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Part 1
Read the text below and answer questions 1-13.
Raising the Mary Rose
How a sixteenth-century warship was recovered from the seabed
On 19 July 1545, English and French fleets were engaged in a sea battle off the coast of southern England in the area of water called the Solent, between Portsmouth and the Isle of Wight. Among the English vessels was a warship by the name of Mary Rose. Built in Portsmouth some 35 years earlier, she had had a long and successful fighting career, and was a favourite of King Henry VIII. Accounts of what happened to the ship vary: while witnesses agree that she was not hit by the French, some maintain that she was outdated, overladen and sailing too low in the water, others that she was mishandled by undisciplined crew. What is undisputed, however, is that the Mary Rose sank into the Solent that day, taking at least 500 men with her. After the battle, attempts were made to recover the ship, but these failed.
The Mary Rose came to rest on the seabed, lying on her starboard (right) side at an angle of approximately 60 degrees. The hull (the body of the ship) acted as a trap for the sand and mud carried by Solent currents. As a result, the starboard side filled rapidly, leaving the exposed port (left) side to be eroded by marine organisms and mechanical degradation. Because of the way the ship sank, nearly all of the starboard half survived intact. During the seventeenth and eighteenth centuries, the entire site became covered with a layer of hard grey clay, which minimised further erosion.
Then, on 16 June 1836, some fishermen in the Solent found that their equipment was caught on an underwater obstruction, which turned out to be the Mary Rose. Diver John Deane happened to be exploring another sunken ship nearby, and the fishermen approached him, asking him to free their gear. Deane dived down, and found the equipment caught on a timber protruding slightly from the seabed. Exploring further, he uncovered several other timbers and a bronze gun. Deane continued diving on the site intermittently until 1840, recovering several more guns, two bows, various timbers, part of a pump and various other small finds.
The Mary Rose then faded into obscurity for another hundred years. But in 1965, military historian and amateur diver Alexander McKee, in conjunction with the British Sub-Aqua Club, initiated a project called 'Solent Ships'. While on paper this was a plan to examine a number of known wrecks in the Solent, what McKee really hoped for was to find the Mary Rose. Ordinary search techniques proved unsatisfactory, so McKee entered into collaboration with Harold E. Edgerton, professor of electrical engineering at the Massachusetts Institute of Technology. In 1967, Edgerton's side-scan sonar systems revealed a large, unusually shaped object, which McKee believed was the Mary Rose.
Further excavations revealed stray pieces of timber and an iron gun. But the climax to the operation came when, on 5 May 1971, part of the ship's frame was uncovered. McKee and his team now knew for certain that they had found the wreck, but were as yet unaware that it also housed a treasure trove of beautifully preserved artefacts. Interest in the project grew, and in 1979, The Mary Rose Trust was formed, with Prince Charles as its President and Dr Margaret Rule its Archaeological Director. The decision whether or not to salvage the wreck was not an easy one, although an excavation in 1978 had shown that it might be possible to raise the hull. While the original aim was to raise the hull if at all feasible, the operation was not given the go-ahead until January 1982, when all the necessary information was available.
An important factor in trying to salvage the Mary Rose was that the remaining hull was an open shell. This led to an important decision being taken: namely to carry out the lifting operation in three very distinct stages. The hull was attached to a lifting frame via a network of bolts and lifting wires. The problem of the hull being sucked back downwards into the mud was overcome by using 12 hydraulic jacks. These raised it a few centimetres over a period of several days, as the lifting frame rose slowly up its four legs. It was only when the hull was hanging freely from the lifting frame, clear of the seabed and the suction effect of the surrounding mud, that the salvage operation progressed to the second stage. In this stage, the lifting frame was fixed to a hook attached to a crane, and the hull was lifted completely clear of the seabed and transferred underwater into the lifting cradle. This required precise positioning to locate the legs into the 'stabbing guides' of the lifting cradle. The lifting cradle was designed to fit the hull using archaeological survey drawings, and was fitted with air bags to provide additional cushioning for the hull's delicate timber framework. The third and final stage was to lift the entire structure into the air, by which time the hull was also supported from below. Finally, on 11 October 1982, millions of people around the world held their breath as the timber skeleton of the Mary Rose was lifted clear of the water, ready to be returned home to Portsmouth.Questions 1-4
Do the following statements agree with the information given in Reading Passage 1?In boxes 1-4 on your answer sheet, writeTRUEif the statement agrees with the information given in the text.FALSEif the statement contradicts the information.NOT GIVENif there is no information on this.1 There is some doubt about what caused the Mary Rose to sink.
2 The Mary Rose was the only ship to sink in the battle of 19 July 1545.
3 Most of one side of the Mary Rose lay undamaged under the sea.
4 Alexander McKee knew that the wreck would contain many valuable historical objects.
我的答案：
正确答案： 1.TRUE 2.NOT GIVEN 3.TRUE 4.FALSE
查看解析
1 解析
参考译文：对于玛丽玫瑰号为何沉没存在一些争议。
定位词：Mary Rose, sink
文中对应第一段第四句：Accounts of what happened to the ship vary: while witnesses agree that she was not hit by the French, some maintain that she was outdated, overladen and sailing too low in the water, others that she was mishandled by undisciplined crew.
本题说到关于玛丽玫瑰号沉没的原因,在第一段第四句中出现了关于这个内容的描述，其中可以看到while witnesses agree that... some maintain that… others that…这一结构，说明人们对于其沉没原因并没有达成共识，这与题目的描述一致，因此本题答案为TRUE。
2 解析
参考译文：玛丽玫瑰号是1545年7月19日的战斗中唯一沉没的船只。
定位词：19 July 1545, sink
文中对应第一段第五句：What is undisputed, however, is that the Mary Rose sank into the Solent that day, taking at least 500 men with her.
本题中出现的时间在原文第一段第一句中出现，而关于玛丽玫瑰号沉没的信息出现在本段第五句，上一题出题位置之后。文中只提到战舰沉没，关于“是否是唯一”这一点并没有提及，因此本题答案为NOT GIVEN。
3 解析
参考译文：玛丽玫瑰号的一侧大部分在海中没有受到破坏。
定位词：one side the Mary Rose
文中对应第二段第四句：Because of the way the ship sank, nearly all of the starboard half survived intact.
文章第二段对玛丽玫瑰号在海底的情况进行了描述，其中第四句说到右舷一侧几乎被完整地保留了下来，这与题目中的表述一致，因此本题答案为TRUE。
4 解析
参考译文：Alexander McKee知道沉船中会有许多有价值的历史遗物。
定位词：historical objects
文中对应第五段第三句：McKee and his team now knew for certain that they had found the wreck, but were as yet unaware that it also housed a treasure trove of beautifully reserved artefacts.
本题说McKee知道沉船中会有许多historical objects，而根据第五段第三句的描述，McKee和他的团队unaware that it also housed a treasure trove of beautifully reserved artefacts，说明他们并不知道这一情况，因此题目表述与原文相反，本题答案为FALSE。
Questions 5-8
Look at the following statements (Questions 5-8) and the list of dates below.Match each statement with the correct date,A-G.Write the correct letter,A-G, in boxes 5-8 on your answer sheet.-
A. 1836
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B. 1840
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C. 1965
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D. 1967
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E. 1971
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F. 1979
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G. 1982
5 A search for the Mary Rose was launched.5
6 One person's exploration of the Mary Rose site stopped.6
7 It was agreed that the hull of the Mary Rose should be raised.7
8 The site of the Mary Rose was found by chance.8
我的答案： 5. 6. 7. 8.
正确答案： 5.C 6.B 7.G 8.A
查看解析
5 解析
译文：对玛丽玫瑰号的搜索行动启动。
定位词：launched
文中对应第四段前两句: The Mary Rose then faded into obscurity for another hundred years. But in 1965, military historian and amateur diver Alexander McKee, in conjunction with the British Sub-Aqua Chub, initiated a project called 'Solent Ships'.
原文中提到，1965 年，名为“索伦特海峡的船只”的项目被发起，第四段中的initiated与题目中的launched为同义替换，因此本题答案为C。6 解析
译文：一个人对玛丽玫瑰号的搜索停止。
定位词：stopped
文中对应第三段最后一句: Deane continued diving on the site intermittently until1840, recovering several more guns, two bows, various timbers, part of a pump and various other small finds. 第四段第一句:The Mary Rose then faded into obscurity for another hundred years.
文章第三段中说到John Deane在玛丽玫瑰号所在的海域进行了搜索并且发现了一系列物品，其后在第四段第一句说到之后的几百年都没有再进行这样的行为，说明Dcanc的搜索行为stopped,这与题目表述一致，时间为1840年，因此本题答案为B。7 解析
译文:玛丽玫瑰号的船体打捞得到同意。
定位词：Agreed
文中对应第五段最后一句: While the original aim was to raise the hull if at all feasible, the operation was not given the go-ahead until January 1982, when all the necessary information was available.
根据文章第五段的描述，直到1982年1月，打捞玛丽玫瑰号船体的计划才得到许可，因此本题答案为G。8 解析
译文:玛丽玫瑰号所在的地方被偶然发现。
定位词：Found by chance
文中对应第三段前两句: Then, on 16 June 1836, some fishermen in the Solent found that their equipment was caught on an underwater obstruction, which turned out to be the Mary Rose. Diver John Deane happened to be exploring another sunken ship nearby, and the fishermen approached him, asking him to free their gear.
本题所说的偶然发现玛丽玫瑰号的所在地在文章第三段出现，渔民们的船只偶然发现了玛丽玫瑰号，而恰好John Deane在附近，这都与题目的表述一致，这件事情发生在1836年，因此本题答案为A。Questions 9-13
Label the diagram below.ChooseNO MORE THAN TWO WORDSfrom the passage for each answer.Write your answers in boxes 9-13 on your answer sheet.
attached to hull by wires
to prevent hull being sucked into mud
legs are placed into
hull is lowered into
used as extra protection for the hull我的答案： 9. Lifting frame 10. Use jacks 11. stabbing guides 12. underwater 13. air bags
正确答案： 9.lifting frame,frame 10.hydraulic jacks 11.stabbing guides 12.lifting cradle,cradle 13.air bags
查看解析
9 解析
____ attached to hull by wires
定位词：attached to hull by wires
答案句：The hull was attached to a lifting frame via a network of bolts and lifting wires.
船体通过一组螺栓和提升钢丝连接到一个提升架上。
同义替换：attached to hull by wires = attached to a lifting frame via … lifting wires10 解析
____ to prevent hull being sucked into mud
定位词：prevent hull being sucked into mud
答案句：The problem of the hull being sucked back downwards into the mud was overcome by using 12 hydraulic jacks.
船体被重新吸回泥中的问题通过使用 12 个液压千斤顶得到了解决。
同义替换：prevent hull being sucked into mud = overcome the problem of the hull being sucked back downwards into the mud11 解析
legs are placed into ____
定位词：legs are placed into
答案句：This required precise positioning to locate the legs into the'stabbing guides' of the lifting cradle.
这需要精准定位，将支架腿放入提升托架的 “定位导槽” 中。
同义替换：legs are placed into = locate the legs into12 解析
hull is lowered into ____
定位词：hull is lowered into
答案句：the hull was lifted completely clear of the seabed and transferred underwater into the lifting cradle.
船体被完全吊离海床，并在水下转移到提升托架中。
同义替换：hull is lowered into = transferred underwater into13 解析
____ used as extra protection for the hull
定位词：used as extra protection for the hull
答案句：was fitted with air bags to provide additional cushioning for the hull's delicate timber framework.
（提升托架）配备了气囊，为船体脆弱的木质框架提供额外的缓冲保护。
同义替换：used as extra protection for the hull = provide additional cushioning for the hull -
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Part 2
Read the text below and answer questions 14-26.
What destroyed the civilisation of Easter Island?
14
A Easter Island, or Rapu Nui as it is known locally, is home to several hundred ancient human statues - the moai. After this remote Pacific island was settled by the Polynesians, it remained isolated for centuries. AII the energy and resources that went into the moai - some of which are ten metres tall and weigh over 7,000 kilos - came from the island itself. Yet when Dutch explorers landed in 1722, they met a Stone Age culture. The moai were carved with stone tools, then transported for many kilometres, without the use of animals or wheels, to massive stone platforms. The identity of the moai builders was in doubt until well into the twentieth century. Thor Heyerdahl, the Norwegian ethnographer and adventurer, thought the statues had been created by pre-Inca peoples from Peru. Bestselling Swiss author Erich von Däniken believed they were built by stranded extraterrestrials. Modern science – linguistic, archaeological and genetic evidence - has definitively proved the moai builders were Polynesians, but not how they moved their creations. Local folklore maintains that the statues walked, while researchers have tended to assume the ancestors dragged the statues somehow, using ropes and logs.
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B When the Europeans arrived, Rapa Nui was grassland, with only a few scrawny trees. In the 1970s and 1980s, though, researchers found pollen preserved in lake sediments, which proved the island had been covered in lush palm forests for thousands of years. Only after the Polynesians arrived did those forests disappear. US scientist Jared Diamond believes that the Rapanui people - descendants of Polynesian settlers - wrecked their own environment. They had unfortunately settled on an extremely fragile island – dry, cool, and too remote to be properly fertilised by windblown volcanic ash. When the islanders cleared the forests for firewood and farming, the forests didn't grow back. As trees became scarce and they could no longer construct wooden canoes for fishing, they ate birds. Soil erosion decreased their crop yields. Before Europeans arrived, the Rapanui had descended into civil war and cannibalism, he maintains. The collapse of their isolated civilisation, Diamond writes, is a 'worst-case scenario for what may lie ahead of us in our own future'.
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C The moai, he thinks, accelerated the self-destruction. Diamond interprets them as power displays by rival chieftains who, trapped on a remote little island, lacked other ways of asserting their dominance. They competed by building ever bigger figures. Diamond thinks they laid the moai on wooden sledges, hauled over log rails, but that required both a lot of wood and a lot of people. To feed the people, even more land had to be cleared. When the wood was gone and civil war began, the islanders began toppling the moai. By the nineteenth century none were standing.
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D Archaeologists Terry Hunt of the University of Hawaii and Carl Lipo of California State University agree that Easter Island lost its lush forests and that it was an 'ecological catastrophe' - but they believe the islanders themselves weren't to blame. And the moai certainly weren't. Archaeological excavations indicate that the Rapanui went to heroic efforts to protect the resources of their wind-lashed, infertile fields. They built thousands of circular stone windbreaks and gardened inside them, and used broken volcanic rocks to keep the soil moist. In short, Hunt and Lipo argue, the prehistoric Rapanui were pioneers of sustainable farming.
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E Hunt and Lipo contend that moai-building was an activity that helped keep the peace between islanders. They also believe that moving the moai required few people and no wood, because they were walked upright. On that issue, Hunt and Lipo say, archaeological evidence backs up Rapanui folklore. Recent experiments indicate that as few as 18 people could, with three strong ropes and a bit of practice, easily manoeuvre a 1,000 kg moai replica a few hundred metres. The figures' fat bellies tilted them forward, and a D-shaped base allowed handlers to roll and rock them side to side.
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F Moreover, Hunt and Lipo are convinced that the settlers were not wholly responsible for the loss of the island's trees. Archaeological finds of nuts from the extinct Easter Island palm show tiny grooves, made by the teeth of Polynesian rats. The rats arrived along with the settlers, and in just a few years, Hunt and Lipo calculate, they would have overrun the island. They would have prevented the reseeding of the slow-growing palm trees and thereby doomed Rapa Nui's forest, even without the settlers' campaign of deforestation. No doubt the rats ate birds' eggs too. Hunt and Lipo also see no evidence that Rapanui civilisation collapsed when the palm forest did. They think its population grew rapidly and then remained more or less stable until the arrival of the Europeans, who introduced deadly diseases to which islanders had no immunity. Then in the nineteenth century slave traders decimated the population, which shrivelled to 111 people by 1877.
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G Hunt and Lipo's vision, therefore, is one of an island populated by peaceful and ingenious moai builders and careful stewards of the land, rather than by reckless destroyers ruining their own environment and society. 'Rather than a case of abject failure, Rapu Nui is an unlikely story of success', they claim. Whichever is the case, there are surely some valuable lessons which the world at large can learn from the story of Rapa Nui.Questions 14-20
Reading Passage 2 has seven paragraphs,A-G.Choose the correct heading for paragraphs from the list of headings below.Write the correct numberi-ixin boxes 14-20 on your answer sheet.-
I. Evidence of innovative environment management practices
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II. An undisputed answer to a question about the moai
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III. The future of the moai statues
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IV. A theory which supports a local belief
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V. The future of Easter Island
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VI. Two opposing views about the Rapanui people
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VII. Destruction outside the inhabitants' control
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VIII. How the statues made a situation worse
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IX. Diminishing food resources
我的答案： 14. 15. 16. 17. 18. 19. 20.
正确答案： 14.II 15.IX 16.VIII 17.I 18.IV 19.VII 20.VI
查看解析
14 解析
定位词：undisputed answer
文中对应A段第六、九句：The identity of the moai builders was in doubt until well into the twentieth century. Modern science--linguistic, archaeological, and genetic evidence- has definitively proved the moai builders were Polynesians, but not how they moved their creations.
A段首先介绍了摩艾像的背景，之后探讨了摩艾像建造者的身份问题。第六句中说到20世纪时人们才对这一问题有了确定的答案，之后描述了人们对这个问题存在的一些猜测；但在本段第九句中明确说到现代科学给出了确定的答案，即摩艾像的建造者是波利尼西亚人。因此本题答案为ii。15 解析
定位词：food resources
文中对应B段第六、七、八句：When the islanders cleared the forests for firewood and farming, the forests didn't grow back. As trees became scarce and they could no longer construct wooden canoes for fishing, they ate birds. Soil erosion decreased their crop yields.
文章B段重点描述了美国科学家Jared Diamond对于拉帕努伊环境破坏的观点，他认为是当地人自己造成了这种情况，并且从不同的方面进行了分析。其中在第六、七句提到由于岛上居民将树林用作木柴和农耕，树木受到破坏，从而无法继续捕鱼;之后也在第八句提到了作物产量减少的问题，这与ix选项所表达的减少食物资源一致。因此本题答案为ix。16 解析
定位词：the statues, worse
文中对应C段第一句：The moai, he thinks, accelerated the self-destruction.
本段首句提出摩艾像加速了当地的自我毁灭，之后Diamond在本段中具体解释了这一观点，选项中viii的表述与本段内容一致。因此本题答案为viii。17 解析
定位词：innovative environment management practices
文中对应D段第三、四句：Archaeological excavations indicate that the Rapanui went to heroic efforts to protect their sources of their wind-lashed, infertile fields. They build thousands of circular stone windbreaks and gardened inside them, and used broken volcanic rocks to keep the soil moist.
本段Terry Hunt和Carl Lipo提出了不同的观点，即他们认为生态破坏并非是当地居民或摩艾像的责任，相反，他们做出了巨大的努力。其中第三句表达了这一观点，而第四句则是具体地写到circular stone windbreaks，以证明他们的努力。因此本题答案为i。18 解析
定位词：a local belief
文中对应E段第三句：On that issue, Hunt and Lipo say, archaeological evidence backs up Rapanui folklore.
本段讲的是摩艾像的移动方式。Hunt和Lipo对此提出了不同的看法，他们认为由于摩艾像特殊的形状，不需要太多的人力和木头就可以移动它们，并且提出这与当地的民间说法一致。因此本题答案为iv。19 解析
定位词：outside the inhabitants' control
文中对应F段第一句：Moreover, Hunt and Lipo are convinced that the settlers were not wholly responsible for the loss of the island's trees.
本段中Hunt和Lipo的观点是岛上环境的破坏并不是岛_上居民造成的，而是由于鼠类的泛滥以及欧洲人的登陆，而这是当地居民无法控制的，与vi选项Destruction outside the inhabitants' control 一致。因此本题答案为vii。20 解析
定位词：opposing views
文中对应G段第一、二句：Hunt and Lipo's vision, therefore, is one of an island populated by peaceful and ingenious moai builders and careful stewards of the land, rather than by reckless destroyers ruining their own environment and society. ' Rather than a case of abject failure, Rapu Nui is an unlikely story of success' , they claim.
在G段的第一句和第二句中，都提到了与opposing views about the Rapanui people相关的内容，同时Hunt和Lipo再次持积极的态度，相当于对自已的观点进行了总结。因此本题答案为vi。Questions 21-24
Complete the summary below.ChooseONE WORD ONLYfrom the passage for each answer.Write your answers in boxes 21-24 on your answer sheet.Diamond believes that the Polynesian settlers on Rapa Nui destroyed its forests, cutting down its trees for fuel and clearing land for . Twentieth-century discoveries of pollen prove that Rapu Nui had once been covered in palm forests, which had turned into grassland by the time the Europeans arrived on the island. When the islanders were no longer able to build the they needed to go fishing, they began using the island's as a food source, according to Diamond. Diamond also claims that the moai were built to show the power of the island's chieftains, and that the methods of transporting the statues needed not only a great number of people, but also a great deal of .
我的答案： 21. 22. 23. 24.
正确答案： 21.farming 22.canoes 23.birds 24.wood
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21 解析
题干： Diamond believes that the Polynesian settlers on Rapa Nui destroyed its forests, cutting down its trees for fuel and clearing land for 21 .
定位词： Diamond believes、Polynesian settlers、destroyed its forests、cutting down its trees for fuel、clearing land for
答案句： B段 When the islanders cleared the forests for firewood and farming, the forests didn't grow back.
翻译： 当岛民为了柴火和农耕而 clearing the forests 时，森林没有再生长回来。
解析： 题干问 clearing land for 什么。原文 “for farming” 对应 “clearing land for farming”。注意题目要求 ONE WORD ONLY，所以答案是 farming。
同义替换：
cleared the forests for farming → clearing land for farming
答案： farming
22 解析
题干： When the islanders were no longer able to build the 22 they needed to go fishing, they began using the island's 23 as a food source, according to Diamond.
定位词： When the islanders were no longer able to build、they needed to go fishing、began using the island's、as a food source
答案句： B段 As trees became scarce and they could no longer construct wooden canoes for fishing, they ate birds.
翻译： 随着树木变得稀少，他们无法再建造木制独木舟去捕鱼，于是开始吃鸟。
解析： 题干第一个空问不能建造什么去 fishing。“construct wooden canoes for fishing” 对应 “build the canoes they needed to go fishing”。答案是 canoes。
同义替换：
construct wooden canoes for fishing → build the canoes they needed to go fishing
答案： canoes
23 解析
题干： （接上题）they began using the island's 23 as a food source
定位词： using the island's、as a food source
答案句： B段 they ate birds.
翻译： 他们开始吃鸟。
解析： 题干第二个空问开始把岛上的什么作为食物来源。“birds” 就是答案。注意题目要求 ONE WORD ONLY，所以是 birds。
同义替换：
ate birds → using the island's birds as a food source
答案： birds
24 解析
题干： Diamond also claims that the moai were built to show the power of the island's chieftains, and that the methods of transporting the statues needed not only a great number of people, but also a great deal of 24 .
定位词： methods of transporting the statues needed、not only a great number of people、but also a great deal of
答案句： C段 Diamond thinks they laid the moai on wooden sledges, hauled over log rails, but that required both a lot of wood and a lot of people.
翻译： 戴蒙德认为他们把 moai 放在木制雪橇上，在木轨上拖行，但这既需要大量的木材，也需要大量的人力。
解析： 题干问运输雕像不仅需要很多人，还需要大量的什么。原文 “required both a lot of wood and a lot of people” 对应 “needed not only a great number of people, but also a great deal of wood”。答案是 wood。
同义替换：
required a lot of wood → needed a great deal of wood
答案： wood
Questions 25-26
ChooseTWOletters,A-E.Write your answers in boxes 25 and 26 on your answer sheet.25-26 On what points do Hunt and Lipo disagree with Diamond?
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A.
the period when the moai were created
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B.
how the moai were transported
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C.
the impact of the moai on Rapanui society
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D.
how the moai were carved
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E.
the origins of the people who made the moai
我的答案： 25-26
正确答案： 25-26 B C
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25 解析
选项：A
选项翻译：摩艾像在何时被建立
文中并未提及双方对于摩艾像建立时间的争议。
选项：B
选项翻译：摩艾像是如何运输的
关于摩艾像的运输，Hunt和Lipo二人与Diamond持不同看法;其中Diamond的观点出现在文章C段，他认为雕像是放在木质雪橇上然后通过木轨被拉动，而Hunt和Lipo的观点出现在E段，他们认为雕像的移动同当地说法一致，雕像可以在几个人和没有绳索的控制下直立移动。
选项：C
选项翻译：摩艾像对拉帕努伊社会的影响
对于拉帕努伊社会的影响方面，Diamond认为摩艾像加速了当地的破坏，这一观点出现在C段；而Hunt和Lipo认为摩艾像对当地社会起到了积极的作用，这一观点在D段和E段都进行了具体的描述。
选项：D
选项翻译：摩艾像是如何雕刻的
关于摩艾像的雕刻方法，文中没有提及双方的不同观点。
选项：E
选项翻译：摩艾像建造者的起源
关于摩艾像建造者的起源，文中没有提及双方的不同观点。因此答案选择：BC
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Part 3
Read the text below and answer questions 27-40.
Neuroaesthetics
An emerging discipline called neuroaesthetics is seeking to bring scientific objectivity to the study of art, and has already given us a better understanding of many masterpieces. The blurred imagery of Impressionist paintings seems to stimulate the brain's amygdala, for instance. Since the amygdala plays a crucial role in our feelings, that finding might explain why many people find these pieces so moving.
Could the same approach also shed light on abstract twentieth-century pieces, from Mondrian's geometrical blocks of colour, to Pollock's seemingly haphazard arrangements of splashed paint on canvas? Sceptics believe that people claim to like such works simply because they are famous. We certainly do have an inclination to follow the crowd. When asked to make simple perceptual decisions such as matching a shape to its rotated image, for example, people often choose a definitively wrong answer if they see others doing the same. It is easy to imagine that this mentality would have even more impact on a fuzzy concept like art appreciation, where there is no right or wrong answer.
Angelina Hawley-Dolan, of Boston College, Massachusetts, responded to this debate by asking volunteers to view pairs of paintings - either the creations of famous abstract artists or the doodles of infants, chimps and elephants. They then had to judge which they preferred. A third of the paintings were given no captions, while many were labelled incorrectly - volunteers might think they were viewing a chimp's messy brushstrokes when they were actually seeing an acclaimed masterpiece. In each set of trials, volunteers generally preferred the work of renowned artists, even when they believed it was by an animal or a child. It seems that the viewer can sense the artist's vision in paintings, even if they can't explain why.
Robert Pepperell, an artist based at Cardiff University, creates ambiguous works that are neither entirely abstract nor dearly representational. In one study, Pepperell and his collaborators asked volunteers to decide how 'powerful' they considered an artwork to be, and whether they saw anything familiar in the piece. The longer they took to answer these questions, the more highly they rated the piece under scrutiny, and the greater their neural activity. It would seem that the brain sees these images as puzzles, and the harder it is to decipher the meaning, the more rewarding is the moment of recognition.
And what about artists such as Mondrian, whose paintings consist exclusively of horizontal and vertical lines encasing blocks of colour? Mondrian's works are deceptively simple, but eye-tracking studies confirm that they are meticulously composed, and that simply rotating a piece radically changes the way we view it. With the originals, volunteers' eyes tended to stay longer on certain places in the image, but with the altered versions they would fit across a piece more rapidly. As a result, the volunteers considered the altered versions less pleasurable when they later rated the work.
In a similar study, Oshin Vartanian of Toronto University asked volunteers to compare original paintings with ones which he had altered by moving objects around within the frame. He found that almost everyone preferred the original, whether it was a Van Gogh still life or an abstract by Miró. Vartanian also found that changing the composition of the paintings reduced activation in those brain areas linked with meaning and interpretation.
In another experiment, Alex Forsythe of the University of Liverpool analysed the visual intricacy of different pieces of art, and her results suggest that many artists use a key level of detail to please the brain. Too little and the work is boring, but too much results in a kind of 'perceptual overload', according to Forsythe. What's more, appealing pieces both abstract and representational, show signs of 'fractals'- repeated motifs recurring in different scales. Fractals are common throughout nature, for example in the shapes of mountain peaks or the branches of trees. It is possible that our visual system, which evolved in the great outdoors, finds it easier to process such patterns.
It is also intriguing that the brain appears to process movement when we see a handwritten letter, as if we are replaying the writer's moment of creation. This has led some to wonder whether Pollock's works feel so dynamic because the brain reconstructs the energetic actions the artist used as he painted. This may be down to our brain's 'mirror neurons', which are known to mimic others' actions. The hypothesis will need to be thoroughly tested, however. It might even be the case that we could use neuroaesthetic studies to understand the longevity of some pieces of artwork. While the fashions of the time might shape what is currently popular, works that are best adapted to our visual system may be the most likely to linger once the trends of previous generations have been forgotten.
It's still early days for the field of neuroaesthetics - and these studies are probably only a taste of what is to come. It would, however, be foolish to reduce art appreciation to a set of scientific laws. We shouldn't underestimate the importance of the style of a particular artist, their place in history and the artistic environment of their time. Abstract art offers both a challenge and the freedom to play with different interpretations. In some ways, it's not so different to science, where we are constantly looking for systems and decoding meaning so that we can view and appreciate the world in a new way.Questions 27-30
Choose the correct letterA, B, CorD.Write your answers in boxes 27-30 on your answer sheet.27 In the second paragraph, the writer refers to a shape-matching test in order to illustrate
28 Angelina Hawley-Dolan's findings indicate that people
29 Results of studies involving Robert Pepperell's pieces suggest that people
30 What do the experiments described in the fifth paragraph suggest about the paintings of Mondrian?
我的答案：
正确答案： 27. C 28. D 29. B 30. A
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27 解析
题目：在第二段，作者提到图形匹配试验是为了证明________。
定位词：second paragraph, a shape-matching test
A.艺术鉴赏的主观性质
B.现代艺术对抽象形式的依赖
C.我们倾向于被他人的意见影响
D.加工视觉数据时遇到的普遍问题
本题问的是提及a shape-matching test的作用，首先需要在原文中找到这个信息，然后在周围寻找论点型的句子，这类句子往往在具体的例子之前。题目中的a shape matching test 出现在文章第二段第四句，而这句的内容是为了说明第三句的an inclination to follow the crowd,然后在选项中寻找这个内容的同义替换，可以看到C选项表达的含义与此一致，因此本题答案为C。28 解析
题目：Angelina Hawley-Dolan的发现说明人们________。
定位词：Angelina Hawley-Dolan
A.最喜欢那些他们了解很多的作品
B.对于什么使艺术作品优秀持不变的观点
C.经常被他们最初对作品的期待误导
D.有能力感知作品背后的意义
本题可以通过人名Angelina Hawley-Dolan定位到文章第三段。本段描述了其实验过程和观点，最后一句提到the viewer can sense the artist's vision in paintings, 这一表述与D选项的含义一致，因此本题答案为D。29 解析
题目：对Robert Pepperell作品的研究结果表明人们________。
定位词：Robert Pepperell
A.可以在没有完全理解一幅作品的情况下欣赏它
B.明白一幅作品的含义会令人有满足感
C.欣赏作品所花费的时间会相差许多
D.相比抽象艺术， 人们通常更喜欢具象的艺术
本题问到Robert Pepperell的研究结果,首先根据人名定位到文章第四段，本段对Robert Pepperell的研究及结果进行了描述。本段最后一句给出了结论，即破解其含义的过程越困难，人们越会感到rewarding，这与B选项的表达致，因此本题答案为B。30 解析
题目：关于蒙德里安的作品，第五段描述的实验表明什么?
定位词：fifth paragraph
A.它们比看上去被更认真地组织在一起
B.它们可以通过多种不同方式被解读
C.它们挑战我们关于形状与色彩的看法
D.它们比很多其他抽象作品更容易被欣赏
本题问的是关于蒙德里安作品的实验，可以根据题干信息定位到原文第五段，其中第二句说到其作品deceptively simple, but…meticulously composed，说明其作品会让人误以为非常简单,但其创作非常精细，这与A选项的表述一致，因此本题答案为A。Questions 31-33
Complete the summary using the list of words,A-Hbelow.Write the correct letter,A-H, in boxes 31-33 on your answer sheet.-
A. interpretation
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B. complexity
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C. emotions
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D. movements
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E. skill
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F. layout
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G. concern
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H. images
The discipline of neuroaesthetics aims to bring scientific objectivity to the study of art. Neurological studies of the brain, for example, demonstrate the impact which Impressionist paintings have on our 31. Alex Forsythe of the University of Liverpool believes many artists give their works the precise degree of 32 which most appeals to the viewer's brain. She also observes that pleasing works of art often contain certain repeated 33 which occur frequently in the natural world.
我的答案： 31. 32. 33.
正确答案： 31.C 32.B 33.H
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31 解析
定位词：Impressionist paintings
文中对应第一段第二、三句：The blurred imagery of Impressionist paintings seems to stimulate the brain's amygdala, for instance. Since the amygdala plays a crucial role in our feelings, that finding might explain why many people find these pieces so moving.
本题问到印象派绘画的影响。原文第一段第二、三句说到印象派绘画可以刺激大脑杏仁核，而杏仁核的作用是影响我们的feelings，选项中feelings的同义替换emotions符合含义，因此本题答案为C。32 解析
定位词：Alex Forsythe
文中对应第七段第一句：In another experiment, Alex Forsythe of the University of Liverpool analysed the visual intricacy of different pieces of art, and her results suggest that many artists use a key level of detail to please the brain.
本题可以根据人名定位至第七段，该段第一句提到她研究作品的visual intricacy，而很多作品使用了a key level of detail，这与B选项complexity的含义一致，因此本题答案为B。33 解析
定位词：Repeated, natural world
文中对应第七段第三句：What's more, appealing pieces both abstract and representational, show signs of 'fractals'-- repeated motifs recurring indifferent scales.
题干中的pleasing works与原文第七段第三句中的appealing pieces为同义替换，而原文之后提到的repeated motifs与题目中的repeated ________对应，选项中images与motifs含义一致，因此本题答案为H。Questions 34-39
Do the following statements agree with the views of the writer in Reading Passage 3?In boxes 34-39 on your answer sheet, writeYESif the statement agrees with the views of the writer.NOif the statement contradicts the views of the writer.NOT GIVENif it is impossible to say what the writer thinks about this.34 Forsythe's findings contradicted previous beliefs on the function of fractals' in art.
35 Certain ideas regarding the link between 'mirror neurons' and art appreciation require further verification.
36 People's taste in paintings depends entirely on the current artistic trends of the period.
37 Scientists should seek to define the precise rules which govern people's reactions to works of art.
38 Art appreciation should always involve taking into consideration the cultural context in which an artist worked.
39 It is easier to find meaning in the field of science than in that of art.
我的答案：
正确答案： 34.NOT GIVEN 35.YES 36.NO 37.NO 38.YES 39.NOT GIVEN
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34 解析
参考译文：Forsythe的发现与之前关于艺术中的分形作用的观点相矛盾。
定位词：fractals
文中对应第七段第三、四句：What's more, appealing pieces both abstract and representational, show signs of "fractals'- repeated motifs recurring in different scales. Fractals are common throughout nature, for example in the shapes of mountain peaks or the branches of trees.
关于fractal的表述在原文第七段第三、四句出现，但这里只是描述了这种情况在很多作品中出现，并且在自然界中也比较普遍，对于Forsythe的发现与之前的观点是否存在矛盾并没有提及，因此本题答案为NOT GIVEN。35 解析
参考译文：一些关于 “镜像神经元”与艺术鉴赏之间的联系的观点需要进一步被证实。
定位词：mirror neurons
文中对应第八段第三、四、五句：This may be down to our brain’s ‘mirror neurons’, which are known to mimic others' actions. The hypothesis will need to be thoroughly tested, however. It might even be the case that we could use neuroaesthetic studies to understand the longevity of some pieces of artwork.
题目中提到的“镜像神经元”与艺术鉴赏有关的观点出现在原文第八段，其中说到了This may be down to... 以及The hypothesis will need to be thoroughly tested，说明目前这一观点还没有形成定论，需要进一步的验证，这与题目表述一致，因此本题答案为YES。36 解析
参考译文：人们对于绘画的品位完全依赖于当前阶段的艺术趋势。
定位词：artistic trends of the period
文中对应第八段最后一句：While the fashions of the time might shape what is currently popular, works that are best adapted to our visual system may be the most likely to linger once the trends of previous generations have been forgotten.
本题说到人们艺术品位的问题，原文第八段最后一句提到一些作品在流行趋势结束之后依然受人喜欢，这些作品往往是best adapted to our visual system，所以完全依赖于当前艺术趋势的说法是错误的，因此本题答案为NO。37 解析
参考译文：科学家需要定义影响人们对艺术作品的反应的精准规则。
定位词：people's reactions to works of art
文中对应第九段第二句：It would, however, be foolish to reduce art appreciation to a set of scientific laws.
关于科学家是否需要定义精准的规则，原文第九段第二句中有提及，作者认为reduce art appreciation to a set of scientific laws是foolish的，这与题目的表述相反，因此本题答案为NO。38 解析
参考译文：艺术鉴赏需要始终将艺术家所处的文化背景作为考虑因素。
定位词：cultural context
文中对应第九段第三句：We shouldn't underestimate the importance of the style of a particular artist, their place in history and the artistic environment of their time.
文章第九段第三句已经说到，应当关注the importance of the style of a particular artist, their place in history and the artistic environment of their time，这与题目中所说的cultural context in which an artist worked 一致，因此本题答案为YES。39 解析
参考译文：相比艺术领域，人们更容易在科学领域中找到意义。
定位词：the field of science
文中对应第九段最后一句：In some ways, it's not so different to science, where we are constantly looking for systems and decoding meaning so that we can view and appreciate the world in a new way.
在文章第九段最后一句中，说到艺术和科学not so different，而科学一直寻求 decode meaning，此处关于find meaning的描述并没有将艺术和科学进行对比，也就不存在easier的问题，因此本题答案为NOT GIVEN。Questions 40
Choose the correct letterA, B, CorD.Write your answers in boxes 40 on your answer sheet.40 What would be the most appropriate subtitle for the article?
我的答案：
正确答案： 40. A
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40 解析
定位词：Subtitle
题目：本文最合适的副标题是什么？
A.关于大脑如何对抽象艺术做出反应的一些科学见解
B.最近一些关注抽象派艺术家神经活动的研究
C.关于抽象和具象艺术的神经基础的对比
D.关于大脑的研究如何改变人们对抽象艺术的看法
本题属于针对全文主题的考查，通过对文章的阅读和前面题目的作答，考生应当对文章整体所关注的话题比较清楚，至少是对主题词非常敏感。四个选项分别提到了大脑对抽象艺术的反应、抽象派艺术家的神经活动、抽象和具象艺术的神经基础对比以及人们对抽象艺术看法的改变，通过对四个选项主题词的对比，可以看到只有A选项符合文章内容并且是全文一直在讨论的话题。当然，为了验证答案，考生也可以假设某一选项正确，构思如果以此为副标题，写出的文章与本文是否一致。因此本题答案为A。 -