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1、托福閱讀真題集錦(二)PASSAGE 3The Native America ns of n orther n California were highly skilled at basketry, using the reeds,grasses, barks, and roots they found around them to fashi on articles of all sorts and sizes-not on ly trays, contain ers, and cook ing pots, but hats, boats, fish traps, baby carriers

2、, and cerem on ialobjects.Of all these experts, none excelled the Pomo a group who lived on or near the coast during the 1800's, and whose descendants continue to live in parts of the same region to this day. They madebaskets threefeetin diameter and others no bigger than a thimble. The Pomo peo

3、ple were masters of decoration.Someof their baskets were completely covered withshell pendan ts; others with feathers that made the baskets' surfaces as soft as the breasts of birds. Moreover, the Pomopeople madeuse ofmore weav ing tech niq uestha n did theirn eighbors.Most groups made all their

4、 basketwork by twining the twisti ng of aflexible horiz on tal material, called a weft, around stiffer verticalstrands of material, the warp. Others depended primarilyon coiling a process in which a continuous coil of stiff material is held in the desired shape with tight wrapping of flexiblestra nd

5、s. Only the Pomopeople used both processes with equal easeand frequency. In addition, they made use of four distinctvariations onthe basic twining process, often emplo ying more tha n one of them in a sin gle article.Although a wide variety of materials was available, the Pomo people used on ly a fe

6、w. The warp was always madeof willow, and the most commo nly used weft was sedge root, a woodyfiber that could easily be separated into stra nds no thicker tha n a thread. For color, the Pomopeople used the bark of redbud fortheir twinedwork and dyed bullrush root for black in coiled work. Though ot

7、her materials were sometimes used, these four were the staples in their fin est basketry.If the basketry materials used by the Pomo people were limited, the desig ns were amazi nglyvaried. Every Pomobasketmaker knew how to producefrom fiftee n to twenty disti net patter ns that could be comb ined in

8、 a nu mber of differe nt ways.1. What best distinguished Pomo baskets from baskets of other groups?(A) The range of sizes, shapes, and desig ns(B) The unu sual geometric(C) The abse nee of decorati on(D) The rare materials used2. The word "fashion" in line 2 is closest in meaning to(A) mai

9、n tai n(B) orga nize(C) trade(D) create3. The Pomopeople used each of the follow ing materials to decorate baskets EXCEPT(A) shells(B) feathers(C) leaves(D) bark4. What is the author's main point in the sec ond paragraph?(A) The neighbors of the Pomo people tried to improve on the Pomo basket we

10、av ing tech niq ues.(B) The Pomopeople were the most skilledbasket weavers in theirregi on.(C) The Pomo people lear ned their basket weav ing tech niq ues from other Native America ns.(D) The Pomo baskets have been handed down for generations.5. The word "others " in line 9 refers to(A) ma

11、sters(B) baskets(C) pendants(D) surfaces6. Accord ing to the passage , a weft is a(A) tool for separating sedge root(B) process used for coloring baskets(C) pliable maternal woven around the warp(D) pattern used to decorate baskets7. Accord ing to the passage , what did the Pomo people use as the wa

12、rp in their baskets?(A) bullrush(B) willow(C) sedge(D) redbud8. The word "article" in line 17 is close in meaning to(A) decoration(B) shape(C) design(D) object9. Accord ing to the passage . The relati on shipbetwee n redbud and twiningis most similar to the relati on ship betwee n(A) bullr

13、ush and coili ng(B) weft and warp(C) willow and feathers(D) sedge and weav ing10. The word "staples" in line 23 is closest in meaning to(A) comb in ati ons(B) limitati ons(C) accessories(D) basic eleme nts11. The word "distinet" in lime 26 is closest in meaning to(A) systematic(B

14、) beautiful(C) differe nt(D) compatible12. Which of the following statements about Pomo baskets can be best in ferred from the passage ?(A) Baskets produced by other Native America ns were less varied in desig n tha n those of the Pomo people.(B) Baskets produced by Pomo weavers were primarily for c

15、erem onial purposes.(C) There were a very limited nu mber of basketmak ing materials available to the Pomo people.(D) The basketmak ingproducti on of the Pomopeople has in creased over theyears.PASSAGE 4The term "Hudson River school" was applied to the foremostrepresentatives of nineteenth

16、-century North American Iandscapepainting.Appare ntly unknown duri ng the golde n days of the America n Ian dscape moveme nt, which bega n around 1850 and lasted un til the late 1860's, theHudson River school seemsto have emerged in the 1870's as a direct result of the struggle betwee nthe o

17、ld and the new gen erati onsof artists, eachto assert its own style as the represe ntative America n art. Theolder pain ters, most of whom were born before 1835, practiced in a mode ofte n self-taughtand monopolized by Iandscape subject matter and were securelyestablished in and fostered by the reig

18、 ning America n art orga ni zati on, the NationalAcademy of Design. The younger paintersreturninghomefromtraining in Europe worked more with figural subject matter and in a bold and impressi oni stictech niq ue; their prospects for patr on age in their owncountry were un certa in, and they sought to

19、 attract it by atta ining academic recognition in New York. One of the results of the conflictbetween the two factions was that what in previous years had been referred to as the "America n", "n ative", or, occasi on ally, "New York" schoolthe most representative school

20、 of American art in any genre hadby 1890become firmly established in the minds of critics and public alikeas theHuds on River school.The sobriquet was first applied around 1879. While itwas not inten dedas flatteri ng, it was hardly in appropriate. The Academicia ns at whom it was aimed had worked a

21、nd socialized in NewYork, the Huds on's port city, and had pain ted the river and its shores with vary ing freque ncy. Most importa nt, perhaps, was that they had allmaintained with a certainfidelityconsistent with those of America'sa manner of technique and composition first popular Iandsca

22、pe artist, ThomasCole,who builta career pain ti ngthe CatskillMountain sce nery borderi ngthe Hudson River. A possibleimplicati onin the term appliedto the groupCole,livedon or n ear theof Iandscapistswas that many of them had, likethe prin cipalparticularlybanks of the Huds on. Further,the river ha

23、d long served asroute toother sketch ing grounds favored by the Academicia ns, the Adir on dacks and the mountains of Verm ont and New Hampshire.1. What does the passage mainly discuss?(A) The Nati onal Academy of Desig n(B) Paintings that featured the Hudson River(C) North American Iandscape painti

24、ngs(D) The training of American artists in European academies2. Before 1870, what was considered the most representative kind of American painting?(A) Figural painting(B) Lan dscape pain ti ng(C) Impressio ni stic painting(D) Historical pain ti ng3. The word "struggle" in line 5 is closest in meaning to(A) connection(B) distanee(C) com muni cati on(D) competition4. The word "monopolized" in line 7 is closest in meaning to(A) alarmed(B) domin ated(C) repelled(D) pursued5. Accord ing to the pass

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