新托福閱讀模擬試題及答案
同學(xué)們備考的時(shí)候一定要多做試題，通過(guò)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(lái)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
The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.
In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.
With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.
For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.
It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.
新托福閱讀模擬試題及答案一
1 The passage mainly discusses
(a) the difference between medieval and Renaissance art
(b) how the technique of perspective influenced the modern art
(c) the discovery of the technique of perspective
(d) the contribution of Renaissance artists
2 The word “eternal” in line 3 is closest in meaning to
(a) timeless
(b) infinite
(c) frequent
(d) constant
3 According to the passage, which is the main concern for medieval artists?
(a) the individual person and his/her possessions and surroundings
(b) real people, real scenes
(c) eternal timeless truth of the earth
(d) themes of religious stories
4 The discovery of perspective was the result of
(a) Renaissance artists’ to prove that the medieval artists could show level of reality
(b) the need to turn an object at an angle and draw more than one side of it
(c) the subject being shifted from religious stories to individual person and surroundings.
(d) natural evolution of human senses
5 The word “it” in line 12 refers to
(a) the picture
(b) perspective
(c) angle
(d) the object
新托福閱讀模擬試題及答案二
6 The word “Grammar ” in line 13 is closest in meaning to
(a) construction
(b) grammatical rules
(c) rules and regulations
(d) tones and volume
7 The author’s purpose to give the example in line14-15 is to
(a) explain how perspective work in painting
(b) support two-pointed perspective
(c) illustrate that there are exceptions about perspective
(d) point out that the technique of perspective though seems so natural is an invented technique
8 The following artists’ priorities in style shift away from perspective except
(a) Crivelli
(b) Cezanne
(c) Japanese artists
(d) Brunelleschi
9 The word ”Illusion” in line 25 is closest in meaning to
(a) deception
(b) photograph
(c) decoration
(d) illustration
10 It can be inferred from the passage that Renaissance artists
(a) embraced the medieval style of eternal truth
(b) needed to develop a new approach towards painting to show a new level of reality
(c) were inspired by vertical and horizontal surfaces in inventing the technique of perspective
(d) saw two dimensional design more important than a feeling of depth
參考答案：1.b 2.a 3.d 4.c 5.d 6.c 7.c 8.d 9.a 10.b
托福閱讀重點(diǎn)句子積累
1. Wearing masks and costumes, they often impersonated other people, animals, or supernatural beings, and mined the desired effect – success in hunt or battle, the coming rain, the revival of the Sun – as an actor might.
戴著面具身著盛裝的人們，經(jīng)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(lái)臨，陽(yáng)光的重現(xiàn)的結(jié)果。
2.But these factors do not account for the interesting question of how there came to be such a concentration of pregnant ichthyosaurs in a particular place very close to their time of giving birth.
但是這些事實(shí)不能解釋這個(gè)令人感興趣的問(wèn)題，就是為什么在一個(gè)特殊的靠近他們出生的地方如此的集中了這么多懷孕的魚龍。
3.A series of mechanical improvements continuing well into the nineteenth century, including the introduction of pedals to sustain tone or to soften it, the perfection of a metal frame, and steel wire of the finest quality, finally produced an instruments capable of myriad tonal effects from the most delicate harmonies to an almost orchestral fullness of sound, from a liquid, singing tone to a ship, percussive brilliance.
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)的完善和鋼絲最完美的質(zhì)量，最后產(chǎn)生了一種能容納無(wú)數(shù)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)清澈的歌聲到輝煌的敲擊樂(lè)的效果——的樂(lè)器。
4.Accustomed though we are to speaking of the films made before 1972 as “silent”, the film has never been, in the full sense of the word, silent.
雖然我們習(xí)慣于談到1972年以前的電影是無(wú)聲的，但用一句完全感性的話來(lái)說(shuō)，電影從來(lái)就不是沒(méi)有聲音的。
5.For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualifications for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces.
多年以來(lái)電影音樂(lè)的選擇程序完全掌握在導(dǎo)演和音樂(lè)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味而更多的是因?yàn)閾碛写罅康膫€(gè)人音樂(lè)素材庫(kù)。
6.Rather, they were made of a top layer of woolen or glazed worsted wool fabric, consisting of smooth, compact yarn from long wool fibers, dyed dark blue, green, or brown with a bottom layer of a coarser woolen material, either natural or a shade of yellow.
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(lái)自長(zhǎng)羊毛的纖維染成蘭黑色、綠色、或褐色底層含有粗糙天然的和暗黃色的毛紡材料。
7.For good measure, during the spring and summer drought, heat, hail, grasshoppers, and other frustrations might await the weary growers.
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勞的事情。
8.What we today call America folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits.
我們今天所謂的美國(guó)民間藝術(shù)，實(shí)際上是普通老百姓的藝術(shù)、被普通老百姓創(chuàng)造的藝術(shù)和為普通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)日漸繁榮和休閑情況下創(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.The people had no agriculture but, over thousands of years, had developed techniques and equipment to exploit their environment, basing their economy on fishing in streams and coastal waters that teemed with salmon, halibut, and other varieties of fish; gathering abalone, mussels, clams, and other shellfish from the rocky coastline; hunting land and sea mammals; and collecting wild plant foods.
他們沒(méi)有農(nóng)業(yè)，但是經(jīng)過(guò)幾千年，已經(jīng)發(fā)展了探索自身環(huán)境的技術(shù)和設(shè)備。他們是基于大量出現(xiàn)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)。
托福閱讀練習(xí)需要注意什么?
1、對(duì)于詞匯量的要求較為嚴(yán)格
從某種意義上來(lái)講，你積累的英語(yǔ)詞匯量的多少，影響著你在托?？荚囍腥〉玫某煽?jī)。如果說(shuō)你具備的托福閱讀詞匯量達(dá)不到最基本的要求，即使你的語(yǔ)言能力再?gòu)?qiáng)也過(guò)不了托福難關(guān)。之所以說(shuō)詞匯量的重要性，想必就算不加以強(qiáng)調(diào)，大家也都會(huì)很清楚。試想一下，如果你掌握的詞匯量不夠多，當(dāng)看見(jiàn)一個(gè)完整的句子時(shí)，你覺(jué)得你可能將整個(gè)句子要表達(dá)的意思理解清楚嗎?所以說(shuō)，想要訓(xùn)練閱讀能力首先就要從詞匯量上下手，只有掌握足夠多的詞匯后，你才具備他警告閱讀能力的最低標(biāo)準(zhǔn)。
2、閱讀大量英語(yǔ)文章，增加自己的知識(shí)面
當(dāng)一個(gè)人知道的東西多了后，在面臨問(wèn)題時(shí)，就會(huì)顯得更有自信，解決問(wèn)題也會(huì)有自己的路子。這樣方式在閱讀能力訓(xùn)練中也同樣適用，考生利用業(yè)余時(shí)間豐富自己的知識(shí)面，對(duì)各國(guó)或各地區(qū)等相關(guān)文化及常識(shí)有一定了解后，在參加托?？荚嚂r(shí)，當(dāng)閱讀到自己有所了解的東西后，解題試題時(shí)就會(huì)比較有自信和感覺(jué)，不會(huì)因?yàn)樽约旱牟涣私饣蚴遣磺宄?，?duì)文章要說(shuō)的東西特別盲目。相信每一位考生在解答試題時(shí)，如果閱讀到自己熟悉的文章后，解答試題時(shí)也會(huì)比較輕松和容易。答題的準(zhǔn)確率自然而然的也就會(huì)有所上升。
3、注意解題要領(lǐng)，無(wú)需閱讀全篇文章
考生在解答閱讀試題時(shí)往往會(huì)存在一定的誤區(qū)，認(rèn)為想要解答試題必須要閱讀整片文章。在這提醒各位考生們，這種理念是錯(cuò)誤的。閱讀文章的做種目的還不就是為了解答試題?只要能夠準(zhǔn)確的解答試題，不完全閱讀文章頁(yè)是可以的，有沒(méi)有人會(huì)問(wèn)你，全篇文章的詳細(xì)內(nèi)容，所以說(shuō)，閱讀時(shí)要秉著做題去閱讀，而不是為了閱讀而去閱讀。還有一點(diǎn)，考生解答閱讀試題時(shí)，可以先看題干，對(duì)所要提出的問(wèn)題有了一定的了解后，帶著問(wèn)題再去閱讀文章，這樣做在閱讀時(shí)就會(huì)有著重點(diǎn)，針對(duì)性強(qiáng)，解答也比較容易，只要找到題干的大概范圍，很輕松就可以選出想要的選項(xiàng)了。同時(shí)，也減少了大量的閱讀時(shí)間，為你的考試贏回不少時(shí)間，可以用這部分時(shí)間去解答其他較難的試題。
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