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(資料圖)

　　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(shuō)解析其實(shí)就是很重要的內(nèi)容，接下來(lái)就是有考網(wǎng)小編給同學(xué)們帶來(lái)的關(guān)于劍橋雅思閱讀10真題解析(test2)的內(nèi)容，一起來(lái)詳細(xì)的分析一下吧，希望對(duì)你們的備考有所幫助。

劍橋雅思閱讀10原文(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 ‘a(chǎn)bandoned 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, 2010). 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 ‘a(chǎn)uthentic’, ‘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.

　　劍橋雅思閱讀10原文參考譯文(test2)

　　Passage 1參考譯文：

　　茶與工業(yè)革命

　　一個(gè)劍橋教授稱英國(guó)工業(yè)革命的導(dǎo)火索是飲水習(xí)性的改變。

　　——Anjana Ahuja 報(bào)道

　　A.Alan Macfarlane，劍橋大學(xué)國(guó)王學(xué)院的一位人類學(xué)教授，正如其他的歷史學(xué)家那樣，他已經(jīng)花費(fèi)數(shù)十年的時(shí)間來(lái)攻克工業(yè)革命這個(gè)來(lái)解之迷。為何這個(gè)獨(dú)特的大爆炸能帶來(lái)世界性的變化的工業(yè)革命——偏偏就發(fā)生在英國(guó)?為何這個(gè)革命又偏偏是發(fā)生在18世紀(jì)末?

　　B.Macfarlane把這個(gè)未解之謎比作是密碼鎖。他說(shuō)：“大約有20種不同的因素，而且所有的這些因素在工業(yè)革命發(fā)生之前就已存在。”由于工業(yè)已經(jīng)騰飛需要科技生產(chǎn)力及能源來(lái)推動(dòng)工廠的發(fā)展，大量的城市人口提供廉價(jià)的勞動(dòng)力，有方便快捷的交通運(yùn)輸來(lái)轉(zhuǎn)運(yùn)貨物，富足的中產(chǎn)階級(jí)愿意購(gòu)買(mǎi)大規(guī)模生產(chǎn)的物品，以及以市場(chǎng)為導(dǎo)向的政治經(jīng)濟(jì)體系，所有的這些都為此提供了可能性。然而，這些只是發(fā)生在英國(guó)的例子，至于其他的國(guó)家，比如日本、荷蘭和法國(guó)，也有類似的可能性條件，但是這幾個(gè)國(guó)家最終還是沒(méi)有發(fā)生工業(yè)革命(產(chǎn)業(yè)化)。“所有的這些因素都是工業(yè)革命發(fā)生的必需卻非充分條件。” Macfarlane說(shuō)，“畢競(jìng)荷蘭擁有一切資源，除了煤礦，中國(guó)也有很多這些因素。很多歷史學(xué)家堅(jiān)信打開(kāi)這個(gè)謎的密碼肯定還有一到兩個(gè)因素是我們遺漏的。”

　　C.那這些我們遺漏的因素，他提出，幾乎可以在每個(gè)廚房的櫥柜中找到。茶和啤酒，這兩種在全國(guó)最受歡迎的飲料，就是工業(yè)革命的導(dǎo)火線。茶中的活性成分單寧，以及啤酒當(dāng)中的啤酒花，都有殺菌的特性，加之茶和啤酒都是由熱水制成，近距離的城市社區(qū)繁榮發(fā)展，而不受由水引發(fā)的疾病的迫害，比如痢疾。這個(gè)理論聽(tīng)上去有點(diǎn)奇怪，但是一旦他解釋他推理中的探求工作后，懷疑就轉(zhuǎn)變?yōu)閷?duì)其謹(jǐn)慎態(tài)度的贊賞。Macfarlane的案例因得到著名的藥學(xué)歷史學(xué)家Roy Porter的支持而得以加強(qiáng)，最近Roy Porter寫(xiě)了一篇對(duì)此研究的有利評(píng)估。

　　D.Macfarlane想知道工業(yè)革命是如何發(fā)生已經(jīng)有很長(zhǎng)一段時(shí)間了。歷史學(xué)家們偶然發(fā)現(xiàn)了一個(gè)發(fā)生在18世紀(jì)中期的需要解釋的有趣因素。在大約1650年到1740年間，英國(guó)的人口是靜止不變的。 但是在那時(shí)(18世紀(jì)中期)，英國(guó)的人口是爆發(fā)增長(zhǎng)的。Macfarlane說(shuō)：“嬰兒死亡率在20年間減少一半，并且同時(shí)發(fā)生在鄉(xiāng)村和城市，貫穿所有的階級(jí)。人們覺(jué)得有四種原因?qū)е逻@種現(xiàn)象發(fā)生。有沒(méi)有可能是病毒和細(xì)菌的突然變異?不可能。當(dāng)時(shí)有發(fā)生醫(yī)學(xué)科學(xué)的革命嗎?當(dāng)時(shí)確實(shí)有一種可以消滅瘧疾的農(nóng)業(yè)進(jìn)步，但是這些只是一些小進(jìn)步。直到19世紀(jì)的時(shí)候，衛(wèi)生系統(tǒng)才得以傳播開(kāi)來(lái)。排除這些因素后，剩余的唯一可能就只有食物了。新生兒的身高和體重都顯示了下降。因此，食物肯定也變得更糟。所有尋找造成兒童死亡率突然降低的努力都一無(wú)所獲。

　　E.人口的爆發(fā)看起來(lái)剛好就發(fā)生在工業(yè)革命需要大量勞動(dòng)力的這個(gè)契機(jī)。“當(dāng)社會(huì)朝著產(chǎn)業(yè)化前進(jìn)時(shí)，人們近距離地生活在一起是經(jīng)濟(jì)有效的，” Macferlane說(shuō)，“但是當(dāng)時(shí)人若生病了，很可能是來(lái)自于人們的排泄物。一些歷史記錄揭示了當(dāng)時(shí)水污染疾病的發(fā)生率發(fā)生了改變，特別是痢疾。Macfarlane發(fā)現(xiàn)，無(wú)論當(dāng)時(shí)英國(guó)人喝的是什么，喝的這個(gè)東西都會(huì)對(duì)調(diào)節(jié)疾病發(fā)生率很重要。他說(shuō)：“我們喝啤酒。很久以來(lái)，英國(guó)人都被啤酒酒花中強(qiáng)大的抗生素所保護(hù)，這種酒花是加在啤酒中用以保存啤酒的。但在17世紀(jì)末，麥芽開(kāi)始收稅，這是啤酒的基本組成部分。窮人因此轉(zhuǎn)向喝水和松子酒，在18世紀(jì)20年代人口的死亡率又開(kāi)始上升。然后又突然再次下降。是什么造成這種現(xiàn)象?”

　　F.Macfarlane研究日本，此時(shí)的日本也是向大城市發(fā)展，也沒(méi)有衛(wèi)生系統(tǒng)的發(fā)展。水污染疾病并沒(méi)有像英國(guó)那樣對(duì)曰本的人口造成很大的影響。 會(huì)是茶在日本文化中普遍存在的緣故 嗎? Macfarlane由此指出，在英國(guó)，茶的歷史提供了一個(gè)意外的巧合。茶的價(jià)格是相對(duì)很貴的， 直到1S世紀(jì)的早期，英國(guó)對(duì)中國(guó)開(kāi)始了貿(mào)易的黃金時(shí)代。1740年，也就是嬰兒死亡率開(kāi)始下降的時(shí)期，飲茶是很尋常的。Macfarlane猜測(cè)是水被煮沸，同時(shí)茶清腸胃的特性意味著母乳與以往相比更健康。歐洲沒(méi)有任何一個(gè)國(guó)家像英國(guó)這樣嗜茶，也就是，按照Macfarlane的邏輯，歐洲的這些國(guó)家沒(méi)有獲得在產(chǎn)業(yè)革命中名列前茅的機(jī)會(huì)。

　　G.但是，如果茶是一個(gè)密碼鎖的因素，那為什么日本沒(méi)有在它自己浸染茶文化中穩(wěn)步前進(jìn)地發(fā)生工業(yè)革命? Macfarlane指出盡管在17世紀(jì)日本已經(jīng)有大城市高教育文化率甚至期貨市場(chǎng)，日本最終仍然放棄勞動(dòng)力的替代，比如動(dòng)物，而回歸到工作本位，因?yàn)楹ε聲?huì)使人們失業(yè)。因此，我們現(xiàn)在認(rèn)為的科技最進(jìn)步的國(guó)家之一，在進(jìn)入19世紀(jì)時(shí)放棄了“工業(yè)革命的車輪”。

　　Test 2 Passage 2參考譯文：

　　天才兒童與學(xué)習(xí)

　　A. 國(guó)際上我們最經(jīng)常使用一個(gè)通用的智力測(cè)試，即智商測(cè)試的分?jǐn)?shù)來(lái)衡量一個(gè)人的天賦，一般需要超過(guò)一定的分?jǐn)?shù)，大概達(dá)到前2%到5%的程度，才能被認(rèn)為是有天賦。孩子的教育環(huán)境對(duì)智商分?jǐn)?shù)和智力的使用途徑有很大的幫助。比如，我們會(huì)發(fā)現(xiàn)孩子的智商水平和他們所接受的家庭教 育有很密切的關(guān)聯(lián)(Freeman, 20)。孩子的智商水平越高，尤其是高于130的時(shí)候，他們所得到的預(yù)備教育的質(zhì)量就越高，其質(zhì)量是以孩子與父母的語(yǔ)言交流，還有他們家中書(shū)的數(shù)量和活動(dòng)衡量的。因?yàn)橹巧虦y(cè)試是會(huì)受到孩子所學(xué)的內(nèi)容決定性的影響，這類測(cè)試衡量到的是基于他們所處年齡所學(xué)到的東西;也就是說(shuō)，他們是多好地掌握了所有的知識(shí)和在這個(gè)考試以內(nèi)涉及的技巧。就詞匯而言，很大程度取決于這些學(xué)生是否聽(tīng)說(shuō)過(guò)這些詞匯。但是智商測(cè)試既不能辨識(shí)學(xué)習(xí)和思考過(guò)程，也不能預(yù)見(jiàn)創(chuàng)造能力。

　　B.適當(dāng)?shù)膸椭拍茏屓俗兊脙?yōu)秀。不管在任何領(lǐng)域，為了達(dá)到一個(gè)極其高的標(biāo)準(zhǔn)，能力強(qiáng)的孩子也需要學(xué)習(xí)方式，包括學(xué)習(xí)使用的材料和專注的有挑戰(zhàn)性的指導(dǎo)，還需要去鼓勵(lì)孩子們?nèi)プ分鹱约簤?mèng)想。看上去智商高、能力強(qiáng)的孩子和那些智力平庸或年紀(jì)稍大的小學(xué)生之間有著質(zhì)的區(qū)別，因?yàn)楹笳咝枰蠋熃o出外在的規(guī)這以彌補(bǔ)他們自我約束的缺乏。為了達(dá)到自我約束的最佳效果，所有 的孩子都應(yīng)該得到幫助以認(rèn)識(shí)自己的學(xué)習(xí)模式——元認(rèn)知——這其中包含了學(xué)習(xí)計(jì)劃的策略、監(jiān)督、評(píng)估和選擇學(xué)習(xí)的對(duì)象。情感認(rèn)知也是元認(rèn)知的一部分，所以舉個(gè)例子來(lái)說(shuō)，孩子必須有人幫助他們認(rèn)識(shí)對(duì)即將學(xué)習(xí)的領(lǐng)域的感受，比如覺(jué)得好奇或者自信的感受。

　　C.我們發(fā)現(xiàn)優(yōu)等生更經(jīng)常和更有效使用自律的學(xué)習(xí)策略，相比不那么優(yōu)秀的學(xué)生而言，他們也更能夠把這些策略利用于不熟悉的任務(wù)。 這很大程度反映在某些孩子在某些領(lǐng)域展示了自己的才華。縱覽關(guān)于能力出眾的孩子的思維模式的研究(Shore and Kanevsky, 1993)，它更簡(jiǎn)潔明了地指出教育者的問(wèn)題：“如果他們(有天賦的孩子)僅僅思考得更快，那么我們需要推進(jìn)教學(xué)的進(jìn)度。如果他們僅僅越來(lái)越少犯錯(cuò)，那么我們需要減少練習(xí)的時(shí)間。”但是當(dāng)然，這并不能涵蓋所有情況;在教學(xué)方法中總有些調(diào)整，因?yàn)橐紤]個(gè)體思考的多種方式。

　　D.然而為了自學(xué)，聰明的孩子確實(shí)需要從他們的老師那里獲得更多支持。反言之，那些喜歡“過(guò)分指導(dǎo)”的老師會(huì)降低有天賦的學(xué)生的學(xué)習(xí)自主性。因?yàn)椤疤铠喪健钡慕虒W(xué)會(huì)產(chǎn)生很好的考試結(jié)果，但這并不意味著人生同等的成功。對(duì)老師過(guò)分的依賴會(huì)導(dǎo)致學(xué)習(xí)自主性和探索欲望的缺失。無(wú)論如何，當(dāng)老師們幫助學(xué)生去了解他們自己的想法和學(xué)習(xí)活動(dòng)時(shí)，他們也增加了孩子的自律性。對(duì)一個(gè)小孩子而言，這可能 就如同“你今天學(xué)到了什么”，這個(gè)幫助他們認(rèn)識(shí)到自己正在做什么的簡(jiǎn)單問(wèn)題一樣。考慮到教育的一個(gè) 基本目標(biāo)就是將來(lái)自老師的控制學(xué)習(xí)轉(zhuǎn)移給學(xué)生，改善學(xué)生學(xué)習(xí)的技巧也是在學(xué)校讀書(shū)過(guò)程中的重要收獲，尤其對(duì)于那些能力很高的孩子。還有很多新的方式可以在一些方面幫助孩子，比如在學(xué)習(xí)初級(jí)階段、 同齡人的能力指導(dǎo)等。我們發(fā)現(xiàn)這樣的實(shí)踐對(duì)貧困地區(qū)的聰明孩子尤其有用。

　　E.但是科學(xué)過(guò)程并不總是理論式的，知識(shí)對(duì)一個(gè)人優(yōu)異的表現(xiàn)也是關(guān)鍵的：那些對(duì)某一領(lǐng)域認(rèn)知很深入的人會(huì)比對(duì)此沒(méi)有認(rèn)識(shí)的人水平更高(Elshout 1995)。Simonton (1998)關(guān)于有創(chuàng)意的科學(xué)家的研究讓他有了這樣一個(gè)結(jié)論：在一定的水平之上，性格特征諸如獨(dú)立，比起智力在尋求最高水平的專業(yè)知識(shí)方面發(fā)揮的作用更大，因?yàn)閷W(xué)習(xí)和練習(xí)需要大量的精力和時(shí)間。任何方式的創(chuàng)造性都能夠被認(rèn)為是專業(yè)和強(qiáng)烈動(dòng)力的融合(Weisberg，1993)。

　　F.總而言之，學(xué)習(xí)是會(huì)受到個(gè)體和其他重要因素的情緒的雙重影響的。積極的情緒可以促進(jìn)學(xué)習(xí)的創(chuàng)造力，而消極的情緒則抑制了創(chuàng)造力。比如說(shuō)恐懼會(huì)限制好奇心的發(fā)展，而好奇心恰恰是科學(xué)進(jìn)步的重要推動(dòng)力，因?yàn)樗軌蚬膭?lì)解決問(wèn)題的行為。在Boekaert的( 1991)關(guān)于在智商很高和學(xué)習(xí)成果很好的孩子的情緒回顧上，她發(fā)現(xiàn)情緒力量是很重要的。他們不僅僅是好奇的，而且經(jīng)常有強(qiáng)烈的欲望去控制自己的環(huán)境，改善學(xué)習(xí)效率以及增加他們的學(xué)習(xí)資源。

　　Test 2 Passage 3參考譯文：

　　藝術(shù)博物館及其觀眾

　　當(dāng)在世界各地都可以看到仿制品的時(shí)候，人們還是會(huì)去羅浮宮欣賞原版的“蒙娜麗莎”畫(huà)作，這一事實(shí)讓我們對(duì)關(guān)于當(dāng)今藝術(shù)博物館角色的一些設(shè)想存疑。

　　達(dá)·芬奇的蒙娜麗莎是世界上最為著名的畫(huà)作之一 。幾乎每個(gè)去觀看原作的人都已通過(guò)仿制品熟知這幅作品，但他們承認(rèn)，欣賞原版的藝術(shù)作品是更有價(jià)值的。

　　然而，如果“蒙娜麗莎”是本著名小說(shuō)，少有人會(huì)費(fèi)心去博物館閱讀作者的原版手稿，而會(huì)選擇閱讀打印好的副本。或許這可以解釋為：小說(shuō)的演化恰好是因?yàn)榧夹g(shù)的進(jìn)步，從而可以印制出大量的文本，但是油畫(huà)一直是作為獨(dú)一無(wú)二的物件被制作的。另外，有人會(huì)辯駁道，解讀或“閱讀”不同的媒介應(yīng)該遵循不同的慣例。對(duì)于小說(shuō)，人們主要關(guān)注詞句的意思而不是它們被印刷在紙上的方式，然而藝術(shù)作品的“讀者”必須密切關(guān)注圖畫(huà)中所有標(biāo)記、形狀的材質(zhì)形式和這些形式所象征表達(dá)的內(nèi)容。

　　不過(guò)，精美地制作出任何美術(shù)作品的高仿品一直都是可能的。現(xiàn)存的七件蒙娜麗莎的作品佐證了一個(gè)事實(shí)，即在16世紀(jì)，藝術(shù)家們很樂(lè)意把仿制他們作品的工作分配給他們工作室的學(xué)徒們，作為他們常規(guī)的謀生手段。如今復(fù)制畫(huà)作的工作變得無(wú)比簡(jiǎn)單可靠，因?yàn)閺?fù)印技術(shù)能夠讓我們獲得高質(zhì)量的，與原作尺寸一致、色值相同的印刷品，甚至還可以復(fù)制作品表面的浮雕效果。

　　然而，盡管人們默認(rèn)傳播優(yōu)秀的復(fù)制品有寶貴的文化價(jià)值，但是藝術(shù)博物館依然宣傳真跡的特殊地位。

　　不幸的是，這嚴(yán)重限制了博物館參觀者的體驗(yàn)。

　　其中一個(gè)限制是關(guān)于博物館呈現(xiàn)其展品的方式。作為獨(dú)一無(wú)二的歷史物品的儲(chǔ)藏地，藝術(shù)博物館常常被稱為“寶庫(kù)”。這一點(diǎn)在我們參觀展覽時(shí)，有保安、服務(wù)人員、繩索和展示柜將我們與展覽系列隔離之前，就早已得到提醒。很多情況下，相關(guān)建筑的風(fēng)格強(qiáng)化了這個(gè)感受。另外，就像英國(guó)倫敦國(guó)家美術(shù)館的一個(gè)主要的收藏系列，會(huì)被存放在無(wú)數(shù)個(gè)房間里，每個(gè)房間存放幾十件作品，其中任何一件作品的價(jià)值可能都要超過(guò)普通游客的所有財(cái)富。在一個(gè)個(gè)人地位很大程度上取決于其物質(zhì)財(cái)富的社會(huì)，很難讓人不因在這個(gè)環(huán)境中相比而產(chǎn)生的卑微而感到印象深刻。

　　進(jìn)一步而言，考慮到原版作品能被放在這樣的“寶庫(kù)”所意味著的價(jià)值，觀眾內(nèi)心是震撼的，因?yàn)檎怯捎谒鼈兪窃娴模鼈儾拍鼙荒硞€(gè)比他們權(quán)威的個(gè)人或機(jī)構(gòu)賦予巨大的金錢(qián)價(jià)值。顯然無(wú)論現(xiàn)眾怎么看待美術(shù)作品，也改變不了其價(jià)值，因此，現(xiàn)在的參觀者拘泥于表達(dá)自己直接、即時(shí)、自我的作品解讀，那種原本一見(jiàn)到作品就產(chǎn)生的原始解讀。

　　游客們可能被一種陌生感所震撼，這種震撼感是源于看到多樣的油畫(huà)、繪畫(huà)作品和雕塑集中置于一個(gè)并不是它們被創(chuàng)造的環(huán)境里。這種“錯(cuò)位”的效果會(huì)被展品的大量數(shù)量進(jìn)一步加強(qiáng)。以一個(gè)主要的收藏系列為例，一次展示的作品可能會(huì)比我們數(shù)星期或者數(shù)月所能夠看完的還要多。

　　這樣的情況特別讓人苦惱，因?yàn)闀r(shí)間似乎是欣賞所有藝術(shù)形式的一個(gè)重要因素。在欣賞畫(huà)作和其他藝術(shù)品之間一個(gè)最根本的區(qū)別就是欣賞畫(huà)作并沒(méi)有被賦予具體的欣賞時(shí)間。相反的，現(xiàn)眾可以有一段具體的時(shí)間欣賞話劇或者戲劇，這段時(shí)間就是表演的持續(xù)時(shí)間。類似的是，小說(shuō)和詩(shī)歌也可以在一段有順序的時(shí)間內(nèi)被讀完，然而一幅畫(huà)沒(méi)有一個(gè)明確開(kāi)始欣賞和結(jié)束的點(diǎn)。因此，藝術(shù)畫(huà)作本身就鼓勵(lì)人們進(jìn)行膚淺的欣賞，而人們并不會(huì)細(xì)細(xì)欣賞作品細(xì)節(jié)的豐富性和背后的辛勞。

　　因此，最具主導(dǎo)性的方式是藝術(shù)歷史學(xué)家的方法，一種專門(mén)致力于結(jié)合作品時(shí)代的文化背景去“尋找藝術(shù)品的意義”的專門(mén)的學(xué)術(shù)方法。這種方法與博物館的功能很好地結(jié)合了，因?yàn)樗潜挥糜趯ふ液捅Ｗo(hù)對(duì)展品的“可信的”與“原創(chuàng)的”解讀。再次，這看上去終結(jié)了那些在經(jīng)典文學(xué)作品中大量常見(jiàn)的自發(fā)和分享的批判，這類批判在大多數(shù)的藝術(shù)史中是不存在的。

　　當(dāng)自發(fā)的批評(píng)行為被遏制的時(shí)候，一旦出現(xiàn)什么批評(píng)類的行為，藝術(shù)博物館的展覽可以作為一種警示。那些去藝術(shù)博物館參觀的人，像其他任何的觀眾一樣，當(dāng)他們被給予自信去表達(dá)他們的觀點(diǎn)時(shí)，那么他們會(huì)覺(jué)得鑒賞藝術(shù)是更有價(jià)值的。如果合適的藝術(shù)作品可以永久地通過(guò)高仿真的復(fù)制品呈現(xiàn)給大眾，就像學(xué)術(shù)文獻(xiàn)和音樂(lè)一樣們也許對(duì)這藝術(shù)作品會(huì)產(chǎn)生更少的敬畏。不幸的是，這也許對(duì)那些尋求保持和控制藝術(shù)機(jī)構(gòu)的人是太高的要求。

　 劍橋雅思閱讀10真題解析(test2)

　　Passage 1

　　Question 1

　　難度及答案：難度低;答案為iv

　　關(guān)鍵詞：time and place

　　定位原文：A段最后兩句“Why did this…of the 18th century?”為何這個(gè)獨(dú)特的大爆炸——能帶來(lái)世界性的變化的工業(yè)革命——偏偏就發(fā)生在英國(guó)?為何這個(gè)革命又偏偏在18世紀(jì)末?

　　解題思路：A 段中提到了 happen in Britain 以及 at the end of thel8th century, 與iv 選項(xiàng)當(dāng)中的time和place是對(duì)應(yīng)的關(guān)系。

　　Question 2

　　難度及答案：難度低;答案為viii

　　關(guān)鍵詞：conditions required

　　定位原文：B 段第 2 句 “There are about 20 different…h(huán)e says.” 他說(shuō)：“大約有 20種不同的因素，而且所有的這些因素在工革命發(fā)生之前就已存在。”

　　解題思路：B段中主要論述的是工業(yè)革命在英國(guó)發(fā)生的前提條件，與其他不同的國(guó)家做出了對(duì)比。

　　Question 3

　　難度及答案：難度低;答案為vii

　　關(guān)鍵詞：Two keys

　　定位原文：C 段第 2 句 “Tea and beer, two of... fuelled the revolution.” 茶和啤酒，這兩種在全國(guó)最受歡迎的飲料，就是工業(yè)革命的導(dǎo)火線。

　　解題思路：C段主要論述的是茶和啤酒在英國(guó)工業(yè)革命當(dāng)中的作用。

　　Question 4

　　難度及答案 ：難度低;答案為i

　　關(guān)鍵詞：reasons, an increase in population

　　定位原文：D段第4、6句“But then there was...four possible causes.” 但是在那時(shí)(18世紀(jì)中期)，英國(guó)的人口是爆發(fā)增長(zhǎng)的……人們覺(jué)得有四種原因是導(dǎo)致這種現(xiàn)象發(fā)生。

　　解題思路：D段主要論述英國(guó)人口快速增長(zhǎng)的背后潛在原因。

　　Question 5

　　難度及答案：難度低;答案為vi

　　關(guān)鍵詞：Changes, drinking habits

　　定位原文：E段第4、9、10句“Some digging around... it suddenly dropped again.”一些歷史記錄揭示了當(dāng)時(shí)水污染疾病的發(fā)生率發(fā)生了改變，特別是痢疾……窮人因此轉(zhuǎn)向喝水和松子酒，在18世紀(jì)20年代人口的死亡率又開(kāi)始上升。然后又突然再次下降。

　　解題思路：E段主要論述英國(guó)人飲水習(xí)慣的變化和健康水平的變化。

　　Question 6

　　難度及答案：難度低;答案為ix

　　關(guān)鍵詞：comparison Japan

　　定位原文：F段第 1、2 句 “Macfarlane looked to…those in Britain.” Macfarlane研究日本，此時(shí)的日本也是向大城市發(fā)展，也沒(méi)有衛(wèi)生系統(tǒng)的發(fā)展。水污染疾病并沒(méi)有像英國(guó)那樣對(duì)日本的人口造成很大的影響。

　　解題思路：F段主要論述的是和日本相比較，從而研究者得出了自己的結(jié)論。

　　Question 7

　　難度及答案：難度低;答案為ii :

　　關(guān)鍵詞：fear of unemployment

　　定位原文：G 段第 2 句 “Macfarlane notes that…people out of work.” Macfarlane 指出盡 管在17世紀(jì)日本已經(jīng)有大城市、高教育文化率，甚至期貨市場(chǎng)，日本最終仍然放棄勞動(dòng)力的替代，比如動(dòng)物，而回歸到工作本位，因?yàn)楹ε聲?huì)使人們失業(yè)。

　　解題思路：G段主要論述的是日本沒(méi)有最早發(fā)生工業(yè)革命的原因是害怕失業(yè)。

　　Question 8

　　參考譯文：在18世紀(jì)的中國(guó)，交通系統(tǒng)并不適合工業(yè)發(fā)展。

　　難度及答案：難度中等;答案為NOT GIVEN

　　關(guān)鍵詞：China 、not suitable, the 18th century

　　定位原文：B段倒數(shù)第2句“After all... had many of these factors.”畢竟荷蘭擁有一切資源, 除了煤礦，中國(guó)也有很多這些因素。

　　解題思路：考生利用China這個(gè)詞可以定位到B段倒數(shù)第2句，此句說(shuō)到中國(guó)也有很多這些因素，并沒(méi)有明確提到交通系統(tǒng)不適合工業(yè)發(fā)展。

　　Question 9

　　參考譯文：茶和啤酒都幫助阻止了癡疾在英國(guó)的發(fā)生。

　　難度及答案：難度中等;答案為T(mén)RUE

　　關(guān)鍵詞: dysentery

　　定位原文: C 段第 3 句 “The antiseptic properties…diseases such as dysentery.” 茶中的活性成分單寧，以及啤酒當(dāng)中的啤酒花，都有殺菌的特性，加之荼和啤酒都是由熱水制成，使近距離的城市社區(qū)繁榮發(fā)展，而不受由水引發(fā)的疾病的迫害。 比如痢疾。

　　解題思路：考生可以利用tea以及beer以及dysentery定位到C段第3句。但是有些考生難以理解without succumbing to (不向……屈服)，有意識(shí)到題目就是這句話的對(duì)應(yīng)改寫(xiě)。

　　Question 10

　　參考譯文：Roy Porter不同意Macfarlane教授的調(diào)査結(jié)果。

　　難度及答案：難度低;答案為FALSE

　　關(guān)鍵詞：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藥學(xué)歷史學(xué)家Roy Porter的支持而得以加強(qiáng)，最近Roy Porter 寫(xiě)了一篇對(duì)此研究的有利評(píng)估。

　　解題思路: 考生利用Roy Porter可以定位到C段最后一句，判斷題目當(dāng)中的disagrees與原文明顯不符。

　　Question 11

　　參考譯文：1740年后，英國(guó)的人口減少了。

　　難度及答案：難度低;答案為FALSE

　　關(guān)鍵詞：After 1740, reduction

　　定位原文：D段第3、4句 “Between about 1650.., burst in population growth.” 在大約 1650年到1740年間，英國(guó)的人口是靜止不變的。但是在那時(shí)(18世紀(jì)中期)， 英國(guó)的人口是爆發(fā)增長(zhǎng)的。

　　解題思路：考生利用After 1740定位到D段第3、4句，static表示“靜態(tài)的” ，burst表示“爆發(fā)”，與題目中的reduction意思相反。

　　Question 12

　　參考譯文：英國(guó)人過(guò)去在家釀啤酒。

　　難度及答案：難度低;答案為NOT GIVEN

　　關(guān)鍵詞：at home

　　定位原文：E 段第 6 句到最后一句 “He says, ‘We drank... What caused this?’” 他說(shuō)：“我們喝啤酒。很久以來(lái)，英國(guó)人都被啤酒酒花中強(qiáng)大的抗生素所保護(hù)，這種酒花是加在啤酒中用以保存啤酒的。但在17世紀(jì)末，麥芽開(kāi)始收稅，這是啤酒的基本組成部分。窮人因此轉(zhuǎn)向喝水和松子酒，在18世紀(jì)20年代人的死亡率又開(kāi)始上升。然后又突然再次下降。是什造成這種現(xiàn)象?”

　　解題思路：E段最后一句說(shuō)明了英國(guó)人喝啤酒，但并未說(shuō)明英國(guó)人在哪里釀造啤酒，所以此 題應(yīng)務(wù)NOT GIVEN。

　　Question 13

　　參考譯文:對(duì)麥芽的征稅間接地造成了死亡率的上升。

　　難度及答案:難度高;答案為T(mén)RUE

　　關(guān)鍵詞：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?’”他說(shuō)：“我們喝啤酒。很久以來(lái)，英國(guó)人都被啤酒酒花中強(qiáng)大的抗生素所保護(hù)，這種酒花是加在啤酒中用以保存啤酒的。但在17世紀(jì)末，麥芽開(kāi)始收稅，這是啤酒的基本組成部分。人因此轉(zhuǎn)向喝水和松花酒，在18世紀(jì)20年代人口的死亡率又開(kāi)始上升, 突然再次下降。是什么造成這種現(xiàn)象?”

　　解題思路：此句提及因?yàn)辂溠空鞫悾圆槿瞬坏貌缓人退勺泳疲运劳雎噬仙耍?這種關(guān)系是間接的。因此答案是TRUE。

　　Passage 2

　　Question 14

　　參考譯文：提到了家庭背景對(duì)天才兒童的影響。

　　難度及答案：難度低，答案為A。

　　關(guān)鍵詞：domestic background

　　定位原文：A段第3句“For example...home educational provision(Freeman,2010).”比如，我們會(huì)發(fā)現(xiàn)孩子的智商水平和他們所接受的家庭教育有很密切的關(guān)聯(lián)(Freeman,2010).

　　解題思路：題目中的domestic background 與原文中的home educational provision是同義表達(dá)，此段后面進(jìn)一步說(shuō)明天才兒童與其家庭環(huán)境的關(guān)系。

　　Question 15

　　參考譯文：暗示如果學(xué)習(xí)者被給予太多指導(dǎo)，某些東西就會(huì)缺失。

　　難度及答案：難度低;答案為D

　　關(guān)鍵詞：loses、 too much guidance

　　定位原文：D段第2句“Conversely, teachers who have...pupils’ learning autonomy.” 反言之，那些喜歡“過(guò)分指導(dǎo)”的老師會(huì)降低有天賦學(xué)生的學(xué)習(xí)自主性。

　　解題思路：段落D當(dāng)中的overdirect相當(dāng)于題干中的too much guidance，diminish... autonomy 指的就是what can be lost。

　　Question 16

　　參考譯文： 焦慮的破壞性影響的提及。

　　難度及答案： 難度低;答案為F

　　關(guān)鍵詞：damaging effects s anxiety

　　定位原文: F段第 2、3 句 “Positive emotions facilitate…it motivates problem-solving behaviour.”積極的情緒可以促進(jìn)學(xué)習(xí)的創(chuàng)造力，而消極的情緒則抑制了創(chuàng)造力。比如說(shuō)恐懼會(huì)限制好奇心的發(fā)展，而好奇心恰恰是科學(xué)進(jìn)步的重要推動(dòng)力，因?yàn)樗軌蚬膭?lì)解決問(wèn)題的行為。

　　解題思路：此段中提及了消極情緒，例如fear對(duì)好奇心的抑制，不利于好奇心的培養(yǎng)。而題目中的anxiety 與 fear是同義詞，都是消極的情緒。

　　Question 17

　　參考譯文： 有利于社會(huì)地位較低的孩子的課堂技巧的例子。

　　難度及答案： 難度低;答案為D

　　關(guān)鍵詞： techniques 、socially-disadvantaged

　　定位原文： D 段最后一句 “Such practices have been…from deprived areas.” 我們發(fā)現(xiàn)這樣的實(shí)踐對(duì)貧困地區(qū)的聰明孩子尤其有用。

　　解題思路： 題目當(dāng)中的 socially-disadvantaged children 相當(dāng)于原文中的 children from deprived areas, favour 指的就是 be particularly use for、 classroom techniques對(duì)應(yīng)于原文中的such practices。本題出現(xiàn)了大量的同義替換的設(shè)置。

　　Question 18

　　參考譯文： 能準(zhǔn)確完成學(xué)習(xí)任務(wù)的天才學(xué)生可以在練習(xí)上少花時(shí)間。

　　難度及答案： 難度低;答案為B

　　關(guān)鍵詞： less time 、 accurate work

　　定位原文： C段第3、4句 “Overviewing research on the... teach more quickly.”， 縱覽關(guān)于能力出眾的孩子的思維模式的研究(Shore and Kanevsky，1993)，它更精確地指出教育者的問(wèn)題：“如果他們(有天賦的孩子)僅僅思考得更快，那么我們只需要推進(jìn)教學(xué)的進(jìn)度。如果他們僅僅越來(lái)越少犯錯(cuò)，那么我們需要減少練習(xí)的時(shí)間。"

　　解題思路： 此題型應(yīng)先瀏覽全文，快速找到選項(xiàng)中的人名在題目中的位置。題目當(dāng)中的 accurate work 與原文當(dāng)中的 fewer errors 相對(duì)應(yīng)。題干當(dāng)中的 less time spent on exercise 相當(dāng)于 shorten the practice。所以答案擇 B。

　　Question 19

　　參考譯文： 自我依靠是有價(jià)值的工具，它可以幫助天才學(xué)生實(shí)現(xiàn)目標(biāo)。

　　難度及答案： 難度低;答案為D

　　關(guān)鍵詞： self-reliance 、reach their goal

　　定位原文： E段第2句 “Research with creative...for learning and practice.”Simonton(1998)關(guān)于有創(chuàng)意的科學(xué)家的研究讓他有了這樣一個(gè)結(jié)論：在一定的水平之上，性格特征諸如獨(dú)立，比起智力在尋求最高水平的專業(yè)知識(shí)方面發(fā)揮的作用更大，因?yàn)閷W(xué)習(xí)和練習(xí)需要大量的精力和時(shí)間。

　　解題思路： 題目當(dāng)中的self-reliance與文章中的independence是對(duì)應(yīng)的關(guān)系，而題目中的 reach their goal 與文中的 reach the highest levels of expertise 也是對(duì)應(yīng)關(guān)系 。

　　Question 20

　　參考譯文： 天才學(xué)生知道怎么引導(dǎo)他們的情緒從而輔助學(xué)習(xí)。

　　難度及答案： 難度低;答案為E

　　關(guān)鍵詞： feeling、 assist、 learning

　　定位原文： F段最后兩句 “In Boekaerts’ (1991)... their own learning resources.” 在 Boekaerts (1991)關(guān)于在智商很高和學(xué)習(xí)成果很好的孩子的情緒回顧上，她發(fā)現(xiàn)情緒力量是很重要的。他們不僅僅是好奇的，而且經(jīng)常有強(qiáng)烈的欲望去控制自己的環(huán)境， 改善學(xué)習(xí)效率以及增加他們的學(xué)習(xí)資源。

　　解題思路： 題目當(dāng)中的channel their feeling指的就是原文當(dāng)中的emotional forces in harness。原文當(dāng)中最后一句的論述表達(dá)的就是控制情緒對(duì)學(xué)習(xí)的輔助作用。

　　Question 21

　　參考譯文： 特別天才的學(xué)生獲益于近親的適當(dāng)支持。

　　難度及答案： 難度高;答案為A

　　關(guān)鍵詞： 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，我們會(huì)發(fā)現(xiàn)孩子的智商水平和他們所接受的家庭教育有很密切的關(guān)聯(lián)(Freeman, 2010)。孩子的智商水平越高，尤其是高于130的時(shí)候，他們所得到的預(yù)備教育的質(zhì)量就越高，其質(zhì)量是以孩子與父母的語(yǔ)言交流，還有他們家中書(shū)的數(shù)量和活動(dòng)衡量的……適當(dāng)?shù)膸椭拍茏屓俗兊脙?yōu)秀。

　　解題思路： 此題需聯(lián)系屬于不同段落的兩個(gè)句子，并且要進(jìn)一步思考，才能得出題目中的結(jié)論，屬于比較難的題。

　　Question 22

　　參考譯文： 真正成功的學(xué)生對(duì)于他們的學(xué)科有一定的認(rèn)知了解。

　　難度及答案：難度低;答案為C

　　關(guān)鍵詞： successful student、a considerable amount、subject

　　定位原文： E 段第 1 句 “But scientific progress…do not (Elshout，1995).”， 但是科學(xué)過(guò)程并不總是理論式的，知識(shí)對(duì)一個(gè)人優(yōu)異的表現(xiàn)也是關(guān)鍵的：那些對(duì)某一領(lǐng)域認(rèn)知很深入的人會(huì)比對(duì)此沒(méi)有認(rèn)識(shí)的人水平更高(Elshout, 1995)。

　　解題思路： 題目中的a considerable amount相當(dāng)于原文中的a great deal about， 題目當(dāng)中的subject與原文中的a specific domain意思相同。

　　Question 23

　　參考譯文： 一項(xiàng)研究表明兒童的智商與家中___和____的可獲得性有深度的關(guān)聯(lián)。

　　難度及答案： 難度低;答案為 books (and) activities

　　關(guān)鍵詞： connection、at home

　　定位原文： A 段第 3、4 句 “For example…activities in their home etc.” 比如，我們會(huì)發(fā)現(xiàn)孩子的智商水平和他們所接受的家庭教育有很密切的關(guān)聯(lián)(Freeman，2010)。孩子的智商水平越高，尤其是高于130的時(shí)候，他們所得到的預(yù)備教育的質(zhì)量就越高，其質(zhì)量是以孩子與父母的語(yǔ)言交流，還有他們家中書(shū)的數(shù)量和活動(dòng)衡量的。

　　解題思路： 此題要填兩個(gè)表未并列關(guān)系的詞，考生可以定位at home到A段第3句，發(fā)現(xiàn) a very close positive relationship 與 strong connection 意思一致，此句中可以表示異列關(guān)系的只有books和activities。

　　Question 24

　　參考譯文： 能力平庸的孩子看起來(lái)需要更多的教師指導(dǎo)，因?yàn)樗麄儧](méi)有____.

　　難度及答案： 難度中等;答案為 internal regulation/self-regulation

　　關(guān)鍵詞： 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、能力強(qiáng)的孩子和那些智力平庸或年紀(jì)稍大的小學(xué)生之間有著質(zhì)的區(qū)別，因?yàn)楹笳邥?huì)需要老師給出外在的規(guī)范以彌補(bǔ)他們自我約束的缺乏。

　　解題思路： 題目當(dāng)中的children of average ability可以定位到原文中B段第3句，而且 lack of與題目當(dāng)中的do not have是同義替換。因此填寫(xiě)international regulation.

　　Question 25

　　參考譯文：元認(rèn)知涉及兒童對(duì)他們學(xué)習(xí)策略的理解以及開(kāi)發(fā)____.

　　難度及答案： 難度中等;答案為 emotional awareness

　　關(guān)鍵詞： metacognition、learning strategies

　　定位原文： B段倒數(shù)第一句“Emotional awareness is... or confidence for example." 情感認(rèn)知也是元認(rèn)知的一部分，所以，舉個(gè)例子來(lái)說(shuō)，孩子必須有人幫助他們認(rèn)識(shí)對(duì)即將學(xué)習(xí)的領(lǐng)域的感受，比如覺(jué)得好奇或者自信的感受。

　　解題思路： 考生可以用metacognition來(lái)定位到B段的最后一句話，可以知道元認(rèn)知包括ways of learning會(huì)以及 emotional awareness。

　　Question 26

　　參考譯文： 依靠___教學(xué)的老師常常在班級(jí)測(cè)驗(yàn)中得到喜人的成績(jī)。

　　難度及答案： 難度低，答案為spoon-feeding

　　關(guān)鍵詞：rely on、 impressive grades

　　定位原文： D 段第 3 句 “Although "spoon-feeding’ can produce... impressive life successes.” 因?yàn)椤疤铠喪健钡慕虒W(xué)會(huì)產(chǎn)生很好的考試結(jié)果，但這并不意昧著人生同等的成功。

　　解題思路: 題目當(dāng)中的 impressive grades in class tests 相當(dāng)于文章中的 high examination results，而后者是由spoon feeding 產(chǎn)生(produce ) 的。

　　Passage 3

　　Question 27

　　參考譯文： ……也許是因?yàn)樾≌f(shuō)的提供長(zhǎng)期依靠____

　　難度及答案： 難度難，答案為B

　　關(guān)鍵詞: availability、 depend on

　　定位原文： 第2段第2句“This might be explained ... As unique objects.”或許這可以解釋為：小說(shuō)的演化恰好是因?yàn)榧夹g(shù)的進(jìn)步，從而可以印制出大量的文本，但是油畫(huà)一直是作為獨(dú)一無(wú)二的物件被制作的。

　　解題思路：題目當(dāng)中的because of 相當(dāng)于原文中的be explained by; 原文當(dāng)中說(shuō)到technological development made it possible to print out huge numbers of texts，后面一部分指的就是mass production，即大規(guī)模的制造。

　　Question 28

　　參考譯文： ……也因?yàn)開(kāi)__是最重要的事。

　　難度及答案： 難度中等;答案為H

　　關(guān)鍵詞： 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，有人會(huì)辯駁道，解讀或“閱讀”不同的媒介應(yīng)該遵循不同的慣例。對(duì)于小說(shuō)，人們主要關(guān)注詞句的意思而不是它們被印刷在紙上的方式，然而藝術(shù)作品的“讀者”必須密切關(guān)注圖畫(huà)中所有標(biāo)記、形狀的材質(zhì)形式和這些形式所象征表達(dá)的內(nèi)容。

　　解題思路 原文當(dāng)中的in addition相當(dāng)于題目中的also,對(duì)于小說(shuō)而言( With novels), 人們主要關(guān)注于詞的意思(attend mainly to the meaning of words),這就是最重要的事。因此H選項(xiàng)當(dāng)中的underlying ideas (根本的觀點(diǎn))最為恰當(dāng)。

　　Question 29

　　參考譯文： ……因?yàn)檫_(dá)?芬奇樂(lè)意指導(dǎo)___去制作它的作品的仿制品

　　難度及答案： 難度低; 答案為L(zhǎng)

　　關(guān)鍵詞： happy, instruct, copy

　　定位原文： 第3段第2句“The seven surviving versions...as regular ‘bread and butter’ work.”現(xiàn)存的七件蒙娜麗莎的作品佐證了一個(gè)事實(shí),即在16 世紀(jì)，藝術(shù)家們很樂(lè)意把仿制他們作品的工作,分配給他們工作室的學(xué)徒們，作為他們常規(guī)的謀生的手段。

　　解題思路： 由對(duì)應(yīng)原文我們發(fā)現(xiàn)，artists對(duì)于復(fù)制品的態(tài)度是 perfectly content to the workshop apprentice與 happy to instruct 對(duì)應(yīng)，因此空格處應(yīng)選與apprentice對(duì)應(yīng)的詞匯，因此答案為 assistants.

　　Question 30

　　參考譯文： …對(duì)表面浮層特點(diǎn)以及顏色和___的良好再現(xiàn)。

　　難度及答案： 難度低;答案為G

　　關(guān)鍵詞：relief feature, colour、size

　　定位原文： 第3段第3句“And today the task... of the painting.”如今復(fù)制畫(huà)作的工作變得無(wú)比簡(jiǎn)單可靠，因?yàn)閺?fù)印技術(shù)能夠讓我們獲得高質(zhì)量的，與原作尺寸一致、色值相間的印刷品，甚至還可以復(fù)制作品表面的浮雕效果。

　　解題思路： 考生可以利用relief feature、colour等詞定位到第3段最后一句，其中original scale (規(guī)模)與其他兩項(xiàng)是并列的關(guān)系，詞庫(kù)當(dāng)中只有size的意思與scale接近， 所以正確答案為G。

　　Question 31

　　參考譯文： ……因?yàn)檫@也許對(duì)___不利。

　　難度及答案：難度低;答案為D

　　關(guān)鍵詞：promote、may not

　　定位原文：第 4、5 段 “But despite an... experience offered to visitors?” 然而，盡管人們默認(rèn)傳播優(yōu)秀的復(fù)制品有寶貴的文化價(jià)值，但是藝術(shù)博物館依然宣傳真跡的特殊地位。不幸的是，這嚴(yán)重限制了博物館參觀者的體驗(yàn)：

　　解題思路： 考生可以利用promote等詞定位到第4段，緊接著又說(shuō)道給visitor的體驗(yàn)帶來(lái) severe limitation,這就是對(duì)參觀者不利。詞庫(kù)當(dāng)中只有public與visitor的意思接近，所以正確答案為D。

　　Question 32

　　參考譯文：本文作者提到英國(guó)倫敦國(guó)家美術(shù)館是為了解釋___

　　難度及答案： 難度低;答案為C

　　關(guān)鍵詞： National Gallery

　　定位原文： 第 6 段第 5、6 句 “In addition, a major…such an environment.” 另外，就像英國(guó)倫敦國(guó)家美術(shù)館的一個(gè)主要的收藏系列，會(huì)被存放在無(wú)數(shù)個(gè)房間里，每個(gè)房間存放幾十件作品，其中任何一件作品的價(jià)值可能都要超過(guò)普通游客的所有財(cái)富。在一個(gè)個(gè)人地位很大程度上取決于其物質(zhì)財(cái)富的社會(huì)，很難讓人不因在這個(gè)環(huán)境中相比而產(chǎn)生的卑微而感到印象深刻。

　　解題思路： 利用National Gallery定位到第6段第5句，此句提到了一種現(xiàn)象就是任何一件作品的價(jià)值可能都要超過(guò)普通游客的所有財(cái)富，第6句汫到人們?nèi)菀赘械阶员啊＿@里的 one’s own relative worthlessness 與 C 選項(xiàng)當(dāng)中的 negative effect... on visitor’s opinions of themselves 相吻合。其他三項(xiàng)均未提及。

　　Question 33

　　參考譯文： 作者說(shuō)，如今人們不愿意批判意見(jiàn)作品.是因?yàn)開(kāi)__

　　難度及答案： 難度高，答案為D

　　關(guān)鍵詞： today、unwilling to criticize、because

　　定位原文： 第 7 段第 2 句 “Evidently, nothing the... have met the work.” 顯然，無(wú)論觀眾怎么看待美術(shù)作品，也改變不了其價(jià)值，因此，現(xiàn)在的參觀者躊路而不敢去做出自發(fā)的、即時(shí)的以及完全是根據(jù)自己所想的那種一看到作品就會(huì)產(chǎn)生的解讀。

　　解題思路： 利用題目當(dāng)中的today’s viewer以及unwilling等詞等位到第7段第2句，be deterred from意思即為“躊躇、不愿意做某事”，本句后半段的開(kāi)頭有and so，就表示前半段是原因。前半句的意思為“無(wú)論觀眾怎么看待美術(shù)作品，也改變不了其價(jià)值”，與D選項(xiàng)當(dāng)中的他們的反應(yīng)毫無(wú)重要性可言是對(duì)應(yīng)的關(guān)系。

　　Question 34

　　參考譯文： 根據(jù)作者的觀點(diǎn)，參觀者身上的“錯(cuò)位”效果是由___引起的。

　　難度及答案： 難度中等;答案為A

　　關(guān)鍵詞： displacement effect、be caused by

　　定位原文： 第 8 段第 2、3 句 “This ‘displacement effect’ … weeks or even months.” 這種“錯(cuò)位”的效果會(huì)被展品的大量數(shù)量進(jìn)一步加強(qiáng)。以一個(gè)主要的收藏系列為例，一次展示的作品可能會(huì)比我們數(shù)星期或者數(shù)月所能夠看完的還要多。

　　解題思路： 考生可利用displacement effect定位到第8段第2句，此句說(shuō)到be further heightened by (由……加強(qiáng))，那么前面的一句話就可能是displacement effect產(chǎn)生的原因了。而第一句講的是“各種不同的油畫(huà)、素描以及雕塑被聚集起來(lái)放在原本適合它們的之外的環(huán)境當(dāng)中”，與選項(xiàng)A當(dāng)中“多種多樣的作品被展示以及它們成列的方式”是對(duì)應(yīng)的關(guān)系。因此正確答案是A。

　　Question 35

　　參考譯文: 作者說(shuō)，跟其他藝術(shù)形式不一樣，一幅畫(huà)不____。

　　難度及答案: 難度低;答案為D

　　關(guān)鍵詞: 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 ” 在欣常畫(huà)作和其他藝術(shù)品之間一個(gè)最根本的區(qū)別就是欣賞畫(huà)作并沒(méi)有被賦予具體的欣賞時(shí)間。相反的，觀眾可以有一段具體的時(shí)間欣賞話劇或者戲劇，這段時(shí)間就是表演的持續(xù)時(shí)間。類似的是，小說(shuō)和詩(shī)歌也可以在一段有順序的時(shí)間內(nèi)被讀完 然而一幅畫(huà)卻沒(méi)有一個(gè)明確開(kāi)始欣賞和結(jié)束的點(diǎn)。

　　解題思路： 考生可利用other art forms定位到第九段第2句，可以看到主要的區(qū)別是 no prescribed time,下文又接著講了沒(méi)有確定的開(kāi)始和結(jié)束的時(shí)間。所以正確答案為D選項(xiàng)。

　　Question 36

　　參考譯文： 藝術(shù)史應(yīng)該專注于使用不同媒介發(fā)掘藝術(shù)的意義。

　　難度及答案： 難度中;答案為NOT GIVEN

　　關(guān)鍵詞： art history、discover the meaning、media

　　定位原文： 無(wú)

　　解題思路： 第9段中提到discover the meaning的內(nèi)容，但是沒(méi)有提到使用不同的媒介， 因此本題答案為NOT GIVEN。

　　Question 37

　　參考譯文：藝術(shù)史史學(xué)家們所使用的研究方法與藝術(shù)博物館的方法相沖突。

　　答案及難度：難度中;答案為NO

　　關(guān)鍵詞： the approach of historians

　　定位原文： 第10段第2句“This is in perfect...reading of the exhibits.”這種方法與博物館的功能很好地結(jié)合了，因?yàn)樗潜挥糜趯ふ液捅Ｗo(hù)對(duì)展品的“可信的”與“原創(chuàng)性”解讀。

　　解題思路： 從對(duì)應(yīng)原文中找到歷史學(xué)家所使用的方法與藝術(shù)博物館的功能有著的和諧 (perfect harmony)。因此此題答案為 NO。

　　Question 38

　　參考譯文：應(yīng)該鼓勵(lì)人們?nèi)ス_(kāi)地表達(dá)對(duì)藝術(shù)作品的觀點(diǎn)。

　　難度及答案： 難度中;答案為YES

　　關(guān)鍵詞： encourage、 give their opinion openly

　　定位原文： 第 11 段第 2 句 “The museum public... to express their views.” 那些去藝術(shù)博 物館參觀的人，像其他任何觀眾一樣，當(dāng)他們被給予自信去表達(dá)他們的觀點(diǎn)時(shí)，那么他們會(huì)覺(jué)得鑒賞藝術(shù)是更有價(jià)值的。

　　解題思路： 題目當(dāng)中的 give their opinions openly與原文當(dāng)中的express their views是同義轉(zhuǎn)換;原文當(dāng)中說(shuō) more rewardingly 所以與題目當(dāng)中的should be encouraged是一致的。

　　Question 39

　　參考譯文：藝術(shù)品的高仿制品即便質(zhì)量不錯(cuò)，也只能賣給大眾

　　難度及答案：難度中;答案為 NOT GIVEN.

　　關(guān)鍵詞： of high quality ;

　　定位原文： 第 11 段倒數(shù)第 2 句 “If appropriate works of... In awe of them.”如果合適的藝術(shù)作品可以永久地通過(guò)高仿真的復(fù)制品里現(xiàn)給大眾，就像學(xué)術(shù)文獻(xiàn)和音樂(lè)一樣，人們也許對(duì)這些藝術(shù)作品會(huì)產(chǎn)生更少的敏畏。

　　解題思路：文章中沒(méi)有提到是不是only sold to the public，并沒(méi)有表明限制條件。

　　Question 40

　　參考譯文：在將來(lái)，有權(quán)勢(shì)的人有可能鼓勵(lì)更多的人欣賞藝術(shù)。

　　難度及答案： 難度高，答案為NO

　　關(guān)鍵詞： with power、 encourage

　　定位原文： 第 11 段第 4 句 “Unfortunately，that may be too art establishment。”不幸的是，這也許對(duì)那些尋求保持和控制藝術(shù)機(jī)構(gòu)的人是太高的要求。

　　解題思路： 題目當(dāng)中的the power就是原文當(dāng)中的尋求保持和控制藝術(shù)現(xiàn)有體制的人，對(duì)于他們，人們欣賞更多的藝術(shù)是too much to ask, 因此他們不可能鼓勵(lì)更多的人欣賞藝術(shù)。