle, horses, and mammoths are the animals most frequently portrayed in cave paintings for all of the following reasons EXPECT:○These animals were difficult to hunt because theirunpredictable behavior.○People preferred these animal s for their meat and for their skins.○The painters admired the beauty of these large animals.○People feared these animals because of their size and speed.10.According to paragraph 4, which of the following may best represent the attitude of hunters toward deer and reindeer in the Upper Paleolithic period?○Hunters did not fear deer and reindeers as much as they did large game animals such as horses and mammoths.○Hunters were not interested in hunting deer and reindeer because of their size and speed.○H unters preferred the meat and hides of deer and reindeer to those of other animals.○Hunters avoided deer and reindeer because of their natural weapons, such as horns.11.According to paragraph 4, what change is evident in the art of the period following the Upper Paleolithic?○This new art starts to depict small animals rather than large ones.○This new art ceases to reflect the ways in which people obtained their food.○This new art no longer consists mostly of representations of animals.○This new art be gins to show the importance of hunting to the economy.Paragraph 5：Upper Paleolithic art was not confined to cave paintings. Many shafts of spears and similar objects were decorated with figures of animals. The anthropologist Alexander Marshack has an interesting interpretation of some of theengravings made during the Upper Paleolithic. He believes that as far back as 30.000 B.C., hunters may have used a system of notation, engraved on bone and stone, to mark phases of the Moon. If this is true, it would mean that Upper Paleolithic people were capable of complex thought and were consciously aware of their environment. In addition to other artworks, figurines representing the human female in exaggerated form have also been found at Upper Paleolithic sites. It has been suggested that these figurines were an ideal type or an expression of a desire for fertility.12.According to paragraph 5, which of the following has been used as evidence to suggest that Upper Paleolithic people were capable of complex thought and conscious awareness of their environment?○They engraved animal figures on the shafts of spears and other objects.○They may have used engraved signs to record the phases of the Moon.○Their figurines represented the human female in exaggerated form.○They may have used figurines to portray an ideal type or to express a desire for fertility.Paragraph 3：The subjects of the paintings are mostly animals. The paintings rest on bare walls, with no backdrops or environmental trappings. Perhaps, like many contemporary peoples, Upper Paleolithic men and women believed that the drawing of a human image could cause death of injury, and if that were indeed their belief, it might explain why human figures are rarely depicted in cave art. Another explanation for the focus on animals might be that these people sought to improve theirluck at hunting.█ This theory is suggested by evidence of chips in the painted figures, perhaps made by spears thrown at the drawings. █ But if improving their hunting luck was the chief motivation for the paintings, it is difficult to explain why only a few show signs of having been speared. █ Perhaps the paintings were inspired by the need to increase the supply of animals. Cave art seems to have reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing. █13.Look at the four squares [█] that indicate where the following sentence could be added to the passage.Therefore, if the paintings were connected with hunting, some other explanation is needed.Where would the sentence best fit?14.Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that explain the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.Upper Paleolithic cave paintings in Western Europe are among humanity’s earliest artistic efforts.Answer choices○Researchers have proposed several different explanations for the fact that animals were the most common subjects in the cave paintings.○The art of the cultural period that followed the Upper Paleolithic ceased to portray large game animals and focused instead on the kinds of animals that people of that period preferred to hunt.○Some researchers believe that the paintings found in France provide more explicit evidence of their symbolic significance than those found in Spain, southern Africa, and Australia.○The cave paintings focus on portraying animals without also depicting the natural environments in which these animals are typically found.○Some researchers have argued that the cave paintings mostly portrayed large animals that provided Upper Paleolithic people with meat and materials.○Besides cave paintings, Upper Paleolithic people produced several other kinds of artwork, one of which has been thought to provide evidence of complex thought.参考答案：1. ○12. ○23. ○14. ○45. ○46. ○37. ○48.○29. ○310. ○111. ○312. ○213. ○314. ○1 5 6参考译文。
0213新托福阅读文化艺术类文章解密
生态环境学的
其他话题
生态系统
气候
动植物生存
风力发电
降雨的原理
燃烧的解释
雪花的形成
空气中污染物
更多资讯尽在朗阁雅思培训雅思频道
分析：本句主句为“Consistent with this idea is the fact”，该主句为倒装句（表语Consistent with this idea提前倒装）；“that the art of the cultural period that followed the Upper Paleolithic also seems to reflect how people got their food.”为that引导的同位语从句，做thefact的同位语；其中“that followed the Upper Paleolithic”为定语从句，做the art of the cultural period的定语，关系词为that。
accumulate积累，聚集
partially部分地
decompose分解，腐烂
use up用光
dissolve溶解
decay分解，腐烂
subject使受到，使遭遇
convert转变，变化
squeeze挤，挤压
layer层
dense浓厚的，浓密的
tend倾向
valuable有价值的
underlie成为…的基础
3.Consistent with this idea,according to the investigators,is the factthat the art of the cultural periodthat followed the Upper Paleolithicalso seems to reflect how people got their food.
托福阅读真题与答案：新艺术风格
托福阅读真题与答案：新艺术风格托福阅读真题的训练，可以让考生掌握托福阅读的调查內容及其考题难度系数，进而更为有策略地整体规划备考。
文中小编为诸位中国考生产生了托福阅读真题与回答：新艺术风格，期待对大伙儿的备考有一定的协助。
托福阅读真题与答案：新艺术风格The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed "art glass." Art glass was intended for decorative purposes and relied for its effect upon carefully chosen color combinations and innovative techniques.France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846-1904). In the United States, Louis Comfort Tiffany (1843-1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid-1920's. It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant-garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement — that function should determine form — was not a new concept. Soon a distinct aesthetic code evolved: form should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.题型：1. What does paragraph 1 mainly discuss?(A) Design elements in the Art Nouveau style(B) The popularity of theArt Nouveau style(C) Production techniques for art glass(D) Color combinations typical of the Art Nouveau style2. The word "one" in line 4 refers to(A) century(B) development(C) style(D) coloration3. Paragraph 1 mentions that Art Nouveau glass was sometimes similar to which aspect of ancient buried glass?(A) The distortion of the glass(B) The appearance of the glass surface(C) The shapes of the glass objects(D) The size of the glass objects4. What is the main purpose of paragraph 2?(A) to compare different Art Nouveau styles(B) to give examples of famous Art Nouveau artists(C) to explain why Art Nouveau glass was so popular in the United States(D) to show the impact Art Nouveau had on other cultures around the world5. The word "prized" in line 16 is closest in meaning to(A) valued(B) universal(C) uncommon(D) preserved6. The word "overtaken" in line 20 is closest in meaning to(A) surpassed(B) inclined(C) expressed(D) applied7. What does the author mean by stating that "function should determine form" (lines 23-24)?(A)A useful object should not be attractive.(B) The purpose of an object should influence its form.(C) The design of an object is considered more significant than its function.(D) The form of an object should not include decorative elements.8. It can be inferred from the passage that one reasonFunctionalism became popular was that it(A) clearly distinguished between art and design(B) appealed to people who liked complex painted designs(C) reflected a common desire to break from the past(D) was easily interpreted by the general public9. Paragraph 3 supports which of the following statements about Functionalism?(A) Its design concept avoided geometric shapes.(B) It started on a small scale and then spread gradually.(C) It was a major force in the decorative arts before the First World War.(D) It was not attractive to architects and designers.10.According to the passage , an object made in the Art Nouveau style would most likely include(A) a flowered design(B) bright colors(C) modern symbols(D) a textured surface回答：ACBBA ABCBA新托福阅读背景知识：吉他简史(英文版)A Brief History of the GuitarThere is evidence that a four string, guitar-like instrument was played by the Hittites (who occupied a region now known as Asia Minor and Syria) around 1400 BC. It had characteristically soft, curved sides--one of the primary features of anything identifiable as a guitar or predecessor. The Greeks also produced a similar instrument which was later modified by the Romans, though both versions appear to have lacked the curved sides. What is interesting here is that it seems this Roman cithara appeared in Hispania (now known as Spain) centuries before theMoorish invasion.It had long been assumed that it was only after this invasion and the introduction of the Arabic due in the South that a guitar-like instrument first appeared in Spain. But with the Roman cithara arriving centuries prior, we might say that although the due influenced the development of the guitar it is not the true ancestor. According to this theory, the Spanish guitar derived from the tan bur of the Hittites, kithara with a "k" of the Greeks and then the cithara with a "c" of the Romans.However, following the arrival of the Moors, the Roman cithara and the Arabic due must have mixed and exerted mutual influences on one another for many centuries. Although there is no specific documentation, it is likely that makers of us and cithara’s would have seen each other's work, if only through presentation by traveling troubadours. By 1200 AD, the four string guitar had evolved into two types: the guitars maraca (Moorish guitar) which had a rounded back, wide fingerboard and several sound holes, and the guitars Latina (Latin guitar) which resembled the modern guitar with one sound hole and a narrower neck.In the late 1400's, the visual was born by adding doubled strings and increasing its size. It was a large plucked instrument with a long neck (vibrating string length: 72 to 79 cm) with ten or eleven frets and six courses. It was the visual which became the preferred instrument of the Spanish and Portuguese courts and remained so until the late 1600's when orchestral and keyboard instruments became more prominent.Although the guitar existed concurrently during this period, the visual and lute had overshadowed it until the end of the 17th century when the lute had acquired too many strings, was toohard to play and tune, and the visual was slowly replaced by the four and five course guitars (which had seven and nine strings respectively: one single high string, and three or four remaining courses--or pairs--of strings). It was perhaps the addition of the fifth course in the late 16th century that gave the guitar more flexibility and range and thus improved the potential of the repertoire that led to its ascent.By the end of the 18th century and the beginning of the 19th, some guitars already used six single strings and employed fan struts under the soundboard. These struts were added for structural support to allow thinning of the top for greater resonance and for better distribution of sound across the board. Other contemporaneous developments included the use of a reinforced, raised neck using ebony or rosewood for the fingerboard, and the appearance of machine tuners in place of the wooden pegs. (It is noteworthy that the raised fingerboard had a great impact on the technique of the instrument since the strings were then too far from the soundboard to rest one's finger on the face for support.) These guitars would be unmistakably recognized by us as early classical guitars.Beginning with the early 19th century, in the works of Agustin Caro, Manuel Gonzalez, Antonio de Lorca, Manuel Gutierrez from Spain and other European makers including Rene Lakota, and Johann Stauffer, we find the direct predecessors of the modern classical guitar. By 1850, the guitar was prepared for its most important breakthrough since its inception, the work of Antonio T orres Jordon. With the encouragement of Julian Arcos and his own brilliant intuitions, Torres refined the strutting of the guitar to include as many as seven struts spread out like a fan under the soundboard. He increased the body size and the widthof the neck considerably. These improvements allowed for greater volume and bass response as well as the development of a left hand technique for richer repertoire. The guitar was now prepared for the demands of the solo performer and the concert stage.Although there have been continued developments since the middle 1800's, our modern guitar retains most of what was developed nearly 150 years ago. No one can say if we have reached the end of the evolution of the guitar, but until now, many of the best guitars from the point of view of volume, projection and sheer beauty of tone were made by the great makers, Torres, Ramirez and Arias from the second half of the last century!新托福阅读背景知识：吉他的历史吉他的history根据格罗夫(Grove)音乐辞典记载，古典吉他为鲁特琴族(Lute family)中具有琴格的拨弦乐器。
新托福TPO 阅读原文及译文
新托福TPO12阅读原文(一):Which Hand Did They Use?TPO12-1：Which Hand Did They Use?We all know that many more people today are right-handed than left-handed. Can one trace this same pattern far back in prehistory?Much of the evidence about right-hand versus left-hand dominance comes from stencils and prints found in rock shelters in Australia and elsewhere,and in many Ice Age caves in France,Spain,and Tasmania.When a left hand has been stenciled,this implies that the artist was right-handed,and vice versa.Even though the paint was often sprayed on by mouth, one can assume that the dominant hand assisted in the operation.One also has to make the assumption that hands were stenciled palm downward—a left hand stenciled palm upward might of course look as if it were a right hand.Of158stencils in the French cave of Gargas,136have been identified as left,and only22as right; right-handedness was therefore heavily predominant.Cave art furnishes other types of evidence of this phenomenon.Most engravings, for example,are best lit from the left,as befits the work of right-handed artists,who generally prefer to have the light source on the left so that the shadow of their hand does not fall on the tip of the engraving tool or brush.In the few cases where an Ice Age figure is depicted holding something,it is mostly,though not always,in the right hand.Clues to right-handedness can also be found by other methods.Right-handers tend to have longer,stronger,and more muscular bones on the right side,and Marcellin Boule as long ago as1911noted the La Chapelle-aux-Saints Neanderthal skeleton had a right upper arm bone that was noticeably stronger than the left.Similar observations have been made on other Neanderthal skeletons such as La Ferrassie I and Neanderthal itself.Fractures and other cut marks are another source of evidence.Right-handed soldiers tend to be wounded on the left.The skeleton of a40-or50-year-old Nabatean warrior,buried2,000years ago in the Negev Desert,Israel,had multiple healed fractures to the skull,the left arm,and the ribs.Tools themselves can be revealing.Long-handed Neolithic spoons of yew wood preserved in Alpine villages dating to3000B.C.have survived;the signs of rubbing on their left side indicate that their users were right-handed.The late Ice Age rope found in the French cave of Lascaux consists of fibers spiraling to the right,and was therefore tressed by a righthander.Occasionally one can determine whether stone tools were used in the right hand or the left,and it is even possible to assess how far back this feature can be traced.In stone toolmaking experiments,Nick Toth,a right-hander,held the core(the stone that would become the tool)in his left hand and the hammer stone in his right.As the tool was made,the core was rotated clockwise,and the flakes,removed in sequence,had a little crescent of cortex(the core's outer surface)on the side.Toth's knapping produced56percent flakes with the cortex on the right,and44percent left-oriented flakes.A left-handed toolmaker would produce the opposite pattern.Toth has applied these criteria to the similarly made pebble tools from a number of early sites(before 1.5million years)at Koobi Fora,Kenya,probably made by Homo habilis.At seven sites he found that57percent of the flakes were right-oriented,and43percent left,a pattern almost identical to that produced today.About90percent of modern humans are right-handed:we are the only mammal with a preferential use of one hand.The part of the brain responsible for fine control and movement is located in the left cerebral hemisphere,and the findings above suggest that the human brain was already asymmetrical in its structure and function not long after2million years ago.Among Neanderthalers of70,000–35,000years ago, Marcellin Boule noted that the La Chapelle-aux-Saints individual had a lefthemisphere slightly bigger than the right,and the same was found for brains of specimens from Neanderthal,Gibraltar,and La Quina.TPO12-1译文：他们到底用哪只手?我们都知道，现在的人们更多是使用右手而非左手。
12月11日托福阅读答案解析
12月11日托福阅读答案解析第一篇Glacier Effects第一段主要讲前两段主要讲冰川的形成和融化会给地球带来很多变化，包括地表的高度，地表的形态，还有沿路的树，石头等，然后说到山岳冰川对地表的影响，山岳上的冰川移动速冻很快，会使很多V型山谷蚀刻成U型山谷和冰悬谷，最后讲到大陆冰川以及冰川崩解对地球的影响，冰川崩解化为洪水注入海洋，这个过程对地表影响更大。
解析本文考察的是地质类中的冰川形成，用词也比较专业，对于不了解冰川形成以及作用的同学来说可能比较大，不过这个比较接近Glacier Formation的后续文章，如果考前练习中做过这篇，并且单词也都记背，做这篇相对来说会有一定基础。
参考文章：TPO15-3 Glacier FormationTPO 19-3 Discovering the Ica AgesIn response to = as a result ofDepositing=puttingSculpt=shapeDrastic=very significant第二篇The Sistine Ceiling第一段讲壁画的两种方法buon和secco不以及个子优缺点。
第二段讲到画家米开朗琪罗绘制大量的壁画，通常使用一种干的比较慢的颜色进行绘画，并且每天都辛勤工作，当然他也会的很快。
第三、四、五段讲那些修复工作，有一个点时说后来大家觉得这个画家本身的风格就有点压抑(somber and little appreciation in colors/materials)。
最后对壁画修复进行了讨论，文章中人们反对修复(restoration)，认为修复太colorful，感到shocking，因为后来的人会加入自己的理解进行修复，而且年代感(age)本身也是一种特性，大家觉得这也很好。
本文是托福常考的艺术类文章，tpo中有很多关于洞穴艺术的文章，不过大多是关于洞穴壁画年龄的探讨，本文后半部分有别于我们期望的主题，主要是讨论对壁画的修复，文章有比较专业的词汇，句型也比较复杂，在有间内完成对这篇文章要求是很高的，建议多刷TPO中与文化艺术相关的文章。
托福阅读真题第319篇WhatMadeVenetianArtDifferent（答案文章最后）
托福阅读真题第319篇WhatMadeVenetianArtDifferent（答案文章最后）What Made Venetian rt ifferentVenice was a major center for art in the Renaissance, yet it produced a style of art and architecture markedly different from that of other Italian cities like Rome or Florence. It owed this uniqueness to a thriving commercial empire: between the ninth and fifteenth centuries, Venice gained control over Mediterranean shipping and so became the most important market for goods from all over the known world. ecause of the presence of traders and immigrants from far and wide and the experiences of its own merchants and diplomats, Venice benefitted from a huge range of cultural influences on its art and architecture.Perhaps the biggest external influence on Venice was the East-yzantium and the Islamic lands- seen especially in the architecture of its two most prominent buildings, Saint Mark's asilica and the oge's (uke's) Palace. The basic interior plan of St. Mark's was derived from the sixth-century hurch of the postles in onstantinople, and so, unlike most ltalian churches of its time, it is in the form of a Greek cross, with four extensions or“arms" of equal length. The arrangement of domes above the arms is similar to that in Islamic architecture in Egypt. However, the architecture of St. Mark's is not a simple imitation of Eastern antecedents. lthough the four arms of the church are of equal length, they vary in height and width, and the domes were raised and enlarged in the thirteenth century to make them more prominent in the city's skyline. The adjoining oge's Palace, which was the political center of Renaissance Venice, is mostly anexample of the Gothic style, which originated in northern Europe. Yet it too has Eastern elements. The details of its roof ornamentation, the patterns of its pink and white marble facing, and its pointed arches are reminiscent of major buildings in Egypt, one of Venice's most important trading partners.St. Mark's interior has unusually fine examples of yzantine ornamentation, especially its gold mosaics. Mosaics are decorations or images made up of small, colored pieces of glass, stone, or tile, called tesserae. Venetian tesserae were primarily made of glass,which was easily available from Venice's advanced glass workshops, like those on the island of Murano. n important effect of glass is that the color changes as the light in a room changes. This effect, combined with the curving surfaces of domes and vaults (arched ceilings), and the deliberate setting of tesserae at different angles to catch the light, produces a striking shimmering quality to St. Mark's. The heavy use of gold had long been established for religious images in yzantium, but in Venice it was extended beyond the mosaics of St. Mark's to other artistic media. Textiles were often produced with gold thread. Painters such as Giovanni ellini (. 1430-1516) used gold in their paintings, and artists came from other regions of Europe to learn the techniques for using powdered gold. The a' d'Oro, a famous Venetian palace whose name means“House of Gold," even had substantial areas of gold on its exterior.Eastern influences were not all that made Venetian art special. The city's commercial connections resulted in its being among the first to adopt new techniques of oil painting that were developed in Flanders (modern elgium) in the late fifteenth century. Venice went on to become famous for its great oil painters, such as Veronese (1528- 1588), Giorgione (1477/1478-1510), and Titian (. 1488/1490- 1576). These painters adopted some stylistic elements of northern European painting, including the conventions of portrait painting and the use of mountains and forests in landscapes that typified German painting. t about the same time that the Flemish were making advances in oil painting techniques, Johannes Gutenberg (1395- 1468) was perfecting the technology of movable type in Germany. Venice quickly became one of the most important cities for book manufacturing in Europe. It had already produced a limited number of prints, but now the resulting upsurge in publishing created a greater need for illustrations, so there were increased opportunities for artists to produce woodcuts and engravings for books.1.►Venice was a major center for art in the Renaissance, yet it produced a style of art and architecture markedly different from that of other Italian cities like Rome or Florence. It owed this uniqueness to a thriving commercial empire: between the ninth and fifteenth centuries, Venice gained control over Mediterranean shipping and so became the most important market for goods from all over the known world. ecause of the presence of traders and immigrants from far and wide and the experiences of its own merchants and diplomats, Venice benefitted from a huge range of cultural influences on its art and architecture.2.►Perhaps the biggest external influence on Venice was the East-yzantium and the Islamic lands- seen especially in the architecture of its two most prominent buildings, Saint Mark's asilica and the oge's (uke's) Palace. The basic interior plan of St.Mark's was derived from the sixth-century hurch of the postles in onstantinople, and so, unlike most ltalian churches of its time, it is in the form of a Greek cross, with four extensions or“arms" of equal length. The arrangement of domes above the arms is similar to that in Islamic architecture in Egypt. However, the architecture of St. Mark's is not a simple imitation of Eastern antecedents. lthough the four arms of the church are of equal length, they vary in height and width, and the domes were raised and enlarged in the thirteenth century to make them more prominent in the city's skyline. The adjoining oge's Palace, which was the political center of Renaissance Venice, is mostly an example of the Gothic style, which originated in northern Europe. Yet it too has Eastern elements. The details of its roof ornamentation, the patterns of its pink and white marble facing, and its pointed arches are reminiscent of major buildings in Egypt, one of Venice's most important trading partners.3.►Perhaps the biggest external influence on Venice was the East-yzantium and the Islamic lands- seen especially in the architecture of its two most prominent buildings, Saint Mark's asilica and the oge's (uke's) Palace. The basic interior plan of St. Mark's was derived from the sixth-century hurch of the postles in onstantinople, and so, unlike most ltalian churches of its time, it is in the form of a Greek cross, with four extensions or“arms" of equal length. The arrangement of domes above the arms is similar to that in Islamic architecture in Egypt. However, the architecture of St. Mark's is not a simple imitation of Eastern antecedents. lthough the four arms of the church are of equal length, they vary in height and width, and the domes were raised and enlarged in the thirteenth century to make them moreprominent in the city's skyline. The adjoining oge's Palace, which was the political center of Renaissance Venice, is mostly an example of the Gothic style, which originated in northern Europe. Yet it too has Eastern elements. The details of its roof ornamentation, the patterns of its pink and white marble facing, and its pointed arches are reminiscent of major buildings in Egypt, one of Venice's most important trading partners.4.►St. Mark's interior has unusually fine examples of yzantine ornamentation, especially its gold mosaics. Mosaics are decorations or images made up of small, colored pieces of glass, stone, or tile, called tesserae. Venetian tesserae were primarily made of glass,which was easily available from Venice's advanced glass workshops, like those on the island of Murano. n important effect of glass is that the color changes as the light in a room changes. This effect, combined with the curving surfaces of domes and vaults (arched ceilings), and the deliberate setting of tesserae at different angles to catch the light, produces a striking shimmering quality to St. Mark's. The heavy use of gold had long been established for religious images in yzantium, but in Venice it was extended beyond the mosaics of St. Mark's to other artistic media. Textiles were often produced with gold thread. Painters such as Giovanni ellini (. 1430-1516) used gold in their paintings, and artists came from other regions of Europe to learn the techniques for using powdered gold. The a' d'Oro, a famous Venetian palace whose name means“House of Gold," even had substantial areas of gold on its exterior.5.►St. Mark's interior has unusually fine examples of yzantine ornamentation, especially its gold mosaics. Mosaics aredecorations or images made up of small, colored pieces of glass, stone, or tile, called tesserae. Venetian tesserae were primarily made of glass,which was easily available from Venice's advanced glass workshops, like those on the island of Murano. n important effect of glass is that the color changes as the light in a room changes. This effect, combined with the curving surfaces of domes and vaults (arched ceilings), and the deliberate setting of tesserae at different angles to catch the light, produces a striking shimmering quality to St. Mark's. The heavy use of gold had long been established for religious images in yzantium, but in Venice it was extended beyond the mosaics of St. Mark's to other artistic media. Textiles were often produced with gold thread. Painters such as Giovanni ellini (. 1430-1516) used gold in their paintings, and artists came from other regions of Europe to learn the techniques for using powdered gold. The a' d'Oro, a famous V enetian palace whose name means“House of Gold," even had substantial areas of gold on its exterior.6.►St. Mark's interior has unusually fine examples of yzantine ornamentation, especially its gold mosaics. Mosaics are decorations or images made up of small, colored pieces of glass, stone, or tile, called tesserae. Venetian tesserae were primarily made of glass,which was easily available from Venice's advanced glass workshops, like those on the island of Murano. n important effect of glass is that the color changes as the light in a room changes. This effect, combined with the curving surfaces of domes and vaults (arched ceilings), and the deliberate setting of tesserae at different angles to catch the light, produces a striking shimmering quality to St. Mark's. The heavy use of gold had long been established for religious images in yzantium, but in Veniceit was extended beyond the mosaics of St. Mark's to other artistic media. Textiles were often produced with gold thread. Painters such as Giovanni ellini (. 1430-1516) used gold in their paintings, and artists came from other regions of Europe to learn the techniques for using powdered gold. The a' d'Oro, a famous Venetian palace whose name means“House of Gold," even had substantial areas of gold on its exterior.7.►Eastern influences were not all that made Venetian art special. The city's commercial connections resulted in its being among the first to adopt new techniques of oil painting that were developed in Flanders (modern elgium) in the late fifteenth century. Venice went on to become famous for its great oil painters, such as Veronese (1528- 1588), Giorgione (1477/1478- 1510), and Titian (. 1488/1490- 1576). These painters adopted some stylistic elements of northern European painting, including the conventions of portrait painting and the use of mountains and forests in landscapes that typified German painting. t about the same time that the Flemish were making advances in oil painting techniques, Johannes Gutenberg (1395- 1468) was perfecting the technology of movable type in Germany. Venice quickly became one of the most important cities for book manufacturing in Europe. It had already produced a limited number of prints, but now the resulting upsurge in publishing created a greater need for illustrations, so there were increased opportunities for artists to produce woodcuts and engravings for books.8.►Eastern influences were not all that made Venetian art special. The city's commercial connections resulted in its beingamong the first to adopt new techniques of oil painting that were developed in Flanders (modern elgium) in the late fifteenth century. Venice went on to become famous for its great oil painters, such as Veronese (1528- 1588), Giorgione (1477/1478- 1510), and Titian (. 1488/1490- 1576). These painters adopted some stylistic elements of northern European painting, including the conventions of portrait painting and the use of mountains and forests in landscapes that typified German painting. t about the same time that the Flemish were making advances in oil painting techniques, Johannes Gutenberg (1395- 1468) was perfecting the technology of movable type in Germany. Venice quickly became one of the most important cities for book manufacturing in Europe. It had already produced a limited number of prints, but now the resulting upsurge in publishing created a greater need for illustrations, so there were increased opportunities for artists to produce woodcuts and engravings for books.9.Perhaps the biggest external influence on Venice was the East-yzantium and the Islamic lands- seen especially in the architecture of its two most prominent buildings, Saint Mark's asilica and the oge's (uke's) Palace. ⬛The basic interior plan of St. Mark's was derived from the sixth-century hurch of the postles in onstantinople, and so, unlike most ltalian churches of its time, it is in the form of a Greek cross, with four extensions or“arms" of equal length.⬛The arrangement of domes above the arms is similar to that in Islamic architecture in Egypt.⬛However, the architecture of St. Mark's is not a simple imitation of Eastern antecedents.⬛lthough the four arms of the church are of equal length, they vary in height and width, and the domes were raisedand enlarged in the thirteenth century to make them more prominent in the city's skyline. The adjoining oge's Palace, which was the political center of Renaissance Venice, is mostly an example of the Gothic style, which originated in northern Europe. Yet it too has Eastern elements. The details of its roof ornamentation, the patterns of its pink and white marble facing, and its pointed arches are reminiscent of major buildings in Egypt, one of Venice's most important trading partners.10.。
托福阅读练习及详细解析：ArtisansandIndustrialization
托福阅读练习及详细解析：ArtisansandIndustrialization从今日起，我给大家整理了一些新托福考试经典阅读练习题。
要知道阅读始终就是英语考试中的重中之重，所以确定要勤加练习。
今日给大家共享一篇名为“ARTISANS AND INDUSTRIALIZATION”的〔文章〕。
托福阅读练习及具体解析：Artisans and IndustrializationBefore 1815 manufacturing in the United States had been done in homes or shops by skilled artisans. As master craft workers, they imparted the knowledge of their trades to apprentices and journeymen. In addition, women often worked in their homes part-time, making finished articles from raw material supplied by merchant capitalists. After 1815 this older form of manufacturing began to give way to factories with machinery tended by unskilled or semiskilled laborers. Cheap transportation networks, the rise of cities, and the availability of capital and credit all stimulated the shift to factory production.The creation of a labor force that was accustomed to working in factories did not occur easily. Before the rise of the factory, artisans had worked within the home. Apprentices were considered part of the family, and masters were responsible not only for teaching their apprentices a trade but also for providing them some education and for supervising their moral behavior. Journeymen knew that if they perfected their skill, they could become respected master artisans with their own shops. Also, skilled artisans did not work by the clock, at a steady pace, but rather in bursts of intense labor alternating with more leisurely time.The factory changed that. Goods produced by factories were not as finished or elegant as those done by hand, and pride in craftsmanship gave way to the pressure to increase rates of productivity. The new methods of doing business involved a new and stricter sense of time. Factory life necessitated a more regimented schedule, where work began at the sound of a bell and workers kept machines going at a constant pace. At the same time, workers were required to discard old habits, for industrialism demanded a worker who was alert, dependable, and self-disciplined. Absenteeism and lateness hurt productivity and, since work was specialized, disrupted the regular factory routine. Industrialization not only produced a fundamental change in the way work was organized; it transformed the very nature of work.The first generation to experience these changes did not adopt the new attitudes easily.The factory clock became the symbol of the new work rules. One mill worker who finally quit complained revealingly about obedience to the ding-dong of the bell-just as though we are so many living machines. With the loss of personal freedom also came the loss of standing in the community. Unlike artisan workshops in which apprentices worked closely with the masters supervising them, factories sharply separated workers from management. Few workers rose through the ranks to supervisory positions, and even fewer could achieve the artisans dream of setting up ones own business. Even well-paid workers sensed their decline in status.In this newly emerging economic order, workers sometimes organized to protect their rights and traditional ways of life. Craft workers such as carpenters, printers, and tailors formed unions, and in 1834 individual unions came together in the National TradesUnion. The labor movement gathered some momentum in the decade before the Panic of 1837, but in the depression that followed, labors strength collapsed. During hard times, few workers were willing to strike_or engage in collective action. And skilled craft workers, who spearheaded the union movement, did not feel a particularly strong bond with semiskilled factory workers and unskilled laborers. More than a decade of agitation did finally bring a workday shortened to 10 hours to most industries by the 185O’s, and the courts also recognized workers right to strike, but these gains had little immediate impact.Workers were united in resenting the industrial system and their loss of status, but they were divided by ethnic and racial antagonisms, gender, conflicting religious perspectives, occupational differences, political party loyalties, and disagreements over tactics. For them, the factory and industrialism were not agents of opportunity but reminders of their loss of independence and a measure of control over their lives. As United States society became more specialized and differentiated, greater extremes of wealth began to appear. And as the new markets created fortunes for the few, the factory system lowered the wages of workers by dividing labor into smaller, less skilled tasks.Paragraph 1: Before 1815 manufacturing in the United States had been done in homes or shops by skilled artisans. As master craft workers, they imparted the knowledge of their trades to apprentices and journeymen. In addition, women often worked in their homes part-time, making finished articles from raw material supplied by merchant capitalists. After 181 5 this older form of manufacturing began to give way to factories with machinery tended by unskilled or semiskilled laborers. Cheap transportation networks, the rise of cities, and the availability of capital and credit all stimulated the shift to factory production.1. Which of the following can be inferred from the passage about articles manufactured before 1815?○They were primarily produced by women.○They were generally produced in shops rather than in homes.○They were produced with more concern for quality than for speed of production.○They were produced mostly in large cities with extensive transportation networks.Paragraph 2: The creation of a labor force that was accustomed to working in factories did not occur easily. Before the rise of the factory, artisans had worked within the home. Apprentices were considered part of the family, and masters were responsible not only for teaching their apprentices a trade but also for providing them some education and for supervising their moral behavior. Journeymen knew that if they perfected their skill, they could become respected master artisans with their own shops. Also, skilled artisans did not work by the clock, at a steady pace, but rather in bursts of intense labor alternating with more leisurely time.2. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect answer choices change the meaning in important ways or leave out essential information.○ Masters demanded moral behavior from apprentices but often treated them irresponsibly.○The responsibilities of the master to the apprentice went beyond the teaching of a trade.○ Masters preferred to maintain the trade within the family by supervising and educating the younger family members.○ Masters who trained members of their own family as apprentices demanded excellence from them.Paragraph 3: The factory changed that. Goods produced by factories were not as finished or elegant as those done by hand, and pride in craftsmanship gave way to the pressure to increase rates of productivity. The new methods of doing business involved a new and stricter sense of time. Factory life necessitated a more regimented schedule, where work began at the sound of a bell and workers kept machines going at a constant pace. At the same time, workers were required to discard old habits, for industrialism demanded a worker who was alert, dependable, and self-disciplined. Absenteeism and lateness hurt productivity and, since work was specialized, disrupted the regular factory routine. Industrialization not only produced a fundamental change in the way work was organized; it transformed the very nature of work.3. The word disrupted in the passage is closest in meaning to○Prolonged○Established○Followed○UpsetParagraph 4: The first generation to experience these changes did not adopt the new attitudes easily. The factory clock became the symbol of the new work rules. One mill worker who finally quit complained revealingly about obedience to the ding-dong of the bell-just as though we are so many living machines. With the loss of personal freedom also came the loss of standing in the community. Unlike artisan workshops in which apprentices worked closely with the masters supervising them, factories sharply separated workers from management. Few workers rose through the ranks to supervisory positions, and even fewer could achieve the artisans dream of setting up ones own business. Even well-paid workers sensed their decline in status.4. In paragraph 4, the author includes the quotation from a mill worker in order to○Support the idea that it was difficult for workers to adjust to working in factories○To show that workers sometimes quit because of the loud noise made by factory machinery○Argue that clocks did not have a useful function in factories○ Emphasize that factories were most successful when workers revealed their complaints5. All of the following are mentioned in paragraph 4 as consequences of the new system for workers EXCEPT a loss of○Freedom○Status in the community○Opportunities for advancement○Contact among workers who were not managersParagraph 5: In this newly emerging economic order, workers sometimes organized to protect their rights and traditional ways of life. Craft workers such as carpenters, printers, and tailors formed unions, and in 1834 individual unions came together in the National Trades Union. The labor movement gathered some momentum in the decade before the Panic of 1837, but in the depression that followed, labors strength collapsed. During hard times, few workers were willing to strike_or engage in collective action. And skilled craft workers, who spearheaded the union movement, did not feel a particularly strong bond with semiskilled factory workers and unskilled laborers. More than a decade of agitation did finally bring a workday shortened to 10 hours to most industries by the 185O’s, and the courts also recognized workers right to strike, but these gains had little immediate impact.6. The phrase gathered some momentum in the passage is closest in meaning to○Made progress○Became active○Caused changes○Combined forces7. The word spearheaded in the passage is closest in meaning to○Led○Accepted○Changed○Resisted8. Which of the following statements about the labor movement of the 1800s is supported by paragraph 5?○It was most successful during times of economic crisis.○Its primary purpose was to benefit unskilled laborers.○It was slow to improve conditions for workers.○It helped workers of all skill levels form a strong bond with each other.Paragraph 6: Workers were united in resenting the industrial system and their loss of status, but they were divided by ethnic and racial antagonisms, gender, conflicting religious perspectives, occupational differences, political party loyalties, and disagreements over tactics. For them, the factory and industrialism were not agents of opportunity but reminders of their loss of independence and a measure of control over their lives. As United States society became more specialized and differentiated, greater extremes of wealth began to appear. And as the new markets created fortunes for the few, the factory system lowered the wages of workers by dividing labor into smaller, less skilled tasks.9. The author identifies political party loyalties, and disagreements over tactics as two of several factors that○Encouraged workers to demand higher wages○Created divisions among workers○Caused work to become more specialized○Increased workers resentment of the industrial system10. The word them in the passage refers to○Workers○Political patty loyalties○Disagreements over tactics○Agents of opportunityParagraph 1: Before 1815 manufacturing in the United States had been done in homes or shops by skilled artisans. ■As master craft workers, they imparted the knowledge of their trades to apprentices and journeymen. ■In addition, women often worked in their homes part-time, making finished articles from raw material supplied by merchant capitalists. ■After 181 5 this older form of manufacturing began to give way to factories with machinery tended by unskilled or semiskilled laborers. ■Cheap transportation networks, the rise of cities, and the availability of capital and credit all stimulated the shift to factory production.11. Look at the four squares ■ that indicate where the following sentence can be added to the passage. This new form of manufacturing depended on the movement of goods to distant locations and a centralized source of laborers. Where would the sentence best fit?○Before 1815 manufacturing in the United States had been done in homes or shops by skilled artisans. This new form of manufacturing depended on the movement of goods to distant locations and a centralized source of laborers. As master craft workers, they imparted the knowledge of their trades to apprentices and journeymen. ■In addition, women often worked in their homes part-time, making finished articles from raw material supplied by merchant capitalists. ■After 1815 this older form of manufacturing began to give way to factories with machinery tended by unskilled or semiskilled laborers. ■Cheap transportation networks, the rise of cities, and the availability of capital and credit all stimulated the shift to factory production.○Before 1815 manufacturing in the United States had been done in homes or shops by skilled artisans. ■As master craft workers, they imparted the knowledge of their trades to apprentices and journeymen. This new form of manufacturing depended on the movement of goods to distant locations and a centralized source of laborers. In addition, women often worked in their homes part-time, making finished articles from raw material supplied by merchant capitalists. ■After 1815 this older form of manufacturing began to give way to factories with machinery tended by unskilled or semiskilled laborers. ■Cheap transportation networks, the rise of cities, and the availability of capital and credit all stimulated the shift to factory production.○Before 1815 manufacturing in the United States had been done in homes or shops by skilled artisans. ■As master craft workers, they imparted the knowledge of their trades to apprentices and journeymen. ■In addition, women often worked in their homes part-time, making finished articles from raw material supplied by merchant capitalists. This new form of manufacturing depended on the movement of goods to distant locations and a centralized source of laborers. After 1815 this older form of manufacturing began to give way to factories with machinery tended byunskilled or semiskilled laborers. ■Cheap transportation networks, the rise of cities, and the availability of capital and credit all stimulated the shift to factory production.○Before 1815 manufacturing in the United States had been done in homes or shops by skilled artisans. ■As master craft workers, they imparted the knowledge of their trades to apprentices and journeymen. ■In addition, women often worked in their homes part-time, making finished articles from raw material supplied by merchant capitalists. ■After 1815 this older form of manufacturing began to give way to factories with machinery tended by unskilled or semiskilled laborers. This new form of manufacturing depended on the movement of goods to distant locations and a centralized source of laborers.Cheap transportation networks, the rise of cities, and the availability of capital and credit all stimulated the shift to factory production.12. Directions: Complete the table below by indicating which of the answer choices describe characteristics of the period before 1815 and which describe characteristics of the 1815-1 860 period. This question is worth 3 points.Before 1815●●1815-1850●●●Answer choicesA united, highly successful labor movement took shape.Workers took pride in their workmanship.The income gap between the rich and the poor increased greatly.Transportation networks began to decline.Emphasis was placed on following schedules.Workers went through an extensive period of training.Few workers expected to own their own businesses.参考答案：1. ○3This is an Inference question asking for an inference that can be supported by the passage. The correct answer is choice 3, They were produced with more concern for quality than for speed of production. A number of statements throughout the passage support choice 3. Paragraph 1 states that Before 1815 manufacturing in the United States had been done in homes or shops by skilled artisans . . . After 18 15 this older form of manufacturing began to give way to factories with machinery tended by unskilled or semiskilled laborers. Paragraph 2 states that Before the rise of the factory . . . skilled artisans did not work by the clock, at a steady pace, but rather in bursts of intense labor alternating with more leisurely time. Paragraph 3 states, The factory changed that.Goods produced by factories were not as finished or elegant as those done by hand, and pride in craftsmanship gave way to the pressure to increase rates of productivity. Taken together, these three statements, about production rates, the rise of factories after 18 15, and the decline of craftsmanship after 18 15, supportthe inference that before 18 15, the emphasis had been on quality rather than on speed of production. Answer choices 1, 2, and 4 are all contradicted by the passage.2. ○2This is a Sentence Simplification question. As with all of these items, a single sentence in the passage is highlighted: Apprentices were considered part of the family, and masters were responsible not only for teaching their apprentices a trade but also for providing them some education and for supervising their moral behavior. The correct answer is choice 2. Choice 2 contains all of the essential information in the highlighted sentence. The highlighted sentence explains why (part of the family) and how (education, moral behavior) a masters responsibility went beyond teaching a trade. The essential information is the fact that the masters responsibility went beyond teaching a trade. Therefore, choice 2 contains all that is essential without changing the meaning of the highlighted sentence.Choice 1 changes the meaning of the highlighted sentence b~ stating that masters often treated apprentices irresponsibly.Choice 3 contradicts the essential meaning of the highlighted sentence. The fact that Apprentices were considered part of the family . . . suggests that they were not actual family members.Choice 4, like choice 3, changes the meaning of the highlighted sentence by discussing family members as apprentices.3. ○4This is a Vocabulary question. The word being tested is disrupted. It is highlighted in the passage. The correct answer is choice 4, upset. The word upset here is used in the context of hurting productivity. When something is hurt or damaged, it is upset.4. ○1This is a Factual Information question asking for specific information that can be found in paragraph 4. The correct answer is choice I, support the idea that it was difficult for workers to adjust to working in factories. The paragraph begins by stating that workers did not adopt new attitudes toward work easily and that the clock symbolized the new work rules. The author provides the quotation as evidence of that difficulty. There is no indication in the paragraph that workers quit due to loud noise, so choice 2 is incorrect. Choice 3 (usefulness of clocks) is contradicted by the paragraph. The factory clock was useful, but workers hated it. Choice 4 (workers complaints as a cause of a factorys success) is not discussed in this paragraph.5. ○4This is a Negative Factual Information question asking for specific information that can be found in paragraph 4. Choice 4, contact among workers who were not managers, is the correct answer. The paragraph explicitly contradicts this by stating that factories sharply separated workers from management. The paragraph explicitly states that workers lost choice I (freedom), choice 2 (status in the community), and choice 3 (opportunities for advancement) in the new system, so those choices are all incorrect.6. ○1This is a Vocabulary question. The phrase being tested is gathered some momentum. It is highlighted in the passage. The correct answer is choice I, madeprogress. To gather momentum means to advance with increasing speed.7. ○1This is a Vocabulary question. The word being tested is spearheaded. It is highlighted in the passage. The correct answer is choice 1, led. The head of a spear leads the rest of the spear, so the crafts workers who spearheaded this movement led it.8. ○3This is a Factual Information question asking for specific information that can be found in paragraph 5. The correct answer is choice 3, It was slow to improve conditions for workers. The paragraph states, More than a decade of agitation did finally bring a workday shortened to 10 hours to most industries by the 1850s, and the courts also recognized workers right to strike, but these gains had little immediate impact. This statement explicitly supports choice 3. All three other choices are contradicted by the paragraph.9. ○2This is a Factual Information question asking for specific information about a particular phrase in the passage. The phrase in question is highlighted in the passage. The correct answer is choice 2, created divisions among workers. The paragraph states (emphasis added): . . . they (workers) were divided by ethnic and racial antagonisms, gender; conflicting religious perspectives, occupational differences, political part loyalties, and disagreements over tactics. So political party loyalties and disagreements over tactics are explicitly stared as two causes of division among workers. The other choices are not stated and are incorrect.10. ○1This is a Reference question. The word being tested is them. It is highlighted in the passage. This is a simple pronoun-referent item. The word them in this sentence refers to those people to whom the factory and industrialism were not agents of opportunity but reminders of their loss of independence and a measure of control over their lives. Choice 1, Workers, is the only choice that refers to this type of person, so it is the correct answer.11. ○4This is an Insert Text question. You can see the four black squares in paragraph 1 that represent the possible answer choices here. Before 1815 manufacturing in the United States had been done in homes or shops by skilled artisans. ■ As master craft workers, they imparted the knowledge of their trades to apprentices and journeymen. ■ In addition, women often worked in their homes part-time, making finished articles from raw material supplied by merchant capitalists. W After 1815 this older form of manufacturing began to give way to factories with machinery tended by unskilled or semiskilled laborers. ■ Cheap transportation networks, the rise of cities, and the availability of capital and credit all stimulated the shift to factory production. The sentence provided, This new form of manufacturing depended on the movement of goods to distant locations and a centralized source of laborers, is best inserted at square 4. The inserted sentence refers explicitly to a new form of manufacturing. This new form of manufacturing is the one mentioned in the sentence preceding square 4,factories with machinery tended by unskilled or semiskilled laborers. The inserted sentence then explains that this new system depended on the movement of goods to distant locations and a centralized source of laborers. The sentence that follows square 4 goes on to say, Cheap transportation networks, the rise of cities, and the availability of capital and credit all stimulated the shift to factory production. Thus the inserted sentence contains references to both the sentence before square 4 and the sentence after square 4. This is not true of any of the other possible insert points, so square 4 is the correct answer.12. ○○Before 1815: 2 6 1815-1850: 3 5 7This is a Fill in a Table question. It is completed correctly below. The correct choices for the Before 18 15 column are 2 and 6. Choices 3, 5, and 7 belong in the 1815-1 850 column. Choices 1 and 4 should not be used in either column.托福阅读难度及题型的信息机考模式新托福阅读考试分两种模式：Short Format以及Long Format。
【阅读】新托福阅读艺术类文章大汇总
小站出品必属精品only in 托福阅读小站托福免费专线：4009-121-121 小站教育官网： 小站官方托福交流QQ群: 142986115推荐主题●【托福听力技巧】学会听结构和找题点●【托福口语】教你如何三天搞定托福口语●【托福复议】详解托福复议怎么能提分●【托福阅读高分】学会不求甚解●【托福综合写作】一周内如何练就速记●【ACT宠妃】逗号的逆袭（转）【阅读】新托福阅读艺术类文章大汇总ARTSThe House of Native American TribeThe earliest American folk art portraitsThe Music of FilmsBarbara KastenThe Works of Joyce Carol OatesThe Printed WordThe Art Nouveau StyleArts and Crafts MovementThe House of Native American TribeKeywords: United States, pueblos, buildings, chambers, nichesAnother early Native American tribe in what is now the southwestern part of the UnitedStates was the Anasazi. By A. D. 800 the Anasazi Indians were constructing multistory pueblos-massive, stone apartment compounds. Each one was virtually a stone town, which is why the Spanish would later call them pueblos, the Spanish word for towns.These pueblos represent one of the Anasazis' supreme achievements. At least a dozen large stone houses took shape below the bluffs of Chiaco Canyon in northwest NewMexico. They were built with masonry walls more than a meter thick and adjoining apartments to accommodate dozens, even hundreds, of families. The largest, later namedPueblo Bonito (Pretty Town) by the Spanish, rose in five terraced stories, contained more than 800 rooms, and could have housed a population of 1,000 or more.Besides living quarters, each pueblo included one or more kivas-circular underground chambers faced with stone. They functioned as sanctuaries where the elders met to plan festivals, perform ritual dances, settle pueblo affairs, and impart tribal lore to the younger generation. Some kivas were enormous. Of the 30 or so at Pueblo Bonito, two measured 20 meters across. They contained niches for ceremonial objects, a central fire pit, and holes in the floor for communicating with the spirits of tribal ancestors.Each pueblo represented an astonishing amount of well-organized labor. Using only stone and wood tools, and without benefit of wheels or draft animals, the builders quarried ton upon ton of sandstone from the canyon walls, cut it into small blocks, hauled the blocksto the construction site, and fitted them together with mud mortar.Roof beams of pine or fir had to be carried from logging areas in the mountain forests many kilometers away.Then, to connect the pueblos and to give access to the surrounding tableland, the architects laid out a system of public roads with stone staircases for ascending cliff faces.In time, the roads reached out to more than 80 satellite villages within a60-kilometerradius.1. The paragraph preceding the passage most probably discussed(A) how pueblos were built(B) another Native American tribe(C) Anasazi crafts and weapons(D) pueblo villages in New Mexico2. What is the main topic of the passage?(A) The Anasazi pueblos(B) Anasazi festivals of New Mexico(C) The organization of the Anasazi tribe(D) The use of Anasazi sanctuaries3. The word "supreme" in line 5 is closest in meaning to(A) most common(B) most outstanding(C) most expensive(D) most convenient4. The word "They" in line 7 refers to(A) houses(B) bluffs(C) walls(D) families5. The author mentions that Pueblo bonito had more than 800 rooms as an example ofwhich of the following?(A) How overcrowded the pueblos could be(B) How many ceremonial areas it contained(C) Hoe much sandstone was needed to build it(D) How big a pueblo could be6. The word "settle" in line 14 is closest in meaning to(A) sink(B) decide(C) clarify(D) locate7. It can be inferred from the passage that building a pueblo probably(A) required many workers(B) cost a lot of money(C) involved the use of farm animals(D) relied on sophisticated technology8. The word "ascending" in line 26 is closest in meaning to(A) arriving at(B) carving(C) connecting(D) climbing9. It can be inferred from the passage that in addition to pueblos the Anasazis wereskilled at building which of the following?(A) Roads(B) Barns(C) Monuments(D) Water systems10. The pueblos are considered one of the Anasazis' supreme achievements for all of thefollowing reasons EXCEPT that they were(A) very large(B) located in forests(C) built with simple tools(D) connected in a systematic wayThe earliest American folk art portraitsKeywords: portraits, portraiture, artists, craft tradition, an originalportrait</keywords>What we today call America folk art was, indeed, art of, by, and for ordinary, everyday "folks" who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republicswhether ancient Romans,seventeenth-century Dutch burghers, or nineteenth-century Americans-have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands.The earliest American folk art portraits come, not surprisingly, from New EnglandespeciallyConnecticut and Massachusetts-for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of theDeclaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio, Kentucky, Illinois, andMissouri. Midway through its first century as a nation, the United States' population had increased roughly five time, and eleven new states had been added to the original thirteen.During these years the demand for portraits grew and grew, eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.But in the heyday of portrait painting-from the late eighteenth century until the 1850'sanyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local crafts people-sign, coach, and housepainters-began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.39. In lines 4-5 the author mentions seventeenth-century Dutch burghers as an example of a group that(A) consisted mainly of self taught artists(B) appreciated portraits(C) influenced American folk art(D) had little time for the arts40. The word "marked" in line 5 is closest in meaning to(A) pronounced(B) fortunate(C) understandable(D) mysterious41. According to the passage, where were many of the first American folk art portraitspainted?(A) In western New York(B) In Illinois and Missouri(C) In Connecticut and Massachusetts(D) In Ohio42. The word "this" in line 9 refers to(A) a strong craft tradition(B) American folk art(C) New England(D) western New York43. How much did the population of the United States increase in the first fifty yearsfollowing independence?(A) It became three times larger.(B) It became five times larger.(C) It became eleven times larger.(D) It became thirteen times larger.44. The phrase "ushering in" in line 17 is closest in meaning to(A) beginning(B) demanding(C) publishing(D) increasing45. The relationship between the daguerreotype (line 16) and the painted portrait issimilar to the relationship between the automobile and the(A) highway(B) driver(C) horse-drawn carriage(D) engine46. According to the passage, which of the following contributed to a decline in thedemand for painted portraits?(A) The lack of a strong craft tradition(B) The westward migration of many painters(C) The growing preference for landscape paintings(D) The invention of the camera47. The word "executed" in line 19 is closest in meaning to(A) sold(B) requested(C) admired(D) created48. The author implies that most limners (line 22)(A) received instruction from traveling teachers(B) were women(C) were from wealthy families(D) had no formal art training49. The word "sketching" in line 25 is closest in meaning to(A) drawing(B) hiring(C) helping(D) discussing50. Where in the passage does the author provide a definition?(A) Lines 3-6(B) Lines 8-10(C) Lines 13-15(D) Lines 21-23The Music of FilmsKeywords: films, music, pianists, orchestras, conductorAccustomed though we are to speaking of the films made before 1927 as "silent," the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film.As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or tasteso much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before they were to be shown if, indeed, the conductor was lucky enough to see them then, the musical arrangement was normally improvised in the greatest hurry.To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as "pleasant," "sad," "lively." The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next.Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. W. Griffith's film Birth of a Nation, which was released in 1915.11. The passage mainly discusses music that was(A) performed before the showing of a film(B) played during silent films(C) specifically composed for certain movie theaters(D) recorded during film exhibitions12. What can be inferred from the passage about the majority of films made after 1927?(A) They were truly "silent."(B) They were accompanied by symphonic orchestras.(C) They incorporated the sound of the actors' voices.(D) They corresponded to specific musical compositions.13. The word "solemn" in line 7 is closest in meaning to(A) simple(B) serious(C) short(D) silent14. It can be inferred that orchestra conductors who worked in movie theaters needed to(A) be able to play many instruments(B) have pleasant voices(C) be familiar with a wide variety of music(D) be able to compose original music15. The word "them" in line 17 refers to(A) years(B) hands(C) pieces(D) films16. According to the passage, what kind of business was the Edison Company?(A) It produced electricity.(B) It distributed films.(C) It published musical arrangements.(D) It made musical instruments.17. It may be inferred from the passage that the first musical cue sheets appeared around(A) 1896(B) 1909(C) 1915(D) 192718. Which of the following notations is most likely to have been included on a musicalcue sheet of the early 1900's?(A) "Calm, peaceful"(B) "Piano, violin"(C) "Key of C major"(D) "Directed by D. W. Griffith"19. The word "composed" in line 26 is closest in meaning to(A) selected(B) combined(C) played(D) created20. The word "scores" in line 26 is closest in meaning to(A) totals(B) successes(C) musical compositions(D) groups of musicians21. The passage probably continues with a discussion of(A) famous composers of the early twentieth century(B) other films directed by D. W. Griffith(C) silent films by other directors(D) the music in Birth of a NationBarbara KastenKeywords: photographs, objects, camera, image, equipmentBarbara Kasten is an artist who makes photographs of constructions that she creates for the purpose of photographing them. In her studio she arranges objects such as mirrors, solid forms, and flat surfaces into what could be called large still life arrangements, big enough to walk into. She lights the construction, then rearranges and rephotographs it until she arrives at a final image. She also photographs away from her studio at various architectural sites, bringing camera, lights, mirrors, and a crew of assistants to transform the site into her own abstract image.Kasten starts a studio construction with a simple problem, such as using several circular and rectangular mirrors. She puts the first objects in place, sets up a camera, then goes back and forth arranging objects and seeing how they appear in the camera. Eventually she makes instant color prints to see what the image looks like. At first she works only with objects, concentrating on their composition; then she lights them and adds color from lights covered with colored filters.Away from the studio, at architectural sites, the cost of the crew and the equipment rental means she has to know in advance what she wants to do. She visits each location several times to make sketches and test shots. Until she brings in the lights, however, she cannot predict exactly what they will do to the image, so there is some improvising on the spot.12. What does the passage many discuss?(A) The techniques of a photographer(B) The advantages of studio photography(C) Industrial construction sites(D) An architect who appreciates fine art13. Which of the following would be an example of one of the "constructions" referred to in line 1?(A) A still life arrangement(B) Natural landscapes(C) An instant color print(D) A colored filter14. In line 2, why does the author mention mirrors?(A) They are part of the camera.(B) Kasten uses them as subjects.(C) The crew needs them.(D) Photography mirrors life.15. The word "transform" in line 6 is closest in meaning to(A) move(B) extend(C) change(D) interpret16. It can be inferred from the passage that Kasten makes instant prints to(A) give away(B) sell as souvenirs(C) include as part of the construction(D) see what the construction looks like at that stage17. The word "composition" in line 12 is closest in meaning to(A) arrangement(B) brightness(C) quality(D) size18. The word "them" in line 12 refers to(A) prints(B) lights(C) objects(D) filters19. The word "shots" in line 16 is closest in meaning to(A) injections(B) photographs(C) loud noises(D) effective remarks20. The word "they" in line 17 refers to(A) architectural styles(B) sketches(C) colored filters(D) lights21. Why does Kasten visit the location of outdoor work before the day of the actual shooting?(A) To plan the photograph(B) To purchase film and equipment(C) To hire a crew(D) To test the lights22. How is Kasten's studio work different from her work at architectural sites?(A) She does not use lights outdoors.(B) Her work outdoors is more unpredictable.(C) She works alone outdoors.(D) She makes more money from her work outdoors.23. Where in the passage does the author suggest that the constructions that Kasten photographs are life-sized?(A) Lines 2-4(B) Lines 5-7(C) Lines 12-14(D) Lines 16-17The Works of Joyce Carol OatesKeywords: collection, novels, productivity, source，magazinesJoyce Carol Oates published her first collection of short stories, By The North Gate, in1963, two years after she had received her master's degree from the University ofWisconsin and become an instructor of English at the University of Detroit. Her productivity since then has been prodigious, accumulating in less than two decades to nearly thirty titles, including novels, collections of short stories and verse, plays, and literary criticism. In the meantime, she has continued to teach, moving in 1967 from theUniversity of Detroit to the University of Windsor, in Ontario, and, in 1978, to PrincetonUniversity. Reviewers have admired her enormous energy, but find a productivity of such magnitude difficult to assess.In a period characterized by the abandonment of so much of the realistic tradition by authors such as John Barth, Donald Barthelme, and Thomas Pynchon, Joyce Carol Oates has seemed at times determinedly old-fashioned in her insistence on the essentially mimetic quality of her fiction. Hers is a world of violence, insanity, fractured love, and hopeless loneliness. Although some of it appears to come from her own direct observations, her dreams, and her fears, much more is clearly from the experiences of others. Her first novel, With Shuddering Fall (1964), dealt with stock car racing, though she had never seen a race. In Them (1969) she focused on Detroit from the Depression through the riots of 1967, drawing much of her material from the deep impression made on her by the problems of one of her students. Whatever the source and however shocking the events or the motivations, however, her fictive world remains strikingly akin to that real one reflected in the daily newspapers, the television news and talk shows, and the popular magazines of our day.1. What is the main purpose of the passage?(A) To review Oates' By the North Gate(B) To compare some modern writers(C) To describe Oates' childhood(D) To outline Oates' career2. Which of the following does the passage indicate about Joyce Carol Qates' first publication?(A) It was part of her master's thesis.(B) It was a volume of short fiction.(C) It was not successful.(D) It was about an English instructor in Detroit.3. Which of the following does the passage suggest about Joyce Carol Oates in terms of her writing career?(A) She has experienced long nonproductive periods in her writing.(B) Her style is imitative of other contemporary authors.(C) She has produced a surprising amount of fictions in a relative short time.(D) Most of her work is based on personal experience.4. The word "characterized" in line 10 can best replaced by which of the following?(A) shocked(B) impressed(C) distinguished(D) helped5. What was the subject of Joyce Carol Oates' first novel?(A) Loneliness(B) Insanity(C) Teaching(D) Racing6. Why does the author mention Oates book In Them?(A) It is a typical novel of the 1960's(B) It is her best piece of nonfiction.(C) It is a fictional work based on the experiences of another person.(D) It is an autobiography.7. Which of the following would Joyce Carol Oates be most likely to write?(A) A story with an unhappy ending(B) A romance novel set in the nineteenth century(C) A science fiction novel(D) A dialogue for a talk showThe Printed WordKeywords: nineteenth century, united states, awareness, newspapers, magazineAlthough social changes in the United States were being wrought throughout most of the nineteenth century, public awareness of the changes increased to new levels in the 1890's.The acute, growing public awareness of the social changes that had been taking place for some time was tied to tremendous growth in popular journalism in the late nineteenth century, including growth in quantity and circulation of both magazines and newspapers.These developments, in addition to the continued growth of cities, were significant factors in the transformation of society from one characterized by relatively isolated selfcontained communities into an urban, industrial nation.The decade of the 1870's, for example, was a period in which the sheer number of newspapers doubled, and by 1880 the New York Graphic had published the first photographic reproduction in a newspaper, portending a dramatic rise in newspaper readership. Between 1882 and 1886 alone, the price of daily newspapers dropped from four cents a copy to one cent, made possible in part by a great increase in demand. Furthermore, the introduction in 1890 of the first successful linotype machine promised even further growth. In 1872 only two daily newspapers could claim a circulation of over 100,000, but by 1892 seven more newspapers exceeded that figure. A world beyond the immediate community was rapidly becoming visible.But it was not newspapers alone that were bringing the new awareness to people in theUnited States in the late nineteenth century.< /s9> Magazines as they are known today began publication around 1882, and, in fact, the circulation of weekly magazines exceeded that of newspapers in the period which followed. By 1892, for example, the circulation of the Ladies' Home Journal had reached an astounding 700,000. An increase in book readership also played a significant part in this general trend. For example,Edward Bellamy's utopian novel, Looking Backward, sold over a million copies in 1888, giving rise to the growth of organizations dedicated to the realization of Bellamy's vision of the future. The printed word, unquestionably, was intruding on the insulation that had characterized United States society in an earlier period.1. The word "acute" in line 3 is closest in meaning to(A) useful(B) intense(C) genuine(D) controversial2. According to the passage, the expansion of popular journalism was linked to(A) changes in the distribution system(B) a larger supply of paper(C) an increase in people's awareness of social changes(D) greater numbers of journalists3. According to the passage, the New York Graphic's inclusion of photographs contributed to(A) the closing of newspapers that did not use photographs(B) newspapers' becoming more expensive(C) an increase in the number of people reading newspapers(D) a reduction in the cost of advertising4. Why was there a drop in the price of daily newspapers between 1882 and 1886?(A) There was a rise in demand.(B) Newspapers had fewer pages.(C) Newspapers contained photographic reproductions.(D) Magazines began to compete with newspapers.5. The word "exceeded" in line 16 is closest in meaning to(A) controlled(B) surpassed(C) affected(D) equalled6. What does the author mean by the statement "A world beyond the immediatecommunity was rapidly becoming visible" in lines 16-17?(A) Photographs made newspapers more interesting.(B) The United States exported newspapers to other countries.(C) People were becoming increasingly aware of national and international issues.(D) Communities remained isolated despite the growth of popular journalism.7. The word "that" in line 21 refers to(A) century(B) publication(C) circulation(D) period8. The word "astounding" in line 22 is closest in meaning to(A) surprising(B) estimated(C) encouraging(D) sudden9. Why does the author mention Edward Bellamy's novel Looking Backward?(A) To illustrate how advanced the technology of printing had become(B) To emphasize the influence of the printed word on a society undergoing rapid change(C) To document its prediction about the popularity of newspapers(D) To demonstrate that books had replaced newspapers and magazines as the leadingsource of informationThe Art Nouveau StyleKeywords: international Art Nouveau style, Emile Galle, art glass, Louis ComfortTiffany, FunctionalismThe end of the nineteenth century and the early years of the twentieth century weremarked by the development of an international Art Nouveau style, characterized bysinuous lines, floral and vegetable motifs, and soft evanescent coloration. The ArtNouveau style was an eclectic one, bringing together elements of Japanese art, motifs ofancient cultures, and natural forms. The glass objects of this style were elegant in outline,although often deliberately distorted, with pale or iridescent surfaces. A favored device ofthe style was to imitate the iridescent surface seen on ancient glass that had been buried.Much of the Art Nouveau glass produced during the years of its greatest popularity hadbeen generically termed "art glass." Art glass was intended for decorative purposes andrelied for its effect upon carefully chosen color combinations and innovative techniques.France produced a number of outstanding exponents of the Art Nouveau style; among themost celebrated was Emile Galle (1846-1904). In the United States, Louis ComfortTiffany (1843-1933) was the most noted exponent of this style, producing a great varietyof glass forms and surfaces, which were widely copied in their time and are highly prizedtoday. Tiffany was a brilliant designer, successfully combining ancient Egyptian,Japanese, and Persian motifs.The Art Nouveau style was a major force in the decorative arts from 1895 until 1915,although its influence continued throughout the mid-1920's. It was eventually to beovertaken by a new school of thought known as Functionalism that had been presentsince the turn of the century. At first restricted to a small avant-garde group of architectsand designers, Functionalism emerged as the dominant influence upon designers after theFirst World War. The basic tenet of the movement-that function should determine formwasnot a new concept. Soon a distinct aesthetic code evolved: form should be simple,surfaces plain, and any ornament should be based on geometric relationships. This newdesign concept, coupled with the sharp postwar reactions to the styles and conventions ofthe preceding decades, created an entirely new public taste which caused Art Nouveautypes of glass to fall out of favor. The new taste demanded dramatic effects of contrast,stark outline and complex textural surfaces.20. What does paragraph 1 mainly discuss?(A) Design elements in the Art Nouveau style(B) The popularity of the Art Nouveau style(C) Production techniques for art glass(D) Color combinations typical of the Art Nouveau style21. The word "one" in line 4 refers to。
托福TOEFL赛达SAT作文——关于文学艺术小说
Is the main value of the arts to teach us about the world around us?Can books and stories about characters and events that are not real teach us anything useful?Since books and stories derive from mundane lives, and simultaneously dramatize and transform common things into representative events ,we can easily discern that they reveal relation between man and his circumambient universe.Thus, caught up in the riveting plots,the rapt readers are apt to empathize with the characters,pore over their vicissitudes,and nourish their own thoughts.For instance, I am aways enamored with the protagonist of A Little Princess,Sara Crewe.In this story, seven-year-old Sara ,who was brought up in India by her affluent and indulging father,has been sent London to st udy in a rigid school.Impressed by the wealth of Captain(Sara’s father),Miss Minchin,the principal of school,treats Sara as a princess and pander to her demands eagerly at the inception of the novel.However, 5 years later,mishaps befall Sara:the news from India reads that her father died of “jungle fever and business troubles combined”;futher more,the partner of the Captain has run off all their fortune,leaving Sara penniless.Miss Minchin ,enraged,bereaves all of her belongings,sends her to an attic to sleep in a squalid room.From that point on , Sara becomes an all-purpose servant, doing everything from teaching the French lessons to cleaning and running errands.Lost in the empathy of Sara’s change from a princess to a servant, I depressed and even refused to go on reading it when I was a little girl,but now the reason I treasure this story is beyond its sympathetic effects and grasping plots.Even in the apathetic and ruthless school,living such a harrowing and monotonous life,the protagonist,Sara never yield to the harshness and gradually refine herself as a real princess . Though starving for a long time,she gives buns to a vagrant girl; though jaded after a whole day work, she cheers up a another servent girl living next to her on tha attic ; though burried in the endless errands, she becomes the “adopted mother” of a younger student, who shared a bound with Sara, since both of their mothers have died.Sara’s bravery and kindness often encourage me when I encounter some adverse situations in everyday life.Simple and romantic as A Little Princess is,it never fails to attract readers and assure them how people can fit in the world even they are in adversity as bad as Sara’s.Another novel,Great Expectations ,is more realistic and critical about society.Although its main themes are gratitude and suffering about its protagonist,Pip, the meaning of this novel can extends much father than those.The author,Charles Dickens,obviously wanted to parallel the problem –that Pip suffers from the variance between his lower social status and his lover’s – to the same problem of class in London society then.Also, more profond and distinct explorations of the text can bestow us many other understandings of the story,but for me ,the title ,Great Expectations ,is quite educational.Pip always hopes that his ambition will come true from the recourse of others and fails resoundingly when his patron can no longer bolster him.This reminds me of a dictum:”Heaven helps those who help themselves.”Whatever we want to achieve ,the best way to make it is working on our own hands.Pip needs to bear it in mind,so do I. I believe,through history,many persons did nourish their own thoughts when reading books,and may approve what Amy Lowell said:”They(books) are the life, the very heart and core o f ages past, the reason why men lived and worked and died,the essence and quintessence of their lives .”。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
小站出品必属精品only in 托福阅读小站托福免费专线：4009-121-121 小站教育官网： 小站官方托福交流QQ群: 142986115推荐主题●【托福听力技巧】学会听结构和找题点●【托福口语】教你如何三天搞定托福口语●【托福复议】详解托福复议怎么能提分●【托福阅读高分】学会不求甚解●【托福综合写作】一周内如何练就速记●【ACT宠妃】逗号的逆袭（转）【阅读】新托福阅读艺术类文章大汇总ARTSThe House of Native American TribeThe earliest American folk art portraitsThe Music of FilmsBarbara KastenThe Works of Joyce Carol OatesThe Printed WordThe Art Nouveau StyleArts and Crafts MovementThe House of Native American TribeKeywords: United States, pueblos, buildings, chambers, nichesAnother early Native American tribe in what is now the southwestern part of the UnitedStates was the Anasazi. By A. D. 800 the Anasazi Indians were constructing multistory pueblos-massive, stone apartment compounds. Each one was virtually a stone town, which is why the Spanish would later call them pueblos, the Spanish word for towns.These pueblos represent one of the Anasazis' supreme achievements. At least a dozen large stone houses took shape below the bluffs of Chiaco Canyon in northwest NewMexico. They were built with masonry walls more than a meter thick and adjoining apartments to accommodate dozens, even hundreds, of families. The largest, later namedPueblo Bonito (Pretty Town) by the Spanish, rose in five terraced stories, contained more than 800 rooms, and could have housed a population of 1,000 or more.Besides living quarters, each pueblo included one or more kivas-circular underground chambers faced with stone. They functioned as sanctuaries where the elders met to plan festivals, perform ritual dances, settle pueblo affairs, and impart tribal lore to the younger generation. Some kivas were enormous. Of the 30 or so at Pueblo Bonito, two measured 20 meters across. They contained niches for ceremonial objects, a central fire pit, and holes in the floor for communicating with the spirits of tribal ancestors.Each pueblo represented an astonishing amount of well-organized labor. Using only stone and wood tools, and without benefit of wheels or draft animals, the builders quarried ton upon ton of sandstone from the canyon walls, cut it into small blocks, hauled the blocksto the construction site, and fitted them together with mud mortar.Roof beams of pine or fir had to be carried from logging areas in the mountain forests many kilometers away.Then, to connect the pueblos and to give access to the surrounding tableland, the architects laid out a system of public roads with stone staircases for ascending cliff faces.In time, the roads reached out to more than 80 satellite villages within a60-kilometerradius.1. The paragraph preceding the passage most probably discussed(A) how pueblos were built(B) another Native American tribe(C) Anasazi crafts and weapons(D) pueblo villages in New Mexico2. What is the main topic of the passage?(A) The Anasazi pueblos(B) Anasazi festivals of New Mexico(C) The organization of the Anasazi tribe(D) The use of Anasazi sanctuaries3. The word "supreme" in line 5 is closest in meaning to(A) most common(B) most outstanding(C) most expensive(D) most convenient4. The word "They" in line 7 refers to(A) houses(B) bluffs(C) walls(D) families5. The author mentions that Pueblo bonito had more than 800 rooms as an example ofwhich of the following?(A) How overcrowded the pueblos could be(B) How many ceremonial areas it contained(C) Hoe much sandstone was needed to build it(D) How big a pueblo could be6. The word "settle" in line 14 is closest in meaning to(A) sink(B) decide(C) clarify(D) locate7. It can be inferred from the passage that building a pueblo probably(A) required many workers(B) cost a lot of money(C) involved the use of farm animals(D) relied on sophisticated technology8. The word "ascending" in line 26 is closest in meaning to(A) arriving at(B) carving(C) connecting(D) climbing9. It can be inferred from the passage that in addition to pueblos the Anasazis wereskilled at building which of the following?(A) Roads(B) Barns(C) Monuments(D) Water systems10. The pueblos are considered one of the Anasazis' supreme achievements for all of thefollowing reasons EXCEPT that they were(A) very large(B) located in forests(C) built with simple tools(D) connected in a systematic wayThe earliest American folk art portraitsKeywords: portraits, portraiture, artists, craft tradition, an originalportrait</keywords>What we today call America folk art was, indeed, art of, by, and for ordinary, everyday "folks" who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republicswhether ancient Romans,seventeenth-century Dutch burghers, or nineteenth-century Americans-have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands.The earliest American folk art portraits come, not surprisingly, from New EnglandespeciallyConnecticut and Massachusetts-for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of theDeclaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio, Kentucky, Illinois, andMissouri. Midway through its first century as a nation, the United States' population had increased roughly five time, and eleven new states had been added to the original thirteen.During these years the demand for portraits grew and grew, eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.But in the heyday of portrait painting-from the late eighteenth century until the 1850'sanyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local crafts people-sign, coach, and housepainters-began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.39. In lines 4-5 the author mentions seventeenth-century Dutch burghers as an example of a group that(A) consisted mainly of self taught artists(B) appreciated portraits(C) influenced American folk art(D) had little time for the arts40. The word "marked" in line 5 is closest in meaning to(A) pronounced(B) fortunate(C) understandable(D) mysterious41. According to the passage, where were many of the first American folk art portraitspainted?(A) In western New York(B) In Illinois and Missouri(C) In Connecticut and Massachusetts(D) In Ohio42. The word "this" in line 9 refers to(A) a strong craft tradition(B) American folk art(C) New England(D) western New York43. How much did the population of the United States increase in the first fifty yearsfollowing independence?(A) It became three times larger.(B) It became five times larger.(C) It became eleven times larger.(D) It became thirteen times larger.44. The phrase "ushering in" in line 17 is closest in meaning to(A) beginning(B) demanding(C) publishing(D) increasing45. The relationship between the daguerreotype (line 16) and the painted portrait issimilar to the relationship between the automobile and the(A) highway(B) driver(C) horse-drawn carriage(D) engine46. According to the passage, which of the following contributed to a decline in thedemand for painted portraits?(A) The lack of a strong craft tradition(B) The westward migration of many painters(C) The growing preference for landscape paintings(D) The invention of the camera47. The word "executed" in line 19 is closest in meaning to(A) sold(B) requested(C) admired(D) created48. The author implies that most limners (line 22)(A) received instruction from traveling teachers(B) were women(C) were from wealthy families(D) had no formal art training49. The word "sketching" in line 25 is closest in meaning to(A) drawing(B) hiring(C) helping(D) discussing50. Where in the passage does the author provide a definition?(A) Lines 3-6(B) Lines 8-10(C) Lines 13-15(D) Lines 21-23The Music of FilmsKeywords: films, music, pianists, orchestras, conductorAccustomed though we are to speaking of the films made before 1927 as "silent," the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film.As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or tasteso much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before they were to be shown if, indeed, the conductor was lucky enough to see them then, the musical arrangement was normally improvised in the greatest hurry.To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as "pleasant," "sad," "lively." The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next.Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. W. Griffith's film Birth of a Nation, which was released in 1915.11. The passage mainly discusses music that was(A) performed before the showing of a film(B) played during silent films(C) specifically composed for certain movie theaters(D) recorded during film exhibitions12. What can be inferred from the passage about the majority of films made after 1927?(A) They were truly "silent."(B) They were accompanied by symphonic orchestras.(C) They incorporated the sound of the actors' voices.(D) They corresponded to specific musical compositions.13. The word "solemn" in line 7 is closest in meaning to(A) simple(B) serious(C) short(D) silent14. It can be inferred that orchestra conductors who worked in movie theaters needed to(A) be able to play many instruments(B) have pleasant voices(C) be familiar with a wide variety of music(D) be able to compose original music15. The word "them" in line 17 refers to(A) years(B) hands(C) pieces(D) films16. According to the passage, what kind of business was the Edison Company?(A) It produced electricity.(B) It distributed films.(C) It published musical arrangements.(D) It made musical instruments.17. It may be inferred from the passage that the first musical cue sheets appeared around(A) 1896(B) 1909(C) 1915(D) 192718. Which of the following notations is most likely to have been included on a musicalcue sheet of the early 1900's?(A) "Calm, peaceful"(B) "Piano, violin"(C) "Key of C major"(D) "Directed by D. W. Griffith"19. The word "composed" in line 26 is closest in meaning to(A) selected(B) combined(C) played(D) created20. The word "scores" in line 26 is closest in meaning to(A) totals(B) successes(C) musical compositions(D) groups of musicians21. The passage probably continues with a discussion of(A) famous composers of the early twentieth century(B) other films directed by D. W. Griffith(C) silent films by other directors(D) the music in Birth of a NationBarbara KastenKeywords: photographs, objects, camera, image, equipmentBarbara Kasten is an artist who makes photographs of constructions that she creates for the purpose of photographing them. In her studio she arranges objects such as mirrors, solid forms, and flat surfaces into what could be called large still life arrangements, big enough to walk into. She lights the construction, then rearranges and rephotographs it until she arrives at a final image. She also photographs away from her studio at various architectural sites, bringing camera, lights, mirrors, and a crew of assistants to transform the site into her own abstract image.Kasten starts a studio construction with a simple problem, such as using several circular and rectangular mirrors. She puts the first objects in place, sets up a camera, then goes back and forth arranging objects and seeing how they appear in the camera. Eventually she makes instant color prints to see what the image looks like. At first she works only with objects, concentrating on their composition; then she lights them and adds color from lights covered with colored filters.Away from the studio, at architectural sites, the cost of the crew and the equipment rental means she has to know in advance what she wants to do. She visits each location several times to make sketches and test shots. Until she brings in the lights, however, she cannot predict exactly what they will do to the image, so there is some improvising on the spot.12. What does the passage many discuss?(A) The techniques of a photographer(B) The advantages of studio photography(C) Industrial construction sites(D) An architect who appreciates fine art13. Which of the following would be an example of one of the "constructions" referred to in line 1?(A) A still life arrangement(B) Natural landscapes(C) An instant color print(D) A colored filter14. In line 2, why does the author mention mirrors?(A) They are part of the camera.(B) Kasten uses them as subjects.(C) The crew needs them.(D) Photography mirrors life.15. The word "transform" in line 6 is closest in meaning to(A) move(B) extend(C) change(D) interpret16. It can be inferred from the passage that Kasten makes instant prints to(A) give away(B) sell as souvenirs(C) include as part of the construction(D) see what the construction looks like at that stage17. The word "composition" in line 12 is closest in meaning to(A) arrangement(B) brightness(C) quality(D) size18. The word "them" in line 12 refers to(A) prints(B) lights(C) objects(D) filters19. The word "shots" in line 16 is closest in meaning to(A) injections(B) photographs(C) loud noises(D) effective remarks20. The word "they" in line 17 refers to(A) architectural styles(B) sketches(C) colored filters(D) lights21. Why does Kasten visit the location of outdoor work before the day of the actual shooting?(A) To plan the photograph(B) To purchase film and equipment(C) To hire a crew(D) To test the lights22. How is Kasten's studio work different from her work at architectural sites?(A) She does not use lights outdoors.(B) Her work outdoors is more unpredictable.(C) She works alone outdoors.(D) She makes more money from her work outdoors.23. Where in the passage does the author suggest that the constructions that Kasten photographs are life-sized?(A) Lines 2-4(B) Lines 5-7(C) Lines 12-14(D) Lines 16-17The Works of Joyce Carol OatesKeywords: collection, novels, productivity, source，magazinesJoyce Carol Oates published her first collection of short stories, By The North Gate, in1963, two years after she had received her master's degree from the University ofWisconsin and become an instructor of English at the University of Detroit. Her productivity since then has been prodigious, accumulating in less than two decades to nearly thirty titles, including novels, collections of short stories and verse, plays, and literary criticism. In the meantime, she has continued to teach, moving in 1967 from theUniversity of Detroit to the University of Windsor, in Ontario, and, in 1978, to PrincetonUniversity. Reviewers have admired her enormous energy, but find a productivity of such magnitude difficult to assess.In a period characterized by the abandonment of so much of the realistic tradition by authors such as John Barth, Donald Barthelme, and Thomas Pynchon, Joyce Carol Oates has seemed at times determinedly old-fashioned in her insistence on the essentially mimetic quality of her fiction. Hers is a world of violence, insanity, fractured love, and hopeless loneliness. Although some of it appears to come from her own direct observations, her dreams, and her fears, much more is clearly from the experiences of others. Her first novel, With Shuddering Fall (1964), dealt with stock car racing, though she had never seen a race. In Them (1969) she focused on Detroit from the Depression through the riots of 1967, drawing much of her material from the deep impression made on her by the problems of one of her students. Whatever the source and however shocking the events or the motivations, however, her fictive world remains strikingly akin to that real one reflected in the daily newspapers, the television news and talk shows, and the popular magazines of our day.1. What is the main purpose of the passage?(A) To review Oates' By the North Gate(B) To compare some modern writers(C) To describe Oates' childhood(D) To outline Oates' career2. Which of the following does the passage indicate about Joyce Carol Qates' first publication?(A) It was part of her master's thesis.(B) It was a volume of short fiction.(C) It was not successful.(D) It was about an English instructor in Detroit.3. Which of the following does the passage suggest about Joyce Carol Oates in terms of her writing career?(A) She has experienced long nonproductive periods in her writing.(B) Her style is imitative of other contemporary authors.(C) She has produced a surprising amount of fictions in a relative short time.(D) Most of her work is based on personal experience.4. The word "characterized" in line 10 can best replaced by which of the following?(A) shocked(B) impressed(C) distinguished(D) helped5. What was the subject of Joyce Carol Oates' first novel?(A) Loneliness(B) Insanity(C) Teaching(D) Racing6. Why does the author mention Oates book In Them?(A) It is a typical novel of the 1960's(B) It is her best piece of nonfiction.(C) It is a fictional work based on the experiences of another person.(D) It is an autobiography.7. Which of the following would Joyce Carol Oates be most likely to write?(A) A story with an unhappy ending(B) A romance novel set in the nineteenth century(C) A science fiction novel(D) A dialogue for a talk showThe Printed WordKeywords: nineteenth century, united states, awareness, newspapers, magazineAlthough social changes in the United States were being wrought throughout most of the nineteenth century, public awareness of the changes increased to new levels in the 1890's.The acute, growing public awareness of the social changes that had been taking place for some time was tied to tremendous growth in popular journalism in the late nineteenth century, including growth in quantity and circulation of both magazines and newspapers.These developments, in addition to the continued growth of cities, were significant factors in the transformation of society from one characterized by relatively isolated selfcontained communities into an urban, industrial nation.The decade of the 1870's, for example, was a period in which the sheer number of newspapers doubled, and by 1880 the New York Graphic had published the first photographic reproduction in a newspaper, portending a dramatic rise in newspaper readership. Between 1882 and 1886 alone, the price of daily newspapers dropped from four cents a copy to one cent, made possible in part by a great increase in demand. Furthermore, the introduction in 1890 of the first successful linotype machine promised even further growth. In 1872 only two daily newspapers could claim a circulation of over 100,000, but by 1892 seven more newspapers exceeded that figure. A world beyond the immediate community was rapidly becoming visible.But it was not newspapers alone that were bringing the new awareness to people in theUnited States in the late nineteenth century.< /s9> Magazines as they are known today began publication around 1882, and, in fact, the circulation of weekly magazines exceeded that of newspapers in the period which followed. By 1892, for example, the circulation of the Ladies' Home Journal had reached an astounding 700,000. An increase in book readership also played a significant part in this general trend. For example,Edward Bellamy's utopian novel, Looking Backward, sold over a million copies in 1888, giving rise to the growth of organizations dedicated to the realization of Bellamy's vision of the future. The printed word, unquestionably, was intruding on the insulation that had characterized United States society in an earlier period.1. The word "acute" in line 3 is closest in meaning to(A) useful(B) intense(C) genuine(D) controversial2. According to the passage, the expansion of popular journalism was linked to(A) changes in the distribution system(B) a larger supply of paper(C) an increase in people's awareness of social changes(D) greater numbers of journalists3. According to the passage, the New York Graphic's inclusion of photographs contributed to(A) the closing of newspapers that did not use photographs(B) newspapers' becoming more expensive(C) an increase in the number of people reading newspapers(D) a reduction in the cost of advertising4. Why was there a drop in the price of daily newspapers between 1882 and 1886?(A) There was a rise in demand.(B) Newspapers had fewer pages.(C) Newspapers contained photographic reproductions.(D) Magazines began to compete with newspapers.5. The word "exceeded" in line 16 is closest in meaning to(A) controlled(B) surpassed(C) affected(D) equalled6. What does the author mean by the statement "A world beyond the immediatecommunity was rapidly becoming visible" in lines 16-17?(A) Photographs made newspapers more interesting.(B) The United States exported newspapers to other countries.(C) People were becoming increasingly aware of national and international issues.(D) Communities remained isolated despite the growth of popular journalism.7. The word "that" in line 21 refers to(A) century(B) publication(C) circulation(D) period8. The word "astounding" in line 22 is closest in meaning to(A) surprising(B) estimated(C) encouraging(D) sudden9. Why does the author mention Edward Bellamy's novel Looking Backward?(A) To illustrate how advanced the technology of printing had become(B) To emphasize the influence of the printed word on a society undergoing rapid change(C) To document its prediction about the popularity of newspapers(D) To demonstrate that books had replaced newspapers and magazines as the leadingsource of informationThe Art Nouveau StyleKeywords: international Art Nouveau style, Emile Galle, art glass, Louis ComfortTiffany, FunctionalismThe end of the nineteenth century and the early years of the twentieth century weremarked by the development of an international Art Nouveau style, characterized bysinuous lines, floral and vegetable motifs, and soft evanescent coloration. The ArtNouveau style was an eclectic one, bringing together elements of Japanese art, motifs ofancient cultures, and natural forms. The glass objects of this style were elegant in outline,although often deliberately distorted, with pale or iridescent surfaces. A favored device ofthe style was to imitate the iridescent surface seen on ancient glass that had been buried.Much of the Art Nouveau glass produced during the years of its greatest popularity hadbeen generically termed "art glass." Art glass was intended for decorative purposes andrelied for its effect upon carefully chosen color combinations and innovative techniques.France produced a number of outstanding exponents of the Art Nouveau style; among themost celebrated was Emile Galle (1846-1904). In the United States, Louis ComfortTiffany (1843-1933) was the most noted exponent of this style, producing a great varietyof glass forms and surfaces, which were widely copied in their time and are highly prizedtoday. Tiffany was a brilliant designer, successfully combining ancient Egyptian,Japanese, and Persian motifs.The Art Nouveau style was a major force in the decorative arts from 1895 until 1915,although its influence continued throughout the mid-1920's. It was eventually to beovertaken by a new school of thought known as Functionalism that had been presentsince the turn of the century. At first restricted to a small avant-garde group of architectsand designers, Functionalism emerged as the dominant influence upon designers after theFirst World War. The basic tenet of the movement-that function should determine formwasnot a new concept. Soon a distinct aesthetic code evolved: form should be simple,surfaces plain, and any ornament should be based on geometric relationships. This newdesign concept, coupled with the sharp postwar reactions to the styles and conventions ofthe preceding decades, created an entirely new public taste which caused Art Nouveautypes of glass to fall out of favor. The new taste demanded dramatic effects of contrast,stark outline and complex textural surfaces.20. What does paragraph 1 mainly discuss?(A) Design elements in the Art Nouveau style(B) The popularity of the Art Nouveau style(C) Production techniques for art glass(D) Color combinations typical of the Art Nouveau style21. The word "one" in line 4 refers to。