TPO4托福阅读Passage2原文+题目+答案解析

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篇1：TPO4托福阅读Passage2原文+题目+答案解析

Cave Art in Europe

The earliest discovered traces of art are beads and carvings, and then paintings, from sites dating back to the Upper Paleolithic period. We might expect that early artistic efforts would be crude, but the cave paintings of Spain and southern France show a marked degree of skill. So do the naturalistic paintings on slabs of stone excavated in southern Africa. Some of those slabs appear to have been painted as much as 28,000 years ago, which suggests that painting in Africa is as old as painting in Europe. But painting may be even older than that. The early Australians may have painted on the walls of rock shelters and cliff faces at least 30,000 years ago, and maybe as much as 60,000 years ago.

The researchers Peter Ucko and Andree Rosenfeld identified three principal locations of paintings in the caves of western Europe: (1) in obviously inhabited rock shelters and cave entrances; (2) in galleries immediately off the inhabited areas of caves; and (3) in the inner reaches of caves, whose difficulty of access has been interpreted by some as a sign that magical-religious activities were performed there.

The subjects of the paintings are mostly animals. The paintings rest on bare walls, with no backdrops or environmental trappings. Perhaps, like many contemporary peoples, Upper Paleolithic men and women believed that the drawing of a human image could cause death or injury, and if that were indeed their belief, it might explain why human figures are rarely depicted in cave art. Another explanation for the focus on animals might be that these people sought to improve their luck at hunting. This theory is suggested by evidence of chips in the painted figures, perhaps made by spears thrown at the drawings. But if improving their hunting luck was the chief motivation for the paintings, it is difficult to explain why only a few show signs of having been speared. Perhaps the paintings were inspired by the need to increase the supply of animals. Cave art seems to have reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing.

The particular symbolic significance of the cave paintings in southwestern France is more explicitly revealed, perhaps, by the results of a study conducted by researchers Patricia Rice and Ann Paterson. The data they present suggest that the animals portrayed in the cave paintings were mostly the ones that the painters preferred for meat and for materials such as hides. For example, wild cattle (bovines) and horses are portrayed more often than we would expect by chance, probably because they were larger and heavier (meatier) than other animals in the environment. In addition, the paintings mostly portray animals that the painters may have feared the most because of their size, speed, natural weapons such as tusks and horns, and the unpredictability of their behavior. That is, mammoths, bovines, and horses are portrayed more often than deer and reindeer. Thus, the paintings are consistent with the idea that the art is related to the importance of hunting in the economy of Upper Paleolithic people. Consistent with this idea, according to the investigators, is the fact that the art of the cultural period that followed the Upper Paleolithic also seems to reflect how people got their food. But in that period, when getting food no longer depended on hunting large game animals (because they were becoming extinct), the art ceased to focus on portrayals of animals.

Upper Paleolithic art was not confined to cave paintings. Many shafts of spears and similar objects were decorated with figures of animals. The anthropologist Alexander Marshack has an interesting interpretation of some of the engravings made during the Upper Paleolithic. He believes that as far back as 30,000 B.C., hunters may have used a system of notation, engraved on bone and stone, to mark phases of the Moon. If this is true, it would mean that Upper Paleolithic people were capable of complex thought and were consciously aware of their environment. In addition to other artworks, figurines representing the human female in exaggerated form have also been found at Upper Paleolithic sites. It has been suggested that these figurines were an ideal type or an expression of a desire for fertility.

篇2：TPO4托福阅读Passage2原文+题目+答案解析

Question 1 of 14

The word “marked ” in the passage is closest in meaning to

A. considerable

B. surprising

C. limited

D. adequate

Question 2 of 14

Paragraph 1 supports which of the following statements about painting in Europe?

A. It is much older than painting in Australia.

B. It is as much as 28,000 years old.

C. It is not as old as painting in southern Africa.

D. It is much more than 30,000 years old.

Question 3 of 14

The word “principal ” in the passage is closest in meaning to

A. major

B. likely

C. well protected

D. distinct

Question 4 of 14

According to paragraph 2, what makes some researchers think that certain cave paintings were connected with magical-religious activities?

A. The paintings were located where many people could easily see them, allowing groups of people to participate in the magical-religious activities.

B. Upper Paleolithic people shared similar beliefs with contemporary peoples who use paintings of animals in their magical-religious rituals.

C. Evidence of magical-religious activities has been found in galleries immediately off the inhabited areas of caves.

D. The paintings were found in hard-to-reach places away from the inhabited parts of the cave.

Question 5 of 14

The word “trappings ” in the passage is closest in meaning to

A. conditions

B. problems

C. influences

D. decorations

Question 6 of 14

Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.

A. Upper Paleolithic people, like many contemporary peoples, believed that if they drew a human image in their cave art, it would cause death or injury.

B. Many contemporary people believe that the drawing of a human image can cause death or injury, so they, like Upper Paleolithic people, rarely depicted human figures in their cave art.

C. If Upper Paleolithic people, like many contemporary peoples, believed that the drawing of a human image could cause death or injury, this belief might explain why human figures are rarely depicted in cave art.

D. Although many contemporary peoples believe that the drawing of a human image can cause death or injury, researchers cannot explain why Upper Paleolithic people rarely depicted human figures in their cave art.

Question 7 of 14

According to paragraph 3, scholars explained chips in the painted figures of animals by proposing that

A. Upper Paleolithic artists used marks to record the animals they had seen

B. the paintings were inspired by the need to increase the supply of animals for hunting

C. the artists had removed rough spots on the cave walls

D. Upper Paleolithic people used the paintings to increase their luck at hunting

Question 8 of 14

Why does the author mention that Upper Paleolithic cave art seemed to have “reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing ”?

A. To argue that Upper Paleolithic art ceased to include animals when herds of game became scarce

B. To provide support for the idea that the aim of the paintings was to increase the supply of animals for hunting

C. To emphasize the continued improvement in the quality of cave art throughout the Upper Paleolithic period

D. To show the direct connection between the decrease in herds of game and the end of the Upper Paleolithic period

Question 9 of 14

According to paragraph 4, scholars believe that wild cattle, horses, and mammoths are the animals most frequently portrayed in cave paintings for all of the following reasons EXCEPT:

A. These animals were difficult to hunt because their unpredictable behavior.

B. People preferred these animals for their meat and for their skins.

C. The painters admired the beauty of these large animals.

D. People feared these animals because of their size and speed.

Question 10 of 14

According to paragraph 4, which of the following may best represent the attitude of hunters toward deer and reindeer in the Upper Paleolithic period?

A. Hunters did not fear deer and reindeers as much as they did large game animals such as horses and mammoths.

B. Hunters were not interested in hunting deer and reindeer because of their size and speed.

C. Hunters preferred the meat and hides of deer and reindeer to those of other animals.

D. Hunters avoided deer and reindeer because of their natural weapons, such as horns.

Question 11 of 14

According to paragraph 4, what change is evident in the art of the period following the Upper Paleolithic?

A. This new art starts to depict small animals rather than large ones.

B. This new art ceases to reflect the ways in which people obtained their food.

C. This new art no longer consists mostly of representations of animals.

D. This new art begins to show the importance of hunting to the economy.

Question 12 of 14

According to paragraph 5, which of the following has been used as evidence to suggest that Upper Paleolithic people were capable of complex thought and conscious awareness of their environment?

A. They engraved animal figures on the shafts of spears and other objects.

B. They may have used engraved signs to record the phases of the Moon.

C. Their figurines represented the human female in exaggerated form.

D. They may have used figurines to portray an ideal type or to express a desire for fertility.

Question 13 of 14

Look at the four squares [■] that indicate where the following sentence could be added to the passage.Where would the sentence best fit?Therefore, if the paintings were connected with hunting, some other explanation is needed..

Question 14 of 14

Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that explain the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.Upper Paleolithic cave paintings in Western Europe are among humanity’s earliest artistic efforts.

A.Researchers have proposed several different explanations for the fact that animals were the most common subjects in the cave paintings.

B.The art of the cultural period that followed the Upper Paleolithic ceased to portray large game animals and focused instead on the kinds of animals that people of that period preferred to hunt.

C.Some researchers believe that the paintings found in France provide more explicit evidence of their symbolic significance than those found in Spain, southern Africa, and Australia.

D.The cave paintings focus on portraying animals without also depicting the natural environments in which these animals are typically found.

E.Some researchers have argued that the cave paintings mostly portrayed large animals that provided Upper Paleolithic people with meat and materials.

F.Besides cave paintings, Upper Paleolithic people produced several other kinds of artwork, one of which has been thought to provide evidence of complex thought.

篇3：TPO4托福阅读Passage2原文+题目+答案解析

Question 1 of 14

正确答案：A

题目解析：mark: 标记，marked: 明显的，显著的。对应原文：We might expect that early artistic efforts would be crude, but the cave paintings of Spain and southern France show a marked degree of skill.所在句的上半句讲我们认为artistic efforts是比较粗劣的，后面来了个转折，说他们应该有怎么样的技巧，considerable相当的，正确。limited感情色彩反了，surprise意思太夸张，而且surprise也不一定是好，adequate意思过了。

Question 2 of 14

正确答案：B

题目解析：B 此题答案中的关键词很容易找，故使用排除法，从答案中都可以推断出问的是画的年代。原文一共提到了三个地方岩画的年龄，南非280前，欧洲和南非一样，澳洲30000年前，所以澳洲老，A错，同时D也错;B说28000年前，原文既然说欧洲和非洲一样，当然也是28000年前，所以B对;C刚好和原文说反，错。

Question 3 of 14

正确答案：A

题目解析：principal: 主要的。A是主要的;B是可能的;C是很好地保护;D是独特的，明显的。所以A的major是答案。对应原文：The researchers Peter Ucko and Andree Rosenfeld identified three principal locations of paintings in the caves of western Europe…说研咳嗽闭业搅巳鍪裁囱牡胤酱嬖谘一獾捞馊龃砦蟠鸢复ザ级裕哉飧鼍褪强咳鲜兜牧恕

Question 4 of 14

正确答案：D

题目解析：D 以magical-religious activities做关键词定位至第三个位置，inner reach和difficult to access都说明D是正确的，因为四个答案中只有D提到了hard-to-reach places。

Question 5 of 14

正确答案：D

题目解析：D trappings: 装饰。trap最常见的意思是捕猎或者陷阱，但注意trappings，而且只有复数的时候有一个意思是装饰物。

Question 6 of 14

正确答案：C

题目解析：C 原文的结构是旧石器时代的人相信blablabla，如果真是这样，blablabla。A选项缺了如果真是这样那部分，缺失重要信息，错;B也犯了同样错误，而且B还偷换了原文的陈述对象，原文说upper Paleolithic的人怎么怎么样，被B换成了现代人怎么怎么样;C正确;D刚好说反了，不是不能解释，而是这个是可能的解释，错。

Question 7 of 14

正确答案：D

题目解析：问作者解释了chips in the painted animal figures是为什么，往前找：Another explanation for the focus on animals might be that these people sought to improve their luck at hunting.找到之前的another explanation那句，说这些人把画的重点放在动物身上是为了提升自己在打猎时候的运气，所以D正确。B在倒数第二句有提到，但是这冥想是另外一个观点，从前一句的But知道，这已经和前文形成了转折，所以不是例子想要支撑的观点;AC在原文未提及。

Question 8 of 14

正确答案：B

题目解析：功能目的题，例子所在的那句说当猎物变少的时候，这样的岩画达到了高峰，往前看，之前一句说人们之所以画这样的画是因为想得到更多的猎物，所以这句话就是证明画画是想要更多的猎物，答案B正确。

Question 9 of 14

正确答案：C

题目解析：C 排除法，所有答案集中在这段的二四两句，第四句说到A和D两个答案，第二句说到B答案，原文只是说大的动物多画，没说是因为画画的人喜欢大动物的美，C没说，选。

Question 10 of 14

正确答案：A

题目解析：A 以deer和reindeer做关键词定位至原文第五句，接上题，说大的动物比诸如deer和reindeer这类小动物更多出现在岩画上，前文说因为怕那些大动物的很多方面才画，所以A对，B将两个概念杂合到一起，而且原文没说猎人对deer不感兴趣，错;9题B项说对，所以10题C项错;原文说有horn的是大型动物，不是deer，D错

Question 11 of 14

正确答案：C

题目解析：以following the upper Paleolithic做关键词定位至最后两句：But in that period, when getting food no longer depended on hunting large game animals (because they were becoming extinct), the art ceased to focus on portrayals of animals. 这句话说：当获取食物不再依赖于捕猎大型动物，这个绘画艺术就不在专注于展现动物，C正确;A错，原文并没说不画大动物之后，就转向小型动物;还是反映生活的，B错;D从来没说。

Question 12 of 14

正确答案：B

题目解析：B，以complex thought and conscious awareness做关键词定位至本段第四句，因为有个代词it，说明这句跟前面的第三句有联系，前一句的具体例子是记录月相，B正确。

Question 13 of 14

正确答案：C

题目解析：C 三个过渡点，hunting说明D选项不可能，排除掉;some other explanation说明之前必须有其他的解释，但这个没用上;第三个就是therefore所表示的因果关系;A选项后的this与上文的指代关系明显，所以A排除;B选项之前有spears thrown at drawings，之后有having been speared，过渡紧密，排除，所以只有C正确，代入发现后面果然是另外一个explanation，所以C对。

Question 14 of 14

正确答案：AEF

题目解析：文章标题暗示有几种展开方向：艺术的特点(现象描述)/艺术的发展(历史叙述)/为什么画这些艺术(现象解释) 首段说旧石器时代艺术水平高，年代久，算是背景介绍 二段进入主题，说艺术发现的3个位置。 三段说一个特点，主要画动物，给出解释，各有褒贬。 四段说两个人的观点，给出正面支持。 五段从主题引申，扯到其他艺术。 引出句概括首段内容，正确答案应概括以后各段大意。 A(researchers have proposed)选项对应整个第三段，提出了三个主要画动物的解释，正确。 B(the art)选项文章没有说，不选。 C(some researchers believe)选项文章没有说，不选。 D(the cave)选项原文没说，不选。 E(some researchers have)选项对应原文第四段，正确。 F(besides)选项对应第五段，正确.

托福阅读材料：有关房间的整理

英国一项调查显示，七成调查对象没时间在家中打扫卫生，近六成觉得家里脏乱差，自己仿佛住在“猪圈”中。

专家建议，不妨每天花几分钟清扫家中一部分，便可轻松维持整洁，更益身心健康。

七成人没时间收拾家里

清洁用品企业海绵制造公司调查名英国人的家庭卫生习惯。结果显示，大约七成调查对象没时间做除尘、扫地、清洁浴室等日常清扫工作。

调查对象中，42%从未给家里来一次全面大扫除。即便是勤快人，上一次大扫除也是在大约5个月前。

调查对象中，超过一成已至少一个月未清理浴室，另有一成一年多未熨衣服;一成至少一个月未使用真空吸尘器;5%从不擦窗户;5%上一次拖地还是一年前;5%从不洗衣服。

调查对象中，63%觉得家中卫生状况不尽如人意;60%承认自己家从来没有一尘不染的时候;57%觉得自己家仿佛“猪圈”;三分之一因家中脏乱差遭亲戚朋友批评;超过半数因家中乱糟糟与伴侣发生口角。

九成人自认讲究整洁

家中如此情况如何见人?调查发现，73%的调查对象常在客人到访前把杂物塞在垫子下或沙发后;60%锁上某间房，以免客人看到一团乱;超过两成曾因为家中一团乱而将他人拒之门外。

至于原因，超过三成认为自己太忙，实在没有时间打扫卫生;另有39%坦承自己不喜欢清扫;21%则觉得自己不善于打扫。大约四分之一的调查对象认为，相对家中卫生状况，还有更重要的事情要做。

不过，无论家中脏乱成什么样，九成调查对象认为自己是讲究整洁的人。

海绵制造公司发言人建议化整为零，利用小块时间打扫局部，积少成多。

“家庭卫生”英语怎么说?

domestic hygiene

双语例句

1. This indicated fully that public's domestic hygiene consciousness is generally high. 这充分表明，公众的家庭卫生意识普遍较高。

2. Founded in 1994 with the focus on research and development of anti-insect product for family health. 创办与1994年，专注于家庭卫生杀虫系列产品的研发、生产和经营。

3. The textile articles are sterilized by boiling or other method for personal and family hygiene. 为了个人和家庭卫生，纺织品可以通过沸煮或其它方式消毒。

4. Philips Charts Course for Future of Healthcare with Focus on Home Healthcare Solutions. 飞利浦图表为未来的医疗保健，重点是家庭卫生保健解决方案。

5. Should attach importance to the family and kindergarten children's mental health problem. 家庭和幼儿园都应重视幼儿的心理卫生问题。

托福阅读材料：超市如何“偷走”我们的钱

Do you ever wander through the grocery store and end up spending more than you were budgeting for? Don't beat yourself up over it — supermarkets actually have several different strategies to trick customers into blowing bucks. Be on the alert and watch out for the sneaky psychology tactics these stores will try to use on you.

你有过在超市里逛来逛去，最后却发现买的比预计要多吗?对此你不用自责——事实上，超市为了诱导消费者买更多东西，有很多不同的策略。对这些超市试图用在你身上的心理学诡计，你可要保持警惕。

1. 10 For $10

1. 10元钱买10样

10 for $10 sounds like a great deal. However, you'll get the same savings even if you only buy one item, according to the New York Times. A grocery store survey recently found that people bought way more items when they see 10 for $10 deals vs. five for $5 and one for $1 sales. Even if you aren't buying 10 items, your mind will trick you into thinking that the item is such a great deal that you end up buying more of it.

10元钱买10样听起来很合算，然而，据纽约时报报道，你就算只买一样也同样能省钱。最近一项针对百货店的调查发现，当人们看到“10元买10样”、“5元买5样”、“1元买一样”时，他们会买更多东西。即使你没有买十样，但你会想既然东西这么划算，那就多买一些好了。

2. Growing Carts

2. 变大的购物车

No, you're not shrinking; it's the grocery carts that are growing. The larger the cart, the more likely you'll end up spending more, so try to stick to a hand basket instead.

不，不是你在缩小，是超市的购物车在变大。购物车越大，你就越有可能消费得更多，所以你还是拿手提篮子吧。

3. Pre-Cut Vegetables and Fruits

3. 事先切好的蔬菜和水果

Pre-cut veggies look so attractive, with their colorful packaging and its promise of less work (no need to wash or chop!). However, they aren't exactly a good deal. Consumer Reports found that pre-cut veggies and fruits can be a lot more expensive than the whole items. The team noted that a $1.50 six-ounce bag of shredded carrots costs about five times more than a similar amount of whole carrots.Not to mention, these pre-cut veggies and fruits go bad faster than their whole counterparts.

事先切好的蔬菜看起来很诱人，有色彩鲜艳的包装，并且也省去我们不少功夫(不需要清洗和切了)。然而，他们却并不划算。消费者报告发现事先切好的蔬菜和水果要比未经处理的贵不少。该报告指出，一包1.5美元切好的6盎司胡萝卜比没切过的要贵5倍。更不用说这些处理好的蔬菜水果，比那些完整的坏得更快。

4. Items at the Checkout Counter

4. 收银台前的商品

Ever wonder why all those magazines and yummy candy are crammed in the front of checkout counters? It's one of the supermarket's tricks to get you to succumb to last-minute purchases while you're waiting in line.

你有想过为什么这些杂志和美味的糖果都摆在收银台前卖吗?这是超市的诡计之一，当你排队等候时，还能抓住最后的机会让你买东西。

5. Where Is Everything?

5. 东西摆在哪?

You think you have the layout of your local supermarket down pat when you find out they changed shelves again! The stores are actually doing it on purpose, because if you don't know where the items are, you'll end up spending more time in the store. More time to browse means more chances to tempt you into buying more items.

当你认为对超市布局了如指掌时，他们又把货架换了地方!事实上，超市是有意这样做的，因为如果你不知道东西在哪儿，就要花更多时间在超市里找，找的时间越长，就越可能诱惑你买更多东西。

托福阅读材料之情侣之间爱意的表达与健康的关系

Good news, lovebirds! If you're planning to celebrate with your Valentine in the coming weeks, get ready to toast to your health.

情侣们，好消息来啦!如果已经计划和另一半共度即将到来的情人节，这要是提升健康的好机会哦。

Earlier this week, a researcher at the Medical University of Vienna spread some good news in honor of National Hug Day. He pointed out that hugging someone you care about can ease stress and anxiety, lower blood pressure and even boost memory.

本周初，维也纳医药大学的研究者为纪念全国拥抱日公布了这个好消息，研究指出拥抱你关心的人能减轻压力和焦虑，降低血压甚至提高记忆力。

While the association between hugging and your health isn't new, it's especially relevant this time of year -- with Valentine's Day on the horizon and many couples hurrying to cuddle away the frigid temperatures sweeping across much of the nation.

拥抱和健康之间的联系早已不是什么新闻了，尤其到了每年这个时候——情人节在即，全国范围内的众多情侣们也会急于用拥抱来温暖这个冬天。

Experts believe it all comes back to the hormone oxytocin. A simple embrace seems to increase levels of the “love hormone,” which has been linked to social bonding.

专家们认为这全是荷尔蒙催产素的功劳。简单的拥抱能提升这种被称为“爱的荷尔蒙”的指数，此荷尔蒙与社交也密切相关。

That oxytocin boost seems to have a greater calming effect on women than men, the BBC reported. In one study, the stress-reducing effects of a brief hug in the morning carried throughout a tough work day, USA Today reported.

BBC报道称，催产素的增加似乎对女性更有镇静的效果。今日美国报道称一项研究显示清晨的一个简单拥抱能起到持续一天减压的效果。

Perhaps the best news of all is that hugging isn't the only way getting close to your Valentine can boost your health. A few others also have big benefits:

当然，拥抱并不是情人节时提高健康的唯一办法，下面这些同样也有大好处哦：

Cuddling

搂抱

Call it an extended hug -- cuddling also releases stress-easing oxytocin, which can reduce blood pressure and bond you with your mate. But you may not have guessed that a little cuddle time can help you and your partner communicate better. “Non-verbal communication can be a very powerful way to say to your partner, 'I get you,'” marriage and family therapist David Klow told Shape magazine. “Cuddling is a way of saying, 'I know how you feel.' It allows us to feel known by our partner in ways that words can't convey.”

这是拥抱的加长版，同样能释放降压的催产素，能降低血压同时让你俩更亲密。你绝对想不到稍稍拥抱一会还能促进你俩之间的交流吧。婚姻与家庭临床专家David Kolw对Shape杂志表示：非言语交流也是告诉另一半“我拥有你”的最有力的方式。拥抱也是交流的一种方式，“我能理解你的感受”，这让我们能感受到另一半身上某些无法用言语表达的东西。

Talking

交谈

Speaking of communication -- even just spending time together without touching can put you at ease and lower blood pressure, compared to spending time with someone less significant, according to the BBC. Not to mention that making the effort to communicate openly can only strengthen your relationship.

说到交流，根据BBC的报道，相较于和那些不是很重要的人在一起而言，和伴侣在一起也能让你感到平静，即使不相互触摸也能降低血压，而畅所欲言的交谈更是可以期待加强感情的效果。

Kissing

亲吻

Of course, kissing has also been shown to affect oxytocin and cortisol levels, and, just like hugging and cuddling, can reduce stress. But one of the more surprising pros of puckering up is a cleaner kisser. The increase in saliva production that comes along with a smooch can wash bacteria off teeth and help fight plaque buildup.

和拥抱、搂抱一样，亲吻当然也能对催产素和皮质醇指数起到影响，能减轻压力。但最重要的优点之一还在于能清洁口腔。唾液分泌的增加能清扫牙齿表面的细菌，帮助血小板的形成。

Sex

滚床单

In addition to relaxing you and burning some calories, some time between the sheets can help you fight off germs. As long as your partner isn't already sick, a couple of sexy escapades a week can boost a particular antibody that fights off colds, according to a study. Sex may also promote better sleep, thanks to both the relaxing effects of that oxytocin and an increase in a hormone called prolactin, which is normally higher during sleep, according to Women's Health.

除去放松和燃烧脂肪，不时的滚滚床单还能帮你对抗细菌哦。的研究显示，只要你的伴侣没有生病，一周几次的滚床单能提高一种特定抵抗感冒的抗体。根据《女性健康》杂志的报道，由于催产素的放松效果，以及催乳激素(睡眠时一种指数较高的激素)的增加，滚床单还能提高睡眠质量。

TPO4托福阅读Passage2原文+题目+答案解析

篇4：托福TPO19阅读原文+题目+答案解析-Succession,Climax,andEcosystems

为了帮助更多的 托福 考生们进行备考，特整理了关于托福TPO阅读部分，托福TPO是托福考生的必备资料，涵盖了历年考试的大量题型，帮助考生们提升高效备考效率。 下面一起来看看托福TPO19阅读原文+题目+答案解析-Succession, Climax, and Ecosystems。

托福TPO19阅读原文+题目+答案解析-Succession, Climax, and Ecosystems

1.According to paragraph 2, which of the following is a criticism of Clements' view of succession?

A. The principles of succession are more lawlike than Clements thought they are.

B. More evidence is needed to establish Clements’ predictions about succession.

C. The details of succession are affected by random processes.

D. Many of the factors that determine which plants will grow in an environment, such as the nature of the soil and the exposure to sun, do not change at all.

正确答案：C

题目解析：

C 本段较短，可以快速扫完，也可以用人名和succession做关键词定位至最后一句，说很多因素都可以影响succession，所以正确答案是C。D提到了many factors，但change是原文没说的，错;A的比较原文没说，错;B是最具有迷惑性的选项，因为原文说没有被证实，也就是已经建立了只是没证实，但B说需要更多证据来建立Clemens的预测，也就是没建立，而且预测也不对，所以A错。

2.The word “substantiated” in the passage is closest in meaning to

A. confirmed

B. noticed

C. defined

D. publicized

正确答案：A

题目解析：

A substantiate: 证实，确认。A是确证;B是发现;C是定义;D是宣传。所以正确答案是A的confirm。

3.The word “trend” in the passage is closest in meaning to

A. probability

B. picture

C. lawlike regularity

D. tendency

正确答案：D

题目解析：

D, trend: 趋势。A是可能性;B是图片，景色;C是想法律一样的规则性;D是趋势。所以D的tendency正确。

4.The word “likewise” in the passage is closest in meaning to

A. sometimes

B. similarly

C. apparently

D. consequently

正确答案：B

题目解析：

B likewise: 同样地，此外。A是有时候;相似的;明显的;因此，结果。所以B的similarly是正确答案。

5.The word “legitimately” in the passage is closest in meaning to

A. commonly

B. broadly

C. properly

D. officially

正确答案：C

题目解析：

C 这道题很多同学误选D. 其实，C properly 更好。前句说一些学者接受Clements， 对于climax的concept, 但拒绝C对于climax作为superorganism特征的概括。然后做了一个对比区分。An ant colony may be legitimately called a superorganism…. But there is no evidence for such an interacting communicative network in a climax plant formation. 这个对比区分的是两个范畴，动物的和植物的。如果把legitimately 理解为officially, formally,应该只举一个植物范畴的例子，构成“正式、官方、权威”和实际情况的转折。现在是两个范畴的对比，应该理解成： 一个领域“合理，有道理，正确”，另外一个领域“没有证据，没有道理”

6.According to paragraph 4, why do many authors prefer the term “association” to “community” when describing a climax plant formation?

A. Because the term “association” does not suggest the presence of a tight network involving interactive communication.

B. Because the term “association” indicates that the grouping is not necessarily beneficial to all members.

C. Because the term “community” indicates continuing dynamic development that a climax formation does not have.

D. Because the term “community” suggests an organization that has been designed for a specific purpose

正确答案：A

题目解析：

A 细节题题，先读修辞点所在句子，in order to告诉你这句话中就含有目的了，将in order to后面的内容读了就找到答案，原句说为了强调这种互动的松散性，很多作者更愿意使用association，原文都说了是为了强调松散性，所以答案是A，不存在紧的network。B的beneficial to all members，C的dynamic development和D的specific purpose原文都没说。

7.In paragraph 5, the author challenges the idea of a “biome” by noting that

A. there are usually no very strong connections among the plants and animals living in a place

B. plants and animals respond in the same way to the same circumstances

C. particular combinations of flora and fauna do not generally come about purely by chance

D. some animals are dependent on specific kinds of plants for food

正确答案：A

题目解析：

A 以biome做关键词定位至第二句，由于这句只是给出了biome的概念，没有challenge，所以往下看，下句说尽管有些动物与植物的关系是紧密的，但还是不能说biome，比如他们之间没有internal cohesion，所以答案是A，动植物之间没有紧密关系。B和C原文都没讲;D的food原文也没说，而且D也不是challenge上文提到的概念的，所以不对。

8.Why does the author make the statement, “Indeed, there are vast areas of spruce forest without moose” ?

A. To highlight a fact whose significance the ecologist Herbert Gleason had missed

B. To propose the idea that a spruce forest is by itself a superorganism

C. To emphasize that moose are not limited to a single kind of environment

D. To criticize the idea of a spruce-moose biome

正确答案：D

题目解析：

D 修辞目的题，修辞点就是一个句子，所以看前一句，前句说spruce种群不受moose是否存在的影响，依然还是一个例子，所以看中心句，注意这段文字的中心句不是第一句，而是上一题中提到的第二句，说spruce-moose biome是不对的，所以答案是D。

9.The word “initiated” in the passage is closest in meaning to

A. approved

B. identified

C. started

D. foreseen

正确答案：C

题目解析：

C initiate: 开始，首创。A是同意;B是核实;C是开始;D是预见。所以正确答案是C的started。

10.According to paragraph 5, Gleason’s opposition to the Clementsian views of plant ecology was based on the claim that plant species grow in places where

A. they can enter into mutually beneficial relationships with other species

B. conditions suit them, regardless of whether particular other species are present

C. habitats are available for a wide variety of plant and animal species

D. their requirements are met, and those of most other species are not

正确答案：B

题目解析：

B 以Christian和species做关键词定位至最后两句，倒数第二句说反对，最后一句说反对的原因，物种的分布取决于环境，只是自身生态学的结果。也就是跟其他物种无关，所以答案是B。既然说跟其他物种无关，A和D就不对，C也说了大量物种，与原文不同。

11.Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.

A. Unlike the terms “climax”, “biome,” and “superorganism,” which refer to the particular association of plants and animals at a given location, the term “ecosystem” refers specifically to the physical factors within an environment.

B. The terms “climax,” “biome,” “superorganism,” and “ecosystem” all refer to the system of plants and animals in an associated environment, but some are more controversial than others.

C. When the older terms of ecology became too technical, they were replaced by the more popular and more widely used term “ecosystem.”

D. The term “ecosystem” gradually replaced discredited terms for the combination of a physical environment and the plants and animals living together in it.

正确答案：D

题目解析：

D原句当中的with结构是非主要成分，主要成分是：采用了ecosystem形容生物和环境的associated system，正确答案D。A的后半句错，eco不是单只physical factor，而是系统;B和C都错在将原句的主干和非主干混合，不选。

12.According to paragraph 6, what did ecologists mainly study when the ecosystem concept was the dominant paradigm?

A. The physical factors present in different environments

B. The typical activities of animals and the effect of those activities on plants

C. The rates at which ecosystems changed from one kind to another

D. The flow of energy and matter through ecosystems

正确答案：D

题目解析：

D，以ecologist做关键词定位至最后一句，说生态学家最关注的是特定生态系统里物质与能量的传递及其速率，所以答案是D。A和B都没说，C的rate原文有说，但原文说的是物质和能量传递的速率，不是答案说的ecosystem改变的速率，所以C错。

13.Look at the four squares [■] that indicate where the following sentence could be added to the passage. Where would the sentence best fit ?

They may be more interested in researching, for example, the adaptations that some aquatic animals undergo to survive in dry desert environments..

正确答案：C

题目解析：

C 两个过渡点，代词they和名词adaption，从名词adaption可以得出B或者C正确;代词they指的是倒数第二句中的younger ecologists，所以they应该放在名词之后，所以B错C对。

14.Directions: An introductory sentence for a brief summary of the passage is provied below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points. The study of the combination of plant species that inhabit a particular locality became a scientific discipline toward the end of the nineteenth century.

A.Areas that are recovering from serious disturbances like volcanic eruptions and heavy floods provide special opportunities to observe the development of plant communities.

B.Whether a given species will be found in a given ecosystem strongly depends on what other species it would interact with in that ecosystem.

C.Computer-aided studies of entire system of associated organisms together with their environment provide a solid basis for current studies of specific ecological problems.

D.According to the earliest theories of ecology, the development of plant communities proceeds in lawlike fashion and results in stable climax communities.

E.The idea of associations of plants and animals that function as “superorganisms” was later rejected by biologists who saw no strong evidence in support of that idea.

F.The once popular idea of communities as integrated ecosystems has been largely rejected by modern ecologists, who are more interested in problems involving behavior and adaptations.

正确答案：DEF

题目解析：

D.E.F Areas选项MS是第一段中的一个细节，但提供研究机会原文完全没讲，不选。Whether选项与第五段的最后一句相反，不选.Computer选项与第七段第三句说反，而且即使说对也是个细节，不选.According选项对应原文第二和第三段的首句，正确.The idea选项对应原文第四段第二句，正确.The once选项对应原文第七段第一句，正确.

新托福阅读背景知识：麦克米兰计划

The McMillan Plan

As the city approached its centennial; there was a call to develop a comprehensive park system for the city. As early as 1898, a committee was formed to meet with President William McKinley to propose the erection of a monument to commemorate the centennial of the city. A joint committee formed by Congress held its first meeting in February 1900 with Senator James McMillan of Michigan as chairman, and Charles Moore as secretary. At the same time, plans were put forward for the development of a Mall which would include the newly reclaimed Potomac Flats. As the bureaucracy planned for the centennial, the American Institute of Architects (AIA) joined the fray. AIA leaders envisioned the nation's capital as the perfect place for the group to express the ideals of the City Beautiful movement promoted by the 1893 World's Columbian Exposition in Chicago. The architect of this pivotal fair designed Beaux Arts Classical architecture in a grand and ordered civic space.

When the Senate Commission was formed in 1901 to explore and plan the design of the city, the project then encompassed the historic core. The illustrious committee was comprised of Daniel Burnham, a visionary of the World's Columbian Exposition, as well as landscape architect Frederick Law Olmsted, Jr., architect Charles F.McKim, and sculptor Augustus St. Gardens.

Foremost in the minds of these men was the amazing foresight and genius of Pierre L'Enfant. The committee lamented the fragmented Mall marred by a railroad station and focused upon restoring it to the uninterrupted greensward envisioned by L'Enfant. In total, the forward-looking plans made by the McMillan Commission called for: re-landscaping the ceremonial core, consisting of the Capitol Grounds and Mall, including new extensions west and south of the Washington Monument; consolidating city railways and alleviating at-grade crossings; clearing slums; designing a coordinated municipal office complex in the triangle formed by Pennsylvanian Avenue, 15th Street, and the Mall, and establishing a comprehensive recreation and park system that would preserve the ring of Civil War fortifications around the city.

To protect the new goals introduced by the McMillan study, the AIA appealed to President Theodore Roosevelt to form a fine arts commission. Established by Congress in 1910 during the Taft Administration, the Commission of Fine Arts (CFA) was created as a consulting organization to the government on the design of bridges, parks, paintings, and other artistic matters; an executive order later that year added the design review of all public buildings.

Influenced by the designs of several European cities and 18th century gardens such as France's Palace of Versailles, the plan of Washington, DC was symbolic and innovative for the new nation. Only limited changes were made to the historic city-bounded by Florida Avenue on the north and the waterways on the east, west and south-until after the Civil War. The foremost manipulation of L’Enfant plan began in the 19th century, and was codified in 1901 when the McMillan Commission directed urban improvements that resulted in the most elegant example of City Beautiful tenets in the nation. L’Enfant plan was magnified and expanded during the early decades of the 20th century with the reclamation of land for waterfront parks, parkways, an improved Mall and new monuments and vistas. Two hundred years since its design, the integrity of the plan of Washington is largely unimpaired-boasting a legal enforced height restriction, landscaped parks, wide avenues, and open space allowing intended vistas. Constant vigilance is needed by the agencies responsible for design review, it their charge to continue the vision of L'Enfant.

新托福阅读背景知识：伟大的民主诗人怠特曼

伟大的民主诗人怠特曼

美国19世纪的民主精神在惠特曼的《草叶集》(1855)里得到充分发挥。他以丰富、博大、包罗万象的气魄反映了广大劳动群众在民主革命时期的乐观向上精神。他歌颂劳动，歌颂大自然，歌颂物质文明，歌颂“个人”的理想形象;他的歌颂渗透着对人类的广泛的爱。诗人以豪迈、粗犷的气概蔑视蓄奴制和一切不符合自由民主理想的社会现象。他那种奔放的自由诗体，同他的思想内容一样，也是文学史上的创新，产生了广泛的影响。

新托福阅读背景知识：钟乳石的形成

关于钟乳石的形成

石灰岩洞中的钟乳石、石笋是怎样形成的

桂林是世界闻名的风景区，山奇水秀，风景美丽，因此自古就有“桂林山水甲天下”之称。桂林除山水美之外，还有更具特色的石灰岩洞，七星岩是比较有代表性的溶洞。洞内到处悬垂着美丽的钟乳石，有的像累累的果实，有的像盛开的花朵。与之相对应的石笋拔地而起，一个个像春天从地面下“冒”出来的竹笋。

那么这些奇丽的钟乳石和石笋是怎样形成的呢?

原来“盛产”钟乳石和石笋的溶洞都是石灰岩构成的。洞顶有很多的裂隙，每一处裂隙里都有水滴渗透出来。每当水分蒸发掉后，那里就会留下一些石灰质的沉淀，日积月累，天长日久洞顶上的石灰质愈积愈多，终于形成了乳头。以后，乳头外面又包起一层石灰质，以至越垂越长，就形成了姿态万千的钟乳石。

石笋其实就是钟乳石的孪生兄弟。当洞顶上的水滴落下来时，石灰质也在地面上沉积起来，就这样石笋对着钟乳石向上长起来，若是说钟乳石是“兄长”，那石笋就是“孪生弟弟”了。

而石笋底盘大，本身比较稳定不易折断，所以它比钟乳石的生长速度还要快，还要粗壮呢。

托福TPO19阅读原文+题目+答案解析-Succession, Climax, and Ecosystems

篇5：托福tpo47阅读第答案及原文题目

托福tpo47阅读第一篇答案及原文题目

Roman Cultural Influence on Britain

After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been available. The flooding of Britain with red-gloss pottery form Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province.

In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identify of the Roman world.

Such examples established a standard to be copied. One result was an influx of craft worker, particularly those skilled in artistic media like stone-carving which had not existed before the conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of

Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widerspread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.

This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.

Passage1

After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been

available. The flooding of Britain with red-gloss pottery form Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province.

1. The word “mundane” in the passage is closest in meaning to

A. material

B. ordinary

C. valued

D. useful

2. Paragraph 1 suggests that one benefit for British natives in buying such items as red-gloss pottery made in Gaul was

A. improved quality of utilitarian items

B. Understanding the symbolism of Classical mythology

C. higher social standing

D. Learning to mass-produce pottery for a profit

3. Paragraph 1 supports which of the following ideas about contacts that existed between Britain and the Roman Empire before the Roman conquest of Britain?

A. They were sufficient for native Britons to become familiar with everyday Roman objects.

B. They were not sufficient for even very basic aspects of the culture of the Roman Empire to find their way into British life.

C. They were not sufficient for British to have heard of the power of the Roman Empire.

D. They were sufficient for individual Britons to become very interested in trying to participate in the culture of the Roman Empire.

Passage 2

In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identify of the Roman world.

4. The word “lavishly” in the passage is closest in meaning to

A. exclusively

B. additionally

C. appropriately

D. richly

5. According to paragraph 2, the style and furnishings of the Fishbourne villa suggest that the person for whom it was built was

A. cultured according to the contemporary standards of the empire

B. caught between native and Roman traditions

C. originally a visitor from Rome

D. a member of a socially inferior family

Passage 3

Such examples established a standard to be copied. One result was an influx of craft worker, particularly those skilled in artistic media like stone-carving which had not existed before the

conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widerspread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.

6. The word “sacred” in the passage is closet in meaning to

A. holy

B. ancient

C. natural

D. Secret

7. According to paragraph 3, one factor contributing to success of the earliest Roman-style construction projects in Britain was

A. the fact that long before the conquest many civilian workers from Gaul and Germany had settled in Britain

B. the rapid development of characteristically Romano-British styles

C. the availability, in northeast Gaul, of structures that could serve as standards to be copied

D. the use, by administrators, of personal connections to bring craft workers form Gaul into contact with Britons

Passage 4

This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.

8. In paragraph 4, why does the author mention that “Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region”?

A. To suggest that the Roman conquest of Britain increased the standard of living for natives

B. To indicate that pre-Roman Britain was more interested in festivals and community life than conquering other regions

C. To explain why architecture during this period was not built to be particularly large

D. To illustrate how the traditional roundhouse evolved under the influence of Roman civil architecture

9. The word “modest” in the passage in closet in meaning to

A. comfortable

B. limited in number

C. poorly lit

D. not large

10. According to paragraph 4, people in pre-Roman Britain lived, for the most part, in

A. architecture that seemed imperial in size

B. small communities

C. large roundhouses

D. fortified towns

11. According to paragraph 4, why did straight lines in buildings and settlements emphasize the dominance of those who introduced them ?

A. Because straight lines were in contrast to the shapes found in pre-Roman architecture

B. Because unlike curved lines, which are shaped in all sorts of different ways, straight lines do no differ

C. Because the dominant lines in entire settlements were the same as those in individual buildings

D. Because building and settlements were easier to construct when the dominant lines were straight lines

12. According to paragraph 4, buildings from the pre-Roman period differed sharply from buildings reflection Roman civil architecture in each of the following respects EXCEPT

A. their outside and inside dimensions

B. the impact they had on people

C. the geometric shapes in which they were built

D. the positioning of buildings in clusters

13. Look at the four squares [■] that indicate where the following sentence could be added to the passage.

Practical and unimpressive, most were barely taller than the average adult.

Where would the sentence best fit? Click on a square [■] to add the sentence to the passage.

This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals,

but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. [■] But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. [■] This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. [■] Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.[■]

14. Directions: An introductory sentence for a brief summary of the passage is provided below.Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 3 points.

Drag your answer choices to the spaces where they belong. To remove an answer choice, click on it.

To review the passage, click VIEW TEXT.

The conquest of Britain by the Roman Empire resulted in significant cultural change.

Answer Choices

A. New objects entering Britain ranged from mass-produced articles for everyday use to works of art, and they were widely-and enthusiastically-accepted by native Britons.

B. Constructing and furnishing buildings in the Roman style required skills that native workers did not at first have, so workers were brought in from other parts of the empire.

C. Native Britons traveled to Gaul to learn Classical stone-carving and building techniques.

D. The conquest was followed by a building boom, and enough villas and temples in the Italian style were built that a visitor from Rome would have felt quite at home in post-conquest Britain.

E. An important symbol of Roman supremacy was Roman architecture, whose enormous size, emphasized by the use of straight lines, made the natives feel insignificant.

F. Characteristically Romano-British concepts took hold in architecture; roundhouses were built much larger than before, and straight lines began to be used in interior spaces.是托福考试中很重要的一部分，考生们想要提高托福阅读的分数离不开平时的练习，其中托福tpo系列便是很好的复习资料。今天智课网给大家带来了托福tpo47阅读第一篇答案及原文题目，希望大家可以认真练习，这样才能在托福考试中取得理想的成绩。

Roman Cultural Influence on Britain

After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been available. The flooding of Britain with red-gloss pottery form Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province.

In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identify of the Roman world.

Such examples established a standard to be copied. One result was an influx of craft worker, particularly those skilled in artistic media like stone-carving which had not existed before the conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of

Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widerspread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.

This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.

Passage1

After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been

available. The flooding of Britain with red-gloss pottery form Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province.

1. The word “mundane” in the passage is closest in meaning to

A. material

B. ordinary

C. valued

D. useful

2. Paragraph 1 suggests that one benefit for British natives in buying such items as red-gloss pottery made in Gaul was

A. improved quality of utilitarian items

B. Understanding the symbolism of Classical mythology

C. higher social standing

D. Learning to mass-produce pottery for a profit

3. Paragraph 1 supports which of the following ideas about contacts that existed between Britain and the Roman Empire before the Roman conquest of Britain?

A. They were sufficient for native Britons to become familiar with everyday Roman objects.

B. They were not sufficient for even very basic aspects of the culture of the Roman Empire to find their way into British life.

C. They were not sufficient for British to have heard of the power of the Roman Empire.

D. They were sufficient for individual Britons to become very interested in trying to participate in the culture of the Roman Empire.

Passage 2

In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identify of the Roman world.

4. The word “lavishly” in the passage is closest in meaning to

A. exclusively

B. additionally

C. appropriately

D. richly

5. According to paragraph 2, the style and furnishings of the Fishbourne villa suggest that the person for whom it was built was

A. cultured according to the contemporary standards of the empire

B. caught between native and Roman traditions

C. originally a visitor from Rome

D. a member of a socially inferior family

Passage 3

Such examples established a standard to be copied. One result was an influx of craft worker, particularly those skilled in artistic media like stone-carving which had not existed before the

conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widerspread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.

6. The word “sacred” in the passage is closet in meaning to

A. holy

B. ancient

C. natural

D. Secret

7. According to paragraph 3, one factor contributing to success of the earliest Roman-style construction projects in Britain was

A. the fact that long before the conquest many civilian workers from Gaul and Germany had settled in Britain

B. the rapid development of characteristically Romano-British styles

C. the availability, in northeast Gaul, of structures that could serve as standards to be copied

D. the use, by administrators, of personal connections to bring craft workers form Gaul into contact with Britons

Passage 4

This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.

8. In paragraph 4, why does the author mention that “Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region”?

A. To suggest that the Roman conquest of Britain increased the standard of living for natives

B. To indicate that pre-Roman Britain was more interested in festivals and community life than conquering other regions

C. To explain why architecture during this period was not built to be particularly large

D. To illustrate how the traditional roundhouse evolved under the influence of Roman civil architecture

9. The word “modest” in the passage in closet in meaning to

A. comfortable

B. limited in number

C. poorly lit

D. not large

10. According to paragraph 4, people in pre-Roman Britain lived, for the most part, in

A. architecture that seemed imperial in size

B. small communities

C. large roundhouses

D. fortified towns

11. According to paragraph 4, why did straight lines in buildings and settlements emphasize the dominance of those who introduced them ?

A. Because straight lines were in contrast to the shapes found in pre-Roman architecture

B. Because unlike curved lines, which are shaped in all sorts of different ways, straight lines do no differ

C. Because the dominant lines in entire settlements were the same as those in individual buildings

D. Because building and settlements were easier to construct when the dominant lines were straight lines

12. According to paragraph 4, buildings from the pre-Roman period differed sharply from buildings reflection Roman civil architecture in each of the following respects EXCEPT

A. their outside and inside dimensions

B. the impact they had on people

C. the geometric shapes in which they were built

D. the positioning of buildings in clusters

13. Look at the four squares [■] that indicate where the following sentence could be added to the passage.

Practical and unimpressive, most were barely taller than the average adult.

Where would the sentence best fit? Click on a square [■] to add the sentence to the passage.

This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals,

but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. [■] But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. [■] This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. [■] Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.[■]

14. Directions: An introductory sentence for a brief summary of the passage is provided below.Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 3 points.

Drag your answer choices to the spaces where they belong. To remove an answer choice, click on it.

To review the passage, click VIEW TEXT.

The conquest of Britain by the Roman Empire resulted in significant cultural change.

Answer Choices

A. New objects entering Britain ranged from mass-produced articles for everyday use to works of art, and they were widely-and enthusiastically-accepted by native Britons.

B. Constructing and furnishing buildings in the Roman style required skills that native workers did not at first have, so workers were brought in from other parts of the empire.

C. Native Britons traveled to Gaul to learn Classical stone-carving and building techniques.

D. The conquest was followed by a building boom, and enough villas and temples in the Italian style were built that a visitor from Rome would have felt quite at home in post-conquest Britain.

E. An important symbol of Roman supremacy was Roman architecture, whose enormous size, emphasized by the use of straight lines, made the natives feel insignificant.

F. Characteristically Romano-British concepts took hold in architecture; roundhouses were built much larger than before, and straight lines began to be used in interior spaces.

1-5.BCBDA 6-10.ADCDB 11-13.ADA 14.ABE

新托福阅读背景知识：垮掉的一代

“垮掉的一代”

50年代沉闷的政治空气使许多青年感到窒息，他们吸毒、群居，以颓唐、放纵的生活方式来表示自己的抗议。其中有些人把这种生活与情绪写入文学作品，这便是“垮掉的一代”文学。这种文学发展到60年代后，在国内民主运动高涨的背景下，增加了一些政治色彩。但是对他们中许多人来说，东方宗教与东方哲学更具有吸引力。“垮掉的一代”在诗歌创作方面较有生气，并恢复了美国诗歌朗诵的传统。

新托福阅读背景知识：黑色幽默

“黑色幽默”

进入60年代之后，人们对生活中的“非理性”和“异化”现象，有了更深切的体会。有些作家在作品中，用夸张、超现实的手法，将欢乐与痛苦、可笑与可怖、柔情与残酷、荒.唐古怪与一本正经揉和在一起，使读者哭笑不得，感到不安，从而对生活能有更深一层的认识。作者对世界前景的看法往往是悲观的。这就是“黑色幽默”文学，代表作有海勒的《第二十二条军规》(1961)等。有人将阿尔比的作品也列入“黑色幽默”派中。阿尔比是美国荒诞派戏剧的代表人物。他的喜剧并没有什么滑稽、幽默的成分，但是在使读者感到不安这一点上与“黑色幽默”一致。这说明荒诞派戏 剧与“黑色幽默”小说之间存在着血缘关系。

篇6：TPO53托福阅读Passage2原文及答案解析

Sounds In The Film

Listen to part of a lecture in a film studies class.

Professor: Nowadays we take sound in films for granted. I mean you still might see black and white films occasionally. But you'll hardly ever see silent films anymore.

So it's interesting to note that the use of recorded sound was originally controversial. And some directors, uh, some filmmakers even thought it shouldn't be used, that it would destroy the purity of cinema, somehow reverse all the progress that had been made in the art of cinema. Abby?

Abby: What about all the sounds you hear in some silent movies? Like, you know, a loud sound when somebody falls down or something?

Professor: Okay, you're talking about a soundtrack added much later, which has over time become part of the film we know. But this recorded track didn't exist then.

And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater.

Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common.

Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action, an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise.

So, it finally became possible to play recorded sound as part of the film in the 1920s. Trouble was, it wasn't always used to very good effect. First it was, you know, amazing to see somebody's mouth move at the same time you hear the words, or hear a door close when you see it closing on screen.

But that luster wears off, of course. And if you're a director, a filmmaker, what's the next step?

Abby: Well, you sound to enhance the movie right? Bring something more to it that wasn’t possible?

Professor: Yes. That’s exactly what directors, who were more interested in cinema as art, not commerce, were thinking.

But they also predicted that there would be a problem that sound would be misused and, boy, was it ever.Because the commercial types, the producers and so on, were thinking, “Okay. Now that sound is possible, let's talk as much as possible and forget about the fact that we're making a movie, that we have this powerful visual medium.”

So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. The name they used for sound films then was “talking films” and that was on the mark, since, well, all they pretty much did was talk and talk.

So, remedy? Well what was proposed by a number of filmmakers and theorists was the creative expressive use of sound, what they generally called nonsynchronous sound.

Okay, synchronous sound means basically that what we hear is what we see. Everything on the soundtrack is seen on the screen. And everything was recorded simultaneously, which… Well, since the sound technicians working on films often had experience with live radio that made sense to them. Recording the sound separately and adding it in afterward? Well, that idea was less obvious.

Anyway synchronous sound means the source of the sound is the image on the screen.Nonsynchronous sound then is…

Abby: The sound doesn't match the picture?

Professor: Right. Now we can look at this in various ways. But let's take it as literally as possible.

Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous.

So, that doesn't seem so radical, does it? But again, those early producers didn't think their audiences could keep up with this.

Abby: Excuse me, but did you say earlier that some filmmakers actually advocated not using sound at all?

Professor: Well, yes. But that was a bit of an exaggeration, I guess. What I meant to say was that some filmmakers thought that the way the film sound was actually used was setting the art of filmmaking back.But everyone agreed that sounds solved some very difficult issues and offered potentially exciting tools.

TPO53托福阅读Passage2题目

Question 1 of 5

What is the lecture mainly about?

A. The influence of theater on early sound films

B. Conflicting views on uses of sound during the early days of sound films

C. The great progress in cinema after the development of sound

D. Viewer reactions to early sound films

Question 2 of 5

According to the professor, what types of sound were used in silent film theaters? Click on 3 answers

A. Live music performed in the theater

B. Sound effects created in the theater

C. Recorded sound tracks played with the film

D. Live narration during the film

E. Musical entertainment offered before the film

Question 3 of 5

What is the professor's attitude toward early movie producers?

A. He is critical of their influence on films.

B. He thinks they had little influence on films.

C. He thinks they understood what audiences wanted.

D. He acknowledges that they made progress possible.

Question 4 of 5

According to the professor, what was characteristic of sound films in the 1920s?

A. Dialogues between characters were kept to a minimum.

B. Many films were closely based on theater plays.

C. Musical sound tracks were added to most films.

D. Sounds were recorded separately and added to films later.

Question 5 of 5

What is an example of synchronous sound in a film?

A. A character hearing a train that is not visible

B. A past conversation being replayed in a character's mind

C. A character playing guitar and singing on screen

D. A song playing at the end of a film as credits appear on the screen

篇7：TPO53托福阅读Passage2原文及答案解析

正确答案：B

题目解析：本题定位到原文：So it's interesting to note that the use of recorded sound was originally controversial. 此处原文的大意是：我们不妨来说说声音最开始应用的时候是怎样有争议的。 题干问的是这个讲座的大意是什么。 选项A的意思是电影院对于早期有声电影的影响，选项B的意思是早期有声电影的声音使用中的争论，选项C的意思是在声音发展之后电影的巨大进步，选项D的意思是观看者对于早期有声电影的反应。只有选项B符合原文，其余三个选项都不合适。

正确答案：ABD

题目解析：本题定位到原文：And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater. ...... Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common. ...... Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action. 此处原文的大意是： 1. 以前的电影不是不需要声音，而是技术没有发展到可以加进声音的程度，而且当时还有现场演奏; 2. 剧院里已经使用了很好声音效果很长时间了; 3. 电影播放现场会有配音演员现场发声; 题干问的是默片剧院会使用怎样的声音。 选项A的意思是现场音乐演奏，选项B的意思是剧院里创造出来的音效，选项C的意思是录制好的声音，选项D的意思是电影里的现场旁白，选项E的意思是电影之前的音乐演出。选项ABD符合原文。其余两个则不符合。

正确答案：A

题目解析：本题定位到原文：an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise. 此处原文的大意是：这一点很好地例证了当时绝多数情况下只顾挣钱的影片制作人，对自己的观众没信心，担心不这么做，观众就看不懂电影了。题干问的是教授对于早期电影制作人的态度。 选项A的意思是他对他们在电影上的影响持批判的态度，选项B的意思是他觉得他们没有影响电影，选项C的意思是他觉得他们能理解观众需要的东西，选项D的意思是他认为他们可能会有进步。只有选项A合适，其余三个选项均不符合原文。

正确答案：B

题目解析：本题定位到原文：So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. 此处原文的大意是：因此，代的电影基本上都是直接从舞台(也就是剧院)里成功的戏剧直接转换过来的。 题干问的是二十世纪二十年代有声电影的特征是什么。选项A的意思是角色之间的对话最少，选项B的意思是很多电影是紧紧基于戏剧的，选项C的意思是音乐被添加到了大多数电影里，选项D的意思是声音被单独录制然后后期加进电影里。选项B合适原文，其余三个选项均不合适。

正确答案：C

题目解析：本题定位到原文：Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous. 此处原文的大意是：除非我们看到无线电或者管弦乐队，音乐就是“非同步声”。如果摄像机拍到的是听众，而不是演讲者，那就是“非同步声”。如果我们听到的不在屏幕上的背景音，那就是“非同步声”。 题干问的是同步声的例子是哪一个。 选项A的意思是角色听到火车声但看不到火车，选项B的意思是过去的对话在角色脑海中重现，选项C的意思是角色弹吉他唱歌，选项D的意思是片尾曲。只有选项C符合原文，其余三个选项不符合。

托福阅读细节题应该注意哪些错误

一、托福阅读细节题不会定位

提及定位，恐怕所有的同学都会说定位非常简单。但是，是不是所有同学都可以准确定位，并且高效地完成阅读中的细节题呢?其实不然，我们来看以下这道出自TPO16套的细节题：

According to paragraph 2, how did Middle Eastern shop owners treat their workers?

有的同学一看到这个题目，第一反应就是用Middle Eastern shop

owners去原文定位，很快可以找到本段的第二句话：Production was generally in the hands of skilled individual artisans doing piecework under the tutelage of a master who was also the shop owner.但是，当我们读过这句话之后，发现它并没有回答前面的问题，于是我们开始纠结。在将这句话反反复复看了好几遍却仍然找不到答案之后，我们才开始继续往下看。有些同学甚至为了寻找答案干脆将整段看一遍。但是，如果大家一开始在定位的时候，用的是shop owner, treat,和workers来定位，大家就很容易就知道这道题是在问shop

owner和workers之间的关系，在读原文第二句话时很快就能发现这句话并没有提到任何与关系相关的单词。于是往下寻找和关系有关的词或者句子。我们很快便会看到后面有一个In these shops differences of rank were blurred，也就是说在这些shop里等级区别模糊了。这不正是说明了owner和worker之间的这种等级关系么?因此，不难确定，这句话才是我们要找的答案。

二、托福阅读细节题纠结选项

在选项上纠结的这类同学，在对文章的定位上一般不存在问题。他们的问题是，在找到原文之后，却觉得几个选项在文章中都出现过，于是一遍遍地再来读文章。这样做既费时费力，又不一定能对。

对于这些同学，老师提醒大家，你们需要谨记的就是“符合原文”四个大字。

例如TPO2中的一道题，假定通过定位我们已经找到了原文中答案所在的句子：the presence of a fluke1 and blowhole2 cannot disguise their affinities with land dwelling mammals.这道题对应有两个选项：

A It clearly indicates that cetaceans are mammals.

B It cannot conceal the fact that cetaceans are mammals.

这时爱纠结的同学们又开始纠结了，两个都说cetaceans是mammals，怎么选?亲爱的同学们，你们首先要搞清楚原文到底说的是什么，是说“暗示”还是说“不能掩盖”?如果是说暗示，那就选a，因为a选项清楚的有一个indicate，如果是说不能掩盖，那就选b，因为b选项中有一个cannot conceal。

三、托福阅读细节题单词量少

单词量少是一个困扰绝大多数考生的问题。对于备考托福的同学来说，攻克单词这个难题，只有一个方法-背!在备考期间大家需要大量地背单词。但是，即使我们很努力的去背了单词，依然会在做题的时候碰到一些我们不认识的单词。这个时候，很多同学就会慌了手脚，不知道怎么办才好。其实，一篇文章对我们造成困难的，不是那些人名、地名和专有名词，而是构成我们要理解的这句话的基本结构。因此，如果碰到一句很长的话，里面有一些生单词，大家不要慌张。只要把这句话的结构弄清楚，你就能读懂这句话的大致意思了。这样，所谓的单词也就不再是你的拦路虎了。我们来看一个TPO1里的句子：

Immediately adjacent to the timberline, the tundra consists of a fairly complete cover of low-lying shrubs, herbs, and grasses, while higher up the number and diversity of species decrease until there is much bare ground with occasional mosses and lichens and some prostrate cushion plants.

虽然这句话中生僻的词比较多，但是如果我们能够找出句子的主干，那么这句话就会容易很多。整句的主干结构是这样的：adjacent to timberline, the tundra consists of shrubs and grasses and so on, while rise up, the species and diversities will decrease.

同学们只要能读出来这句话的核心意思是“靠近林木线的土地上到处覆盖着灌木和草，而海拔高度提高的时候，物种减少直到出现大片的荒地”，我们就能够理解这个句子。但是理解的前提是，你必须平时要好好的背单词，如果连一些很简单的单词，例如blur，stimulate都不认识，那么建议大家还是在背单词上多下点功夫吧!

篇8：TPO53托福阅读Passage3题目及答案解析

Paleolithic Cave Paintings

In any investigation of the origins of art, attention focuses on the cave paintings created in Europe during the Paleolithic era (c. 40,000-10,000 years ago) such as those depicting bulls and other animals in the Lascaux cave in France. Accepting that they are the best preserved and most visible signs of what was a global creative explosion, how do we start to explain their appearance? Instinctively, we may want to update the earliest human artists by assuming that they painted for the sheer joy of painting. The philosophers of Classical Greece recognized it as a defining trait of humans to “delight in works of imitation”—to enjoy the very act and triumph of representation. If we were close to a real lion or snake, we might feel frightened. But a well- executed picture of a lion or snake will give us pleasure. Why suppose that our Paleolithic ancestors were any different?

This simple acceptance of art for art's sake has a certain appeal. To think of Lascaux as a gallery allows it to be a sort of special viewing place where the handiwork of accomplished artists might be displayed. Plausibly, daily existence in parts of Paleolithic Europe may not have been so hard, with an abundance of ready food and therefore the leisure time for art. The problems with this explanation, however, are various. In the first place, the proliferation of archaeological discoveries—and this includes some of the world's innumerablerock art sites that cannot be dated—has served to emphasize a remarkablylimited repertoire of subjects. The images that recur are those of animals.Human figures are unusual, and when they do make an appearance, they are rarely done with the same attention to form accorded to the animals. If Paleolithic artists were simply seeking to represent the beauty of the world around them, would they not have left a far greater range of pictures—of trees, flowers, of the Sun and the stars?

A further question to the theory of art for art's sake is posed by the high incidence of Paleolithic images that appear not to be imitative of any reality whatsoever. These are geometrical shapes or patterns consisting of dots or lines. Such marks may be found isolated or repeated over a particular surface but also scattered across more recognizable forms. A good example of this may be seen in the geologically spectacular grotto of Pêche Merle, in the Lot region of France. Here we encounter some favorite animals from the Paleolithicrepertoire—a pair of stout-bellied horses. But over and around the horses' outlines are multiple dark spots, daubed in disregard for the otherwise naturalistic representation of animals. What does such patterning imitate?There is also the factor of location. The caves of Lascaux might conceivably qualify as underground galleries, but many other paintings have been found in recesses totally unsuitable for any kind of viewing—tight nooks and crannies that must have been awkward even for the artists to penetrate, let alone for anyone else wanting to see the art.

Finally, we may doubt the notion that the Upper Paleolithic period was a paradise in which food came readily, leaving humans ample time to amuse themselves with art. 【_For Europe it was still the Ice Age. 【_An estimate of the basic level of sustenance then necessary for human survival has been judged at 2200 calories per day. 【_This consideration, combined with the stark emphasis upon animals in the cave art, has persuaded some archaeologists that the primary motive behind Paleolithic images must lie with the primary activity of Paleolithic people: hunting. 【_

Hunting is a skill. Tracking, stalking, chasing, and killing the prey are difficult, sometimes dangerous activities. What if the process could be made easier—by art? In the early decades of the twentieth century, Abbé Henri Breuil argued that the cave paintings were all about “sympathetic magic. ” The artists strived diligently to make their animal images evocative and realistic because they were attempting to capture the spirit of their prey. What could have prompted their studious attention to making such naturalistic, recognizable images?According to Breuil, the artists may have believed that if a hunter were able to make a true likeness of some animal, then that animal was virtually trapped.Images, therefore, may have had the magical capacity to confer success or luck in the hunt.

篇9：TPO53托福阅读Passage3题目及答案解析

Question 1 of 14

According to paragraph 1, what is significant about the paintings in the Lascaux caves?

A. They provide accurate depictions of the bulls and other animals living in Paleolithic France.

B. They are the best available source of information about daily life during the Paleolithic era.

C. They are some of the best surviving examples of what was possibly one of the world's earliest artistic movements.

D. They are the only evidence of creative expression among Paleolithic human beings.

Question 2 of 14

In paragraph 1, why does the author mention the views of the philosophers of Classical Greece?

A. To show how explanations about the appearance of cave painting during the Paleolithic have changed over time

B. To present a theory about humans and art that may be applicable to the Paleolithic era

C. To argue that Paleolithic paintings were created for the joy of painting, while Classical art was created to accurately represent the natural world

D. To demonstrate that the Greek philosophers were the first to accurately understand Paleolithic art

Question 3 of 14

Paragraph 2 suggests that the Lascaux cave paintings could have been created as art for art's sake only if which of the following were true?

A. Caves were often used as viewing places for handiwork of all kinds.

B. Artists during the Paleolithic era were especially accomplished.

C. Paleolithic people were able to satisfy their basic needs fairly easily.

D. People in Paleolithic Europe learned about art from people living in other areas.

Question 4 of 14

The word “Plausibly ” in the passage is closest in meaning to

A. Similarly

B. Obviously

C. Ideally

D. Possibly

Question 5 of 14

Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.

A. The limited variety in the subjects of rock art paintings has become increasingly evident in the many sites discovered.

B. The limited repertoire of subjects found in rock art has made it difficult for archaeologists to determine when each painting was created.

C. In the first place, there is little new archaeological information on the subject of rock art because of the limited number of recent discoveries.

D. Because many rock art sites cannot be dated, archaeologists have limited information about how rock art varied from period to period.

Question 6 of 14

According to paragraph 2, which of the following is true about human figures as subjects of rock art?

A. Human figures almost always appear alone and never appear with animals.

B. Images of humans are both rarer and less accurately drawn than those of animals.

C. Some of the most beautiful images in Paleolithic rock art are of human figures.

D. There is more variety in how humans are depicted in cave art than in how animals are.

Question 7 of 14

The word “spectacular ” in the passage is closest in meaning to

A. unique

B. impressive

C. isolated

D. sheltered

Question 8 of 14

In paragraph 3, why does the author include a description of a painting of horses from the grotto of Pêche Merle?

A. To emphasize that stout-bellied horses were the most commonly found animals in that region at the time the painting was made

B. To provide evidence that Paleolithic artists created realistic images more often than they created paintings of dots or lines

C. To give an example of a cave painting that contains elements that do not imitate reality

D. To demonstrate that Paleolithic artists captured many details of the animals they painted, such as the spots on the horses' coats

Question 12 of 14

The word “prompted ” in the passage is closest in meaning to

A. brought about

B. interfered with

C. increased

D. transformed

Question 9 of 14

According to paragraph 3, which of the following is true of the paintings located in the Lascaux caves?

A. They are all found in recesses that are difficult for viewers to reach

B. They fill every nook and cranny of a large underground gallery

C. Their location was probably more convenient for viewers than for the artists

D. They are easier to view than cave paintings at other locations.

Question 10 of 14

The word “diligently ” in the passage is closest in meaning to

A. with no success

B. with talent and skill

C. with mixed results

D. with persistence and hard work

Question 11 of 14

According to paragraph 5, Breuil proposed which of the following theories about the purpose of cave paintings?

A. They were used to teach young hunters the skills they needed to hunt.

B. They were images created to help people forget about the dangers and difficulties of their daily lives.

C. They were used in magic rituals to increase people's understanding of the natural world.

D. They were meant to capture the spirits of animals and thus bring success in the hunt.

Question 13 of 14

Look at the four squares[_ to add the sentence to the passage.

Obtaining this level of nourishment from such a harsh environment must have consumed most of Paleolithic people’s time and attention..

Question 14 of 14

Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points. Drag your answer choices to the spaces where they belong. To remove an answer choice, click on it. To review the passage, click VIEW TEXT.There are a number of arguments against the idea that Paleolithic cave paintings were created for the sheer joy of painting

A.It is generally agreed that art as imitation arose during the age of Classical Greece

B.Paleolithic artists often chose to paint pictures that were intended to frighten people

C.People in the Paleolithic era may not have had time for art, and the placement of the paintings does not indicate that they were meant to be looked at

D.Paleolithic artists chose to represent only a small segment of the natural world, and their paintings were not always strict imitations of nature

E.Hunting was central to Paleolithic life, and animals are central to cave art, leading some to believe that the paintings were created to bring luck to hunters.

F.Humans were rarely the subjects of cave paintings because it was thought that capturing the image of a hunter would cause the hunter to be virtually trapped.

篇10：TPO53托福阅读Passage3题目及答案解析

正确答案：C

题目解析：

本题定位到原文：Accepting that they are the best preserved and most visible signs of what was a global creative explosion这半句话。 此处原文的大意是：在我们接受了它们是保存最好的、最可视化的全球创造大爆发的产物后…... 题干问的是Lascaux cave最重要的是什么。 选项A的意思是它们提供了旧石器时代最精确的对于牛和其他动物的描绘信息，选项B的意思是它们是描述旧石器时代日常生活最有效的信息源，选项C的意思是它们是最早的世界上的艺术运动的最好的存在例子，选项D的意思是它们是旧石器时代人类的创造性表达的唯一证据。只有选项C符合原文。其余三个选项均不合适。

正确答案：B

题目解析：

本题定位到原文：The philosophers of Classical Greece recognized it as a defining trait of humans to “delight in works of imitation”—to enjoy the very act and triumph of representation. 此处原文的大意是：古希腊的哲学家认为这种壁画证明人们是因为单纯可以从作画过程中得到乐趣而进行这种绘画活动。 题干问的是作者为什么要提到这些哲学家。 选项A的意思是为了解释旧石器壁画随时间的变化，选项B的意思是为了证明旧石器时代一个关于人类和艺术的理论，选项C的意思是为了论证旧石器时代的绘画是因为单纯的乐趣而创造的，虽然古典艺术是为了精确再现自然世界而产生的，选项D的意思是为了证明古希腊的哲学家是第一批准确理解旧石器时代艺术的人。选项B正确，其他三个选项均不符合文意。

正确答案：C

题目解析：

本题定位到原文：Plausibly, daily existence in parts of Paleolithic Europe may not have been so hard, with an abundance of ready food and therefore the leisure time for art. 此处原文的大意是：看似合理的是，旧石器时代欧洲的生活并没有那么困难，食物应该是充足的，所以人们才有进行艺术创作的休闲时间。 题干问的是旧石器时代壁画艺术被单纯作为艺术而创作的前提是什么。 选项A的意思是壁画被视为各种工艺品的观看的地方，选项B的意思是旧石器时代的艺术家均是有成就的人，选项C的意思是旧石器时代的人能够很容易地满足他们的基本需要，选项D的意思是旧石器欧洲的人从其他地区学习到了这种艺术。选项C符合原文。其余三个选项均不合适。

正确答案：D

题目解析：

本题定位到原文：Plausibly, daily existence in parts of Paleolithic Europe may not have been so hard, with an abundance of ready food and therefore the leisure time for art. 此处原文的大意是：看似合理的是，旧石器时代欧洲的生活并没有那么困难，食物应该是充足的，所以人们才有进行艺术创作的休闲时间。 题干问的是plausibly的意思和四个选项中的哪一个最相似。 选项A的意思是相似的，选项B的意思是明显的，选项C的意思是理想地，选项D的意思是可能地。选项D最符合plausibly的意思。其他三个选项则不符合。

正确答案：A

题目解析：

本题定位到原文：In the first place, the proliferation of archaeological discoveries—and this includes some of the world's innumerable rock art sites that cannot be dated—has served to emphasize a remarkably limited repertoire of subjects. 此处原文的大意是：首先，考古发现的繁荣发展——以及它包含了世界无数不可追溯时间的岩石艺术地点——证明了其绘画对象的有限性。 题干问的是四个选项里的哪句话是这句话的最好的同义转述。 选项A正确转述了原文的主要意思，选项B说作画对象的有限性导致了考古学家不好确定每一个画作创造的时间，这个因果关系是无中生有，不选;选项C说因为最近的考古发现很少，所以岩石绘画的对象的信息也很少，也是无中生有，不选;选项D说因为岩石绘画有很多不能被确定时间，所以考古学家对于岩石画作随时间的变化并不了解，也是无中生有，不选。

正确答案：B

题目解析：

本题定位到原文：Human figures are unusual, and when they do make an appearance, they are rarely done with the same attention to form accorded to the animals. 此处原文的大意是：人物画像不常见，当人物画像出现的时候，我们也会发现它们很少能达到和动物画像一样符合动物实物的情况。 题干问的是关于人物画像，正确的信息是哪一条。 选项A的意思是人物画像一直单独出现，几乎不和动物画像一起出现;选项B的意思是人物画像很少见，并且不如动物画像精确;选项C的意思是一些最漂亮的旧石器岩石壁画是画的人物;选项D的意思是人物画像的多样性强于动物画像的多样性。选项B最符合原文。其他三个选项则都是无中生有。

题目解析：

本题定位到原文：A good example of this may be seen in the geologically spectacular grotto of Pêche Merle, in the Lot region of France. 此处原文的大意是：这个现象的一个好例子可能会被发现于法国Lot地区Pêche Merle的一处壮观的洞穴里。 题干问的是spectacular的意思和四个选项里的哪一个最合适。 选项A的意思是独特的，选项B的意思是印象深刻的，选项C的意思是隔绝的，选项D的意思是受保护的。选项B最符合spectacular的意思。其余三个选项则不合适。

正确答案：C

题目解析：

本题定位到原文： Here we encounter some favorite animals from the Paleolithic repertoire—a pair of stout-bellied horses. But over and around the horses' outlines are multiple dark spots, daubed in disregard for the otherwise naturalistic representation of animals. 此处原文的大意是：我们可以在岩壁上看到一些旧石器时代人们最喜欢的动物的画像，比如大肚子的两匹马的画像。但是在马身上和周围有乱画的小黑点，算不上是自然主义的对于动物形象的呈现。 题干问的是为什么作者要描述一副关于马的画? 选项A的意思是为了说明大肚子的马是当时最常见的动物，选项B的意思是为了说明旧石器的人比起画点和线条外更倾向于创造现实主义的图画，选项C的意思是为了说明岩壁画包含一些并不是模仿现实的内容，选项D的意思是为了证明旧石器的艺术家捕捉到了很多细节，比如说马皮上的斑点。选项C符合原文。其余三个选项则不符合文意。

正确答案：D

题目解析：

本题定位到原文：The caves of Lascaux might conceivably qualify as underground galleries, but many other paintings have been found in recesses totally unsuitable for any kind of viewing...... 此处原文的大意是：Lascaux的岩画质量好到可以被视为是地下画廊，其他地区的壁画状态则很差，差到则不适合被观察。 题干问的是Lascaux的岩画和其他地区的有什么不同。 选项A的意思是它们质量在逐渐变差，以至于不能被观察，选项B的意思是它们铺满了一处地下画廊的每一处裂隙和角落，选项C的意思是它们的位置更适合观察者去观察而不是适合研究者去观察，选项D的意思是它们比其他地区的壁画更容易观察。选项D符合文意。其他三个选项均不符合。

正确答案：D

题目解析：

本题定位到原文：The artists strived diligently to make their animal images evocative and realistic because they were attempting to capture the spirit of their prey. 此处原文的大意是：因为艺术家在尝试着去捕捉笔下事物的灵魂，所以他们一直致力于让他们的动物形象有感染力且真实。 题干问的是diligently的含义和哪个选项最贴近。 选项A的意思是不成功的，选项B的意思是通过天赋和能力，选项C的意思是带有混杂结果的，选项D的意思是通过坚持和勤奋。选项D最符合diligently的意思。其余三个选项则不符合。

正确答案：D

题目解析：

本题定位到原文：According to Breuil, the artists may have believed that if a hunter were able to make a true likeness of some animal, then that animal was virtually trapped. 此处原文的大意是：根据Breuil的说法，古代的绘画者可能相信如果猎手可以画出很像猎物的图像，他就可以真的捕获这个动物。 题干问的是Breuil认为旧石器人画壁画的目的是什么。 选项A的意思是它们被用来教年幼的猎人应该学习什么样子的捕猎技能，选项B的意思是它们是为了帮助人们忘记生活中的困难和危险，选项C的意思是它们被用在魔法仪式里，以增加人们对于自然世界的理解，选项D的意思是它们意味着捕捉动物的灵魂，以成功狩猎。选项D符合原文意思，其余三个选项则不符合。

正确答案：A

题目解析：

本题定位到原文：What could have prompted their studious attention to making such naturalistic, recognizable images? 此处原文的大意是：是什么让他们用心地去创作如此自然的、可辨认的图画? 题干问的是prompted的意思和哪个选项的意思最接近。 选项A的意思是带来，选项B的意思是干涉，选项C的意思是增加，选项D的意思是改变。选项A最符合prompt的含义。其余三个选项则均不合适。

正确答案：C

题目解析：

本题定位到原文：倒数第二段。 此处原文的大意是：本段主要讲述了旧石器岩画和当时的人们的狩猎行为的关联。 题干问的是“从艰苦的环境里获得这种程度的营养物质想必消耗掉了旧石器人们大多数的时间和注意力”该插入哪个位置。 此题做题的关键是需要插入句子里的this level of nourishment。只有选项C的前面的一句话里提到 2200 calories per day，对应了nourishment，选项C合适。其他三个可插入点都没有可以对应的内容。

正确答案：CDE

题目解析：

选项A无中生有，文中说Greece是为了表明这是他们哲学家的观点，而不是为了说明时间，不选; 选项B的“目的是去恐吓别人”这个信息是无中生有，原文中没有对应的信息，不选; 选项C正确概括了第二段的内容，选; 选项D正确概括了第三段的内容，选; 选项E正确概括了倒数第二段的内容，选; 选项F的因果关系是无中生有的，文中没有给出过人类很少成为绘画对象的原因，不选。

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