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1、文勇的新托福黄金精选阅读（原黄金29篇）真题8.2版本【2011年7月5日】更新TPO18-22的15篇文章目录OG5Applied Arts and Fine Arts5The Origins of Cetaceans11Desert Formation18Early Cinema27Aggression36Artisans and Industrialization45Swimming Machines54Nineteenth-Century Politics in the United States62The Expression of Emotions71Geology and Lan
2、dscape80TPO-189Groundwater89The Origins of Theater96Timberline Vegetation on Mountains103TPO-3110Architecture110Depletion of the Ogallala Aquifer117The Long-Term Stability of Ecosystems124Online Test131Opportunists and Competitors131Lascaux Cave Paintings138Electricity from Wind145TPO-4152Deer Popul
3、ations of the Puget Sound152Cave Art in Europe159Petroleum Resources166Offical Model Exam173Meteorite Impact and Dinosaur Extinction173TPO-5180Minerals and Plants180The Origin of the Pecific Island People187The Cambrian Explosion194TPO-6201Powering the Industrial Revolution201William Smith208Infanti
4、le Amnesia215TPO-7222The Geologic History of the Mediterranean222Ancient Rome and Greece229Agriculture, Iron, and the Bantu Peoples236TPO-8243The Rise of Teotihuacn243Extinction of the Dinosaurs250Running Water on Mars258TPO-9265Colonizing the Americas via the Northwest Coast265Reflection in Teachin
5、g273The Arrival of Plant Life in Hawaii280OG287Feeding Habits of East African Herbivores287Loie Fuller294Green Icebergs301TPO-10308Chinese Pottery308Variations in the Climate315Seventeenth-Century European Economic Growth322TPO-11329Ancient Egyptian Sculpture329Orientation and Navigation336Begging b
6、y Nestlings343TPO-12350Which Hand Did They Use?350Transition to Sound in Film358Water in the Desert366TPO-13373Types of Social Groups373Biological Clocks380Methods of Studying Infant Perception387TPO-14394Children and Advertising394Maya Water Problems402Pastoralism in Ancient Inner Eurasia409TPO-154
7、16A Warm-Blooded Turtle416Mass Extinctions423Glacier Formation430TPO-16437Trade and the Ancient Middle East437Development of the Periodic Table444Planets in Our Solar System452TPO-17458Europes Early Sea Trade with Asia458Animal Signals in the Rain Forest465Symbiotic Relationships472TPO-18479Industri
8、alization in the Netherlands and Scandinavia479The mystery of yawning486Lightning493TPO-19500The Roman Armys Impact on Britain500Succession, Climax, and Ecosystems507Discovering the Ice Ages514TPO-20521Westward Migration521Early Settlements in the Southwest Asia528Fossil Preservation535TPO-21542Geot
9、hermal Energy542The Origins of Agriculture550Autobiographical Memory558TPO-22565Spartina565The Birth of Photography572The Allende Meteorite580OGApplied Arts and Fine ArtsAlthough we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, an
10、d metal-it was once common to think of crafts in terms of function, which led to their being known as the applied arts. Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers
11、, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of cultural
12、 beliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns,
13、 so much so that functional forms can vary only within certain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike; that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What
14、varies is not the basic form but the incidental details that do not obstruct the objects primary function. Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker of fine-art objects. Thi
15、s assumption misses a significant difference between the two disciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Scul
16、ptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overcome by t
17、he artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In
18、other words, the demands of the laws of physics, not the sculptors aesthetic intentions, placed the ball there. That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a s
19、tatue with iron braces (iron being much stronger than bronze). Even though the fine arts in the twentieth century often treat materials in new ways, the basic difference in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant. It would
20、therefore not be too great an exaggeration to say that practitioners of the fine arts work to overcome the limitations of their materials, whereas those engaged in the applied arts work in concert with their materials. Paragraph 1: Although we now tend to refer to the various crafts according to the
21、 materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led to their being known as the applied arts. Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters
22、 and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. These l
23、aws are universal in their application, regardless of cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the ge
24、neral form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike; that is why we recognize a
25、Shang Dynasty vase as being different from an Inca vase. What varies is not the basic form but the incidental details that do not obstruct the objects primary function. 3. The word they in the passage refers to Applied-art objects The laws of physics Containers The sides of pots 4. Which of the foll
26、owing best expresses the essential information in the highlighted sentence? Incorrect answer choices change the meaning in important ways or leave out essential information. Functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics. The function of app
27、lied-art objects is determined by basic patterns in the laws of physics. Since functional applied-art objects vary only within certain limits, arbitrary decisions cannot have determined their general form. The general form of applied-art objects is limited by some arbitrary decision that is not dete
28、rmined by the laws of physics. Paragraph 2: Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker of fine-art objects. This assumption misses a significant difference between the two di
29、sciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understa
30、nding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or her concepti
31、on of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the sculpt
32、ors aesthetic intentions, placed the ball there. That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze).
33、5. According to paragraph 2, sculptors in the Italian Renaissance stopped using cannonballs in bronze statues of horses because They began using a material that made the statues weigh less They found a way to strengthen the statues internally The aesthetic tastes of the public had changed over time
34、The cannonballs added too much weight to the statues 6. Why does the author discuss the bronze statues of horses created by artists in the early Italian Renaissance? To provide an example of a problem related to the laws of physics that a fine artist must overcome To argue that fine artists are unco
35、ncerned with the laws of physics To contrast the relative sophistication of modern artists in solving problems related to the laws of physics To note an exceptional piece of art constructed without the aid of technology 7. An introductory sentence for a brief summary of the passage is provided below
36、. 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. This pas
37、sage discusses fundamental differences between applied-art objects and fine-art objects. Answer Choices Applied-art objects fulfill functions, such as containing or sheltering, and objects with the same function have similar characteristics because they are constrained by their purpose.It is easy to
38、 recognize that Shang Dynasty vases are different from Inca vases.Fine-art objects are not functional, so they are limited only by the properties of the materials used.Renaissance sculptors learned to use iron braces to strengthen the internal structures of bronze statues.In the twentieth century, f
39、ine artists and applied artists became more similar to one another in their attitudes toward their materials.In all periods, fine artists tend to challenge the physical limitations of their materials while applied artists tend to cooperate with the physical properties of their materials.8. Direction
40、s: Complete the table below to summarize information about the two types of art discussed in the passage. Match the appropriate statements to the types of art with which they are associated. This question is worth 3 points. TYPES OF ART STATEMENTSThe Applied Arts Select 3 The Fine Arts Select 2 Stat
41、ements An objects purpose is primarily aesthetic. Objects serve a functional purpose. The incidental details of objects do not vary. Artists work to overcome the limitations of their materials. The basic form of objects varies little across cultures. Artists work in concert with their materials. An
42、objects place of origin is difficult to determine. 参考译文实用艺术和创造艺术在现代，人们将根据工艺品的制造材质对他们进行分类，如陶土，玻璃，木头，纤维还有金属。但最初人们根据工艺品的功能将他们通通定义为“实用工艺品”。根据工艺品的实用性，我们可以把手工艺品简单分为：容器，遮蔽物，支撑物。毫无疑问它们都是具有一定功能的物品。这些实用工艺品以自然规律为基础，它们的制作材料及其容纳、支撑、遮盖的内容需要符合这些规律。这些规律在工艺品应用过程中非常普遍，不会因文化信仰、地理条件和气候的改变而改变。如果一个壶没有底座，或者在一侧有一个大开口，那么它在任
43、何传统意义上都很难被视为是一个容器。自然规律决定了实用工艺品的一般形式，而不是武断的结论决定的，它们遵循基本的样式，以至于它们的功能不会变化太大。举个例子，没有屋顶的建筑是很少见的，因为它违反了自然规律。但是，并不是所有的功能物品都一模一样，比如我们知道的为什么商代花瓶和印加花瓶不同。它们的区别不是基本功能的不同，而是那些不影响其基本功能的细节存在区别。实用工艺品的生产者会着重考虑这件工艺品对自然规律的敏感性。所以人们认为对纯工艺品的生产来说也是一样。但这种推断忽略了两种工艺品之间重要的区别。纯工艺品不像实用工艺品那样会受到自然规律的限制。因为它们最主要的并不是体现其功能性，其实它们仅受限于制
44、作材料的性质。比方说雕塑必须要牢固，这就需要了解质量，重力分布和压力的性质。油画必须有坚固的支架，才能让画布保持绷紧，并且油画不可以有毁损，裂纹，褪色。类似困难都是艺术家们必须克服的，这些困扰往往影响了艺术家对于工艺品的设计。就好像在意大利文艺复兴早期，踢出前腿马匹的青铜像往往有一个金属球置于它的前蹄下。这样设计是因为需要金属球来支撑腿的重量。换而言之，摆在那里的金属球是客观条件的需要，而不是艺术家的美学意愿。当雕塑家学会如何了用铁支架加强雕塑的内部结构后（铁比青铜更结实），就不再使用金属球了，由此看来，铁球的使用是对于必要结构性的妥协。尽管在20世纪纯工艺品的制作通常采用新的制造工艺，人们对
45、两种工艺品的基本态度仍然保持对立。因此，毫不夸张地说，纯艺术工艺品的生产者需要克服原材料的限制进行生产，而从事实用性工艺品的生产者则依据材料的性质来进行生产。参考答案：3. 14. 15. 26. 17. 1, 3, 68. 2, 5, 6 1, 4The Origins of CetaceansIt should be obvious that cetaceans-whales, porpoises, and dolphins-are mammals. They breathe through lungs, not through gills, and give birth to live
46、young. Their streamlined bodies, the absence of hind legs, and the presence of a fluke1 and blowhole2 cannot disguise their affinities with land dwelling mammals. However, unlike the cases of sea otters and pinnipeds (seals, sea lions, and walruses, whose limbs are functional both on land and at sea
47、), it is not easy to envision what the first whales looked like. Extinct but already fully marine cetaceans are known from the fossil record. How was the gap between a walking mammal and a swimming whale bridged? Missing until recently were fossils clearly intermediate, or transitional, between land mammals and cetaceans.Very exciting discoveries have finally allowed scientists to reconstruct the most likely origins of cetaceans. In 1979, a team looking for fossils in northern Pakistan found what proved to be the oldest fossil whale. The fossil was officially
