劍橋雅思閱讀11原文真題解析
雅思閱讀部分的真題資料，同學(xué)們需要進(jìn)行一些細(xì)致的總結(jié)，比如說雅思閱讀解析其實就是很重要的內(nèi)容，接下來就是小編給同學(xué)們帶來的關(guān)于劍橋雅思閱讀11原文解析(test2)的內(nèi)容，一起來詳細(xì)的分析一下吧，希望對你們的備考有所幫助。
劍橋雅思閱讀11原文(test2)
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of what happened to the ship vary: while witnesses agree that she was not hit by the French, some maintain that she was outdated, overladen and sailing too low in the water, others that she was mishandled by undisciplined crew.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
劍橋雅思閱讀11原文參考譯文(test2)
PASSAGE 1 參考譯文：
打撈瑪麗玫瑰號船
記一艘16世紀(jì)的戰(zhàn)艦是如何從海底被打撈的
索倫特水域地處英國南部海岸，位于樸茨茅斯和懷特島之間，1545年7月19日，英國與法國艦隊在這里展開了一場海戰(zhàn)。英國艦隊中的一艘戰(zhàn)艦名為瑪麗玫瑰號。戰(zhàn)艦于35年前在樸茨茅斯建造，她擁有長久而勝利的戰(zhàn)斗歷程，并且是國王亨利八世最喜愛的戰(zhàn)艦。關(guān)于戰(zhàn)艦上發(fā)生的事情說法各異：目擊者認(rèn)為戰(zhàn)艦并非被法國人擊中，有些人認(rèn)為她過于老化，載重過多，并且在水中航行過低，另一些人認(rèn)為戰(zhàn)艦被不守紀(jì)律的船員進(jìn)行了不當(dāng)操作。然而無可爭議的是，瑪麗玫瑰號在那一天沉入索倫特海峽，船上至少有500人。戰(zhàn)后人們試圖找到這艘船，但均未成功。
瑪麗玫瑰號靠在海底，以大約60度的角度倒向其右舷一側(cè)。索倫特洋流帶來的沙土和淤泥進(jìn)入船體。因此，右舷一側(cè)很快被填滿，留下左側(cè)經(jīng)受海洋生物和機械降解的侵蝕。由于船只沉沒的方式，右舷一側(cè)幾乎完整地保留了下來。在17和18世紀(jì)，整片區(qū)域被一層堅硬的灰色粘土覆蓋，這使進(jìn)一步的侵蝕降到最低。
然后，在1836年6月16日，索倫特海灣的一些漁民發(fā)現(xiàn)他們的設(shè)備被海底的某個障礙物卡住，而這正是瑪麗玫瑰號。潛水員John Deane恰好正在探索附近的另一艘沉沒船只，漁民靠近他，請他幫助松開齒輪。Deane下潛后發(fā)現(xiàn)設(shè)備被海底一個木制的輕微突出物體卡住。繼續(xù)探査后，他發(fā)現(xiàn)了更多的木料以及一把銅制槍支。Deane斷斷續(xù)續(xù)地繼續(xù)潛入這個地點直至1840年，他發(fā)現(xiàn)了更多的槍支、兩把弓、各種各樣的木制品、一只水泵的部件，以及各種各樣的其他零碎物品。
瑪麗玫瑰號隨后又銷聲匿跡幾百年。但是在1965年，軍事史學(xué)家、業(yè)余潛水員Alexander McKee和英國潛水俱樂部，聯(lián)合發(fā)起了一項名為“索倫特海峽的船只”的項目。在名義上這是一項研究很多索倫特海峽已知沉船的計劃，而McKee真正希望的是找到瑪麗玫瑰號。常規(guī)的搜索技術(shù)被證明無法令人滿意，因此McKee開始同麻省理工學(xué)院的電子工程學(xué)教授Harold E. Edgerton合作。1967年，Edgerton的側(cè)向掃描聲納系統(tǒng)展示出一個巨大的、形態(tài)獨特的物體，McKee相信這就是瑪麗玫瑰號。
進(jìn)一步的發(fā)掘工作找到了散落的木頭碎片以及一把銅制槍支。但是這個項目的高潮在1971年5月5 曰來到，船只結(jié)構(gòu)框架的一部分被找到。McKee及其團隊確信他們找到了沉船，但尚未意識到其中還有保存完好的精美工藝品寶藏。公眾對這個項目的興趣在増加，1979年，瑪麗玫瑰號信托基金成立，Charles王子擔(dān)任主席，Margaret Rule博士擔(dān)任考古負(fù)責(zé)人。盡管1978年的發(fā)掘工作已經(jīng)顯示可能能夠打撈起整個船體，而做出是否打撈船只的決定卻并非易事。盡管最初的目標(biāo)是在一切可行的情況下打撈起整個船體，但這一操作直1982年1月所有需要的信息都完備的時候才被允許執(zhí)行。
試圖打撈起瑪麗玫瑰號要考慮的一個重要因素在于殘留的船體是一個打開的外殼。這導(dǎo)致了一項重要的決定：即在三個非常重要的階段進(jìn)行起重操作。船體通過一系列螺栓和起吊索貼緊起吊架。通過使用12臺液壓起重機解決了船體被向下吸回到泥土中的問題。隨著起吊架緩慢地升起它的四個支腳，船體在幾天的時間里升起了幾厘米。只有當(dāng)船體完全懸掛在起吊架上，不受海底和周圍泥土的吸力影響時，救援作業(yè)才進(jìn)入到了第二個階段。在這一階段，起吊架被固定在一個綁在起重機上的掛鉤上，船體被升起，完全脫離海底并在水下被轉(zhuǎn)移至升降籃中。這要求精準(zhǔn)的定位來將支腳固定在升降籃的“對扣引導(dǎo)”上。使用考古勘測繪圖來設(shè)計升降籃與船體匹配，并且匹配氣囊來為船體脆弱的木質(zhì)框架提供額外的緩沖。第三個也是最后一個階段是將整個船體升起到空中，同時船體從下方得到支撐。最終，在1982年10月11日，全世界數(shù)百萬人屏吸見證瑪麗玫瑰號的木質(zhì)骨架升離水面，等待回到樸茨茅斯。
TEST 2 PASSAGE 2 參考譯文：
什么破壞了復(fù)活節(jié)島的文明?
A 復(fù)活節(jié)島，在當(dāng)?shù)乇环Q為拉帕努伊(Rapu Nui)，是幾百個遠(yuǎn)古人類雕像(摩艾像)的故鄉(xiāng)。波利尼西亞人(Polynesians)在這個遙遠(yuǎn)的太平洋島嶼定居之后，在幾個世紀(jì)里復(fù)活節(jié)島都與世隔絕。一些摩艾像高達(dá)十米，重量超過7000公斤，它們所需的所有能源和資源都來自島嶼自身。當(dāng)荷蘭探險家在1722年登陸時，他們見到了石器時代文化。摩艾像由石器工具雕刻而成，之后在沒有使用動物或車輛的情況下長途運送，到巨大的石臺上。摩艾像建造者的身份直到20世紀(jì)才確定。 來自挪威的民族志學(xué)者以及探險家Thor Heyerdahl認(rèn)為，雕像由秘魯?shù)那坝〖訒r代的人們建立。瑞士暢銷作家Erich von Daniken認(rèn)為它們由滯留的外星人建立?，F(xiàn)代科學(xué)(語言學(xué)、考古學(xué)和遺傳學(xué)證據(jù))確切地證明了摩艾像的建造者為波利尼西亞人，但并不清楚他們?nèi)绾我苿幼约旱膭?chuàng)作品。當(dāng)?shù)?a href='http://m.rzpgrj.com/yu/chuanshuo/' target='_blank'>傳說認(rèn)為雕像可以行走，而研究者往往認(rèn)為當(dāng)?shù)刈嫦仁褂昧四承┓绞酵献У裣?，如使用繩索或原木。
B 當(dāng)歐洲人抵達(dá)時，拉帕努伊是一片草原，只有很少的小樹木。但是在20世紀(jì)70年代和80年代，研究者們在湖泊沉積物中發(fā)現(xiàn)了花粉，證明島嶼曾被郁郁蔥蔥的棕櫚樹林覆蓋了幾千年。只是在波利尼西亞人到來之后這些樹林才消失。美國科學(xué)家Jared Diamond認(rèn)為是拉帕努伊人(波利尼西亞定居者的后代)破壞了他們自己的環(huán)境。他們不幸地定居在了一座板度脆弱的島嶼——干燥，寒冷，太遙遠(yuǎn)以至于無法得到風(fēng)吹來的火山灰而變得豐饒。當(dāng)島上居民為了木柴和農(nóng)耕清除了樹林，森林便不再生長。隨著樹木的減少，他們不再能夠建造獨木舟來捕魚，轉(zhuǎn)而以鳥類為食。水土流失降低了他們的作物產(chǎn)量。他說，在歐洲人來到之前，拉帕努伊淪落到了內(nèi)戰(zhàn)和自相殘殺的地步。他寫到，他們文明的坍塌，是一種“在我們自己的未來，可能出現(xiàn)在我們面前的最壞情況”。
C 他認(rèn)為摩艾像加速了當(dāng)?shù)氐淖晕覛纭iamond將其解釋為一種競爭的首領(lǐng)之間的力量展示，他們被困在遙遠(yuǎn)的小島上，沒有其他方式來鞏固自己的統(tǒng)治。因此他們通過建造越來越大的人像來競爭。Diamond認(rèn)為他們將摩艾像放在木質(zhì)雪橇上，在木軌上拉動，但這需要大量的木頭和人力。為了供養(yǎng)他們，需要清理掉更多的土地。當(dāng)木頭用光，內(nèi)戰(zhàn)開始，島上居民開始推翻摩艾像。到19世紀(jì)已經(jīng)沒有摩艾像屹立在那里了。
D 夏威夷大學(xué)的考古學(xué)家Terry Hunt和加州州立大學(xué)的Carl Lipo認(rèn)為復(fù)活節(jié)島失去了茂盛的樹林是一種“生態(tài)災(zāi)難”——但他們認(rèn)為島上的居民本身不應(yīng)該受到指責(zé)。摩艾像當(dāng)然也不應(yīng)該受到指責(zé)?？脊虐l(fā)掘表明拉帕努伊人做出了巨大的努力去保護(hù)他們受狂風(fēng)席卷且并不肥沃的土地。他們建造了上千的環(huán)形石頭防風(fēng)林，在其中栽培花木，并使用破碎的火山巖保持土壤濕潤。簡言之，Hunt和 Lipo認(rèn)為，史前的拉帕努伊人是可持續(xù)農(nóng)業(yè)的先行者。
E Hunt和Lipo認(rèn)為摩艾像的建立是一項有助于維持島上居民間和平的活動。他們同樣認(rèn)為移動摩艾像并不需要多少人力，也不需要木頭，因為它們可以直立移動。Hunt和Lipo說，在這個問題上，考古學(xué)證據(jù)支持拉帕努伊的民間說法。最近的實驗表明，三條結(jié)實的繩子再加上一些練習(xí)，僅僅18個人就能夠輕松地控制一座1000公斤的摩艾像復(fù)制品移動幾百米。人像較大的腹部使它們向前傾斜，D字形的底部使操作人員可以把它們從一側(cè)滾向另一側(cè)。
F 此外，Hunt和Lipo相信樹木破壞并非完全由島上居民所致?？脊艑W(xué)研究發(fā)現(xiàn)在已經(jīng)滅絕的復(fù)活節(jié)島的棕櫚樹上的堅果顯示出微小的凹槽，這是波利尼西亞鼠的牙齒造成的。Hunt和Lipo估計鼠類同定居者一同到達(dá)這里，在短短幾年間，它們就覆蓋了整座島嶼。也許是它們阻止了緩慢生長的棕櫚樹林的再次播種，因而甚至在沒有居民進(jìn)行森林砍伐的情況下，注定了拉帕努伊森林的毀滅。毫無疑問老鼠也會以鳥類的蛋為食。Hunt和Lipo同樣發(fā)現(xiàn)沒有證據(jù)表明拉帕努伊文明在棕櫚樹林消失時坍塌。他們認(rèn)為在歐洲人到來之前，島上人口在快速増加之后保持了或多或少的穩(wěn)定，歐洲人帶來了致命的疾病，而島上居民對這些疾病并不具備免疫能力。之后19世紀(jì)販奴商大量殺害島民，到1877年人口僅剩111人。
G 因此，以Hunt和Lipo的觀點來看，這個島嶼上居住著和平的有獨創(chuàng)性的摩艾像建造者們以及小心翼翼的土地維護(hù)者，而不是不計后果毀掉自己的環(huán)境與社會的破壞者。他們認(rèn)為“拉帕努伊是一個不太可能的成功故事，而非一個不幸的失敗事件”。不論事實如何，必然存在一些整個世界可以從拉帕努伊的故事上學(xué)到的寶貴經(jīng)驗。
TEST 2 PASSAGE 3 參考譯文：
神經(jīng)美學(xué)
一種稱為神經(jīng)美學(xué)的新興學(xué)科正試圖將科學(xué)的客觀性引入藝術(shù)研究，并且已經(jīng)帶給我們對很多名作更好的理解。例如，印象派繪畫模糊的圖像似乎可以刺激大腦杏仁核。由于杏仁核對我們的感覺有至關(guān)重要的作用，這一發(fā)現(xiàn)或許可以解釋為什么很多人認(rèn)為這些畫如此生動。
同樣的方法也可以用于闡釋抽象的20世紀(jì)作品么?從蒙德里安的幾何色塊，到波洛克看上去似乎隨意潑在畫布上的色彩?懷疑論者相信人們聲稱喜歡這些作品僅僅是因為它們非常有名。我們確實有從眾的傾向。例如，當(dāng)被要求做出簡單的知覺判斷比如給旋轉(zhuǎn)的圖像匹配形狀，如果人們看到他人做出同樣的行為，他們經(jīng)常會選擇錯誤的答案。很容易想象這種心態(tài)對模糊概念會有更多影響，例如藝術(shù)鑒賞，在這方面沒有正確或錯誤答案之分。
馬薩諸塞州波士頓學(xué)院的Angelina Hawley-Dolan回應(yīng)這一爭論的方式是讓志愿者們觀察一些作品——著名抽象派畫家的作品或是嬰兒、猩猩或大象的涂鴉。他們需要判斷更喜歡哪一種。有三分之一的作品沒有給出圖片說明，而很多是被錯誤標(biāo)注的——當(dāng)志愿者看到一幅受人贊揚的名畫時，他們可能認(rèn)為自己正在觀看黑猩猩雜亂無章的繪畫。在每一組試驗中，志愿者往往更喜歡著名藝術(shù)家的作品，即使他們認(rèn)為這是由動物或兒童完成的。似乎觀察者能夠感覺到藝術(shù)家在作品中的意義，即使他們無法解釋為什么。
卡迪夫大學(xué)的藝術(shù)家Robert Pepperell創(chuàng)作了模棱兩可的作品，它們既不是完全抽象的，也不是清晰具象的。在一項研究中，Pepperell和他的同事要求志愿者判斷他們認(rèn)為一幅作品是多么“有力”，以及他們是否在作品中看到了任何熟悉的事物。他們用來回答問題的時間越久，經(jīng)過觀察后給出的分?jǐn)?shù)越高，并且他們的神經(jīng)活動越活躍。這或許意味著大腦將這些圖像看做謎題，破解其含義的過程越困難，識別的時候就會有更多收獲感。
那么像蒙德里安這樣的藝術(shù)家呢?他的作品完全由水平的和垂直的線條將彩色的色塊包含其中。蒙德里安的作品使人誤以為非常簡單，但是眼球追蹤研究證明這些作品被細(xì)致地創(chuàng)作，并且僅僅旋轉(zhuǎn)圖畫就會徹底改變我們欣賞它的方式。對于原作，志愿者的眼睛往往在圖畫的特定地點停留較長時間，但是對于改動過的版本他們會更快地掠過。因此，當(dāng)志愿者們隨后對作品進(jìn)行評分吋，他們認(rèn)為改動過的版本不那么令人愉快。
在一項類似的研究中，多倫多大學(xué)的Oshin Vartanian要求志愿者比較原作和在作品框架內(nèi)移動物體后的作品。他發(fā)現(xiàn)幾乎每個人都更喜歡原作，無論它是梵高的靜物作品還是米羅的抽象派作品。Vartanian同樣發(fā)現(xiàn)改變繪畫的構(gòu)成方式會降低那些與意義和理解有關(guān)的大腦區(qū)域的激活。
在另一項實驗中，利物浦大學(xué)的Alex Forsythe研究了不同藝術(shù)作品的視覺復(fù)雜性，她的研究結(jié)果表明很多藝術(shù)家使用關(guān)鍵的細(xì)節(jié)來令大腦愉悅。根據(jù)Forsythe的觀點，細(xì)節(jié)太少，作品會過于乏味，而細(xì)節(jié)太多會導(dǎo)致一種“知覺超載”。此外，吸引人的作品，無論抽象或具象，都表現(xiàn)出“分形”的跡象——重復(fù)的圖形以不同的比例重現(xiàn)。分形在自然中非常普遍，例如在山峰或是樹枝的形狀中?？赡芪覀冊趹敉膺M(jìn)化的視覺系統(tǒng)發(fā)現(xiàn)處理這類模式更為簡單。
同樣有趣的是當(dāng)我們看一封手寫的信件時，大腦會對動作進(jìn)行加工，就像我們在重放作者的創(chuàng)作過程。這使得一些人猜想是否波洛克的作品令人感覺如此生動是因為大腦重建了作者繪畫時使用的生動動作。這可能是由于我們大腦的“鏡像神經(jīng)元”，它們會模仿他人的動作。然而，這一假設(shè)需要被徹底地驗證?；蛟S我們甚至可以使用神經(jīng)美學(xué)研究來理解一些藝術(shù)作品的經(jīng)久不衰。一時的時尚可能會造就當(dāng)今流行什么，一旦之前的流行趨勢被忘記，最適應(yīng)我們視覺系統(tǒng)的作品或許最有可能被留下。
神經(jīng)美學(xué)領(lǐng)域依然處于初期階段——這些研究或許僅僅是一種嘗試。然而，將美學(xué)鑒賞簡化為一系列科學(xué)法則是不明智的。我們不應(yīng)該低估某類特定藝術(shù)家的風(fēng)格、歷史地位及其所處時代的藝術(shù)環(huán)境的重要性。抽象派藝術(shù)對不同的詮釋方式提供了挑戰(zhàn)與自由。通過某些方式，藝術(shù)與科學(xué)不會如此之不同，在科學(xué)領(lǐng)域中，我們一直在尋找系統(tǒng)并解碼其含義，這樣我們可以以一種新的方式觀察和欣賞這個世界。
答案解析
Passage1
Question 1
答案： True
關(guān)鍵詞： Mary Rose, sink
定位原文: 第1段第4句“Accounts of what... ” 瑪麗玫瑰號沉沒的原因，有很多種解釋，有些人說這樣……，另一些人……。
解題思路: 其中可以看到 while witnesses agree that..., some maintain that..., others that…這一結(jié)構(gòu)，說明人們對于其沉沒原因并沒有達(dá)成共識，與題目的“對于瑪麗玫瑰號為何沉沒存在一些爭議”表述一致。
Question 2
答案： NOT GIVEN
關(guān)鍵詞： 19 July 1545, sink
定位原文： 時間出現(xiàn)在第1段第1句，后面的信息出現(xiàn)在第5句“What is undisputed... ”然而無可爭議的是，瑪麗玫瑰號在那一天沉入索倫特海峽，船上至少有500人。
解題思路： 文中只提到戰(zhàn)艦沉沒，關(guān)于“是否是唯一”這一 點并沒有提及，而題目說瑪麗玫瑰號是1545年7月19日的戰(zhàn)斗中唯一沉沒的船只，因此本題答案為NOT GIVEN。
Question 3
答案： True
關(guān)鍵詞： one side the Mary Rose
定位原文： 第2段第4句“Because of the way the ship sank …” 由于船只沉沒的方式，右舷一側(cè)幾乎完整地保留了下來。
解題思路：文章第二段對瑪麗玫瑰號在海底的情況進(jìn)行了描述，其中第四句說到右舷一側(cè)幾乎被 完整地保留了下來，這與題目中的表述“瑪麗玫瑰號的一側(cè)大部分在海中沒有受到破壞?！币恢?，因此本題答案為TRUE。
Question 4
答案： False
關(guān)鍵詞： historical objects
對應(yīng)原文： 第5段第3句“McKee and his team now knew…” McKee及其團隊確信他們找到了沉船，但尚未意識到其中還有保存完好的精美工藝品寶藏。
解題思路： 本題說McKee知道沉船中會有許多historical objects,而根據(jù)第5段第3句的描述， McKee 和他的團隊 unaware that it also housed a treasure trove…說明他們并不知道這一情況，因此題目表述與原文相反，本題答案為 FALSE。
Question 5
答案： C
關(guān)鍵詞： launched
定位原文： 第4段前兩句“The Mary Rose then faded into …”瑪麗玫瑰號隨后又銷聲匿跡幾百年。但是在1965年，軍事史學(xué)家、業(yè)余潛水員Alexander McKee和英國潛水俱樂部，聯(lián)合發(fā)起了一項名為“索倫特海峽的船只”的項目。
解題思路： 第四段 中的initiated與題目中的launched為同義替換，與“一項瑪麗玫瑰號的搜索行動啟動”為同義表達(dá)。所以選1965年。
Question 6
答案: B
關(guān)鍵詞: stopped
定位原文: 第3段最后一句“Deane continued … ”Deane斷斷續(xù)續(xù)地繼續(xù)潛入這個地點直至1840年，他發(fā)現(xiàn)了更多的槍支、兩把弓、各種各樣的木制品、一只水泵的部件，以及各種各樣的其他零碎物品。第4段第1句：“The Mary Rose…” 瑪麗玫瑰號隨后又銷聲匿跡幾百年。
解題思路： John Deane在瑪麗玫瑰號所在的海域進(jìn)行了搜索并且 發(fā)現(xiàn)了一系列物品，其后在第四段第一句說到之后的幾百年都沒有再進(jìn)行這樣的行為，說明Deane的搜索行為stopped，與題目中“一個人對瑪麗玫瑰號的搜索停止”表述一致。
Question 7
答案： G
關(guān)鍵詞： agreed
定位原文： 第5段最后一句“While the original aim …” 盡管最初的目標(biāo)是在一切可行的情況下打撈起整個船體，但這一操作直到1982年1月所有需要的信息都完備的時候才被允許執(zhí)行。
解題思路：題目說“瑪麗玫瑰號的船體打撈得到同意”，這與文中定位處“直到1982年1月，打撈瑪麗玫瑰號船體的計劃才得到許可”表述一致。
Question 8
答案: A
關(guān)鍵詞: found by chance
定位原文: 第三3段前兩句“Then, on 16 June 1836…” 其后，在1836年6月16日，索倫特海灣的一些漁民發(fā)現(xiàn)他們的設(shè)備被海底的某個障礙物卡住，而這正是瑪麗玫瑰號。潛水員John Deane恰好正在探索附近的另一艘沉沒船只，漁民接近他，請他幫助松開齒輪。
解題思路: 本題所說的偶然發(fā)現(xiàn)瑪麗玫瑰號的所在地這一信息在文章第三段出現(xiàn)，漁民們的船只偶然發(fā)現(xiàn)了瑪麗玫瑰號，而恰好John Deane在附近，這都與題目的表述一致。時間是1836年。
Question 9
答案: (lifting) frame
關(guān)鍵詞: attached, by wires
定位原文: 第6段的第3句“The hull was attached to……” 船體通過一系列螺栓和起吊索貼緊起吊架。
解題思路：本題對應(yīng)的是打撈船體的第一個階段，其中定位詞出現(xiàn)在文章第6段第3句，the hull was attached to a lifting frame 與題目中 attached to hull一致，而之后的wires也屬于原詞重現(xiàn)，考慮到題目的字?jǐn)?shù)要求，答案為(lifting) frame。
Question 10
答案: hydraulic jacks
關(guān)鍵詞： sucked into mud
定位原文：第6段第4句 “The problem of the hull…”通過使用12臺液壓起重機解決了船體被向下吸回到泥土中的問題。
解題思路: the problem of the hull being sucked back，這與題目對應(yīng)，而關(guān)于解決這一問題的表達(dá)為was overcome by using 12 hydraulic jacks，因此本題答案為 hydraulic jacks。
Question 11
答案: stabbing guides
關(guān)鍵詞: legs
定位原文: 第6段的第8句“This required precise…” 這要求精準(zhǔn)的定位來將支腳固定在升降籃的“對扣引導(dǎo)”上。
解題思路: 本題問的是legs被placed into什么地方，原文 第六段第八句中的locate the legs into與題目 中的legs are placed into對應(yīng)，因此之后的名 詞結(jié)構(gòu)即為應(yīng)當(dāng)填入的詞匯，因此本題答案為 stabbing guides。
Question 12
答案： (lifting) cradle
關(guān)鍵詞： lowered into
定位原文： 第6段第9句“The lifting cradle…”使用考古勘測繪圖來設(shè)計升降籃與船體匹配，并且匹配氣囊來為船體脆弱的木質(zhì)框架提供額外的緩沖。
解題思路： 本題說到的船體lower into與定位處相對應(yīng)，其中提到 the lifting cradle was designed to fit the hull, 通過分析這一表達(dá)來找到應(yīng)當(dāng)填入名詞，因此本題答案為(lifting) cradle。
Question 13
答案： air bags
關(guān)鍵詞： less likely affected by infectious diseases
定位原文： 第6段第9句“The lifting cradle…”使用考古勘測繪圖來設(shè)計升降籃與船體匹配，并且匹配氣囊來為船體脆弱的木質(zhì)框架提供額外的緩沖。
解題思路： 在12題之后，就可以清楚看到13題的答案。題目中的extra protection 與文章第六段第九句中的additional cushioning 對應(yīng)，而提供這種額外保護(hù)的是air bags，因此本題答案為air bags。
Test 2 Passage2
Question 14
答案: ii
關(guān)鍵詞: 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世紀(jì)才確定，現(xiàn)代科學(xué)(語言學(xué)等)確認(rèn)建造者是波利尼西亞人。
解題思路: A段首先介紹了摩艾像的背景，之后探討了摩艾像建造者的身份問題。第六句中說到20世紀(jì)時人們才對這一問題有了確定的答案，之后描述了人們對這個問題存在的一些猜測;但在本段第九句中明確說到現(xiàn)代科學(xué)給出了確定的答案，即摩艾像的建造者是波利尼西亞人。
Question 15
答案: ix
關(guān)鍵詞: food resources
定位原文: B段的第6、7、8句?！癢hen the islanders…”當(dāng)島上居民為了木柴和農(nóng)耕清除了樹林，森林便不再生長。隨著樹木的減少，他們不再能夠建造獨木舟來捕魚，轉(zhuǎn)而以鳥類為食。水土流失降低了他們的作物產(chǎn)量。
解題思路: 文章B段重點描述了美國科學(xué)家Jared Diamond對于拉帕努伊環(huán)境破壞的觀點，他認(rèn)為是當(dāng)?shù)厝俗约涸斐闪诉@種情況，并且從不同的方面進(jìn)行了分析。其中在第六、七句提到由于島上居民將樹林用作木柴和農(nóng)耕，樹木受到破壞不再生長，從而無法繼續(xù)造船捕魚;之后也在第八句提到了作物產(chǎn)量減少的問題，這與ix選項所表達(dá)的減少食物資源一致。因此本題答案為ix。
Question 16
答案： viii
關(guān)鍵詞： the statues, worse
定位原文： C段第1句“The moai, he thinks…”他認(rèn)為摩艾像加速了當(dāng)?shù)氐淖晕覛纭?/p>
解題思路: 本段首句提4摩艾像加i 了當(dāng)?shù)氐淖晕覛纾?之后Diamond在本段中具體解釋了這一觀點， 選項中viii的表述與本段內(nèi)容一致。因此本題 答案為viii。
Question 17
答案： i
關(guān)鍵詞：innovative, environment, management, practices
定位原文： D段第3、4句“Archaeological excavations...”考古發(fā)掘表明拉帕努伊人做出了巨大的努力去保護(hù)他們受狂風(fēng)席卷且并不肥沃的土地。他們建造了上千的環(huán)形石頭防風(fēng)林，在其中栽培花木，并使用破碎的火山巖保持土壤濕潤。
解題思路：本段Terry Hunt和Carl Lipo提出了不同的觀點，即他們認(rèn)為生態(tài)破壞并非是當(dāng)?shù)鼐用窕蚰Π竦呢?zé)任，相反他們還做出了巨大的努力。 其中第3句表達(dá)了這一觀點，而第4句則是具體地寫到circular stone windbreaks, 以證明他們的努力。因此本題答案為i。
Question 18
答案: iv
關(guān)鍵詞： a local belief
定位原文： E段第3句 “On that issue, Hunt…” Hunt和Lipo說，在這個問題上，考古學(xué)證據(jù)支持拉帕努伊的民間說法。
解題思路: 本段講的是摩艾像的移動方式。Hunt和Lipo 對此提出了不同的看法，他們認(rèn)為由于摩艾像特殊的形狀，不需要太多的人力和木頭就可以移動它們，并且提出這與當(dāng)?shù)氐拿耖g說法一致。 因此本題答案為iv。
Question 19
答案: vii
關(guān)鍵詞： outside the inhabitants， control
定位原文： F段第1句 “Moreover, Hunt…” 此外，Hunt和Lipo相信樹木破壞并非完全由島上居民所致。
解題思路：本段中Hunt和Lipo的觀點是島上環(huán)境的破壞并不是島上居民造成的，而是由于鼠類的泛濫以及歐洲人的登陸，而這是當(dāng)?shù)鼐用駸o法控制的，與 vii 選項 Destruction outside the inhabitants' control一致。因此本題答案為vii。
Question 20
答案： vi
關(guān)鍵詞： opposing views
定位原文： G段第1、2句 “Hunt and Lipo’s vision…” 因此，以Hunt和Lipo的觀點來看，這個島嶼上居住著和平的有獨創(chuàng)性的摩艾像建造者們以及小心翼翼的土地維護(hù)者，而不是不計后果毀掉自己的環(huán)境與社會的破壞者。他們認(rèn)為“拉帕努伊是一個不太可能的成功故事，而非一個不幸的失敗事件”。
解題思路：在G段的第1句和第2句中，都提到了與 opposing views about the Rapanui people 相關(guān)的內(nèi)容，同時Hunt和Lipo再次持積極的態(tài)度，相當(dāng)于對自己的觀點進(jìn)行了總結(jié)。因此本題答案為vi。
Question 21
答案： farming
關(guān)鍵詞： 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…” 當(dāng)島上居民為了木柴和農(nóng)耕清除了樹林，森林便不再生長。
解題思路：Jared Diamond的觀點在B段出現(xiàn)。本題提到了當(dāng)?shù)厝似茐纳?，并且cutting down trees 和clearing land, 這一信息出現(xiàn)在原文中B段第6句，這一行為的目的是為了 firewood and farming; 這一并列結(jié)構(gòu)在題目中被for fuel同義替換，clearing land的目的也可以就此找到， 因此本題答案為farming。
Question 22
答案： canoes
關(guān)鍵詞：go fishing
定位原文：B段第7句 “As trees became scarce and they could no…”隨著樹木的減少，他們不再能夠建造獨木舟來捕魚，轉(zhuǎn)而以鳥類為食。
解題思路: 題目說到當(dāng)?shù)貚u上居民不再能夠建造捕魚所需的東西，在原文B段第七句中出現(xiàn)了 could no longer construct, 這與題目中 no longer able to build意思一致;而文中提到的for fishing 也與題目中 they needed to go fishing 意思一致，因此可見wooden canoes為所需名詞, 同時有要求one word，得出答案。
Question 23
答案： birds
關(guān)鍵詞：food source
定位原文： 同上題
解題思路：上一題中已經(jīng)提到人們無法繼續(xù)建造wooden canoes, 在B段第七句中說到他們以鳥類為食;而本題提到了food source, 判斷本題答案為 birds。
Question 24
答案: wood
關(guān)鍵詞: people
定位原文: C段第4句“Diamond thinks they laid the moai on…” Diamond認(rèn)為他們將摩艾像放在木質(zhì)雪橇上，在木軌上拉動，但這需要大量的木頭和人力。
解題思路：本題說到運送雕像所需要的東西，之后出現(xiàn) not only..., but also這一并列結(jié)構(gòu)，而在原文 C段第四句中，也以并列結(jié)構(gòu)描述了所需要的是 both a lot of wood and a lot of people; 由于題目中已經(jīng)出現(xiàn)了people, 因此本題答案為wood。
Question 25 and Question 26
答案： B & C
關(guān)鍵詞：Disagree
定位原文： C、D、E 三段
解題思路：ADE三項全文并沒有提及;關(guān)于摩艾像的運輸，Hunt和Lipo 二人與Diamond持不同看法;其中Diamond的觀點出現(xiàn)在文章C段，他認(rèn)為雕像是放在木質(zhì)雪橇上然后通過木軌被拉動，而Hunt和Lipo的觀點出現(xiàn)在E段，他們認(rèn)為雕像的移動同當(dāng)?shù)卣f法一致，雕像可以在幾個人和沒有繩索的控制下直立移動;對于拉帕努伊社會的影響方面，Diamond認(rèn)為摩艾像加速了當(dāng)?shù)氐钠茐?，這一觀點出現(xiàn)在C段;而Hunt和Lipo認(rèn)為摩艾像對當(dāng)?shù)厣鐣鸬搅朔e極的作用，這一觀點在D段和E段都進(jìn)行了具體的描述。
Test 2 Passage 3
Question 27
答案：C
關(guān)鍵詞：second paragraph, a shape-matching test
定位原文：第二段
解題思路：題目：在第二段，作者提到圖形匹配試驗是為了證明：A.藝術(shù)鑒賞的主觀性質(zhì);B.現(xiàn)代藝術(shù)對抽象形式的依賴; C.我們傾向于被他人的意見影響;D.加工視覺數(shù)據(jù)時遇到的普遍問題。本題問的是提及a shape-matching test的作用，首先需要在原文中找到這個信息，然后在周圍尋找論點型的句子，這類句子往往在具體的例子之前。題目中的a shape-matching test出現(xiàn)在文章第二段第四句，而這句的內(nèi)容是為了說明第三句的an inclination to follow the crowd, 然后在選項中尋找這個內(nèi)容的同義替換，可以看到C選項表達(dá)的含義與此一致， 因此本題答案為C。
Question 28：
答案：D
關(guān)鍵詞：Angelina Hawley-Dolan
定位原文： 第三段
解題思路：題目：Angelina Hawley Dolan的發(fā)現(xiàn)說明人們：A. 最喜歡那些他們了解很多的作品;B. 對于什么使藝術(shù)作品優(yōu)秀持不變的觀點;C. 經(jīng)常被他們最初對作品的期待誤導(dǎo);D. 能力感知作品背后的意義。本題可以通過人名Angelina Hawley-Dolan定位到文章第三段。本段描述實驗過程和觀點，最后一句提到the viewer can sense the artist’s vision in paintings,這一表述與D選項的含義一致，因此本題答案為D。
Question 29：
答案：B
關(guān)鍵詞：Robert Pepperell
定位原文：第四段
解題思路：題目： Robert Pepperell作品的研究結(jié)果表明人們：A. 在沒有完全理解一幅作品的情況下欣賞它;B. 明白—幅作品的含義會令人有滿足感;C. 欣贊作品所花費的時間會相差許多;D. 相比抽象藝術(shù)，人們通常更喜歡具象的藝術(shù)。本題問到Robert Pepperell的研究結(jié)果，首先根據(jù)人名定位到文章第四段，本段對Robert Pepperell的研究及結(jié)果進(jìn)行了描述。本段最后一句給出了結(jié)論，即破解其含義的過程越困難，人們越會感到rewarding, 這與 B選項的表達(dá)一致，因此本題答案為B
Question 30：
答案：A
關(guān)鍵詞：fifth paragraph
定位原文： 第五段
解題思路：題目：關(guān)于蒙德里安的作品，第五段描述的實驗表明什么?A. 它們比看上去被更認(rèn)真地組織在一起;B. 它們可以通過多種不同方式被解讀;C. 它們挑戰(zhàn)我們關(guān)于形狀與色彩的看法;D. 它們比很多其他抽象作品更容易被欣賞。本題問的是關(guān)于蒙德里安作品的實驗，可以根據(jù)題干信息定位到原文第五段，其中第二句說到其作品deceptively simple, but...meticulously composed，說明其作品會讓人誤以為非常簡單，但其創(chuàng)作非常精細(xì)，這與A選項的表述一致，因此本題答案為A。
Question 31：
答案：C
關(guān)鍵詞：Impressionist paintings
定位原文：第1段第2、3句 “The blurred imagery of…”
解題思路：本題問到印象派繪畫的影響。原文第一段第二、三句說到印象派繪畫可以刺激大腦杏仁核，而杏仁核的作用是影響我們的feelings,選項中feelings 的同義替換emotions符合含義，因此本題答案為C。
Question 32：
答案：B
關(guān)鍵詞：Alex Forsythe
定位原文：第7段第1句“In another experiment, Alex…”
解題思路：本題可以根據(jù)人名定位至第七段，該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, 這與B選項complexity的含義一致，因此本題答案為B。
Question 33：
答案：H
關(guān)鍵詞：repeated, natural world
定位原文： 第7段第3句“What's more, appealing pieces…”
解題思路：題干中的pleasing works 與原文第七段第三句中的appealing pieces 為同義替 換，而原文之后提到的repeated motifs 與題目中的repeated _____ 對應(yīng)，選項中images與motifs含義一致，因此本題答案為H。
Question 34：
答案：NOT GIVEN
關(guān)鍵詞：fractals
定位原文：第7段第3、4句“What's more, appealing pieces…”
解題思路：關(guān)于fractal的表述在原文第7段第3、4句出現(xiàn)，但這里只是描述了這種情況在很多作品中出現(xiàn)，并且在自然界中也比較普遍，對于Forsythe的發(fā)現(xiàn)與之前的觀點是否存在矛盾并沒有提及，因此本題“Forsythe的發(fā)現(xiàn)與之前關(guān)于藝術(shù)中的分形作用的觀點相矛盾”未被提及，答案為NOT GIVEN。
Question 35：
答案：YES
關(guān)鍵詞：mirror neurons
定位原文：第8段3、4、5句“This may be down to our brain's…”
解題思路：題目中提到的“鏡像神經(jīng)元”與藝術(shù)鑒賞有關(guān)的觀點出現(xiàn)在原文第八段，其中說到了This may be down to... 以及 The hypothesis will need to be thoroughly tested，說明目前這一觀點還沒有形成定論，需要進(jìn)一步的驗證，這與題目表述“require further verification”一致，因此本題答案為YES。
Question 36：
答案：NO
關(guān)鍵詞：artistic trends of the period
定位原文：第8段最后一句“While the fashions of the time…”
解題思路：本題說到人們藝術(shù)品位的問題，原文第八段最后一句提到一些作品在流行趨勢結(jié)束之 后依然受人喜歡，這些作品往往是best adapted to our visual system，所以完全依賴于當(dāng)前藝術(shù)趨勢的說法是錯誤的，因此本題答案為NO。
Question 37：
答案：NO
關(guān)鍵詞：people's reactions to works of art
定位原文：第9段第2句“It would, however, be foolish to…”
解題思路：關(guān)于科學(xué)家是否需要定義精準(zhǔn)的規(guī)則，原文第九段第二句中有提及，作者認(rèn)為reduce art appreciation to a set of scientific laws是foolish的，這與題目的表述相反，因此本題答案為NO。
Question 38：
答案：YES
關(guān)鍵詞：cultural context
定位原文：第9段第3句 “We shouldn't underestimate…”
解題思路：文章第9段第3句已經(jīng)說到，應(yīng)當(dāng)關(guān)注the importance of the style of a particular artist, their place in history and the artistic environment of their time，這與題目中所說的 cultural context in which an artist worked 一致，因此本題答案為 YES。
Question 39：
答案：NOT GIVEN
關(guān)鍵詞：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…”
解題思路：在文章第9段最后一句中，說到藝術(shù)和科學(xué)not so different，而科學(xué)一直尋求decode meaning，此處關(guān)于find meaning的描述并沒有將藝術(shù)和科學(xué)進(jìn)行對比，也就不存在easier的問題，因此本題答案為NOT GIVEN。
Question 40：
答案：A
關(guān)鍵詞：subtitle
定位原文：全文主題考查
解題思路：題目：本文最合適的副標(biāo)題是什么?A. 關(guān)于大腦如何對抽象藝術(shù)做出反應(yīng)的一些科學(xué)見解;B. 最近一些關(guān)注抽象派藝術(shù)家神經(jīng)活動的研究;C. 關(guān)于抽象和具象藝術(shù)的神經(jīng)基礎(chǔ)的對;D. 關(guān)于大腦的研究如何改變?nèi)藗儗Τ橄笏囆g(shù)的看法。四個選項分別提到了大腦對抽象藝術(shù)的反應(yīng)、抽象派藝術(shù)家的神經(jīng)活動、抽象和具象藝術(shù)的神經(jīng)基礎(chǔ)對比以及人們對抽象藝術(shù)看法的改變，通過對四個選項主題詞的對比，可以看到只有A選項符合文章內(nèi)容并且是全文一直在討論的話題。當(dāng)然，為了驗證文章構(gòu)思，如果以此為副標(biāo)題，反過來看看寫出的文章與本文是否一致。因此本題答案為A。
劍橋雅思閱讀11原文真題解析相關(guān)文章：
1.劍橋雅思第二次復(fù)習(xí)時應(yīng)該要怎么用?
4.關(guān)于雅思?xì)v年真題中的閱讀理解重點詞匯合集
劍橋雅思閱讀11原文真題解析
