新托福閱讀模擬試題及答案

千里之行，始于第2頁/共2頁精品文檔推薦新托福閱讀模擬試題及答案同學(xué)們備考的時(shí)候肯定要多做試題，通過做題才能夠反映出大家的不足之處才哪里，有針對(duì)性的備考才能夠進(jìn)步得更快。下面就一起來看看新托福閱讀模擬試題及答案。

新托福閱讀模擬試題及答案

Themedievalartistsdidn’tknowaboutperspective;theydidn’twanttomaketheirpeoplelooklikereal,individualpeopleinareal,individualscene.Theywantedtoshowthetruth,theeternalqualityoftheirreligiousstories.Sotheseartistsdidn’tneedtoknowaboutperspective.

IntheEuropeanRenaissanceperiod,artistswantedtoshowtheimportanceoftheindividualpersonandhisorherpossessionsandsurroundings.Aflatmedievalstylecouldn’tshowthislevelofrealityandtheartistsneededanewtechnique.ItwastheItalianartistBrunelleschiwhodiscoveredthetechniqueofperspectivedrawing.AtfirsttheartistsoftheRenaissanceonlyhadsingle-pointperspective.Latertheyrealizedthattheycouldhavetwo-pointedperspectiveandstilllatermulti-pointperspective.

Withtwo-pointperspectivetheycouldturnanobject(likeabuilding)atanangletothepictureanddrawtwosidesofit.Thetechniqueofperspectivewhichseemssonaturaltousnowisaninventedtechnique,apartofthe“grammarofpainting”.Likeallbitsofgrammarthereareexceptionsaboutperspective.Forexample,onlyverticalandhorizontalsurfacesseemtomeetoneyelevel.Slopingrooftopsdon’tmeetoneyelevel.

For500years,artistsinEuropemadeuseofperspectivedrawingintheirpictures.Nevertheless,therearearangeofprioritiesthatartistsindisplayingindividualstyles.Crivelliwantedtoshowdepthinhispictureandheusedasimplesingle-pointperspective.Cezannealwaystalkedaboutspaceandvolume.VanGogh,likesomeoftheotherpaintersoftheImpressionistperiod,wasinterestedinJapaneseprints.AndJapaneseartistsuntilthiscenturywerealwaysverystrongdesignersof“flat”pictures.Picassocertainlymadepictureswhichhavevolumeanddepth.However,hewantedtokeepoureyesonthesurfaceandtoremindusthathispaintingsarepaintingsandnotillusions.

Itistechnicallyeasytogiveanillusionofdepth.However,astrongtwodimensionaldesignisjustasimportantasafeelingofdepth,andperhapsmoreimportant.

新托福閱讀模擬試題及答案一

1Thepassagemainlydiscusses

(a)thedifferencebetweenmedievalandRenaissanceart

(b)howthetechniqueofperspectiveinfluencedthemodernart

(c)thediscoveryofthetechniqueofperspective

(d)thecontributionofRenaissanceartists

2Theword“eternal”inline3isclosestinmeaningto

(a)timeless

(b)infinite

(c)frequent

(d)constant

3Accordingtothepassage,whichisthemainconcernformedievalartists?

(a)theindividualpersonandhis/herpossessionsandsurroundings

(b)realpeople,realscenes

(c)eternaltimelesstruthoftheearth

(d)themesofreligiousstories

4Thediscoveryofperspectivewastheresultof

(a)Renaissanceartists’toprovethatthemedievalartistscouldshowlevelofreality

(b)theneedtoturnanobjectatanangleanddrawmorethanonesideofit

(c)thesubjectbeingshiftedfromreligiousstoriestoindividualpersonandsurroundings.

(d)naturalevolutionofhumansenses

5Theword“it”inline12refersto

(a)thepicture

(b)perspective

(c)angle

(d)theobject

新托福閱讀模擬試題及答案二

6Theword“Grammar”inline13isclosestinmeaningto

(a)construction

(b)grammaticalrules

(c)rulesandregulations

(d)tonesandvolume

7Theauthor’spurposetogivetheexampleinline14-15isto

(a)explainhowperspectiveworkinpainting

(b)supporttwo-pointedperspective

(c)illustratethatthereareexceptionsaboutperspective

(d)pointoutthatthetechniqueofperspectivethoughseemssonaturalisaninventedtechnique

8Thefollowingartists’prioritiesinstyleshiftawayfromperspectiveexcept

(a)Crivelli

(b)Cezanne

(c)Japaneseartists

(d)Brunelleschi

9Theword”Illusion”inline25isclosestinmeaningto

(a)deception

(b)photograph

(c)decoration

(d)illustration

10ItcanbeinferredfromthepassagethatRenaissanceartists

(a)embracedthemedievalstyleofeternaltruth

(b)neededtodevelopanewapproachtowardspaintingtoshowanewlevelofreality

(c)wereinspiredbyverticalandhorizontalsurfacesininventingthetechniqueofperspective

(d)sawtwodimensionaldesignmoreimportantthanafeelingofdepth

參考答案：1.b2.a3.d4.c5.d6.c7.c8.d9.a10.b

托福閱讀重點(diǎn)（句子）積累

1.Wearingmasksandcostumes,theyoftenimpersonatedotherpeople,animals,orsupernaturalbeings,andminedthedesiredeffect–successinhuntorbattle,thecomingrain,therevivaloftheSun–asanactormight.

戴著面具身著盛裝的人們，常常扮演各種其他人物、動(dòng)物或超自然生靈，并且作為一個(gè)扮演者所能做的，就是期盼一個(gè)在狩獵或戰(zhàn)役中獲勝、降雨的來臨，陽光的重現(xiàn)的結(jié)果。

2.Butthesefactorsdonotaccountfortheinterestingquestionofhowtherecametobesuchaconcentrationofpregnantichthyosaursinaparticularplaceveryclosetotheirtimeofgivingbirth.

但是這些事實(shí)不能解釋這個(gè)令人感愛好的問題，就是為什么在一個(gè)特別的靠近他們誕生的地方如此的集中了這么多懷孕的魚龍。

3.Aseriesofmechanicalimprovementscontinuingwellintothenineteenthcentury,includingtheintroductionofpedalstosustaintoneortosoftenit,theperfectionofametalframe,andsteelwireofthefinestquality,finallyproducedaninstrumentscapableofmyriadtonaleffectsfromthemostdelicateharmoniestoanalmostorchestralfullnessofsound,fromaliquid,singingtonetoaship,percussivebrilliance.

十九世紀(jì)一系列持續(xù)的機(jī)械進(jìn)步，包括踏板的傳入、金屬結(jié)構(gòu)的完善和鋼絲最完善的質(zhì)量，最終產(chǎn)生了一種能容納很多音調(diào)——從最精致的和弦到一個(gè)成熟管弦的聲音或從一個(gè)清亮的歌聲到輝煌的敲擊樂的效果——的樂器。

4.Accustomedthoughwearetospeakingofthefilmsmadebefore1972as“silent”,thefilmhasneverbeen,inthefullsenseoftheword,silent.

雖然我們習(xí)慣于談到1972年以前的電影是無聲的，但用一句完全感性的話來說，電影從來就不是沒有聲音的。

5.Foranumberofyearstheselectionofmusicforeachfilmprogramrestedentirelyinthehandsoftheconductororleaderoftheorchestra,andveryoftentheprincipalqualificationsforholdingsuchapositionwasnotskillortastesomuchastheownershipofalargepersonallibraryofmusicalpieces.

多年以來電影音樂的選擇程序完全把握在導(dǎo)演和音樂督導(dǎo)手中，通常擁有這些權(quán)力的主要資格并非是自身的技藝和品嘗而更多的是由于擁有大量的個(gè)人音樂素材庫。

6.Rather,theyweremadeofatoplayerofwoolenorglazedworstedwoolfabric,consistingofsmooth,compactyarnfromlongwoolfibers,dyeddarkblue,green,orbrownwithabottomlayerofacoarserwoolenmaterial,eithernaturalorashadeofyellow.

更進(jìn)一步，他們是由一個(gè)頂層是毛紡或光滑的精紡羊毛織物制作，包含光滑，緊湊的紗線來自長(zhǎng)羊毛的纖維染成蘭黑色、綠色、或褐色底層含有粗糙自然?的和暗黃色的毛紡材料。

7.Forgoodmeasure,duringthespringandsummerdrought,heat,hail,grasshoppers,andotherfrustrationsmightawaitthewearygrowers.

在春季和夏季，要精確量度干旱、熱量、冰雹、蝗蟲和其他損失可能是一件疲憊的事情。

8.WhatwetodaycallAmericafolkartwas,indeed,artof,by,andforordinary,everyday“folks”who,withincreasingprosperityandleisure,createdamarketforartofallkinds,andespeciallyforportraits.

我們今日所謂的US民間藝術(shù)，實(shí)際上是一般老百姓的藝術(shù)、被一般老百姓制造的藝術(shù)和為一般老百姓和日常提到的“民間人士”的藝術(shù)，是一個(gè)他們?cè)谏鐣?huì)日漸富強(qiáng)和休閑狀況下創(chuàng)建的一個(gè)包含各種各樣尤其是肖像畫種類的藝術(shù)的市場(chǎng)。

9.Thepeoplehadnoagriculturebut,overthousandsofyears,haddevelopedtechniquesandequipmenttoexploittheirenvironment,basingtheireconomyonfishinginstreamsandcoastalwatersthatteemedwithsalmon,halibut,andothervarietiesoffish;gatheringabalone,mussels,clams,andothershellfishfromtherockycoastline;huntinglandandseamammals;andcollectingwildplantfoods.

他們沒有農(nóng)業(yè)，但是經(jīng)過幾千年，已經(jīng)進(jìn)展了探究自身環(huán)境的技術(shù)和設(shè)備。他們是基于大量消失鮭魚、大比目魚和其他多種魚類的自身流域和水岸（捕魚）的經(jīng)濟(jì);基于從落基山水岸聚集了鮑魚、蚌類、蛤和其他貝殼動(dòng)物的經(jīng)濟(jì);基于捕獵地域和海洋哺乳動(dòng)物的經(jīng)濟(jì);以及基于收集野生植物的食物的經(jīng)濟(jì)。