剑桥雅思阅读真题

“swarovski”通过精心收集，向本站投稿了6篇剑桥雅思阅读真题，下面就是小编整理后的剑桥雅思阅读真题，希望大家喜欢。

篇1：剑桥雅思阅读真题

Otter

A

Otters have long, thin bodies and short legs – ideal for pushing through dense undergrowth or hunting in tunnels. An adult male may be up to 4 feet long and 30lbs. Females are smaller typically. The Eurasian otter’s nose is about the smallest among the otter species and has a characteristic shape described as a shallow ‘W’. An otter’s tail (or rudder, or stern) is stout at the base and tapers towards the tip where it flattens. This forms part of the propulsion unit when swimming fast underwater. Otter fur consists of two types of hair: stout guard hairs which form a waterproof outer covering, and under-fur which is dense and fine, equivalent to an otter’s thermal underwear. The fur must be kept in good condition by grooming. Seawater reduces the waterproofing and insulating qualities of otter fur when saltwater in the fur. This is why freshwater pools are important to otters living on the coast. After swimming, they wash the salts off in pools and the squirm on the ground to rub dry against vegetation.

B

The scent is used for hunting on land, for communication and for detecting danger. Otterine sense of smell is likely to be similar in sensitivity to dogs. Otters have small eyes and are probably short-sighted on land. But they do have the ability to modify the shape of the lens in the eye to make it more spherical, and hence overcome the refraction of water. In clear water and good light, otters can hunt fish by sight. The otter’s eyes and nostrils are placed high on its head so that it can see and breathe even when the rest of the body is submerged. Underwater, the cotter holds its legs against the body, except for steering, and the hind end of the body is flexed in a series of vertical undulations. River otters have webbing which extends for much of the length of each digit, though not to the very end. Giant otters and sea otters have even more prominent webs, while the Asian short-clawed otter has no webbing – they hunt for shrimps in ditches and paddy fields so they don’t need the swimming speed. Otter’s ears are tiny for streamlining, but they still have very sensitive hearing and are protected by valves which close them against water pressure.

C

A number of constraints and preferences limit suitable habitats of otters. Water is a must and the rivers must be large enough to support a healthy population of fish. Being such shy and wary creatures, they will prefer territories where man’s activities do not impinge greatly. Of course, there must also be no other otter already in residence – this has only become significant again recently as populations start to recover. Coastal otters have a much more abundant food supply and range for males and females may be just a few kilometres of coastline. Because male range overlaps with two or three females – not bad! Otters will eat anything that they can get hold of – there are records of sparrows and snakes and slugs being gobbled. Apart from fish, the most common prey are crayfish, crabs and water birds. Small mammals are occasionally taken, most commonly rabbits but sometimes even moles.

D

Eurasian otters will breed any time where food is readily available. In places where the condition is more severe, Sweden for example where the lakes are frozen for much of winter, cubs are born in spring. This ensures that they are well grown before severe weather returns. In the Shetlands, cubs are born in summer when fish is more abundant. Though otters can breed every year, some do not. Again, this depends on food availability. Other factors such as food range and quality of the female may have an effect. Gestation for Eurasian otter is 63 days, with the exception of Lutra canadensis whose embryos may undergo delayed implantation. Otters normally give birth in more secure dens to avoid disturbances. Nests are lined with bedding to keep the cub’s warm mummy is away feeding.

E

Otters normally give birth in more secure dens to avoid disturbances. Nests are lined with bedding (reeds, waterside plants, grass) to keep the cub’s warm while is away feeding. Litter Size varies between 1 and 5. For some unknown reason, coastal otters tend to produce smaller litters. At five weeks they open their eyes – a tiny cub of 700g. At seven weeks they’re weaned onto solid food. At ten weeks they leave the nest, blinking into daylight for the first time. After three months they finally meet the water and learn to swim. After eight months they are hunting, though the mother still provides a lot of food herself. Finally, after nine months she can chase them all away with a clear conscience, and relax – until the next fella shows up.

F

The plight of the British otter was recognised in the early 60s, but it wasn’t until the late 70s that the chief cause was discovered. Pesticides, such as dieldrin and aldrin, were first used in1955 in agriculture and other industries – these chemicals are very persistent and had already been recognised as the cause of huge declines in the population of peregrine falcons, sparrow hawks and other predators. The pesticides entered the river systems and the food chain – micro-organisms, fish and finally otters, with every step increasing the concentration of the chemicals. From 1962 the chemicals were phased out, but while some species recovered quickly, otter numbers did not – and continued to fall into the 80s. This was probably due mainly to habitat destruction and road deaths. Acting on populations fragmented by the sudden decimation in the 50s and 60s, the loss of just a handful of otters in one area can make an entire population unviable and spell the end.

G

Otter numbers are recovering all around Britain – populations are growing again in the few areas where they had remained and have expanded from those areas into the rest of the country. This is almost entirely due to legislation, conservation efforts, slowing down and reversing the destruction of suitable otter habitat and reintroductions from captive breeding programs. Releasing captive-bred otters is seen by many as a last resort. The argument runs that where there is no suitable habitat for them they will not survive after release and where there is suitable habitat, natural populations should be able to expand into the area. However, reintroducing animals into a fragmented and fragile population may add just enough impetus for it to stabilise and expand, rather than die out. This is what the Otter Trust accomplished in Norfolk, where the otter population may have been as low as twenty animals at the beginning of the 1980s. The Otter Trust has now finished its captive breeding program entirely, great news because it means it is no longer needed.

Questions 1-9

The reading Passage has seven paragraphs A-GWhich paragraph contains the following information?Write the correct letter A-G, in boxes 1-9 on your answer sheet.

NB You may use any letter more than once.

1 A description of how otters regulate vision underwater

2 The fit-for-purpose characteristics of otter’s body shape

3 A reference to an underdeveloped sense

4 An explanation of why agriculture failed in otter conservation efforts

5 A description of some of the otter’s social characteristics

6 A description of how baby otters grow

7 The conflicting opinions on how to preserve

8 A reference to the legislative act

9 An explanation of how otters compensate for heat loss

Questions 10-13

Answer the questions below.Choose NO MORE THAN THREE WORDS AND/OR A NUMBERfrom the passage for each answer

10 What affects the outer fur of otters?

11 What skill is not necessary for Asian short-clawed otters?

12 Which type of otters has the shortest range?

13 Which type of animals do otters hunt occasionally?

篇2：剑桥雅思阅读10真题解析(test2)

READING PASSAGE 1

You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 on the following pages.

Questions 1-7

Reading Passage 1 has seven paragraphs, A-G.

Choose the correct heading for each paragraph from the list of headings below.

Write the correct number，i-ix，in boxes 1-7 on your answer sheet

List of Headings

i The search for the reasons for an increase in population

ii Industrialisation and the fear of unemployment

iii The development of cities in Japan

iv The time and place of the Industrial Revolution

v The cases of Holland, France and China

vi Changes in drinking habits in Britain

vii Two keys to Britain’s industrial revolution

viii Conditions required for industrialisation

ix Comparisons with Japan lead to the answer

1 Paragraph A

2 Paragraph B

3 Paragraph C

4 Paragraph D

5 Paragraph E

6 Paragraph F

7 Paragraph G

Tea and the Industrial Revolution

A Cambridge professor says that a change in drinking babits was the reason for the Industrial Revolution in Britain. Anjana Abuja reports

A Alan Macfarlane, professor of anthropological science at King’s College, Cambridge, has, like other historians, spent decades wrestling with the enigma of the Industrial Revolution. Why did this particular Big Bang — the world-changing birth of industry — happen in Britain? And why did it strike at the end of the 18th century?

B Macfarlane compares the puzzle to a combination lock. ‘There are about 20 different factors and all of them need to be present before the revolution can happen,’ he says. For industry to take off, there needs to be the technology and power to drive factories, large urban populations to provide cheap labour, easy transport to move goods around, an affluent middle-class willing to buy mass-produced objects, a market-driven economy and a political system that allows this to happen. While this was the case for England, other nations, such as Japan, the Netherlands and France also met some of these criteria but were not industrialising. ‘All these factors must have been necessary but not sufficient to cause the revolution,’ says Macfarlane. ‘After all, Holland had everything except coal while China also had many of these factors. Most historians are convinced there are one or two missing factors that you need to open the lock.’

C The missing factors, he proposes, are to be found in almost even kitchen curpboard. Tea and beer, two of the nation’s favourite drinks, fuelled the revolution. The antiseptic properties of tannin, the active ingredient in tea, and of hops in beer — plus the fact that both are made with boiled water — allowed urban communities to flourish at close quarters without succumbing to water-borne diseases such as dysentery. The theory sounds eccentric but once he starts to explain the detective work that went into his deduction, the scepticism gives way to wary admiration. Macfarlane’s case has been strengthened by support from notable quarters — Roy Porter, the distinguished medical historian, recently wrote a favourable appraisal of his research.

D Macfarlane had wondered for a long time how the Industrial Revolution came about. Historians had alighted on one interesting factor around the mid-18th century that required explanation. Between about 1650 and 1740，the population in Britain was static. But then there was a burst in population growth. Macfarlane says: ‘The infant mortality rate halved in the space of 20 years, and this happened in both rural areas and cities, and across all classes. People suggested four possible causes. Was there a sudden change in the viruses and bacteria around? Unlikely. Was there a revolution in medical science? But this was a century before Lister’s revolution_ Was there a change in environmental conditions? There were improvements in agriculture that wiped out malaria, but these were small gains. Sanitation did not become widespread until the 19th century. The only option left is food. But the height and weight statistics show a decline. So the food must have got worse. Efforts to explain this sudden reduction in child deaths appeared to draw a blank.’

E This population burst seemed to happen at just the right time to provide labour for the Industrial Revolution. ‘When you start moving towards an industrial revolution, it is economically efficient to have people living close together,’ says Macfarlane. ‘But then you get disease, particularly from human waste.’ Some digging around in historical records revealed that there was a change in the incidence of water-borne disease at that time, especially dysentery. Macfarlane deduced that whatever the British were drinking must have been important in regulating disease. He says, ‘We drank beer. For a long time, the English were protected by the strong antibacterial agent in hops, which were added to help preserve the beer. But in the late 17th century a tax was introduced on malt, the basic ingredient of beer. The poor turned to water and gin and in the 1720s the mortality rate began to rise again. Then it suddenly dropped again. What caused this?’

F Macfarlane looked to Japan, which was also developing large cities about the same time, and also had no sanitation. Water-borne diseases had a much looser grip on the Japanese population than those in Britain. Could it be the prevalence of tea in their culture? Macfarlane then noted that the history of tea in Britain provided an extraordinary coincidence of dates. Tea was relatively expensive until Britain started a direct clipper trade with China in the early 18th century. By the 1740s, about the time that infant mortality was dipping, the drink was common. Macfarlane guessed that the fact that water had to be boiled, together with the stomach-purifying properties of tea meant that the breast milk provided by mothers was healthier than it had ever been. No other European nation sipped tea like the British, which, by Macfarlane’s logic, pushed these other countries out of contention for the revolution.

G But, if tea is a factor in the combination lock, why didn’t Japan forge ahead in a tea-soaked industrial revolution of its own? Macfarlane notes that even though 17th-century Japan had large cities, high literacy rates, even a futures market, it had turned its back on the essence of any work-based revolution by giving up labour-saving devices such as animals, afraid that they would put people out of work. So, the nation that we now think of as one of the most technologically advanced entered the 19th century having ‘abandoned the wheel’.

_oseph Lister was the first doctor to use antiseptic techniques during surgical operations to prevent infections.

Questions 8-13

Do the following statements agree with the information given in Reading Passage 1?

In boxes 8-13 on your answer sheet, write

TRUE if the statement agrees with the information

FALSE if the statement contradicts the information

NOT GIVEN if there is no information on this

8 China’s transport system was not suitable for industry in the 18th century.

9 Tea and beer both helped to prevent dysentery in Britain.

10 Roy Porter disagrees with Professor Macfarlane’s findings.

11 After 1740，there was a reduction in population in Britain.

12 People in Britain used to make beer at home.

13 The tax on malt indirectly caused a rise in the death rate.

READING PASSAGE 2

You should spend about 20 minutes on Questions 14-26, which are based on Reading Passage 2 below.

Gifted children and learning

A Internationally, ‘giftedness’ is most frequently determined by a score on a general intelligence test, known as an IQ test, which is above a chosen cutoff point, usually at around the top 2-5%. Children’s educational environment contributes to the IQ score and the way intelligence is used. For example, a very close positive relationship was found when children’s IQ scores were compared with their home educational provision (Freeman, ). The higher the children’s IQ scores, especially over IQ 130, the better the quality of their educational backup, measured in terms of reported verbal interactions with parents, number of books and activities in their home etc. Because IQ tests are decidedly influenced by what the child has learned, they are to some extent measures of current achievement based on age-norms; that is, how well the children have learned to manipulate their knowledge and know-how within the terms of the test. The vocabulary aspect, for example, is dependent on having heard those words. But IQ tests can neither identify the processes of learning and thinking nor predict creativity.

B Excellence does not emerge without appropriate help. To reach an exceptionally high standard in any area very able children need the means to learn, which includes material to work with and focused challenging tuition — and the encouragement to follow their dream. There appears to be a qualitative difference in the way the intellectually highly able think, compared with more average-ability or older pupils, for whom external regulation by the teacher often compensates for lack of internal regulation. To be at their most effective in their self-regulation, all children can be helped to identify their own ways of learning — metacognition — which will include strategies of planning, monitoring, evaluation, and choice of what to learn. Emotional awareness is also part of metacognition, so children should be helped to be aware of their feelings around the area to be learned, feelings of curiosity or confidence, for example.

C High achievers have been found to use self-regulatory learning strategies more often and more effectively than lower achievers, and are better able to transfer these strategies to deal with unfamiliar tasks. This happens to such a high degree in some children that they appear to be demonstrating talent in particular areas. Overviewing research on the thinking process of highly able children, (Shore and Kanevsky, 1993) put the instructor’s problem succinctly: ‘If they [the gifted] merely think more quickly, then we need only teach more quickly. If they merely make fewer errors, then we can shorten the practice’. But of course, this is not entirely the case; adjustments have to be made in methods of learning and teaching, to take account of the many ways individuals think.

D Yet in order to learn by themselves, the gifted do need some support from their teachers. Conversely, teachers who have a tendency to ‘overdirect’ can diminish their gifted pupils’ learning autonomy. Although ‘spoon-feeding’ can produce extremely high examination results, these are not always followed by equally impressive life successes. Too much dependence on the teachers risks loss of autonomy and motivation to discover. However, when teachers help pupils to reflect on their own learning and thinking activities, they increase their pupils’ self-regulation. For a young child, it may be just the simple question ‘What have you learned today?’ which helps them to recognise what they are doing. Given that a fundamental goal of education is to transfer the control of learning from teachers to pupils, improving pupils’ learning to learn techniques should be a major outcome of the school experience, especially for the highly competent. There are quite a number of new methods which can help, such as child-initiated learning, ability-peer tutoring, etc. Such practices have been found to be particularly useful for bright children from deprived areas.

E But scientific progress is not all theoretical, knowledge is a so vital to outstanding performance: individuals who know a great deal about a specific domain will achieve at a higher level than those who do not (Elshout, 1995). Research with creative scientists by Simonton (1988) brought him to the conclusion that above a certain high level, characteristics such as independence seemed to contribute more to reaching the highest levels of expertise than intellectual skills, due to the great demands of effort and time needed for learning and practice. Creativity in all forms can be seen as expertise mixed with a high level of motivation (Weisberg, 1993).

F To sum up, learning is affected by emotions of both the individual and significant others. Positive emotions facilitate the creative aspects of learning and negative emotions inhibit it. Fear, for example, can limit the development of curiosity, which is a strong force in scientific advance, because it motivates problem-solving behaviour. In Boekaerts’ (1991) review of emotion the learning of very high IQ and highly achieving children, she found emotional forces in harness. They were not only curious, but often had a strong desire to control their environment, improve their learning efficiency and increase their own learning resources.

Questions 14-17

Reading Passage 2 has six paragraphs, A-F.

Which paragraph contains the following information?

Write the correct letter, A-F, in boxes 14-17 on your answer sheet.

NB You may use any letter more than once.

14 a reference to the influence of the domestic background on the gifted child

15 reference to what can be lost if learners are given too much guidance

16 a reference to the damaging effects of anxiety

17 examples of classroom techniques which favour socially-disadvantaged children

Questions 18-22

Look at the following statements (Questions 18-22) and the list of people below.

Match each statement with the correct person or people, A-E.

Write the correct letter, A-E, in boxes 18-22 on your answer sheet.

18 Less time can be spent on exercises with gifted pupils who produce accurate work.

19 Self-reliance is a valuable tool that helps gifted students reach their goals.

20 Gifted children know how to channel their feelings to assist their learning.

21 The very gifted child benefits from appropriate support from close relatives.

22 Really successful students have learnt a considerable amount about their subject.

List of People

A Freeman

B Shore and Kanevsky

C Elshout

D Simonton

E Boekaerts

Questions 23-26

Complete the sentences below.

Choose NO MORE THAN TWO WORDS from the passage for each answer.

Write your answers in boxes 23-26 on your answer sheet

23 One study found a strong connection between children’s IQ and the availability of and

at home.

24 Children of average ability seem to need more direction from teachers because they do not have

25 Metacognition involves children understanding their own learning strategies, as well as developing

26 Teachers who rely on what is known as often produce sets of impressive grades in class tests.

READING PASSAGE 3

You should spend about 20 minutes on Questions 27-40, which are based on Reading Passage 3 below.

Museums of fine art and their public

The fact that people go to the Louvre museum in Paris to see the original painting Mona Lisa when they can see a reproduction anywhere leads us to question some assumptions about the role of museums of fine art in today’s world

One of the most famous works of art in the world is Leonardo da Vinci’s Mona Lisa. Nearly everyone who goes to see the original will already be familiar with it from reproductions, but they accept that fine art is more rewardingly viewed in its original form.

However, if Mona Lisa was a famous novel, few people would bother to go to a museum to read the writer’s actual manuscript rather than a printed reproduction. This might be explained by the fact that the novel has evolved precisely because of technological developments that made it possible to print out huge numbers of texts, whereas oil paintings have always been produced as unique objects. In addition, it could be argued that the practice of interpreting or ‘reading’ each medium follows different conventions. With novels, the reader attends mainly to the meaning of words rather than the way they are printed on the page, whereas the ‘reader’ of a painting must attend just as closely to the material form of marks and shapes in the picture as to any ideas they may signify.

Yet it has always been possible to make very accurate facsimiles of pretty well any fine art work. The seven surviving versions of Mona Lisa bear witness to the fact that in the 16th century, artists seemed perfectly content to assign the reproduction of their creations to their workshop apprentices as regular ‘bread and butter’ work. And today the task of reproducing pictures is incomparably more simple and reliable, with reprographic techniques that allow the production of high-quality prints made exactly to the original scale, with faithful colour values, and even with duplication of the surface relief of the painting.

But despite an implicit recognition that the spread of good reproductions can be culturally valuable, museums continue to promote the special status of original work.

Unfortunately, this seems to place severe limitations on the kind of experience offered to visitors.

One limitation is related to the way the museum presents its exhibits. As repositories of unique historical objects, art museums are often called ‘treasure houses’. We are reminded of this even before we view a collection by the presence of security guards, attendants, ropes and display cases to keep us away from the exhibits. In many cases, the architectural style of the building further reinforces that notion. In addition, a major collection like that of London’s National Gallery is housed in numerous rooms, each with dozens of works, any one of which is likely to be worth more than all the average visitor possesses. In a society that judges the personal status of the individual so much by their material worth, it is therefore difficult not to be impressed by one’s own relative ‘worthlessness’ in such an environment.

Furthermore, consideration of the ‘value’ of the original work in its treasure house setting impresses upon the viewer that, since these works were originally produced, they have been assigned a huge monetary value by some person or institution more powerful than themselves. Evidently, nothing the viewer thinks about the work is going to alter that value, and so today’s viewer is deterred from trying to extend that spontaneous, immediate, self-reliant kind of reading which would originally have met the work.

The visitor may then be struck by the strangeness of seeing such diverse paintings, drawings and sculptures brought together in an environment for which they were not originally created. This ‘displacement effect’ is further heightened by the sheer volume of exhibits. In the case of a major collection, there are probably more works on display than we could realistically view in weeks or even months.

This is particularly distressing because time seems to be a vital factor in the appreciation of all art forms. A fundamental difference between paintings and other art forms is that there is no prescribed time over which a painting is viewed. By contrast, the audience encounters an opera or a play over a specific time, which is the duration of the performance. Similarly, novels and poems are read in a prescribed temporal sequence, whereas a picture has no clear place at which to start viewing, or at which to finish. Thus art works themselves encourage us to view them superficially, without appreciating the richness of detail and labour that is involved.

Consequently, the dominant critical approach becomes that of the art historian, a specialised academic approach devoted to ‘discovering the meaning’ of art within the cultural context of its time. This is in perfect harmony with the museum’s function, since the approach is dedicated to seeking out and conserving ‘authentic’, ‘original’ readings of the exhibits. Again, this seems to put paid to that spontaneous, participatory criticism which can be found in abundance in criticism of classic works of literature, but is absent from most art history.

The displays of art museums serve as a warning of what critical practices can emerge when spontaneous criticism is suppressed. The museum public, like any other audience, experience art more rewardingly when given the confidence to express their views. If appropriate works of fine art could be rendered permanently accessible to the public by means of high-fidelity reproductions, as literature and music already are, the public may feel somewhat less in awe of them. Unfortunately, that may be too much to ask from those who seek to maintain and control the art establishment.

Questions 27-31

Complete the summary using the list of words, A-L, below.

Write the correct letter, A-L, in boxes 27-31 on your answer sheet.

The value attached to original works of art

People go to art museums because they accept the value of seeing an original work of art. But they do not go to museums to read original manuscripts of novels, perhaps because the availability of novels has depended on 27 for so long, and also because with novels, the 28 are the most important thing.

However, in historical times artists such as Leonardo were happy to instruct 29 to produce copies of their work and these days new methods of reproduction allow excellent replication of surface relief features as well as colour and 30

It is regrettable that museums still promote the superiority of original works of art, since this may not be in the interests of the 31

A institution B mass production C mechanical processes

D public E paints F artist

G size H underlying ideas I basic technology

J readers K picture frames L assistants

Questions 32-35

Choose the correct letter, A, B, C or D.

Write the correct letter in boxes 32-35 on your answer sheet

32 The writer mentions London’s National Gallery to illustrate

A the undesirable cost to a nation of maintaining a huge collection of art.

B the conflict that may arise in society between financial and artistic values.

C the negative effect a museum can have on visitors’ opinions of themselves.

D the need to put individual well-being above large-scale artistic schemes.

33 The writer says that today, viewers may be unwilling to criticise a work because

A they lack the knowledge needed to support an opinion.

B they fear it may have financial implications.

C they have no real concept of the work’s value.

D they feel their personal reaction is of no significance.

34 According to the writer, the ‘displacement effect’ on the visitor is caused by

A the variety of works on display and the way they are arranged.

B the impossibility of viewing particular works of art over a long period.

C the similar nature of the paintings and the lack of great works.

D the inappropriate nature of the individual works selected for exhibition.

35 The writer says that unlike other forms of art, a painting does not

A involve direct contact with an audience.

B require a specific location for a performance.

C need the involvement of other professionals.

D have a specific beginning or end.

Questions 36-42

Do the following statements agree with the views of the writer in Reading Passage 3?

In boxes 36-40 on your answer sheet, write

YES if the statement agrees with the views of the writer

NO if the statement contradicts the views of the writer

NOT GIVEN if it is impossible to say what the writer thinks about this

36 Art history should focus on discovering the meaning of art using a range of media.

37 The approach of art historians conflicts with that of art museums.

38 People should be encouraged to give their opinions openly on works of art.

39 Reproductions of fine art should only be sold to the public if they are of high quality.

40 In the future, those with power are likely to encourage more people to enjoy art.

篇3：剑桥雅思阅读11原文真题解析

READING PASSAGE 1

You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below.

Raising the Mary Rose

How a sixteenth-century warship was recovered from the seabed

On 19 July 1545, English and French fleets were engaged in a sea battle off the coast of southern England in the area of water called the Solent, between Portsmouth and the Isle of Wight. Among the English vessels was a warship by the name of Mary Rose. Built in Portsmouth some 35 years earlier, she had had a long and successful fighting career, and was a favourite of King Henry VIII. Accounts of what happened to the ship vary: while witnesses agree that she was not hit by the French, some maintain that she was outdated, overladen and sailing too low in the water, others that she was mishandled by undisciplined crew. What is undisputed, however, is that the Mary Rose sank into the Solent that day, taking at least 500 men with her. After the battle, attempts were made to recover the ship, but these failed.

The Mary Rose came to rest on the seabed, lying on her starboard (right) side at an angle of approximately 60 degrees. The hull (the body of the ship) acted as a trap for the sand and mud carried by Solent currents. As a result, the starboard side filled rapidly, leaving the exposed port (left) side to be eroded by marine organisms and mechanical degradation. Because of the way the ship sank, nearly all of the starboard half survived intact. During the seventeenth and eighteenth centuries, the entire site became covered with a layer of hard grey clay, which minimised further erosion.

Then, on 16 June 1836, some fishermen in the Solent found that their equipment was caught on an underwater obstruction, which turned out to be the Mary Rose. Diver John Deane happened to be exploring another sunken ship nearby, and the fishermen approached him, asking him to free their gear. Deane dived down, and found the equipment caught on a timber protruding slightly from the seabed. Exploring further, he uncovered several other timbers and a bronze gun. Deane continued diving on the site intermittently until 1840, recovering several more guns, two bows, various timbers, part of a pump and various other small finds.

The Mary Rose then faded into obscurity for another hundred years. But in 1965, military historian and amateur diver Alexander McKee, in conjunction with the British Sub-Aqua Club, initiated a project called ‘Solent Ships’. While on paper this was a plan to examine a number of known wrecks in the Solent, what McKee really hoped for was to find the Mary Rose. Ordinary search techniques proved unsatisfactory, so McKee entered into collaboration with Harold E. Edgerton, professor of electrical engineering at the Massachusetts Institute of Technology. In 1967, Edgerton’s side-scan sonar systems revealed a large, unusually shaped object, which McKee believed was the Mary Rose.

Further excavations revealed stray pieces of timber and an iron gun. But the climax to the operation came when, on 5 May 1971, part of the ship’s frame was uncovered. McKee and his team now knew for certain that they had found the wreck, but were as yet unaware that it also housed a treasure trove of beautifully preserved artefacts. Interest in the project grew, and in 1979, The Mary Rose Trust was formed, with Prince Charles as its President and Dr Margaret Rule its Archaeological Director. The decision whether or not to salvage the wreck was not an easy one, although an excavation in 1978 had shown that it might be possible to raise the hull. While the original aim was to raise the hull if at all feasible, the operation was not given the go-ahead until January 1982, when all the necessary information was available.

An important factor in trying to salvage the Mary Rose was that the remaining hull was an open shell. This led to an important decision being taken: namely to carry out the lifting operation in three very distinct stages. The hull was attached to a lifting frame via a network of bolts and lifting wires. The problem of the hull being sucked back downwards into the mud was overcome by using 12 hydraulic jacks. These raised it a few centimetres over a period of several days, as the lifting frame rose slowly up its four legs. It was only when the hull was hanging freely from the lifting frame, clear of the seabed and the suction effect of the surrounding mud, that the salvage operation progressed to the second stage. In this stage, the lifting frame was fixed to a hook attached to a crane, and the hull was lifted completely clear of the seabed and transferred underwater into the lifting cradle. This required precise positioning to locate the legs into the ‘stabbing guides’ of the lifting cradle. The lifting cradle was designed to fit the hull using archaeological survey drawings, and was fitted with air bags to provide additional cushioning for the hull’s delicate timber framework. The third and final stage was to lift the entire structure into the air, by which time the hull was also supported from below. Finally, on 11 October 1982, millions of people around the world held their breath as the timber skeleton of the Mary Rose was lifted clear of the water, ready to be returned home to Portsmouth.

Questions 1-4

Do the following statements agree with the information given in Reading Passage 1?

In boxes 1-4 on your answer sheet, write

TRUE if the statement agrees with the information

FALSE if the statement contradicts the information

NOT GIVEN if there is no information on this

1 There is some doubt about what caused the Mary Rose to sink.

2 The Mary Rose was the only ship to sink in the battle of 19 July 1545.

3 Most of one side of the Mary Rose lay undamaged under the sea.

4 Alexander McKee knew that the wreck would contain many valuable historical objects.

Questions 5-8

Look at the following statements (Questions 5-8) and the list of dates below.

Match each statement with the correct date, A-G.

Write the correct letter, A-G, in boxes 5-8 on your answer sheet.

5 A search for the Mary Rose was launched.

6 One person’s exploration of the Mary Rose site stopped.

7 It was agreed that the hull of the Mary Rose should be raised.

8 The site of the Mary Rose was found by chance.

List of Dates

A 1836 E 1971

B 1840 F 1979

C 1965 G 1982

D 1967

Questions 9-13

Label the diagram below.

Choose NO MORE THAN TWO WORDS from the passage for each answer.

Write your answers in boxes 9-13 on your answer sheet.

Raising the hull of the Mary Rose: Stages one and two

READING PASSAGE 2

You should spend about 20 minutes on Questions 14-26, which are based on Reading Passage 2 on the following pages.

Questions 14-20

Reading Passage 2 has seven paragraphs, A-G.

Choose the correct heading for each paragraph from the list of headings below.

Write the correct number, i-ix, in boxes 14-20 on your answer sheet.

List of Headings

i Evidence of innovative environment management practices

ii An undisputed answer to a question about the moai

iii The future of the moai statues

iv A theory which supports a local belief

v The future of Easter Island

vi Two opposing views about the Rapanui people

vii Destruction outside the inhabitants’ control

viii How the statues made a situation worse

ix Diminishing food resources

14 Paragraph A

15 Paragraph B

16 Paragraph C

17 Paragraph D

18 Paragraph E

19 Paragraph F

20 Paragraph G

What destroyed the civilisation of Easter Island?

A Easter Island, or Rapu Nui as it is known locally, is home to several hundred ancient human statues ?— the moai. After this remote Pacific island was settled by the Polynesians, it remained isolated for centuries. All the energy and resources that went into the moai — some of which are ten metres tall and weigh over 7,000 kilos — came from the island itself. Yet when Dutch explorers landed in 1722, they met a Stone Age culture. The moai were carved with stone tools, then transported for many kilometres, without the use of animals or wheels, to massive stone platforms. The identity of the moai builders was in doubt until well into the twentieth century. Thor Heyerdahl, the Norwegian ethnographer and adventurer, thought the statues had been created by pre-lnca peoples from Peru. Bestselling Swiss author Erich von Daniken believed they were built by stranded extraterrestrials. Modern science — linguistic, archaeological and genetic evidence — has definitively proved the moai builders were Polynesians, but not how they moved their creations. Local folklore maintains that the statues walked, while researchers have tended to assume the ancestors dragged the statues somehow, using ropes and logs.

B When the Europeans arrived, Rapa Nui was grassland, with only a few scrawny trees. In the 1970s and 1980s, though, researchers found pollen preserved in lake sediments, which proved the island had been covered in lush palm forests for thousands of years. Only after the Polynesians arrived did those forests disappear. US scientist Jared Diamond believes that the Rapanui people — descendants of Polynesian settlers — wrecked their own environment. They had unfortunately settled on an extremely fragile island — dry, cool, and too remote to be properly fertilised by windblown volcanic ash. When the islanders cleared the forests for firewood and farming, the forests didn’t grow back. As trees became scarce and they could no longer construct wooden canoes for fishing, they ate birds. Soil erosion decreased their crop yields. Before Europeans arrived, the Rapanui had descended into civil war and cannibalism, he maintains. The collapse of their isolated civilisation, Diamond writes, is a ‘worst-case scenario for what may lie ahead of us in our own future’.

C The moai, he thinks, accelerated the self-destruction. Diamond interprets them as power displays by rival chieftains who, trapped on a remote little island, lacked other ways of asserting their dominance. They competed by building ever bigger figures. Diamond thinks they laid the moai on wooden sledges, hauled over log rails, but that required both a lot of wood and a lot of people. To feed the people, even more land had to be cleared. When the wood was gone and civil war began, the islanders began toppling the moai. By the nineteenth century none were standing.

D Archaeologists Terry Hunt of the University of Hawaii and Carl Lipo of California State University agree that Easter Island lost its lush forests and that it was an ‘ecological catastrophe’ — but they believe the islanders themselves weren’t to blame. And the moai certainly weren’t. Archaeological excavations indicate that the Rapanui went to heroic efforts to protect the resources of their wind-lashed, infertile fields. They built thousands of circular stone windbreaks and gardened inside them, and used broken volcanic rocks to keep the soil moist. In short, Hunt and Lipo argue, the prehistoric Rapanui were pioneers of sustainable farming.

E Hunt and Lipo contend that moai-building was an activity that helped keep the peace between islanders. They also believe that moving the moai required few people and no wood, because they were walked upright. On that issue, Hunt and Lipo say, archaeological evidence backs up Rapanui folklore. Recent experiments indicate that as few as 18 people could, with three strong ropes and a bit of practice, easily manoeuvre a 1,000 kg moai replica a few hundred metres. The figures’ fat bellies tilted them forward, and a D-shaped base allowed handlers to roll and rock them side to side.

F Moreover, Hunt and Lipo are convinced that the settlers were not wholly responsible for the loss of the island’s trees. Archaeological finds of nuts from the extinct Easter Island palm show tiny grooves, made by the teeth of Polynesian rats. The rats arrived along with the settlers, and in just a few years, Hunt and Lipo calculate, they would have overrun the island. They would have prevented the reseeding of the slow-growing palm trees and thereby doomed Rapa Nui’s forest, even without the settlers’ campaign of deforestation. No doubt the rats ate birds’ eggs too. Hunt and Lipo also see no evidence that Rapanui civilisation collapsed when the palm forest did. They think its population grew rapidly and then remained more or less stable until the arrival of the Europeans, who introduced deadly diseases to which islanders had no immunity. Then in the nineteenth century slave traders decimated the population, which shrivelled to 111 people by 1877.

G Hunt and Lipo’s vision, therefore, is one of an island populated by peaceful and ingenious moai builders and careful stewards of the land, rather than by reckless destroyers ruining their own environment and society. ‘Rather than a case of abject failure, Rapu Nui is an unlikely story of success’, they claim. Whichever is the case, there are surely some valuable lessons which the world at large can learn from the story of Rapa Nui.

Questions 21-24

Complete the summary below.

Choose ONE WORD ONLY from the passage for each answer.

Write your answers in boxes 21-24 on your answer sheet.

Jared Diamond’s View

Diamond believes that the Polynesian settlers on Rapa Nui destroyed its forests, cutting down its trees for fuel and clearing land for 21 __________. Twentieth-century discoveries of pollen prove that Rapu Nui had once been covered in palm forests, which had turned into grassland by the time the Europeans arrived on the island. When the islanders were no longer able to build the 22 __________ they needed to go fishing, they began using the island’s 23 __________ as a food source, according to Diamond. Diamond also claims that the moai were built to show the power of the island’s chieftains, and that the methods of transporting the statues needed not only a great number of people, but also a great deal of 24 __________.

Questions 25 and 26

Choose TWO letters, A-E.

Write the correct letters in boxes 25 and 26 on your answer sheet.

On what points do Hunt and Lipo disagree with Diamond?

A the period when the moai were created

B how the moai were transported

C the impact of the moai on Rapanui society

D how the moai were carved

E the origins of the people who made the moai

READING PASSAGE 3

You should spend about 20 minutes on Questions 27-40, which are based on Reading Passage 3 below.

Neuroaesthetics

An emerging discipline called neuroaesthetics is seeking to bring scientific objectivity to the study of art, and has already given us a better understanding of many masterpieces. The blurred imagery of Impressionist paintings seems to stimulate the brain’s amygdala, for instance. Since the amygdala plays a crucial role in our feelings, that finding might explain why many people find these pieces so moving.

Could the same approach also shed light on abstract twentieth-century pieces, from Mondrian’s geometrical blocks of colour, to Pollock’s seemingly haphazard arrangements of splashed paint on canvas? Sceptics believe that people claim to like such works simply because they are famous. We certainly do have an inclination to follow the crowd. When asked to make simple perceptual decisions such as matching a shape to its rotated image, for example, people often choose a definitively wrong answer if they see others doing the same. It is easy to imagine that this mentality would have even more impact on a fuzzy concept like art appreciation, where there is no right or wrong answer.

Angelina Hawley-Dolan, of Boston College, Massachusetts, responded to this debate by asking volunteers to view pairs of paintings — either the creations of famous abstract artists or the doodles of infants, chimps and elephants. They then had to judge which they preferred. A third of the paintings were given no captions, while many were labelled incorrectly — volunteers might think they were viewing a chimp’s messy brushstrokes when they were actually seeing an acclaimed masterpiece. In each set of trials, volunteers generally preferred the work of renowned artists, even when they believed it was by an animal or a child. It seems that the viewer can sense the artist’s vision in paintings, even if they can’t explain why.

Robert Pepperell, an artist based at Cardiff University, creates ambiguous works that are neither entirely abstract nor clearly representational. In one study, Pepperell and his collaborators asked volunteers to decide how ‘powerful’ they considered an artwork to be, and whether they saw anything familiar in the piece. The longer they took to answer these questions, the more highly they rated the piece under scrutiny, and the greater their neural activity. It would seem that the brain sees these images as puzzles, and the harder it is to decipher the meaning, the more rewarding is the moment of recognition.

And what about artists such as Mondrian, whose paintings consist exclusively of horizontal and vertical lines encasing blocks of colour? Mondrian’s works are deceptively simple, but eye-tracking studies confirm that they are meticulously composed, and that simply rotating a piece radically changes the way we view it. With the originals, volunteers’ eyes tended to stay longer on certain places in the image, but with the altered versions they would flit across a piece more rapidly. As a result, the volunteers considered the altered versions less pleasurable when they later rated the work.

In a similar study, Oshin Vartanian of Toronto University asked volunteers to compare original paintings with ones which he had altered by moving objects around within the frame. He found that almost everyone preferred the original, whether it was a Van Gogh still life or an abstract by Miro. Vartanian also found that changing the composition of the paintings reduced activation in those brain areas linked with meaning and interpretation.

In another experiment, Alex Forsythe of the University of Liverpool analysed the visual intricacy of different pieces of art, and her results suggest that many artists use a key level of detail to please the brain. Too little and the work is boring, but too much results in a kind of ‘perceptual overload’; according to Forsythe. What’s more, appealing pieces both abstract and representational, show signs of ‘fractals’ — repeated motifs recurring in different scales. Fractals are common throughout nature, for example in the shapes of mountain peaks or the branches of trees. It is possible that our visual system, which evolved in the great outdoors, finds it easier to process such patterns.

It is also intriguing that the brain appears to process movement when we see a handwritten letter, as if we are replaying the writer’s moment of creation. This has led some to wonder whether Pollock’s works feel so dynamic because the brain reconstructs the energetic actions the artist used as he painted. This may be down to our brain’s ‘mirror neurons’, which are known to mimic others’ actions. The hypothesis will need to be thoroughly tested, however. It might even be the case that we could use neuroaesthetic studies to understand the longevity of some pieces of artwork. While the fashions of the time might shape what is currently popular, works that are best adapted to our visual system may be the most likely to linger once the trends of previous generations have been forgotten.

It’s still early days for the field of neuroaesthetics — and these studies are probably only a taste of what is to come. It would, however, be foolish to reduce art appreciation to a set of scientific laws. We shouldn’t underestimate the importance of the style of a particular artist, their place in history and the artistic environment of their time. Abstract art offers both a challenge and the freedom to play with different interpretations. In some ways, it’s not so different to science, where we are constantly looking for systems and decoding meaning so that we can view and appreciate the world in a new way.

Questions 27-30

Choose the correct letter, A, B, C or D.

Write the correct letter in boxes 27-30 on your answer sheet.

27 In the second paragraph, the writer refers to a shape-matching test in order to illustrate

A the subjective nature of art appreciation.

B the reliance of modern art on abstract forms.

C our tendency to be influenced by the opinions of others.

D a common problem encountered when processing visual data.

28 Angelina Hawley-Dolan’s findings indicate that people

A mostly favour works of art which they know well.

B hold fixed ideas about what makes a good work of art.

C are often misled by their initial expectations of a work of art.

D have the ability to perceive the intention behind works of art.

29 Results of studies involving Robert Pepperell’s pieces suggest that people

A can appreciate a painting without fully understanding it.

B find it satisfying to work out what a painting represents.

C vary widely in the time they spend looking at paintings.

D generally prefer representational art to abstract art.

30 What do the experiments described in the fifth paragraph suggest about the paintings of Mondrian?

A They are more carefully put together than they appear.

B They can be interpreted in a number of different ways.

C They challenge our assumptions about shape and colour.

D They are easier to appreciate than many other abstract works.

Questions 31-33

Complete the summary using the list of words, A-H, below.

Write the correct letters, A-H, in boxes 31-33 on your answer sheet.

Art and the Brain

The discipline of neuroaesthetics aims to bring scientific objectivity to the study of art. Neurological studies of the brain, for example, demonstrate the impact which Impressionist paintings have on our 31 __________. Alex Forsythe of the University of Liverpool believes many artists give their works the precise degree of 32 __________ which most appeals to the viewer’s brain. She also observes that pleasing works of art often contain certain repeated 33 __________ which occur frequently in the natural world.

A interpretation B complexity C emotions

D movements E skill F layout

G concern H images

Questions 34-39

Do the following statements agree with the views of the writer in Reading Passage 3?

In boxes 34-39 on your answer sheet, write

YES if the statement agrees with the views of the writer

NO if the statement contradicts the views of the writer

NOT GIVEN if there is no information on this

34 Forsythe’s findings contradicted previous beliefs on the function of ‘fractals’ in art.

35 Certain ideas regarding the link between ‘mirror neurons’ and art appreciation require further verification.

36 People’s taste in paintings depends entirely on the current artistic trends of the period.

37 Scientists should seek to define the precise rules which govern people’s reactions to works of art.

38 Art appreciation should always involve taking into consideration the cultural context in which an artist worked.

39 It is easier to find meaning in the field of science than in that of art.

Question 40

Choose the correct letter, A, B, C or D.

Write the correct letter in box 40 on your answer sheet.

40 What would be the most appropriate subtitle for the article?

A Some scientific insights into how the brain responds to abstract art

B Recent studies focusing on the neural activity of abstract artists

C A comparison of the neurological bases of abstract and representational art

D How brain research has altered public opinion about abstract art

篇4：剑桥雅思阅读11原文真题解析

PASSAGE 1 参考译文：

打捞玛丽玫瑰号船

记一艘16世纪的战舰是如何从海底被打捞的

索伦特水域地处英国南部海岸，位于朴茨茅斯和怀特岛之间，1545年7月19日，英国与法国舰队在这里展开了一场海战。英国舰队中的一艘战舰名为玛丽玫瑰号。战舰于35年前在朴茨茅斯建造，她拥有长久而胜利的战斗历程，并且是国王亨利八世最喜爱的战舰。关于战舰上发生的事情说法各异：目击者认为战舰并非被法国人击中，有些人认为她过于老化，载重过多，并且在水中航行过低，另一些人认为战舰被不守纪律的船员进行了不当操作。然而无可争议的是，玛丽玫瑰号在那一天沉入索伦特海峡，船上至少有500人。战后人们试图找到这艘船，但均未成功。

玛丽玫瑰号靠在海底，以大约60度的角度倒向其右舷一侧。索伦特洋流带来的沙土和淤泥进入船体。因此，右舷一侧很快被填满，留下左侧经受海洋生物和机械降解的侵蚀。由于船只沉没的方式，右舷一侧几乎完整地保留了下来。在17和18世纪，整片区域被一层坚硬的灰色粘土覆盖，这使进一步的侵蚀降到最低。

然后，在1836年6月16日，索伦特海湾的一些渔民发现他们的设备被海底的某个障碍物卡住，而这正是玛丽玫瑰号。潜水员John Deane恰好正在探索附近的另一艘沉没船只，渔民靠近他，请他帮助松开齿轮。Deane下潜后发现设备被海底一个木制的轻微突出物体卡住。继续探査后，他发现了更多的木料以及一把铜制枪支。Deane断断续续地继续潜入这个地点直至1840年，他发现了更多的枪支、两把弓、各种各样的木制品、一只水泵的部件，以及各种各样的其他零碎物品。

玛丽玫瑰号随后又销声匿迹几百年。但是在1965年，军事史学家、业余潜水员Alexander McKee和英国潜水俱乐部，联合发起了一项名为“索伦特海峡的船只”的项目。在名义上这是一项研究很多索伦特海峡已知沉船的计划，而McKee真正希望的是找到玛丽玫瑰号。常规的搜索技术被证明无法令人满意，因此McKee开始同麻省理工学院的电子工程学教授Harold E. Edgerton合作。1967年，Edgerton的侧向扫描声纳系统展示出一个巨大的、形态独特的物体，McKee相信这就是玛丽玫瑰号。

进一步的发掘工作找到了散落的木头碎片以及一把铜制枪支。但是这个项目的高潮在1971年5月5 曰来到，船只结构框架的一部分被找到。McKee及其团队确信他们找到了沉船，但尚未意识到其中还有保存完好的精美工艺品宝藏。公众对这个项目的兴趣在増加，1979年，玛丽玫瑰号信托基金成立，Charles王子担任主席，Margaret Rule博士担任考古负责人。尽管1978年的发掘工作已经显示可能能够打捞起整个船体，而做出是否打捞船只的决定却并非易事。尽管最初的目标是在一切可行的情况下打捞起整个船体，但这一操作直1982年1月所有需要的信息都完备的时候才被允许执行。

试图打捞起玛丽玫瑰号要考虑的一个重要因素在于残留的船体是一个打开的外壳。这导致了一项重要的決定：即在三个非常重要的阶段进行起重操作。船体通过一系列螺栓和起吊索贴紧起吊架。通过使用12台液压起重机解决了船体被向下吸回到泥土中的问题。随着起吊架緩慢地升起它的四个支脚，船体在几天的时间里升起了几厘米。只有当船体完全悬挂在起吊架上，不受海底和周围泥土的吸力影响时，救援作业才进入到了第二个阶段。在这一阶段，起吊架被固定在一个绑在起重机上的挂钩上，船体被升起，完全脱离海底并在水下被转移至升降篮中。这要求精准的定位来将支脚固定在升降篮的“对扣引导”上。使用考古勘测绘图来设计升降篮与船体匹配，并且匹配气囊来为船体脆弱的木质框架提供额外的缓冲。第三个也是最后一个阶段是将整个船体升起到空中，同时船体从下方得到支撑。最终，在1982年10月11日，全世界数百万人屏吸见证玛丽玫瑰号的木质骨架升离水面，等待回到朴茨茅斯。

TEST 2 PASSAGE 2 参考译文：

什么破坏了复活节岛的文明?

A 复活节岛，在当地被称为拉帕努伊(Rapu Nui)，是几百个远古人类雕像(摩艾像)的故乡。波利尼西亚人(Polynesians)在这个遥远的太平洋岛屿定居之后，在几个世纪里复活节岛都与世隔绝。一些摩艾像高达十米，重量超过7000公斤，它们所需的所有能源和资源都来自岛屿自身。当荷兰探险家在1722年登陆时，他们见到了石器时代文化。摩艾像由石器工具雕刻而成，之后在没有使用动物或车辆的情況下长途运送，到巨大的石台上。摩艾像建造者的身份直到20世纪才确定。 来自挪威的民族志学者以及探险家Thor Heyerdahl认为，雕像由秘鲁的前印加时代的人们建立。瑞士畅销作家Erich von Daniken认为它们由滞留的外星人建立。现代科学(语言学、考古学和遗传学证据)确切地证明了摩艾像的建造者为波利尼西亚人，但并不清楚他们如何移动自己的创作品。当地传说认为雕像可以行走，而研究者往往认为当地祖先使用了某些方式拖拽雕像，如使用绳索或原木。

B 当欧洲人抵达时，拉帕努伊是一片草原，只有很少的小树木。但是在20世纪70年代和80年代，研究者们在湖泊沉积物中发现了花粉，证明岛屿曾被郁郁葱葱的棕榈树林覆盖了几千年。只是在波利尼西亚人到来之后这些树林才消失。美国科学家Jared Diamond认为是拉帕努伊人(波利尼西亚定居者的后代)破坏了他们自己的环境。他们不幸地定居在了一座板度脆弱的岛屿——干燥，寒冷，太遥远以至于无法得到风吹来的火山灰而变得丰饶。当岛上居民为了木柴和农耕清除了树林，森林便不再生长。随着树木的减少，他们不再能够建造独木舟来捕鱼，转而以鸟类为食。水土流失降低了他们的作物产量。他说，在欧洲人来到之前，拉帕努伊沦落到了内战和自相残杀的地步。他写到，他们文明的坍塌，是一种“在我们自己的未来，可能出现在我们面前的最坏情況”。

C 他认为摩艾像加速了当地的自我毁灭。Diamond将其解释为一种竞争的首领之间的力量展示，他们被困在遥远的小岛上，没有其他方式来巩固自己的統治。因此他们通过建造越来越大的人像来竞争。Diamond认为他们将摩艾像放在木质雪橇上，在木轨上拉动，但这需要大量的木头和人力。为了供养他们，需要清理掉更多的土地。当木头用光，内战开始，岛上居民开始推翻摩艾像。到19世纪已经没有摩艾像屹立在那里了。

D 夏威夷大学的考古学家Terry Hunt和加州州立大学的Carl Lipo认为复活节岛失去了茂盛的树林是一种“生态灾难”——但他们认为岛上的居民本身不应该受到指责。摩艾像当然也不应该受到指责。考古发掘表明拉帕努伊人做出了巨大的努力去保护他们受狂风席卷且并不肥沃的土地。他们建造了上千的环形石头防风林，在其中栽培花木，并使用破碎的火山岩保持土壤湿润。简言之，Hunt和 Lipo认为，史前的拉帕努伊人是可持续农业的先行者。

E Hunt和Lipo认为摩艾像的建立是一项有助于维持岛上居民间和平的活动。他们同样认为移动摩艾像并不需要多少人力，也不需要木头，因为它们可以直立移动。Hunt和Lipo说，在这个问题上，考古学证据支持拉帕努伊的民间说法。最近的实验表明，三条结实的绳子再加上一些练习，仅仅18个人就能够轻松地控制一座1000公斤的摩艾像复制品移动几百米。人像较大的腹部使它们向前倾斜，D字形的底部使操作人员可以把它们从一侧滚向另一侧。

F 此外，Hunt和Lipo相信树木破坏并非完全由岛上居民所致。考古学研究发现在已经灭绝的复活节岛的棕榈树上的坚果显示出微小的凹槽，这是波利尼西亚鼠的牙齿造成的。Hunt和Lipo估计鼠类同定居者一同到达这里，在短短几年间，它们就覆盖了整座岛屿。也许是它们阻止了缓慢生长的棕榈树林的再次播种，因而甚至在没有居民进行森林砍伐的情况下，注定了拉帕努伊森林的毁灭。毫无疑问老鼠也会以鸟类的蛋为食。Hunt和Lipo同样发现没有证据表明拉帕努伊文明在棕榈树林消失时坍塌。他们认为在欧洲人到来之前，岛上人口在快速増加之后保持了或多或少的稳定，欧洲人带来了致命的疾病，而岛上居民对这些疾病并不具备免疫能力。之后19世纪贩奴商大量杀害岛民，到1877年人口仅剩111人。

G 因此，以Hunt和Lipo的观点来看，这个岛屿上居住着和平的有独创性的摩艾像建造者们以及小心翼翼的土地维护者，而不是不计后果毁掉自己的环境与社会的破坏者。他们认为“拉帕努伊是一个不太可能的成功故事，而非一个不幸的失败事件”。不论事实如何，必然存在一些整个世界可以从拉帕努伊的故事上学到的宝贵经验。

TEST 2 PASSAGE 3 参考译文：

神经美学

一种称为神经美学的新兴学科正试图将科学的客观性引入艺术研究，并且已经带给我们对很多名作更好的理解。例如，印象派绘画模糊的图像似乎可以刺激大脑杏仁核。由于杏仁核对我们的感觉有至关重要的作用，这一发现或许可以解释为什么很多人认为这些画如此生动。

同样的方法也可以用于阐释抽象的20世纪作品么?从蒙德里安的几何色块，到波洛克看上去似乎随意泼在画布上的色彩?怀疑论者相信人们声称喜欢这些作品仅仅是因为它们非常有名。我们确实有从众的倾向。例如，当被要求做出简单的知觉判断比如给旋转的图像匹配形状，如果人们看到他人做出同样的行为，他们经常会选择错误的答案。很容易想象这种心态对模糊概念会有更多影响，例如艺术鉴赏，在这方面没有正确或错误答案之分。

马萨诸塞州波士顿学院的Angelina Hawley-Dolan回应这一争论的方式是让志愿者们观察一些作品——著名抽象派画家的作品或是婴儿、猩猩或大象的涂鸦。他们需要判断更喜欢哪一种。有三分之一的作品没有给出图片说明，而很多是被错误标注的——当志愿者看到一幅受人赞扬的名画时，他们可能认为自己正在观看黑猩猩杂乱无章的绘画。在每一组试验中，志愿者往往更喜欢著名艺术家的作品，即使他们认为这是由动物或儿童完成的。似乎观察者能够感觉到艺术家在作品中的意义，即使他们无法解释为什么。

卡迪夫大学的艺术家Robert Pepperell创作了模棱两可的作品，它们既不是完全抽象的，也不是清晰具象的。在一项研究中，Pepperell和他的同事要求志愿者判断他们认为一幅作品是多么“有力”，以及他们是否在作品中看到了任何熟悉的事物。他们用来回答问题的时间越久，经过观察后给出的分数越高，并且他们的神经活动越活跃。这或许意味着大脑将这些图像看做谜题，破解其含义的过程越困难，识别的时候就会有更多收获感。

那么像蒙德里安这样的艺术家呢?他的作品完全由水平的和垂直的线条将彩色的色块包含其中。蒙德里安的作品使人误以为非常简单，但是眼球追踪研究证明这些作品被细致地创作，并且仅仅旋转图画就会彻底改变我们欣赏它的方式。对于原作，志愿者的眼睛往往在图画的特定地点停留较长时间，但是对于改动过的版本他们会更快地掠过。因此，当志愿者们随后对作品进行评分吋，他们认为改动过的版本不那么令人愉快。

在一项类似的研究中，多伦多大学的Oshin Vartanian要求志愿者比较原作和在作品框架内移动物体后的作品。他发现几乎每个人都更喜欢原作，无论它是梵高的静物作品还是米罗的抽象派作品。Vartanian同样发现改变绘画的构成方式会降低那些与意义和理解有关的大脑区域的激活。

在另一项实验中，利物浦大学的Alex Forsythe研究了不同艺术作品的视觉复杂性，她的研究结果表明很多艺术家使用关键的细节来令大脑愉悦。根据Forsythe的观点，细节太少，作品会过于乏味，而细节太多会导致一种“知觉超载”。此外，吸引人的作品，无论抽象或具象，都表现出“分形”的迹象——重复的图形以不同的比例重现。分形在自然中非常普遍，例如在山峰或是树枝的形状中。可能我们在户外进化的视觉系统发现处理这类模式更为简单。

同样有趣的是当我们看一封手写的信件时，大脑会对动作进行加工，就像我们在重放作者的创作过程。这使得一些人猜想是否波洛克的作品令人感觉如此生动是因为大脑重建了作者绘画时使用的生动动作。这可能是由于我们大脑的“镜像神经元”，它们会模仿他人的动作。然而，这一假设需要被彻底地验证。或许我们甚至可以使用神经美学研究来理解一些艺术作品的经久不衰。一时的时尚可能会造就当今流行什么，一旦之前的流行趋势被忘记，最适应我们视觉系统的作品或许最有可能被留下。

神经美学领域依然处于初期阶段——这些研究或许仅仅是一种尝试。然而，将美学鉴赏简化为一系列科学法则是不明智的。我们不应该低估某类特定艺术家的风格、历史地位及其所处时代的艺术环境的重要性。抽象派艺术对不同的诠释方式提供了挑战与自由。通过某些方式，艺术与科学不会如此之不同，在科学领域中，我们一直在寻找系统并解码其含义，这样我们可以以一种新的方式观察和欣赏这个世界。

答案解析

Passage1

Question 1

答案： True

关键词： Mary Rose, sink

定位原文: 第1段第4句“Accounts of what... ” 玛丽玫瑰号沉没的原因，有很多种解释，有些人说这样……，另一些人……。

解题思路: 其中可以看到 while witnesses agree that..., some maintain that..., others that…这一结构，说明人们对于其沉没原因并没有达成共识，与题目的“对于玛丽玫瑰号为何沉没存在一些争议”表述一致。

Question 2

答案： NOT GIVEN

关键词： 19 July 1545, sink

定位原文： 时间出现在第1段第1句，后面的信息出现在第5句“What is undisputed... ”然而无可争议的是，玛丽玫瑰号在那一天沉入索伦特海峡，船上至少有500人。

解题思路： 文中只提到战舰沉没，关于“是否是唯一”这一 点并没有提及，而题目说玛丽玫瑰号是1545年7月19日的战斗中唯一沉没的船只，因此本题答案为NOT GIVEN。

Question 3

答案： True

关键词： one side the Mary Rose

定位原文： 第2段第4句“Because of the way the ship sank …” 由于船只沉没的方式，右舷一侧几乎完整地保留了下来。

解题思路：文章第二段对玛丽玫瑰号在海底的情况进行了描述，其中第四句说到右舷一侧几乎被 完整地保留了下来，这与题目中的表述“玛丽玫瑰号的一侧大部分在海中没有受到破坏。”一致，因此本题答案为TRUE。

Question 4

答案： False

关键词： historical objects

对应原文： 第5段第3句“McKee and his team now knew…” McKee及其团队确信他们找到了沉船，但尚未意识到其中还有保存完好的精美工艺品宝藏。

解题思路： 本题说McKee知道沉船中会有许多historical objects,而根据第5段第3句的描述， McKee 和他的团队 unaware that it also housed a treasure trove…说明他们并不知道这一情况，因此题目表述与原文相反，本题答案为 FALSE。

Question 5

答案： C

关键词： launched

定位原文： 第4段前两句“The Mary Rose then faded into …”玛丽玫瑰号随后又销声匿迹几百年。但是在1965年，军事史学家、业余潜水员Alexander McKee和英国潜水俱乐部，联合发起了一项名为“索伦特海峡的船只”的项目。

解题思路： 第四段 中的initiated与题目中的launched为同义替换，与“一项玛丽玫瑰号的搜索行动启动”为同义表达。所以选1965年。

Question 6

答案: B

关键词: stopped

定位原文: 第3段最后一句“Deane continued … ”Deane断断续续地继续潜入这个地点直至1840年，他发现了更多的枪支、两把弓、各种各样的木制品、一只水泵的部件，以及各种各样的其他零碎物品。第4段第1句：“The Mary Rose…” 玛丽玫瑰号随后又销声匿迹几百年。

解题思路： John Deane在玛丽玫瑰号所在的海域进行了搜索并且 发现了一系列物品，其后在第四段第一句说到之后的几百年都没有再进行这样的行为，说明Deane的搜索行为stopped，与题目中“一个人对玛丽玫瑰号的搜索停止”表述一致。

Question 7

答案： G

关键词： agreed

定位原文： 第5段最后一句“While the original aim …” 尽管最初的目标是在一切可行的情况下打捞起整个船体，但这一操作直到1982年1月所有需要的信息都完备的时候才被允许执行。

解题思路：题目说“玛丽玫瑰号的船体打捞得到同意”，这与文中定位处“直到1982年1月，打捞玛丽玫瑰号船体的计划才得到许可”表述一致。

Question 8

答案: A

关键词: found by chance

定位原文: 第三3段前两句“Then, on 16 June 1836…” 其后，在1836年6月16日，索伦特海湾的一些渔民发现他们的设备被海底的某个障碍物卡住，而这正是玛丽玫瑰号。潜水员John Deane恰好正在探索附近的另一艘沉没船只，渔民接近他，请他帮助松开齿轮。

解题思路: 本题所说的偶然发现玛丽玫瑰号的所在地这一信息在文章第三段出现，渔民们的船只偶然发现了玛丽玫瑰号，而恰好John Deane在附近，这都与题目的表述一致。时间是1836年。

Question 9

答案: (lifting) frame

关键词: attached, by wires

定位原文: 第6段的第3句“The hull was attached to……” 船体通过一系列螺栓和起吊索贴紧起吊架。

解题思路：本题对应的是打捞船体的第一个阶段，其中定位词出现在文章第6段第3句，the hull was attached to a lifting frame 与题目中 attached to hull一致，而之后的wires也属于原词重现，考虑到题目的字数要求，答案为(lifting) frame。

Question 10

答案: hydraulic jacks

关键词： sucked into mud

定位原文：第6段第4句 “The problem of the hull…”通过使用12台液压起重机解决了船体被向下吸回到泥土中的问题。

解题思路: the problem of the hull being sucked back，这与题目对应，而关于解决这一问题的表达为was overcome by using 12 hydraulic jacks，因此本题答案为 hydraulic jacks。

Question 11

答案: stabbing guides

关键词: legs

定位原文: 第6段的第8句“This required precise…” 这要求精准的定位来将支脚固定在升降篮的“对扣引导”上。

解题思路: 本题问的是legs被placed into什么地方，原文 第六段第八句中的locate the legs into与题目 中的legs are placed into对应，因此之后的名 词结构即为应当填入的词汇，因此本题答案为 stabbing guides。

Question 12

答案： (lifting) cradle

关键词： lowered into

定位原文： 第6段第9句“The lifting cradle…”使用考古勘测绘图来设计升降篮与船体匹配，并且匹配气囊来为船体脆弱的木质框架提供额外的缓冲。

解题思路： 本题说到的船体lower into与定位处相对应，其中提到 the lifting cradle was designed to fit the hull, 通过分析这一表达来找到应当填入名词，因此本题答案为(lifting) cradle。

Question 13

答案： air bags

关键词： less likely affected by infectious diseases

定位原文： 第6段第9句“The lifting cradle…”使用考古勘测绘图来设计升降篮与船体匹配，并且匹配气囊来为船体脆弱的木质框架提供额外的缓冲。

解题思路： 在12题之后，就可以清楚看到13题的答案。题目中的extra protection 与文章第六段第九句中的additional cushioning 对应，而提供这种额外保护的是air bags，因此本题答案为air bags。

Test 2 Passage2

Question 14

答案: ii

关键词: undisputed answer

定位原文: A段的第6、9句“The identity of.. ” 摩艾像的建造者身份直到20世纪才确定，现代科学(语言学等)确认建造者是波利尼西亚人。

解题思路: A段首先介绍了摩艾像的背景，之后探讨了摩艾像建造者的身份问题。第六句中说到20世纪时人们才对这一问题有了确定的答案，之后描述了人们对这个问题存在的一些猜测;但在本段第九句中明确说到现代科学给出了确定的答案，即摩艾像的建造者是波利尼西亚人。

Question 15

答案: ix

关键词: food resources

定位原文: B段的第6、7、8句。“When the islanders…”当岛上居民为了木柴和农耕清除了树林，森林便不再生长。随着树木的减少，他们不再能够建造独木舟来捕鱼，转而以鸟类为食。水土流失降低了他们的作物产量。

解题思路: 文章B段重点描述了美国科学家Jared Diamond对于拉帕努伊环境破坏的观点，他认为是当地人自己造成了这种情况，并且从不同的方面进行了分析。其中在第六、七句提到由于岛上居民将树林用作木柴和农耕，树木受到破坏不再生长，从而无法继续造船捕鱼;之后也在第八句提到了作物产量减少的问题，这与ix选项所表达的减少食物资源一致。因此本题答案为ix。

Question 16

答案： viii

关键词： the statues, worse

定位原文： C段第1句“The moai, he thinks…”他认为摩艾像加速了当地的自我毁灭。

解题思路: 本段首句提4摩艾像加i 了当地的自我毁灭， 之后Diamond在本段中具体解释了这一观点， 选项中viii的表述与本段内容一致。因此本题 答案为viii。

Question 17

答案： i

关键词：innovative, environment, management, practices

定位原文： D段第3、4句“Archaeological excavations...”考古发掘表明拉帕努伊人做出了巨大的努力去保护他们受狂风席卷且并不肥沃的土地。他们建造了上千的环形石头防风林，在其中栽培花木，并使用破碎的火山岩保持土壤湿润。

解题思路：本段Terry Hunt和Carl Lipo提出了不同的观点，即他们认为生态破坏并非是当地居民或摩艾像的责任，相反他们还做出了巨大的努力。 其中第3句表达了这一观点，而第4句则是具体地写到circular stone windbreaks, 以证明他们的努力。因此本题答案为i。

Question 18

答案: iv

关键词： a local belief

定位原文： E段第3句 “On that issue, Hunt…” Hunt和Lipo说，在这个问题上，考古学证据支持拉帕努伊的民间说法。

解题思路: 本段讲的是摩艾像的移动方式。Hunt和Lipo 对此提出了不同的看法，他们认为由于摩艾像特殊的形状，不需要太多的人力和木头就可以移动它们，并且提出这与当地的民间说法一致。 因此本题答案为iv。

Question 19

答案: vii

关键词： outside the inhabitants， control

定位原文： F段第1句 “Moreover, Hunt…” 此外，Hunt和Lipo相信树木破坏并非完全由岛上居民所致。

解题思路：本段中Hunt和Lipo的观点是岛上环境的破坏并不是岛上居民造成的，而是由于鼠类的泛滥以及欧洲人的登陆，而这是当地居民无法控制的，与 vii 选项 Destruction outside the inhabitants' control一致。因此本题答案为vii。

Question 20

答案： vi

关键词： opposing views

定位原文： G段第1、2句 “Hunt and Lipo’s vision…” 因此，以Hunt和Lipo的观点来看，这个岛屿上居住着和平的有独创性的摩艾像建造者们以及小心翼翼的土地维护者，而不是不计后果毁掉自己的环境与社会的破坏者。他们认为“拉帕努伊是一个不太可能的成功故事，而非一个不幸的失败事件”。

解题思路：在G段的第1句和第2句中，都提到了与 opposing views about the Rapanui people 相关的内容，同时Hunt和Lipo再次持积极的态度，相当于对自己的观点进行了总结。因此本题答案为vi。

Question 21

答案： farming

关键词： cutting down its trees for fuel, clearing land

定位原文： B段第6句“When the islanders cleared the forests for firewood and farming…” 当岛上居民为了木柴和农耕清除了树林，森林便不再生长。

解题思路：Jared Diamond的观点在B段出现。本题提到了当地人破坏森林，并且cutting down trees 和clearing land, 这一信息出现在原文中B段第6句，这一行为的目的是为了 firewood and farming; 这一并列结构在题目中被for fuel同义替换，clearing land的目的也可以就此找到， 因此本题答案为farming。

Question 22

答案： canoes

关键词：go fishing

定位原文：B段第7句 “As trees became scarce and they could no…”随着树木的减少，他们不再能够建造独木舟来捕鱼，转而以鸟类为食。

解题思路: 题目说到当地岛上居民不再能够建造捕鱼所需的东西，在原文B段第七句中出现了 could no longer construct, 这与题目中 no longer able to build意思一致;而文中提到的for fishing 也与题目中 they needed to go fishing 意思一致，因此可见wooden canoes为所需名词, 同时有要求one word，得出答案。

Question 23

答案： birds

关键词：food source

定位原文： 同上题

解题思路：上一题中已经提到人们无法继续建造wooden canoes, 在B段第七句中说到他们以鸟类为食;而本题提到了food source, 判断本题答案为 birds。

Question 24

答案: wood

关键词: people

定位原文: C段第4句“Diamond thinks they laid the moai on…” Diamond认为他们将摩艾像放在木质雪橇上，在木轨上拉动，但这需要大量的木头和人力。

解题思路：本题说到运送雕像所需要的东西，之后出现 not only..., but also这一并列结构，而在原文 C段第四句中，也以并列结构描述了所需要的是 both a lot of wood and a lot of people; 由于题目中已经出现了people, 因此本题答案为wood。

Question 25 and Question 26

答案： B & C

关键词：Disagree

定位原文： C、D、E 三段

解题思路：ADE三项全文并没有提及;关于摩艾像的运输，Hunt和Lipo 二人与Diamond持不同看法;其中Diamond的观点出现在文章C段，他认为雕像是放在木质雪橇上然后通过木轨被拉动，而Hunt和Lipo的观点出现在E段，他们认为雕像的移动同当地说法一致，雕像可以在几个人和没有绳索的控制下直立移动;对于拉帕努伊社会的影响方面，Diamond认为摩艾像加速了当地的破坏，这一观点出现在C段;而Hunt和Lipo认为摩艾像对当地社会起到了积极的作用，这一观点在D段和E段都进行了具体的描述。

Test 2 Passage 3

Question 27

答案：C

关键词：second paragraph, a shape-matching test

定位原文：第二段

解题思路：题目：在第二段，作者提到图形匹配试验是为了证明：A.艺术鉴赏的主观性质;B.现代艺术对抽象形式的依赖; C.我们倾向于被他人的意见影响;D.加工视觉数据时遇到的普遍问题。本题问的是提及a shape-matching test的作用，首先需要在原文中找到这个信息，然后在周围寻找论点型的句子，这类句子往往在具体的例子之前。题目中的a shape-matching test出现在文章第二段第四句，而这句的内容是为了说明第三句的an inclination to follow the crowd, 然后在选项中寻找这个内容的同义替换，可以看到C选项表达的含义与此一致， 因此本题答案为C。

Question 28：

答案：D

关键词：Angelina Hawley-Dolan

定位原文： 第三段

解题思路：题目：Angelina Hawley Dolan的发现说明人们：A. 最喜欢那些他们了解很多的作品;B. 对于什么使艺术作品优秀持不变的观点;C. 经常被他们最初对作品的期待误导;D. 能力感知作品背后的意义。本题可以通过人名Angelina Hawley-Dolan定位到文章第三段。本段描述实验过程和观点，最后一句提到the viewer can sense the artist’s vision in paintings,这一表述与D选项的含义一致，因此本题答案为D。

Question 29：

答案：B

关键词：Robert Pepperell

定位原文：第四段

解题思路：题目： Robert Pepperell作品的研究结果表明人们：A. 在没有完全理解一幅作品的情况下欣赏它;B. 明白—幅作品的含义会令人有满足感;C. 欣赞作品所花费的时间会相差许多;D. 相比抽象艺术，人们通常更喜欢具象的艺术。本题问到Robert Pepperell的研究结果，首先根据人名定位到文章第四段，本段对Robert Pepperell的研究及结果进行了描述。本段最后一句给出了结论，即破解其含义的过程越困难，人们越会感到rewarding, 这与 B选项的表达一致，因此本题答案为B

Question 30：

答案：A

关键词：fifth paragraph

定位原文： 第五段

解题思路：题目：关于蒙德里安的作品，第五段描述的实验表明什么?A. 它们比看上去被更认真地组织在一起;B. 它们可以通过多种不同方式被解读;C. 它们挑战我们关于形状与色彩的看法;D. 它们比很多其他抽象作品更容易被欣赏。本题问的是关于蒙德里安作品的实验，可以根据题干信息定位到原文第五段，其中第二句说到其作品deceptively simple, but...meticulously composed，说明其作品会让人误以为非常简单，但其创作非常精细，这与A选项的表述一致，因此本题答案为A。

Question 31：

答案：C

关键词：Impressionist paintings

定位原文：第1段第2、3句 “The blurred imagery of…”

解题思路：本题问到印象派绘画的影响。原文第一段第二、三句说到印象派绘画可以刺激大脑杏仁核，而杏仁核的作用是影响我们的feelings,选项中feelings 的同义替换emotions符合含义，因此本题答案为C。

Question 32：

答案：B

关键词：Alex Forsythe

定位原文：第7段第1句“In another experiment, Alex…”

解题思路：本题可以根据人名定位至第七段，该段第一句提到她研究作品的visual intricacy, 而很多作品使用了 a key level of detail, 这与B选项complexity的含义一致，因此本题答案为B。

Question 33：

答案：H

关键词：repeated, natural world

定位原文： 第7段第3句“What's more, appealing pieces…”

解题思路：题干中的pleasing works 与原文第七段第三句中的appealing pieces 为同义替 换，而原文之后提到的repeated motifs 与题目中的repeated _____ 对应，选项中images与motifs含义一致，因此本题答案为H。

Question 34：

答案：NOT GIVEN

关键词：fractals

定位原文：第7段第3、4句“What's more, appealing pieces…”

解题思路：关于fractal的表述在原文第7段第3、4句出现，但这里只是描述了这种情况在很多作品中出现，并且在自然界中也比较普遍，对于Forsythe的发现与之前的观点是否存在矛盾并没有提及，因此本题“Forsythe的发现与之前关于艺术中的分形作用的观点相矛盾”未被提及，答案为NOT GIVEN。

Question 35：

答案：YES

关键词：mirror neurons

定位原文：第8段3、4、5句“This may be down to our brain's…”

解题思路：题目中提到的“镜像神经元”与艺术鉴赏有关的观点出现在原文第八段，其中说到了This may be down to... 以及 The hypothesis will need to be thoroughly tested，说明目前这一观点还没有形成定论，需要进一步的验证，这与题目表述“require further verification”一致，因此本题答案为YES。

Question 36：

答案：NO

关键词：artistic trends of the period

定位原文：第8段最后一句“While the fashions of the time…”

解题思路：本题说到人们艺术品位的问题，原文第八段最后一句提到一些作品在流行趋势结束之 后依然受人喜欢，这些作品往往是best adapted to our visual system，所以完全依赖于当前艺术趋势的说法是错误的，因此本题答案为NO。

Question 37：

答案：NO

关键词：people's reactions to works of art

定位原文：第9段第2句“It would, however, be foolish to…”

解题思路：关于科学家是否需要定义精准的规则，原文第九段第二句中有提及，作者认为reduce art appreciation to a set of scientific laws是foolish的，这与题目的表述相反，因此本题答案为NO。

Question 38：

答案：YES

关键词：cultural context

定位原文：第9段第3句 “We shouldn't underestimate…”

解题思路：文章第9段第3句已经说到，应当关注the importance of the style of a particular artist, their place in history and the artistic environment of their time，这与题目中所说的 cultural context in which an artist worked 一致，因此本题答案为 YES。

Question 39：

答案：NOT GIVEN

关键词：the filed of science

定位原文：第9段最后一句“In some ways, it's not so different to science…”

解题思路：在文章第9段最后一句中，说到艺术和科学not so different，而科学一直寻求decode meaning，此处关于find meaning的描述并没有将艺术和科学进行对比，也就不存在easier的问题，因此本题答案为NOT GIVEN。

Question 40：

答案：A

关键词：subtitle

定位原文：全文主题考查

解题思路：题目：本文最合适的副标题是什么?A. 关于大脑如何对抽象艺术做出反应的一些科学见解;B. 最近一些关注抽象派艺术家神经活动的研究;C. 关于抽象和具象艺术的神经基础的对;D. 关于大脑的研究如何改变人们对抽象艺术的看法。四个选项分别提到了大脑对抽象艺术的反应、抽象派艺术家的神经活动、抽象和具象艺术的神经基础对比以及人们对抽象艺术看法的改变，通过对四个选项主题词的对比，可以看到只有A选项符合文章内容并且是全文一直在讨论的话题。当然，为了验证文章构思，如果以此为副标题，反过来看看写出的文章与本文是否一致。因此本题答案为A。

篇5：剑桥雅思阅读10真题解析(test2)

Passage 1

Question 1

难度及答案：难度低;答案为iv

关键词：time and place

定位原文：A段最后两句“Why did this…of the 18th century?”为何这个独特的大爆炸——能带来世界性的变化的工业革命——偏偏就发生在英国?为何这个革命又偏偏在18世纪末?

解题思路：A 段中提到了 happen in Britain 以及 at the end of thel8th century, 与iv 选项当中的time和place是对应的关系。

Question 2

难度及答案：难度低;答案为viii

关键词：conditions required

定位原文：B 段第 2 句 “There are about 20 different…he says.” 他说：“大约有 20种不同的因素，而且所有的这些因素在工革命发生之前就已存在。”

解题思路：B段中主要论述的是工业革命在英国发生的前提条件，与其他不同的国家做出了对比。

Question 3

难度及答案：难度低;答案为vii

关键词：Two keys

定位原文：C 段第 2 句 “Tea and beer, two of... fuelled the revolution.” 茶和啤酒，这两种在全国最受欢迎的饮料，就是工业革命的导火线。

解题思路：C段主要论述的是茶和啤酒在英国工业革命当中的作用。

Question 4

难度及答案 ：难度低;答案为i

关键词：reasons, an increase in population

定位原文：D段第4、6句“But then there was...four possible causes.” 但是在那时(18世纪中期)，英国的人口是爆发增长的……人们觉得有四种原因是导致这种现象发生。

解题思路：D段主要论述英国人口快速增长的背后潜在原因。

Question 5

难度及答案：难度低;答案为vi

关键词：Changes, drinking habits

定位原文：E段第4、9、10句“Some digging around... it suddenly dropped again.”一些历史记录揭示了当时水污染疾病的发生率发生了改变，特别是痢疾……穷人因此转向喝水和松子酒，在18世纪代人口的死亡率又开始上升。然后又突然再次下降。

解题思路：E段主要论述英国人饮水习惯的变化和健康水平的变化。

Question 6

难度及答案：难度低;答案为ix

关键词：comparison Japan

定位原文：F段第 1、2 句 “Macfarlane looked to…those in Britain.” Macfarlane研究日本，此时的日本也是向大城市发展，也没有卫生系统的发展。水污染疾病并没有像英国那样对日本的人口造成很大的影响。

解题思路：F段主要论述的是和日本相比较，从而研究者得出了自己的结论。

Question 7

难度及答案：难度低;答案为ii :

关键词：fear of unemployment

定位原文：G 段第 2 句 “Macfarlane notes that…people out of work.” Macfarlane 指出尽 管在17世纪日本已经有大城市、高教育文化率，甚至期货市场，日本最终仍然放弃劳动力的替代，比如动物，而回归到工作本位，因为害怕会使人们失业。

解题思路：G段主要论述的是日本没有最早发生工业革命的原因是害怕失业。

Question 8

参考译文：在18世纪的中国，交通系统并不适合工业发展。

难度及答案：难度中等;答案为NOT GIVEN

关键词：China 、not suitable, the 18th century

定位原文：B段倒数第2句“After all... had many of these factors.”毕竟荷兰拥有一切资源, 除了煤矿，中国也有很多这些因素。

解题思路：考生利用China这个词可以定位到B段倒数第2句，此句说到中国也有很多这些因素，并没有明确提到交通系统不适合工业发展。

Question 9

参考译文：茶和啤酒都帮助阻止了痴疾在英国的发生。

难度及答案：难度中等;答案为TRUE

关键词: dysentery

定位原文: C 段第 3 句 “The antiseptic properties…diseases such as dysentery.” 茶中的活性成分单宁，以及啤酒当中的啤酒花，都有杀菌的特性，加之荼和啤酒都是由热水制成，使近距离的城市社区繁荣发展，而不受由水引发的疾病的迫害。 比如痢疾。

解题思路：考生可以利用tea以及beer以及dysentery定位到C段第3句。但是有些考生难以理解without succumbing to (不向……屈服)，有意识到题目就是这句话的对应改写。

Question 10

参考译文：Roy Porter不同意Macfarlane教授的调査结果。

难度及答案：难度低;答案为FALSE

关键词：Roy Porter、disagrees

定位原文：C 段最后一句 “Macfarlane’s case has been…of his research.” Macfarlane的案例因得到著名的药学历史学家Roy Porter的支持而得以加强，最近Roy Porter 写了一篇对此研究的有利评估。

解题思路: 考生利用Roy Porter可以定位到C段最后一句，判断题目当中的disagrees与原文明显不符。

Question 11

参考译文：1740年后，英国的人口减少了。

难度及答案：难度低;答案为FALSE

关键词：After 1740, reduction

定位原文：D段第3、4句 “Between about 1650.., burst in population growth.” 在大约 1650年到1740年间，英国的人口是静止不变的。但是在那时(18世纪中期)， 英国的人口是爆发增长的。

解题思路：考生利用After 1740定位到D段第3、4句，static表示“静态的” ，burst表示“爆发”，与题目中的reduction意思相反。

Question 12

参考译文：英国人过去在家酿啤酒。

难度及答案：难度低;答案为NOT GIVEN

关键词：at home

定位原文：E 段第 6 句到最后一句 “He says, ‘We drank... What caused this?’” 他说：“我们喝啤酒。很久以来，英国人都被啤酒酒花中强大的抗生素所保护，这种酒花是加在啤酒中用以保存啤酒的。但在17世纪末，麦芽开始收税，这是啤酒的基本组成部分。穷人因此转向喝水和松子酒，在18世纪20年代人的死亡率又开始上升。然后又突然再次下降。是什造成这种现象?”

解题思路：E段最后一句说明了英国人喝啤酒，但并未说明英国人在哪里酿造啤酒，所以此 题应务NOT GIVEN。

Question 13

参考译文:对麦芽的征税间接地造成了死亡率的上升。

难度及答案:难度高;答案为TRUE

关键词：tax on malt、indirectly、rise in die death rate

定位原文：E 段第6 句到最后一句“He says，‘We drank…What caused this?’”他说：“我们喝啤酒。很久以来，英国人都被啤酒酒花中强大的抗生素所保护，这种酒花是加在啤酒中用以保存啤酒的。但在17世纪末，麦芽开始收税，这是啤酒的基本组成部分。人因此转向喝水和松花酒，在18世纪20年代人口的死亡率又开始上升, 突然再次下降。是什么造成这种现象?”

解题思路：此句提及因为麦芽征税，所以查人不得不喝水和松子酒，所以死亡率上升了， 这种关系是间接的。因此答案是TRUE。

Passage 2

Question 14

参考译文：提到了家庭背景对天才儿童的影响。

难度及答案：难度低，答案为A。

关键词：domestic background

定位原文：A段第3句“For example...home educational provision(Freeman,).”比如，我们会发现孩子的智商水平和他们所接受的家庭教育有很密切的关联(Freeman,2010).

解题思路：题目中的domestic background 与原文中的home educational provision是同义表达，此段后面进一步说明天才儿童与其家庭环境的关系。

Question 15

参考译文：暗示如果学习者被给予太多指导，某些东西就会缺失。

难度及答案：难度低;答案为D

关键词：loses、too much guidance

定位原文：D段第2句“Conversely, teachers who have...pupils’ learning autonomy.” 反言之，那些喜欢“过分指导”的老师会降低有天赋学生的学习自主性。

解题思路：段落D当中的overdirect相当于题干中的too much guidance，diminish... autonomy 指的就是what can be lost。

Question 16

参考译文： 焦虑的破坏性影响的提及。

难度及答案： 难度低;答案为F

关键词：damaging effects s anxiety

定位原文: F段第 2、3 句 “Positive emotions facilitate…it motivates problem-solving behaviour.”积极的情绪可以促进学习的创造力，而消极的情绪则抑制了创造力。比如说恐惧会限制好奇心的发展，而好奇心恰恰是科学进步的重要推动力，因为它能够鼓励解决问题的行为。

解题思路：此段中提及了消极情绪，例如fear对好奇心的抑制，不利于好奇心的培养。而题目中的anxiety 与 fear是同义词，都是消极的情绪。

Question 17

参考译文： 有利于社会地位较低的孩子的课堂技巧的例子。

难度及答案： 难度低;答案为D

关键词： techniques 、socially-disadvantaged

定位原文： D 段最后一句 “Such practices have been…from deprived areas.” 我们发现这样的实践对贫困地区的聪明孩子尤其有用。

解题思路： 题目当中的 socially-disadvantaged children 相当于原文中的 children from deprived areas, favour 指的就是 be particularly use for、classroom techniques对应于原文中的such practices。本题出现了大量的同义替换的设置。

Question 18

参考译文： 能准确完成学习任务的天才学生可以在练习上少花时间。

难度及答案： 难度低;答案为B

关键词： less time 、accurate work

定位原文： C段第3、4句 “Overviewing research on the... teach more quickly.”， 纵览关于能力出众的孩子的思维模式的研究(Shore and Kanevsky，1993)，它更精确地指出教育者的问题：“如果他们(有天赋的孩子)仅仅思考得更快，那么我们只需要推进教学的进度。如果他们仅仅越来越少犯错，那么我们需要减少练习的时间。“

解题思路： 此题型应先浏览全文，快速找到选项中的人名在题目中的位置。题目当中的 accurate work 与原文当中的 fewer errors 相对应。题干当中的 less time spent on exercise 相当于 shorten the practice。所以答案择 B。

Question 19

参考译文： 自我依靠是有价值的工具，它可以帮助天才学生实现目标。

难度及答案： 难度低;答案为D

关键词： self-reliance 、reach their goal

定位原文： E段第2句 “Research with creative...for learning and practice.”Simonton关于有创意的科学家的研究让他有了这样一个结论：在一定的水平之上，性格特征诸如独立，比起智力在寻求最高水平的专业知识方面发挥的作用更大，因为学习和练习需要大量的精力和时间。

解题思路： 题目当中的self-reliance与文章中的independence是对应的关系，而题目中的 reach their goal 与文中的 reach the highest levels of expertise 也是对应关系 。

Question 20

参考译文： 天才学生知道怎么引导他们的情绪从而辅助学习。

难度及答案： 难度低;答案为E

关键词： feeling、assist、learning

定位原文： F段最后两句 “In Boekaerts’ (1991)... their own learning resources.” 在 Boekaerts (1991)关于在智商很高和学习成果很好的孩子的情绪回顾上，她发现情绪力量是很重要的。他们不仅仅是好奇的，而且经常有强烈的欲望去控制自己的环境， 改善学习效率以及增加他们的学习资源。

解题思路： 题目当中的channel their feeling指的就是原文当中的emotional forces in harness。原文当中最后一句的论述表达的就是控制情绪对学习的辅助作用。

Question 21

参考译文： 特别天才的学生获益于近亲的适当支持。

难度及答案： 难度高;答案为A

关键词： benefit、support、close relatives

定位原文： A 段第 3、4 句和 B 段第 1 句 “For example…not emerge without appropriate help，比如，我们会发现孩子的智商水平和他们所接受的家庭教育有很密切的关联(Freeman, 2010)。孩子的智商水平越高，尤其是高于130的时候，他们所得到的预备教育的质量就越高，其质量是以孩子与父母的语言交流，还有他们家中书的数量和活动衡量的……适当的帮助才能让人变得优秀。

解题思路： 此题需联系属于不同段落的两个句子，并且要进一步思考，才能得出题目中的结论，属于比较难的題。

Question 22

参考译文： 真正成功的学生对于他们的学科有一定的认知了解。

难度及答案：难度低;答案为C

关键词： successful student、a considerable amount、subject

定位原文： E 段第 1 句 “But scientific progress…do not (Elshout，1995).”， 但是科学过程并不总是理论式的，知识对一个人优异的表现也是关键的：那些对某一领域认知很深入的人会比对此没有认识的人水平更高(Elshout, 1995)。

解题思路： 题目中的a considerable amount相当于原文中的a great deal about， 题目当中的subject与原文中的a specific domain意思相同。

Question 23

参考译文： 一项研究表明儿童的智商与家中___和____的可获得性有深度的关联。

难度及答案： 难度低;答案为 books (and) activities

关键词： connection、at home

定位原文： A 段第 3、4 句 “For example…activities in their home etc.” 比如，我们会发现孩子的智商水平和他们所接受的家庭教育有很密切的关联(Freeman，2010)。孩子的智商水平越高，尤其是高于130的时候，他们所得到的预备教育的质量就越高，其质量是以孩子与父母的语言交流，还有他们家中书的数量和活动衡量的。

解题思路： 此题要填两个表未并列关系的词，考生可以定位at home到A段第3句，发现 a very close positive relationship 与 strong connection 意思一致，此句中可以表示异列关系的只有books和activities。

Question 24

参考译文： 能力平庸的孩子看起来需要更多的教师指导，因为他们没有____.

难度及答案： 难度中等;答案为 internal regulation/self-regulation

关键词： average ability、do not have

定位原文： B 段第 3句“There appears to be a …internal regulation.”看上去智商高、能力强的孩子和那些智力平庸或年纪稍大的小学生之间有着质的区别，因为后者会需要老师给出外在的规范以弥补他们自我约束的缺乏。

解题思路： 题目当中的children of average ability可以定位到原文中B段第3句，而且 lack of与题目当中的do not have是同义替换。因此填写international regulation.

Question 25

参考译文：元认知涉及儿童对他们学习策略的理解以及开发____.

难度及答案： 难度中等;答案为 emotional awareness

关键词： metacognition、learning strategies

定位原文： B段倒数第一句“Emotional awareness is... or confidence for example.” 情感认知也是元认知的一部分，所以，举个例子来说，孩子必须有人帮助他们认识对即将学习的领域的感受，比如觉得好奇或者自信的感受。

解题思路： 考生可以用metacognition来定位到B段的最后一句话，可以知道元认知包括ways of learning会以及 emotional awareness。

Question 26

参考译文： 依靠___教学的老师常常在班级测验中得到喜人的成绩。

难度及答案： 难度低，答案为spoon-feeding

关键词：rely on、impressive grades

定位原文： D 段第 3 句 “Although 'spoon-feeding’ can produce... impressive life successes.” 因为“填鸭式”的教学会产生很好的考试结果，但这并不意昧着人生同等的成功。

解题思路: 题目当中的 impressive grades in class tests 相当于文章中的 high examination results，而后者是由spoon feeding 产生(produce ) 的。

Passage 3

Question 27

参考译文： ……也许是因为小说的提供长期依靠____

难度及答案： 难度难，答案为B

关键词: availability、depend on

定位原文： 第2段第2句“This might be explained ... As unique objects.”或许这可以解释为：小说的演化恰好是因为技术的进步，从而可以印制出大量的文本，但是油画一直是作为独一无二的物件被制作的。

解题思路：题目当中的because of 相当于原文中的be explained by; 原文当中说到technological development made it possible to print out huge numbers of texts，后面一部分指的就是mass production，即大规模的制造。

Question 28

参考译文： ……也因为___是最重要的事。

难度及答案： 难度中等;答案为H

关键词： also because of、the most important

定位原文： 第2段第3、4句“In addition, it could…they may signify.”另外，有人会辩驳道，解读或“阅读”不同的媒介应该遵循不同的惯例。对于小说，人们主要关注词句的意思而不是它们被印刷在纸上的方式，然而艺术作品的“读者”必须密切关注图画中所有标记、形状的材质形式和这些形式所象征表达的内容。

解题思路 原文当中的in addition相当于题目中的also,对于小说而言( With novels), 人们主要关注于词的意思(attend mainly to the meaning of words),这就是最重要的事。因此H选项当中的underlying ideas (根本的观点)最为恰当。

Question 29

参考译文： ……因为达?芬奇乐意指导___去制作它的作品的仿制品

难度及答案： 难度低; 答案为L

关键词： happy, instruct, copy

定位原文： 第3段第2句“The seven surviving versions...as regular ‘bread and butter’ work.”现存的七件蒙娜丽莎的作品佐证了一个事实,即在16 世纪，艺术家们很乐意把仿制他们作品的工作,分配给他们工作室的学徒们，作为他们常规的谋生的手段。

解题思路： 由对应原文我们发现，artists对于复制品的态度是 perfectly content to the workshop apprentice与 happy to instruct 对应，因此空格处应选与apprentice对应的词汇，因此答案为 assistants.

Question 30

参考译文： …对表面浮层特点以及顏色和___的良好再现。

难度及答案： 难度低;答案为G

关键词：relief feature, colour、size

定位原文： 第3段第3句“And today the task... of the painting.”如今复制画作的工作变得无比简单可靠，因为复印技术能够让我们获得高质量的，与原作尺寸一致、色值相间的印刷品，甚至还可以复制作品表面的浮雕效果。

解题思路： 考生可以利用relief feature、colour等词定位到第3段最后一句，其中original scale (规模)与其他两项是并列的关系，词库当中只有size的意思与scale接近， 所以正确答案为G。

Question 31

参考译文： ……因为这也许对___不利。

难度及答案：难度低;答案为D

关键词：promote、may not

定位原文：第 4、5 段 “But despite an... experience offered to visitors?” 然而，尽管人们默认传播优秀的复制品有宝贵的文化价值，但是艺术博物馆依然宣传真迹的特殊地位。不幸的是，这严重限制了博物馆参观者的体验：

解题思路： 考生可以利用promote等词定位到第4段，紧接着又说道给visitor的体验带来 severe limitation,这就是对参观者不利。词库当中只有public与visitor的意思接近，所以正确答案为D。

Question 32

参考译文：本文作者提到英国伦敦国家美术馆是为了解释___

难度及答案： 难度低;答案为C

关键词： National Gallery

定位原文： 第 6 段第 5、6 句 “In addition, a major…such an environment.” 另外，就像英国伦敦国家美术馆的一个主要的收藏系列，会被存放在无数个房间里，每个房间存放几十件作品，其中任何一件作品的价值可能都要超过普通游客的所有财富。在一个个人地位很大程度上取决于其物质财富的社会，很难让人不因在这个环境中相比而产生的卑微而感到印象深刻。

解题思路： 利用National Gallery定位到第6段第5句，此句提到了一种现象就是任何一件作品的价值可能都要超过普通游客的所有财富，第6句汫到人们容易感到自卑。这里的 one’s own relative worthlessness 与 C 选项当中的 negative effect... on visitor’s opinions of themselves 相吻合。其他三项均未提及。

Question 33

参考译文： 作者说，如今人们不愿意批判意见作品.是因为___

难度及答案： 难度高，答案为D

关键词： today、unwilling to criticize、because

定位原文： 第 7 段第 2 句 “Evidently, nothing the... have met the work.” 显然，无论观众怎么看待美术作品，也改变不了其价值，因此，现在的参观者踌路而不敢去做出自发的、即时的以及完全是根据自己所想的那种一看到作品就会产生的解读。

解题思路： 利用题目当中的today’s viewer以及unwilling等词等位到第7段第2句，be deterred from意思即为“踌躇、不愿意做某事”，本句后半段的开头有and so，就表示前半段是原因。前半句的意思为“无论观众怎么看待美术作品，也改变不了其价值”，与D选项当中的他们的反应毫无重要性可言是对应的关系。

Question 34

参考译文： 根据作者的观点，参观者身上的“错位”效果是由___引起的。

难度及答案： 难度中等;答案为A

关键词： displacement effect、be caused by

定位原文： 第 8 段第 2、3 句 “This ‘displacement effect’ … weeks or even months.” 这种“错位”的效果会被展品的大量数量进一步加强。以一个主要的收藏系列为例，一次展示的作品可能会比我们数星期或者数月所能够看完的还要多。

解题思路： 考生可利用displacement effect定位到第8段第2句，此句说到be further heightened by (由……加强)，那么前面的一句话就可能是displacement effect产生的原因了。而第一句讲的是“各种不同的油画、素描以及雕塑被聚集起来放在原本适合它们的之外的环境当中”，与选项A当中“多种多样的作品被展示以及它们成列的方式”是对应的关系。因此正确答案是A。

Question 35

参考译文: 作者说，跟其他艺术形式不一样，一幅画不____。

难度及答案: 难度低;答案为D

关键词: unlike、other art forms 、does not

定位原文： 第 9 段第 2、3、4 句 “A fundamental difference…at which to finish ” 在欣常画作和其他艺术品之间一个最根本的区别就是欣赏画作并没有被赋予具体的欣赏时间。相反的，观众可以有一段具体的时间欣赏话剧或者戏剧，这段时间就是表演的持续时间。类似的是，小说和诗歌也可以在一段有顺序的时间内被读完 然而一幅画却没有一个明确开始欣赏和结束的点。

解题思路： 考生可利用other art forms定位到第九段第2句，可以看到主要的区别是 no prescribed time,下文又接着讲了没有确定的开始和结束的时间。所以正确答案为D选项。

Question 36

参考译文： 艺术史应该专注于使用不同媒介发掘艺术的意义。

难度及答案： 难度中;答案为NOT GIVEN

关键词： art history、discover the meaning、media

定位原文： 无

解题思路： 第9段中提到discover the meaning的内容，但是没有提到使用不同的媒介， 因此本题答案为NOT GIVEN。

Question 37

参考译文：艺术史史学家们所使用的研究方法与艺术博物馆的方法相冲突。

答案及难度：难度中;答案为NO

关键词： the approach of historians

定位原文： 第10段第2句“This is in perfect...reading of the exhibits.”这种方法与博物馆的功能很好地结合了，因为它是被用于寻找和保护对展品的“可信的”与“原创性”解读。

解题思路： 从对应原文中找到历史学家所使用的方法与艺术博物馆的功能有着的和谐 (perfect harmony)。因此此题答案为 NO。

Question 38

参考译文：应该鼓励人们去公开地表达对艺术作品的观点。

难度及答案： 难度中;答案为YES

关键词： encourage、give their opinion openly

定位原文： 第 11 段第 2 句 “The museum public... to express their views.” 那些去艺术博 物馆参观的人，像其他任何观众一样，当他们被给予自信去表达他们的观点时，那么他们会觉得鉴赏艺术是更有价值的。

解题思路： 题目当中的 give their opinions openly与原文当中的express their views是同义转换;原文当中说 more rewardingly 所以与题目当中的should be encouraged是一致的。

Question 39

参考译文：艺术品的高仿制品即便质量不错，也只能卖给大众

难度及答案：难度中;答案为 NOT GIVEN.

关键词： of high quality ;

定位原文： 第 11 段倒数第 2 句 “If appropriate works of... In awe of them.”如果合适的艺术作品可以永久地通过高仿真的复制品里现给大众，就像学术文献和音乐一样，人们也许对这些艺术作品会产生更少的敏畏。

解题思路：文章中没有提到是不是only sold to the public，并没有表明限制条件。

Question 40

参考译文：在将来，有权势的人有可能鼓励更多的人欣赏艺术。

难度及答案： 难度高，答案为NO

关键词： with power、encourage

定位原文： 第 11 段第 4 句 “Unfortunately，that may be too art establishment。”不幸的是，这也许对那些寻求保持和控制艺术机构的人是太高的要求。

解题思路： 题目当中的the power就是原文当中的寻求保持和控制艺术现有体制的人，对于他们，人们欣赏更多的艺术是too much to ask, 因此他们不可能鼓励更多的人欣赏艺术。

剑桥雅思阅读10真题解析(test2)

篇6：剑桥雅思阅读10真题解析(test2)

Passage 1参考译文：

茶与工业革命

一个剑桥教授称英国工业革命的导火索是饮水习性的改变。

——Anjana Ahuja 报道

A.Alan Macfarlane，剑桥大学国王学院的一位人类学教授，正如其他的历史学家那样，他已经花费数十年的时间来攻克工业革命这个来解之迷。为何这个独特的大爆炸能带来世界性的变化的工业革命——偏偏就发生在英国?为何这个革命又偏偏是发生在18世纪末?

B.Macfarlane把这个未解之谜比作是密码锁。他说：“大约有20种不同的因素，而且所有的这些因素在工业革命发生之前就已存在。”由于工业已经腾飞需要科技生产力及能源来推动工厂的发展，大量的城市人口提供廉价的劳动力，有方便快捷的交通运输来转运货物，富足的中产阶級愿意购买大规模生产的物品，以及以市场为导向的政治经济体系，所有的这些都为此提供了可能性。然而，这些只是发生在英国的例子，至于其他的国家，比如日本、荷兰和法国，也有类似的可能性条件，但是这几个国家最终还是没有发生工业革命(产业化)。“所有的这些因素都是工业革命发生的必需却非充分条件。” Macfarlane说，“毕竞荷兰拥有一切资源，除了煤矿，中国也有很多这些因素。很多历史学家坚信打开这个谜的密码肯定还有一到两个因素是我们遗漏的。”

C.那这些我们遗漏的因素，他提出，几乎可以在每个厨房的橱柜中找到。茶和啤酒，这两种在全国最受欢迎的饮料，就是工业革命的导火线。茶中的活性成分单宁，以及啤酒当中的啤酒花，都有杀菌的特性，加之茶和啤酒都是由热水制成，近距离的城市社区繁荣发展，而不受由水引发的疾病的迫害，比如痢疾。这个理论听上去有点奇怪，但是一旦他解释他推理中的探求工作后，怀疑就转变为对其谨慎态度的赞赏。Macfarlane的案例因得到著名的药学历史学家Roy Porter的支持而得以加强，最近Roy Porter写了一篇对此研究的有利评估。

D.Macfarlane想知道工业革命是如何发生已经有很长一段时间了。历史学家们偶然发现了一个发生在18世纪中期的需要解释的有趣因素。在大约1650年到1740年间，英国的人口是静止不变的。 但是在那时(18世纪中期)，英国的人口是爆发增长的。Macfarlane说：“婴儿死亡率在20年间减少一半，并且同时发生在乡村和城市，贯穿所有的阶级。人们觉得有四种原因导致这种现象发生。有没有可能是病毒和细菌的突然变异?不可能。当时有发生医学科学的革命吗?当时确实有一种可以消灭疟疾的农业进步，但是这些只是一些小进步。直到19世纪的时候，卫生系统才得以传播开来。排除这些因素后，剩余的唯一可能就只有食物了。新生儿的身高和体重都显示了下降。因此，食物肯定也变得更糟。所有寻找造成儿童死亡率突然降低的努力都一无所获。

E.人口的爆发看起来刚好就发生在工业革命需要大量劳动力的这个契机。“当社会朝着产业化前进时，人们近距离地生活在一起是经济有效的，” Macferlane说，“但是当时人若生病了，很可能是来自于人们的排泄物。一些历史记录揭示了当时水污染疾病的发生率发生了改变，特别是痢疾。Macfarlane发现，无论当时英国人喝的是什么，喝的这个东西都会对调节疾病发生率很重要。他说：“我们喝啤酒。很久以来，英国人都被啤酒酒花中强大的抗生素所保护，这种酒花是加在啤酒中用以保存啤酒的。但在17世纪末，麦芽开始收税，这是啤酒的基本组成部分。穷人因此转向喝水和松子酒，在18世纪20年代人口的死亡率又开始上升。然后又突然再次下降。是什么造成这种现象?”

F.Macfarlane研究日本，此时的日本也是向大城市发展，也没有卫生系统的发展。水污染疾病并没有像英国那样对曰本的人口造成很大的影响。 会是茶在日本文化中普遍存在的缘故 吗? Macfarlane由此指出，在英国，茶的历史提供了一个意外的巧合。茶的价格是相对很贵的， 直到1S世纪的早期，英国对中国开始了贸易的黄金时代。1740年，也就是婴儿死亡率开始下降的时期，饮茶是很寻常的。Macfarlane猜测是水被煮沸，同时茶清肠胃的特性意味着母乳与以往相比更健康。欧洲没有任何一个国家像英国这样嗜茶，也就是，按照Macfarlane的逻辑，欧洲的这些国家没有获得在产业革命中名列前茅的机会。

G.但是，如果茶是一个密码锁的因素，那为什么日本没有在它自己浸染茶文化中稳步前进地发生工业革命? Macfarlane指出尽管在17世纪日本已经有大城市高教育文化率甚至期货市场，日本最终仍然放弃劳动力的替代，比如动物，而回归到工作本位，因为害怕会使人们失业。因此，我们现在认为的科技最进步的国家之一，在进入19世纪时放弃了“工业革命的车轮”。

Test 2 Passage 2参考译文：

天才儿童与学习

A. 国际上我们最经常使用一个通用的智力测试，即智商测试的分数来衡量一个人的天赋，一般需要超过一定的分数，大概达到前2%到5%的程度，才能被认为是有天赋。孩子的教育环境对智商分数和智力的使用途径有很大的帮助。比如，我们会发现孩子的智商水平和他们所接受的家庭教 育有很密切的关联(Freeman, 20)。孩子的智商水平越高，尤其是高于130的时候，他们所得到的预备教育的质量就越高，其质量是以孩子与父母的语言交流，还有他们家中书的数量和活动衡量的。因为智商测试是会受到孩子所学的内容决定性的影响，这类测试衡量到的是基于他们所处年龄所学到的东西;也就是说，他们是多好地掌握了所有的知识和在这个考试以内涉及的技巧。就词汇而言，很大程度取决于这些学生是否听说过这些词汇。但是智商测试既不能辨识学习和思考过程，也不能预见创造能力。

B.适当的帮助才能让人变得优秀。不管在任何领域，为了达到一个极其高的标准，能力强的孩子也需要学习方式，包括学习使用的材料和专注的有挑战性的指导，还需要去鼓励孩子们去追逐自己梦想。看上去智商高、能力强的孩子和那些智力平庸或年纪稍大的小学生之间有着质的区别，因为后者需要老师给出外在的规这以弥补他们自我约束的缺乏。为了达到自我约束的最佳效果，所有 的孩子都应该得到帮助以认识自己的学习模式——元认知——这其中包含了学习计划的策略、监督、评估和选择学习的对象。情感认知也是元认知的一部分，所以举个例子来说，孩子必须有人帮助他们认识对即将学习的领域的感受，比如觉得好奇或者自信的感受。

C.我们发现优等生更经常和更有效使用自律的学习策略，相比不那么优秀的学生而言，他们也更能够把这些策略利用于不熟悉的任务。 这很大程度反映在某些孩子在某些领域展示了自己的才华。纵览关于能力出众的孩子的思维模式的研究(Shore and Kanevsky, 1993)，它更简洁明了地指出教育者的问题：“如果他们(有天赋的孩子)仅仅思考得更快，那么我们需要推进教学的进度。如果他们仅仅越来越少犯错，那么我们需要减少练习的时间。”但是当然，这并不能涵盖所有情况;在教学方法中总有些调整，因为要考虑个体思考的多种方式。

D.然而为了自学，聪明的孩子确实需要从他们的老师那里获得更多支持。反言之，那些喜欢“过分指导”的老师会降低有天赋的学生的学习自主性。因为“填鸭式”的教学会产生很好的考试结果，但这并不意味着人生同等的成功。对老师过分的依赖会导致学习自主性和探索欲望的缺失。无论如何，当老师们帮助学生去了解他们自己的想法和学习活动时，他们也增加了孩子的自律性。对一个小孩子而言，这可能 就如同“你今天学到了什么”，这个帮助他们认识到自己正在做什么的简单问题一样。考虑到教育的一个 基本目标就是将来自老师的控制学习转移给学生，改善学生学习的技巧也是在学校读书过程中的重要收获，尤其对于那些能力很高的孩子。还有很多新的方式可以在一些方面帮助孩子，比如在学习初级阶段、同龄人的能力指导等。我们发现这样的实践对贫困地区的聪明孩子尤其有用。

E.但是科学过程并不总是理论式的，知识对一个人优异的表现也是关键的：那些对某一领域认知很深入的人会比对此没有认识的人水平更高(Elshout 1995)。Simonton (1998)关于有创意的科学家的研究让他有了这样一个结论：在一定的水平之上，性格特征诸如独立，比起智力在寻求最高水平的专业知识方面发挥的作用更大，因为学习和练习需要大量的精力和时间。任何方式的创造性都能够被认为是专业和强烈动力的融合(Weisberg，1993)。

F.总而言之，学习是会受到个体和其他重要因素的情绪的双重影响的。积极的情绪可以促进学习的创造力，而消极的情绪则抑制了创造力。比如说恐惧会限制好奇心的发展，而好奇心恰恰是科学进步的重要推动力，因为它能够鼓励解决问题的行为。在Boekaert的( 1991)关于在智商很高和学习成果很好的孩子的情绪回顾上，她发现情绪力量是很重要的。他们不仅仅是好奇的，而且经常有强烈的欲望去控制自己的环境，改善学习效率以及增加他们的学习资源。

Test 2 Passage 3参考译文：

艺术博物馆及其观众

当在世界各地都可以看到仿制品的时候，人们还是会去罗浮宫欣赏原版的“蒙娜丽莎”画作，这一事实让我们对关于当今艺术博物馆角色的一些设想存疑。

达·芬奇的蒙娜丽莎是世界上最为著名的画作之一 。几乎每个去观看原作的人都已通过仿制品熟知这幅作品，但他们承认，欣赏原版的艺术作品是更有价值的。

然而，如果“蒙娜丽莎”是本著名小说，少有人会费心去博物馆阅读作者的原版手稿，而会选择阅读打印好的副本。或许这可以解释为：小说的演化恰好是因为技术的进步，从而可以印制出大量的文本，但是油画一直是作为独一无二的物件被制作的。另外，有人会辩驳道，解读或“阅读”不同的媒介应该遵循不同的惯例。对于小说，人们主要关注词句的意思而不是它们被印刷在纸上的方式，然而艺术作品的“读者”必须密切关注图画中所有标记、形状的材质形式和这些形式所象征表达的内容。

不过，精美地制作出任何美术作品的高仿品一直都是可能的。现存的七件蒙娜丽莎的作品佐证了一个事实，即在16世纪，艺术家们很乐意把仿制他们作品的工作分配给他们工作室的学徒们，作为他们常规的谋生手段。如今复制画作的工作变得无比简单可靠，因为复印技术能够让我们获得高质量的，与原作尺寸一致、色值相同的印刷品，甚至还可以复制作品表面的浮雕效果。

然而，尽管人们默认传播优秀的复制品有宝贵的文化价值，但是艺术博物馆依然宣传真迹的特殊地位。

不幸的是，这严重限制了博物馆参观者的体验。

其中一个限制是关于博物馆呈现其展品的方式。作为独一无二的历史物品的储藏地，艺术博物馆常常被称为“宝库”。这一点在我们参观展览时，有保安、服务人员、绳索和展示柜将我们与展览系列隔离之前，就早已得到提醒。很多情况下，相关建筑的风格强化了这个感受。另外，就像英国伦敦国家美术馆的一个主要的收藏系列，会被存放在无数个房间里，每个房间存放几十件作品，其中任何一件作品的价值可能都要超过普通游客的所有财富。在一个个人地位很大程度上取决于其物质财富的社会，很难让人不因在这个环境中相比而产生的卑微而感到印象深刻。

进一步而言，考虑到原版作品能被放在这样的“宝库”所意味着的价值，观众内心是震撼的，因为正是由于它们是原版的，它们才能被某个比他们权威的个人或机构赋予巨大的金钱价值。显然无论现众怎么看待美术作品，也改变不了其价值，因此，现在的参观者拘泥于表达自己直接、即时、自我的作品解读，那种原本一见到作品就产生的原始解读。

游客们可能被一种陌生感所震撼，这种震撼感是源于看到多样的油画、绘画作品和雕塑集中置于一个并不是它们被创造的环境里。这种“错位”的效果会被展品的大量数量进一步加强。以一个主要的收藏系列为例，一次展示的作品可能会比我们数星期或者数月所能够看完的还要多。

这样的情况特别让人苦恼，因为时间似乎是欣赏所有艺术形式的一个重要因素。在欣赏画作和其他艺术品之间一个最根本的区别就是欣赏画作并没有被赋予具体的欣赏时间。相反的，现众可以有一段具体的时间欣赏话剧或者戏剧，这段时间就是表演的持续时间。类似的是，小说和诗歌也可以在一段有顺序的时间内被读完，然而一幅画没有一个明确开始欣赏和结束的点。因此，艺术画作本身就鼓励人们进行肤浅的欣赏，而人们并不会细细欣赏作品细节的丰富性和背后的辛劳。

因此，最具主导性的方式是艺术历史学家的方法，一种专门致力于结合作品时代的文化背景去“寻找艺术品的意义”的专门的学术方法。这种方法与博物馆的功能很好地结合了，因为它是被用于寻找和保护对展品的“可信的”与“原创的”解读。再次，这看上去终结了那些在经典文学作品中大量常见的自发和分享的批判，这类批判在大多数的艺术史中是不存在的。

当自发的批评行为被遏制的时候，一旦出现什么批评类的行为，艺术博物馆的展览可以作为一种警示。那些去艺术博物馆参观的人，像其他任何的观众一样，当他们被给予自信去表达他们的观点时，那么他们会觉得鉴赏艺术是更有价值的。如果合适的艺术作品可以永久地通过高仿真的复制品呈现给大众，就像学术文献和音乐一样们也许对这艺术作品会产生更少的敬畏。不幸的是，这也许对那些寻求保持和控制艺术机构的人是太高的要求。

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