2011.2文勇最新黄金阅读6.5

在文勇的网站 www.liuwenyong.com 会定期更新黄金精选阅读最新版本,欢迎热心同学定期转载 文勇的新托福黄金精选阅读（原黄金29篇）真题[6.5版] 俺常常收到同学们的邮件，要我推荐各种各样阅读材料,问我iBT的复习资料中 Barron, Longman, Delta等等哪个更好。我其实很无奈---因为尽管这些机构很大牌,但大牌丝毫都不意味着文章“质量高”(比如你可以想想三鹿奶粉)---说这些机构的文章质量不高,并不是说文字写得不好,而是说这些文章的句子结构, 论述方式, 出题思路与ETS的并不一致(有时候甚至大相径庭)：用这样的材料训练，实在是 事倍功半。 于是，我们实在应该去找找由ETS出的iBT文章来做：（我们能够找到的|由ETS编纂的 标准 excel标准偏差excel标准偏差函数exl标准差函数国标检验抽样标准表免费下载红头文件格式标准下载 iBT文章有） 1. OG 之中的13篇文章 ；（其中3篇为第三版OG之中的文章） 2. 16次（套）TPO 之中的3*15=48篇文章 ； 3. 早期 报名之时ETS赠送的3篇在线测试题 4. ETS官方给出的模考软件之中抽出的1篇文章； 于是这个文档在我的一时兴起之下，出现了： OG拿在手上，可以一个个字的敲成电子版；TPO的所有考试都是在自己的计算机进行，于是可以一边花钱参加考试,一边截图与录像---再利用截下来的图片，逐个的敲下来；早期的ETS赠送的3篇在线测试题，我也恰好有电子版本；官方的模考软件稍微用点功夫，就能将文章提取并复制出来。虽然工作有些繁杂，但总算完成了所有文章的敲打工作。再花了些时间，把这62篇文章都做了答案，附在文章的后面。（由于TPO之中有3篇文章与OG中完全重复,于是减去3篇,只剩下62篇。）同时我还更正了OG上几个明显的错误（详见文后附录）当然，我还做出了方便大家理解文章的参考译文，附在文章的后面。 在这62篇由ETS出的文章没有做完之前，我们实在不应该花时间在任何其他的题目之上。我有时候甚至会对着我的弟兄们高呼：“没有把这62篇做３遍，你好意思上考场么？你好意思花钱在任何一本垃圾书上面么？ ” 另外，如果你正在准备iBT-SAT-GRE的作文部分或者写留学文书，也应该仔细的琢磨一下这些文章：经过ETS打磨的文章，无一不是精妙绝伦，极具模仿价值。常常有同学拜托我帮她（他）写PS，也说起自己的句子怎么看都像是小学生写的（尽管用上了GRE里面的 单词 英语单词 下载七年级上册英语单词表下载英语单词表下载深圳小学英语单词表 下载高中英语单词 下载 ），于是会随口问我“勇哥，您的写作能力是怎么训练出来的。”我说，“看呗，看呗：托福文章看多了，写作能力自然就提高了。” “这ETS的这些文章真的那么好？”。每当听到这个问题，我都会装做赵本山的样子来一句“谁用谁知道～～” 文勇 欢迎进行未删节的转载|且不必告诉我你转载到哪里去|都是一个战壕里面的弟兄啊… 一开始做这件事情的时候，文档之中有不少的typo，还好获得了弟兄们的支持和理解，这个文档的错误才慢慢的越变越少。很感激大家对这个文档的关心和帮助，这个文档还是会一直地做下去，为大家提供第一手的托福阅读复习资料。 新增加文章的翻译还在进行当中，请大家耐心等待~：） 既然这些文章都是托福真题，那么它们的出处具体是怎么样的呢？ TPO1来自网上公布的题目，TPO2来自OG，TPO3来自2006年8月12日， TPO4来自2006年10月8日，TPO5来自2008年3月8日，TPO6来自2007年12月10日 TPO7来自2007年2月24日/2007年12月14日 TPO8来自2008年2月9日/2008年12月21日 TPO9来自2008年5月4日，TPO10来自2008年6月7日， TPO11来自2006年12月8日（阅读+口语）/2006年12月15日（听力+写作） TPO12来自2006年12月8日（听力+独立写作）/2006年12月15日（阅读+口语）/2007年12月1日（综合写作） TPO13来自2006年6月9日/2007年6月30日 以上统计来自于康老师 http://tw.myblog.yahoo.com/trenton-kang 欢迎同学们发邮件给我指出任何的关于这个文档的意见和建议！ liuwenyong@lasedu.com/mail@liuwenyong.com 本文檔由 刘文勇出于个人兴趣制作，由陈睿|李想等协助制作,该行为并不代表任何机构; 注意:文章源自ETS, 版权啥的自然都来自ETS, 这一点毫无疑问, 由于教务繁忙, 估计各种错误是少不了的, 如果你发现了错误且有空的话, 就拜托你发邮件告诉我一下吧) (Liuwenyong@lasedu.com/Mail@liuwenyong.com) 我都会在文档的附录中标记你的贡献， 若找到五处以上的错误，免费电话答疑； 若找到十处以上直接请吃饭：) Introduction Many 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 branded 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 China’s 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, arguing 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 ETS’s original passages and questions. Such passages available include: 1. 13 passages in Official Guide (OG); 2. 16 sets from TPO, with 3 passages included in each set, 48 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 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 passages 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 questions and attached the answer to end of this text. Eventually, the final “deluxe” edition of this text, including 62 passages in aggregate (3 passages in TPO are abstracted from OG, so they are exactly the same. Then taking 3 from 65 leaves 62 passages at last. ) I insist that before carefully finished and studied these 59 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 mother’s 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 help: 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 naïve, immature and awkward, even littered with those “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 amazing?” 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 1.7APPLIED ARTS AND FINE ARTS 2.12THE ORIGINS OF CETACEANS 3.19DESERT FORMATION 4.28EARLY CINEMA 5.37AGGRESSION 6.46ARTISANS AND INDUSTRIALIZATION 7.55SWIMMING MACHINES 8.63NINETEENTH-CENTURY POLITICS IN THE UNITED STATES 9.72THE EXPRESSION OF EMOTIONS 10.81GEOLOGY AND LANDSCAPE 11.90GROUNDWATER 12.97THE ORIGINS OF THEATER 13.104TIMBERLINE VEGETATION ON MOUNTAINS 14.111ARCHITECTURE 15.118Depletion of the Ogallala Aquifer 16.125The Long-Term Stability of Ecosystems 17.132Opportunists and Competitors 18.138Lascaux Cave Paintings 19.145Electricity from Wind 20.152Deer Populations of the Puget Sound 21.159Cave Art in Europe 22.166Petroleum Resources 23.173Meteorite Impact and Dinosaur Extinction 24.180MINERALS AND PLANTS 25.187THE ORIGIN OF THE PACIFIC ISLAND PEOPLE 26.195THE CAMBRIAN EXPLOSION 27.202Powering the Industrial Revolution 28.209William Smith 29.216Infantile Amnesia 30.223The Geologic History of the Mediterranean 31.230Ancient Rome and Greece 32.237Agriculture, Iron, and the Bantu Peoples 33.244THE RISE OF TEOTIHUACAN 34.251EXTINCTION OF THE DINOSAURS 35.259RUNNING WATER ON MARS 36.266Colonizing the Americas via the Northwest Coast 37.274REFLECTION IN TEACHING 38.281THE ARRIVAL OF PLANT LIFE IN HAWAII 39.288FEEDING HABITS OF EAST AFRICAN HERBIVORES 40.295LOIE FULLER 41.302GREEN ICEBERGS 42.309Chinese Pottery 43.316Variations in the Climate 44.323Seventeenth-Century European Economic Growth 45.330Ancient Egyptian Sculpture 46.337Orientation and Navigation 47.344Begging by Nestlings 48.351Which Hand Did They Use? 49.358Transition to Sound in Film 50.366Water in the Desert 51.373Types of Social Groups 52.380Biological Clocks 53.387Methods of Studying Infant Perception 54.394Children and Advertising 55.401Maya Water Problems 56.408Pastoralism in Ancient Inner Eurasia 57.415A Warm-Blooded Turtle 58.422Mass Extinctions 59.429Glacier Formation 60.436Trade and the Ancient Middle East 61.443Development of the Periodic Table 62.451Planets in Our Solar System 458《文勇的新托福强化阅读白金班》 460《穿越重洋，给你思维的力量》 APPLIED ARTS AND FINE ARTS 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 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, 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 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 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 varies is not the basic form but the incidental details that do not obstruct the object's 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. 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 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 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 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 other words, the demands of the laws of physics, not the sculptor's 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). 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 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 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 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 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. 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 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 varies is not the basic form but the incidental details that do not obstruct the object's 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 following 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 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 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 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 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 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 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 other words, the demands of the laws of physics, not the sculptor's 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). 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 ○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 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 exceptional 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 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 passage 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 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, 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 physical 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 which they are associated. This question is worth 3 points. TYPES OF ART STATEMENTS The Applied Arts Select 3 ● ● ● The Fine Arts Select 2 ● ● Statements ○An object's 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 object's place of origin is difficult to determine. 参考答案： 3. ○1 4. ○1 5. ○2 6. ○1 7. ○1, 3, 6 8. ○2, 5, 6 ○1, 4 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。 THE ORIGINS OF CETACEANS It 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 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), 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 named Pakicetus in hono