託福閱讀輔導:老託福閱讀真題及答案passage21
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託福閱讀輔導:老託福閱讀真題及答案 passage 21
老託福閱讀原文 passage 21
The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hands of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as "sculptors" in today's use of the word.
On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches — as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance-Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose — either the local craftspeople or the imported talent of European sculptors.
The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans — originally trained as stonemasons, carpenters, or cabinetmakers — attacked the medium from which they sculpture made in the United States in the late eighteenth century.
老託福閱讀題目 passage 21
1. What is the main idea of the passage ?
(A) There was great demand for the work of eighteenth-century artisans.
(B) Skilled sculptors did not exist in the United States in the 1770's.
(C) Many foreign sculptors worked in the United States after 1776.
(D) American sculptors were hampered by a lack of tools and materials.
2. The word "motifs" in line 3 is closest in meaning to
(A) tools
(B) prints
(C) signatures
(D) designs
3. The work of which of the following could be seen in burial grounds?
(A) European sculptors
(B) Carpenters
(C) Stone carves
(D) Cabinetmakers
4. The word "others" in line 6 refers to
(A) craftspeople
(B) decorations
(C) ornamentations
(D) shop signs
5. The word "distinct" in line 9 is closest in meaning to
(A) separate
(B) assembled
(C) notable
(D) inferior
6. The word "rare" in line 11 is closest in meaning to
(A) festive
(B) infrequent
(C) delightful
(D) unexpected
7. Why does the author mention Joseph Wilton in line 13?
(A) He was an English sculptor who did work in the United States.
(B) He was well known for his wood carvings
(C) He produced sculpture for churches.
(D) He settled in the United States in 1776.
8. What can be inferred about the importation of marble memorials from England?
(A) Such sculpture was less expensive to produce locally than to import
(B) Such sculpture was not available in the United States.
(C) Such sculpture was as prestigious as those made locally.
(D) The materials found abroad were superior.
9. How did the work of American carvers in 1776 differ from that of contemporary sculptors?
(A) It was less time-consuming
(B) It was more dangerous.
(C) It was more expensive.
(D) It was less refined.
老託福閱讀答案 passage 21
BDCAA BABD
託福技巧：巧用出題規則 實現託福閱讀高分
一、列舉和並列句
列舉指的是： First, Second, Third,等逐條列出。並列句是指： A ， B and C ，即逐項列出。它們共同的特徵是列出二點或三點以上的條目。該類型語言點常考的題型是“細節性問題”，主要有兩種：
1. Which 題型
該題型只要求從並列的三頂中選一項作爲答案，其它條目與題目無關。在這種情況下，往往題目的答案出自最後一個選項 。
2 . EXCEPT 題型
該題型俗稱“三缺一”題型，即題目 4 個選項中有三個符合文章內容，剩下一個不符合，題目便是要求選出這個不符合文章內容的選項。例如： All of the following are mentioned as types of evidence concerning handedness EXCEPT ?
這種題型只適合於考並列、列舉句，這是因爲它要求其三個選項一定是文章中出現的，也就是並列或列舉之處。利用這一特點.我們在讀文章的時候就可多留意，如看到並列、列舉句，可預想其有可能被考到;如發現題目中有“三缺一”題型，則應到並列、列舉處找答案。
二、否定及轉折句
否定句是指帶有 NO 或 NOT ， NEVER 等否定詞的句子，而轉折句則指帶有 HOWEVER ， BUT 或 RATHER 等關聯詞引導的句子，它們可以用下面的句型說明： A is not B ， as C ， but is D 。對於以上的句型常出“推斷性問題”。
三、舉例句
句中由 as 或 such as ， for example 等引導的短語或句子爲舉例句，常考“推斷性問題”和“細節性問題”。上面句型中的 as C 爲插入的舉例句。
四、數字與年代
文中的數字、年代、日期等常常是出題者注意的考題點。
五、最高級及絕對性詞彙
文章中若出現 must ， all ， only ， anyone ， always ， never 等絕對性詞彙或 first ， most beautiful 等最高級詞彙，往往是考題要點，一般出“細節性題目”。這是因爲它們都有一個共同的特點，那就是 概念絕對 ， 答案唯一 ，無論是出題還是做題，不會產出歧義和疑問，因此很容易出題，答案絕對正確。
相反地，如果文章中出現相對性的詞彙、例如 Some of the people chose red hats,some chose green hats,and others blue ones. 其中 some 爲相對性詞彙，如果我們出這樣一道題： What color hats did some people choose? 那麼就沒有唯一正確的答案，因爲有可能爲 red,green 或 blue ，給評卷帶來困難。
六、比較級及比喻
如果文中含有 more than 或 as ， like ( a fly )等句型，則爲比較級或比喻句結構，往往也是考題點，一般出“推斷性題目”。
七、同位語及插入語
文章中帶有由 that is ， i.e. ， or 等詞彙引導的名詞詞組，放在一個名詞後面，爲同位語;插入語是指副詞、不定式、分詞、從句等結構故在句首，句中或句尾，不做句子成分，但修飾整個句子、表達作者感情的語法結構。 這些用逗號隔開的持殊結構往往也是考查的重點，一般會出“細節性題目”。
八、因果句
句中若有如下結構或詞彙的稱爲因果句：
(1) 因果連詞： because ， since ， for ， as ， therefore ， so ， consequently 等
(2) 表示因果的動詞： cause ， result in ， originate from 等;
需要注意的是一旦完成了一個部分的考試便無法返回該部分內容，即進入第二部分以後便無法返回第一部分，加試同理。所以大家在做題的時候要認真仔細。
託福閱讀輔導:老託福閱讀真題及答案 passage 21
