新托福黃金精選閱讀（原黃金29篇）真題

1、新托福黃金精選閱讀（原黃金29篇）真題8.2版本【2011年7月5日】更新tpo18-22的15篇文章introductionmany students sent me e-mail, asking me to recommend some reading materials. of assorted ibt preparing materials, barron, longman, delta, etc, which is the best? as often as not, i feel at a loss: does brand equal to quality? these brand

2、ed institutions are highly publicized, however, their passages and questions are not necessarily of quality. does the brand “sanlu” mean something to you? “quality and safety are the foundations of social harmony,” proclaim posters at the headquarters of the sanlu group, until recently one of chinas

3、 biggest producers of milk powder. now we all know that sanlu scandal has been more than an embarrassment. to say that these “branded” passages are not of quality does not mean they are not stylish, elegant or carefully-written; in fact, i discovered that the passage types, sentence patterns, arguin

4、g methods, and arrangement of questions are not quite consistent with, and sometimes even wildly divergent from those of ets. i reflect that practicing with these materials cannot expect a satisfactory result. at this, we should collect etss original passages and questions. such passages available i

5、nclude:1. 13 passages in official guide (og);2. 22 sets from tpo, with 3 passages included in each set, 66 passages in total;3. 3 passages provided by ets to the applicants for a test on line in the early time of ibt,4. 1 passage extracted from the simulated exam software provided by ets;(3 passages

6、 in tpo are abstracted from og, so they are exactly the same) then, i cannot resist the temptation to make such a text: i typed every letter of the 13 passages in og into computer; i paid dollars for the tpo and completed it myself, filming the screen and capturing every page. then i typed all the p

7、assages with the help of videos and captured pictures. the 3 passages in the on-line test happened to be available to me; and as for the one passage in the simulated exam, though with a little difficulty, i nevertheless succeeded make an electronic text of it. of course, i finished all these questio

8、ns and attached the answer to end of this text. eventually, the final “deluxe” edition of this text, including 80 passages in aggregate (3 passages in tpo are abstracted from og, so they are exactly the same. then taking 3 from 83 leaves 80 passages at last. ) i insist that before carefully finished

9、 and studied these 80 passages, we should not let ourselves distracted by any other materials. sometimes, i yelled to my students, only a joke, “if you had not studied these passages and questions 3 times at least, how could you be barefaced enough to sit in the exam room? shame on you to waste your

10、 mothers money buying other costly books!” in addition, have you got ants in your pants every time you make a stab at writing? do you go berserk for your personal statement? if you are preparing for the ibt, sat, gre, etc, writing, essays, or your personal statement, these passages can also be of he

11、lp: polished by ets, words, sentence, and structures of these passages are “epic”, and worth imitating for none-native english users. frequently, friends asked me to help with their personal statement, complaining why what they had written looked so nave, immature and awkward, even littered with tho

12、se “glorious noble” gre words (actually, these words made their personal statement even freak!). and they asked, “wenyong, my brother, how you forged your impressive writing skills?” i said, “read! read! and read again! the more you read, the better you write.” “are these ibt passages really so amaz

13、ing?” i affected a tone of a comedian, “try them!”how good can these passages be? “they are golden, they are precious, they are diamonds!” yours wenyong目錄og8applied arts and fine arts8the origins of cetaceans14desert formation21early cinema30aggression39artisans and industrialization48swimming machi

14、nes57nineteenth-century politics in the united states65the expression of emotions74geology and landscape83tpo-192groundwater92the origins of theater99timberline vegetation on mountains106tpo-3113architecture113depletion of the ogallala aquifer120the long-term stability of ecosystems127online test134

15、opportunists and competitors134lascaux cave paintings141electricity from wind148tpo-4155deer populations of the puget sound155cave art in europe162petroleum resources169offical model exam176meteorite impact and dinosaur extinction176tpo-5183minerals and plants183the origin of the pecific island peop

16、le190the cambrian explosion198tpo-6205powering the industrial revolution205william smith212infantile amnesia219tpo-7226the geologic history of the mediterranean226ancient rome and greece233agriculture, iron, and the bantu peoples240tpo-8247the rise of teotihuacn247extinction of the dinosaurs254runni

17、ng water on mars262tpo-9269colonizing the americas via the northwest coast269reflection in teaching277the arrival of plant life in hawaii284og291feeding habits of east african herbivores291loie fuller298green icebergs305tpo-10312chinese pottery312variations in the climate319seventeenth-century europ

18、ean economic growth326tpo-11333ancient egyptian sculpture333orientation and navigation340begging by nestlings347tpo-12354which hand did they use?354transition to sound in film362water in the desert370tpo-13377types of social groups377biological clocks384methods of studying infant perception391tpo-14

19、398children and advertising398maya water problems406pastoralism in ancient inner eurasia413tpo-15420a warm-blooded turtle420mass extinctions427glacier formation434tpo-16441trade and the ancient middle east441development of the periodic table448planets in our solar system456tpo-17462europes early sea

20、 trade with asia462animal signals in the rain forest469symbiotic relationships476tpo-18483industrialization in the netherlands and scandinavia483the mystery of yawning490lightning497tpo-19504the roman armys impact on britain504succession, climax, and ecosystems511discovering the ice ages518tpo-20525

21、westward migration525early settlements in the southwest asia532fossil preservation539tpo-21546geothermal energy546the origins of agriculture554autobiographical memory562tpo-22569spartina569the birth of photography576the allende meteorite584托福閱讀知識體系592樂聞攜爾教學(xué)培訓(xùn)課程簡介593樂聞攜爾近期課程信息597ogapplied arts and fi

22、ne artsalthough we now tend to refer to the various crafts according to the 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 o

23、f function, we can divide them into simple categories: containers, shelters 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 t

24、he substances and things to be contained, supported, and sheltered. these laws 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. sin

25、ce the laws of physics, not some arbitrary decision, have determined the general 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

26、, not all functional objects are exactly alike; that is why we recognize a 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. sensitivity to physical laws is thus an important consid

27、eration 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 disciplines. fine-art objects are not constrained by the laws of physics in the same way that applied-

28、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 understanding of the properties of mass, weight distribution, and stress. paintings must have rigid stretche

29、rs 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 conception of the work. for example, in the early italian renaissance, bronze statues of horses with a raise

30、d 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 sculptors aesthetic intentions, placed the ball there. that this device was a necessary structural comprom

31、ise 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). even though the fine arts in the twentieth century often treat materials in new ways, the basic diff

32、erence in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant. it would 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

33、 the applied arts work in concert with their materials. paragraph 1: although we now tend to refer to the various crafts according to the 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

34、 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, shelters, and supports must be functional. the applied arts are thus bound by the laws of physics,

35、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 beliefs, geography, or climate. if a pot has no bottom or has large openings in its sides, it could

36、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, so much so that functional forms can vary only within certain limits. buildings without roofs, for e

37、xample, 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 varies is not the basic form but the incidental details that do not obstruct the objects primary func

38、tion. 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 following best expresses the essential information in the highlighted sentence? incorrect answer choices change the meaning in important ways or leave out essential in

39、formation. functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics. the function of applied-art objects is determined by basic patterns in the laws of physics. since functional applied-art objects vary only within certain limits, arbitrary decisions

40、cannot have determined their general form. the general form of applied-art objects is limited by some arbitrary decision that is not determined 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

41、 for granted that this is also true for the maker of fine-art objects. this 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 functiona

42、l, they are only limited in terms of the materials used to make them. sculptures 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 dete

43、riorate, crack, or discolor. these are problems that must be overcome by the 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 do

44、ne because the cannonball was needed to support the weight of the leg. in 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 disappea

45、red when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze). 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 ma

46、de the statues weigh less they found a way to strengthen the statues internally the aesthetic tastes of the public had changed over time 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 renaissanc

47、e? 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 unconcerned 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 exceptiona

48、l piece of art constructed without the aid of technology 7. 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 beca

49、use they express ideas that are not presented in the passage or are minor ideas in the passage. this question is worth 2 points. this passage discusses fundamental differences between applied-art objects and fine-art objects. answer choices applied-art objects fulfill functions, such as containing o

50、r sheltering, and objects with the same function have similar characteristics because they are constrained by their purpose.it is easy to 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

51、used.renaissance sculptors learned to use iron braces to strengthen the internal structures of bronze statues.in the twentieth century, fine 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 phy

52、sical limitations of their materials while applied artists tend to cooperate with the physical properties of their materials.8. directions: 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

53、 which they are associated. this question is worth 3 points. types of art statementsthe applied arts select 3 the fine arts select 2 statements an objects purpose is primarily aesthetic. objects serve a functional purpose. the incidental details of objects do not vary. artists work to overcome the l

54、imitations of their materials. the basic form of objects varies little across cultures. artists work in concert with their materials. an objects place of origin is difficult to determine. 參考答案：3. 14. 15. 26. 17. 1, 3, 68. 2, 5, 6 1, 4參考譯文實(shí)用藝術(shù)和創(chuàng)造藝術(shù)在現(xiàn)代，人們將根據(jù)工藝品的制造材質(zhì)對他們進(jìn)行分類，如陶土，玻璃，木頭，纖維還有金屬。但最初人們根據(jù)工藝品的

55、功能將他們通通定義為“實(shí)用工藝品”。根據(jù)工藝品的實(shí)用性，我們可以把手工藝品簡單分為：容器，遮蔽物，支撐物。毫無疑問它們都是具有一定功能的物品。這些實(shí)用工藝品以自然規(guī)律為基礎(chǔ)，它們的制作材料及其容納、支撐、遮蓋的內(nèi)容需要符合這些規(guī)律。這些規(guī)律在工藝品應(yīng)用過程中非常普遍，不會(huì)因文化信仰、地理?xiàng)l件和氣候的改變而改變。如果一個(gè)壺沒有底座，或者在一側(cè)有一個(gè)大開口，那么它在任何傳統(tǒng)意義上都很難被視為是一個(gè)容器。自然規(guī)律決定了實(shí)用工藝品的一般形式，而不是武斷的結(jié)論決定的，它們遵循基本的樣式，以至于它們的功能不會(huì)變化太大。舉個(gè)例子，沒有屋頂?shù)慕ㄖ呛苌僖姷模驗(yàn)樗`反了自然規(guī)律。但是，并不是所有的功能物品都一

56、模一樣，比如我們知道的為什么商代花瓶和印加花瓶不同。它們的區(qū)別不是基本功能的不同，而是那些不影響其基本功能的細(xì)節(jié)存在區(qū)別。實(shí)用工藝品的生產(chǎn)者會(huì)著重考慮這件工藝品對自然規(guī)律的敏感性。所以人們認(rèn)為對純工藝品的生產(chǎn)來說也是一樣。但這種推斷忽略了兩種工藝品之間重要的區(qū)別。純工藝品不像實(shí)用工藝品那樣會(huì)受到自然規(guī)律的限制。因?yàn)樗鼈冏钪饕牟⒉皇求w現(xiàn)其功能性，其實(shí)它們僅受限于制作材料的性質(zhì)。比方說雕塑必須要牢固，這就需要了解質(zhì)量，重力分布和壓力的性質(zhì)。油畫必須有堅(jiān)固的支架，才能讓畫布保持繃緊，并且油畫不可以有毀損，裂紋，褪色。類似困難都是藝術(shù)家們必須克服的，這些困擾往往影響了藝術(shù)家對于工藝品的設(shè)計(jì)。就好像在

57、意大利文藝復(fù)興早期，踢出前腿馬匹的青銅像往往有一個(gè)金屬球置于它的前蹄下。這樣設(shè)計(jì)是因?yàn)樾枰饘偾騺碇瓮鹊闹亓?。換而言之，擺在那里的金屬球是客觀條件的需要，而不是藝術(shù)家的美學(xué)意愿。當(dāng)?shù)袼芗覍W(xué)會(huì)如何了用鐵支架加強(qiáng)雕塑的內(nèi)部結(jié)構(gòu)后（鐵比青銅更結(jié)實(shí)），就不再使用金屬球了，由此看來，鐵球的使用是對于必要結(jié)構(gòu)性的妥協(xié)。盡管在20世紀(jì)純工藝品的制作通常采用新的制造工藝，人們對兩種工藝品的基本態(tài)度仍然保持對立。因此，毫不夸張地說，純藝術(shù)工藝品的生產(chǎn)者需要克服原材料的限制進(jìn)行生產(chǎn)，而從事實(shí)用性工藝品的生產(chǎn)者則依據(jù)材料的性質(zhì)來進(jìn)行生產(chǎn)。the 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 young. their streamlined bodies, the absence of