2006年2月美国托福英语考试(TOEFL)阅读真题精选及答案解析.doc
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1、2006 年 2 月美国托福英语考试(TOEFL)阅读真题精选及答案解析(总分:52.00,做题时间:120 分钟)一、REDAING(总题数:3,分数:52.00)Applied Arts and Fine ArtsAlthough we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of fun
2、ction, which led to their being known as the “applied arts.“ Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied ar
3、ts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of cultural beliefs, geography, or climate. If a pot has no bottom or
4、has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within cert
5、ain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike; that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What varies is not the basic form but the incidental details tha
6、t do not obstruct the objects primary function.Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker of fine-art objects. This assumption misses a significant difference between the two
7、 disciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an under
8、standing of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or her conce
9、ption of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the scu
10、lptors aesthetic intentions, placed the ball there. That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze
11、).Even though the fine arts in the twentieth century often treat materials in new ways, the basic difference in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant. It would therefore not be too great an exaggeration to say that practi
12、tioners of the fine arts work to overcome the limitations of their materials, whereas those engaged in the applied arts work in concert with their materials.(分数:8)(1).The word they in the passage refers to(分数:2)A.Applied-art objectsB.The laws of physicsC.ContainersD.The sides of pots(2).Which of the
13、 following best expresses the essential information in the highlighted sentence? Incorrect answer choices change the meaning in important ways or leave out essential information.(分数:2)A.Functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics.B.The fu
14、nction of applied-art objects is determined by basic patterns in the laws of physics.C.Since functional applied-art objects vary only within certain limits, arbitrary decisions cannot have determined their general formD.The general form of applied-art objects is limited by some arbitrary decision th
15、at is not determined by the laws of physics.(3).According to paragraph 2, sculptors in the Italian Renaissance stopped using cannonballs in bronze statues of horses because(分数:2)A.They began using a material that made the statues weigh lessB.They found a way to strengthen the statues internallyC.The
16、 aesthetic tastes of the public had changed over timeD.The cannonballs added too much weight to the statues(4).Why does the author discuss the bronze statues of horses created by artists in the early Italian Renaissance?(分数:2)A.To provide an example of a problem related to the laws of physics that a
17、 fine artist must overcomeB.To argue that fine artists are unconcerned with the laws of physicsC.To contrast the relative sophistication of modern artists in solving problems related to the laws of physicsD.To note an exceptional piece of art constructed without the aid of technologyThe Origins of C
18、etaceansIt should be obvious that cetaceans-whales, porpoises, and dolphins-are mammals. They breathe through lungs, not through gills, and give birth to live young. Their streamlined bodies, the absence of hind legs, and the presence of a fluke1 and blowhole2 cannot disguise their affinities with l
19、and dwelling mammals. However, unlike the cases of sea otters and pinnipeds (seals, sea lions, and walruses, whose limbs are functional both on land and at sea), it is not easy to envision what the first whales looked like. Extinct but already fully marine cetaceans are known from the fossil record.
20、 How was the gap between a walking mammal and a swimming whale bridged? Missing until recently were fossils clearly intermediate, or transitional, between land mammals and cetaceans.Very exciting discoveries have finally allowed scientists to reconstruct the most likely origins of cetaceans. In 1979
21、, a team looking for fossils in northern Pakistan found what proved to be the oldest fossil whale. The fossil was officially named Pakicetus in honor of the country where the discovery was made. Pakicetus was found embedded in rocks formed from river deposits that were 52 million years old. The rive
22、r that formed these deposits was actually not far from an ancient ocean known as the Tethys Sea.The fossil consists of a complete skull of an archaeocyte, an extinct group of ancestors of modern cetaceans. Although limited to a skull, the Pakicetus fossil provides precious details on the origins of
23、cetaceans. The skull is cetacean-like but its jawbones lack the enlarged space that is filled with fat or oil and used for receiving underwater sound in modern whales. Pakicetus probably detected sound through the ear opening as in land mammals. The skull also lacks a blowhole, another cetacean adap
24、tation for diving. Other features, however, show experts that Pakicetus is a transitional form between a group of extinct flesh-eating mammals, the mesonychids, and cetaceans. It has been suggested that Pakicetus fed on fish in shallow water and was not yet adapted for life in the open ocean. It pro
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- 2006 美国 托福 英语考试 TOEFL 阅读 精选 答案 解析 DOC
