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1、剑桥雅思阅读翻译及答案解析11(test4) 剑桥雅思阅读部分的题目可以进行一些分类总结，因为考试的常见内容一般都会在下次考试中出现的。下面就是今日我给大家带来的剑桥雅思阅读11原文(test4)的内容，希望能够帮助同学们备考雅思索试。 剑桥雅思阅读11原文(test4) READING PASSAGE 1 You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below. Research using twins To biomedical researchers a
2、ll over the world, twins offer a precious opportunity to untangle the influence of genes and the environment of nature and nurture. Because identical twins come from a single fertilized egg that splits into two, they share virtually the same genetic code. Any differences between them one twin having
3、 younger looking skin, for example must be due to environmental factors such as less time spent in the sun. Alternatively, by comparing the experiences of identical twins with those of fraternal twins, who come from separate eggs and share on average half their DNA, researchers can quantify the exte
4、nt to which our genes affect our lives. If identical twins are more similar to each other with respect to an ailment than fraternal twins are, then vulnerability to the disease must be rooted at least in part in heredity. These two lines of research studying the differences between identical twins t
5、o pinpoint the influence of environment, and comparing identical twins with fraternal ones to measure the role of inheritance have been crucial to understanding the interplay of nature and nurture in determining our personalities, behavior, and vulnerability to disease. The idea of using twins to me
6、asure the influence of heredity dates back to 1875, when the English scientist Francis Galton first suggested the approach (and coined the phrase nature and nurture). But twin studies took a surprising twist in the 1980s, with the arrival of studies into identical twins who had been separated at bir
7、th and reunited as adults. Over two decades 137 sets of twins eventually visited Thomas Bouchards lab in what became known as the Minnesota Study of Twins Reared Apart. Numerous tests were carried out on the twins, and they were each asked more than 15,000 questions. Bouchard and his colleagues used
8、 this mountain of data to identify how far twins were affected by their genetic makeup. The key to their approach was a statistical concept called heritability. In broad terms, the heritability of a trait measures the extent to which differences among members of a population can be explained by diff
9、erences in their genetics. And wherever Bouchard and other scientists looked, it seemed, they found the invisible hand of genetic influence helping to shape our lives. Lately, however, twin studies have helped lead scientists to a radical new conclusion: that nature and nurture are not the only elem
10、ental forces at work. According to a recent field called epigenetics, there is a third factor also in play, one that in some cases serves as a bridge between the environment and our genes, and in others operates on its own to shape who we are. Epigenetic processes are chemical reactions tied to neit
11、her nature nor nurture but representing what researchers have called a third component. These reactions influence how our genetic code is expressed: how each gene is strengthened or weakened, even turned on or off, to build our bones, brains and all the other parts of our bodies. If you think of our
12、 DNA as an immense piano keyboard and our genes as the keys each key symbolizing a segment of DNA responsible for a particular note, or trait, and all the keys combining to make us who we are then epigenetic processes determine when and how each key can be struck, changing the tune being played. One
13、 way the study of epigenetics is revolutionizing our understanding of biology is by revealing a mechanism by which the environment directly impacts on genes. Studies of animals, for example, have shown that when a rat experiences stress during pregnancy, it can cause epigenetic changes in a fetus th
14、at lead to behavioral problems as the rodent grows up. Other epigenetic processes appear to occur randomly, while others are normal, such as those that guide embryonic cells as they become heart, brain, or liver cells, for example. Geneticist Danielle Reed has worked with many twins over the years a
15、nd thought deeply about what twin studies have taught us. Its very clear when you look at twins that much of what they share is hardwired, she says. Many things about them are absolutely the same and unalterable. But its also clear, when you get to know them, that other things about them are differe
16、nt. Epigenetics is the origin of a lot of those differences, in my view. Reed credits Thomas Bouchards work for todays surge in twin studies. He was the trailblazer, she says. We forget that 50 years ago things like heart disease were thought to be caused entirely by lifestyle. Schizophrenia was tho
17、ught to be due to poor mothering. Twin studies have allowed us to be more reflective about what people are actually born with and whats caused by experience. Having said that, Reed adds, the latest work in epigenetics promises to take our understanding even further. What I like to say is that nature
18、 writes some things in pencil and some things in pen, she says. Things written in pen you cant change. Thats DNA. But things written in pencil you can. Thats epigenetics. Now that were actually able to look at the DNA and see where the pencil writings are, its sort of a whole new world. Questions 1-
19、4 Do the following statements agree with the information given in Reading Passage 1? In boxes 1-4 on your answer sheet, write TRUE if the statement agrees with the information FALSE if the statement contradicts the information NOT GIVEN if there is no information on this 1 There may be genetic cause
20、s for the differences in how young the skin of identical twins looks. 2 Twins are at greater risk of developing certain illnesses than non-twins. 3 Bouchard advertised in newspapers for twins who had been separated at birth. 4 Epigenetic processes are different from both genetic and environmental pr
21、ocesses. Questions 5-9 Look at the following statements (Questions 5-9) and the list of researchers below. Match each statement with the correct researcher, A, B or C. Write the correct letter, A, B or C, in boxes 5-9 on your answer sheet. NB You may use any letter more than once. List of Researcher
22、s A Francis Galton B Thomas Bouchard C Danielle Reed 5 invented a term used to distinguish two factors affecting human characteristics 6 expressed the view that the study of epigenetics will increase our knowledge 7 developed a mathematical method of measuring genetic influences 8 pioneered research
23、 into genetics using twins 9 carried out research into twins who had lived apart Questions 10-13 Complete the summary using the list of words, A-F, below. Write the correct letter, A-F, in boxes 10-13 on your answer sheet. Epigenetic processes In epigenetic processes, 10 _ influence the activity of
24、our genes, for example in creating our internal 11 _ The study of epigenetic processes is uncovering a way in which our genes can be affected by our 12 _ One example is that if a pregnant rat suffers stress, the new-born rat may later show problems in its 13 _. A nurture B organs C code D chemicals
25、E environment F behaviour/behavior READING PASSAGE 2 You should spend about 20 minutes on Questions 14-26, which are based on Reading Passage 2 below. An Introduction to Film Sound Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importa
26、nce of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixe
27、d and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is th
28、e case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character
29、Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performers voice supplies an element of character. When voice textures fit the performers physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor w
30、orking at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was bana
31、l and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe. The
32、comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bou
33、nced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those soun
34、ds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the click of a door bei
35、ng opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the click of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the click with an in
36、crease in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of
37、 the film. For example, a film-maker might opt to include the background sound of an ambulances siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren add
38、s to the realism of the film by acknowledging the films city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often p
39、rovides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid vi
40、ewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to
41、 expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of fil
42、m sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. Questions 14-18 Choose the correct letter, A, B, C or D. Write the correct letter in boxes 14-18 on your answer sheet. 14 In the first paragraph, the writer makes a p
43、oint that A the director should plan the sound track at an early stage in filming. B it would be wrong to overlook the contribution of sound to the artistry of films. C the music industry can have a beneficial influence on sound in film. D it is important for those working on the sound in a film to
44、have sole responsibility for it. 15 One reason that the writer refers to Humphrey Bogart is to exemplify A the importance of the actor and the character appearing to have similar personalities. B the audiences wish that actors are visually appropriate for their roles. C the value of the actor having
45、 had similar feelings to the character. D the audiences preference for dialogue to be as authentic as possible. 16 In the third paragraph, the writer suggests that A audiences are likely to be critical of film dialogue that does not reflect their own experience. B film dialogue that appears to be du
46、ll may have a specific purpose. C filmmakers vary considerably in the skill with which they handle dialogue. D the most successful films are those with dialogue of a high quality. 17 What does the writer suggest about Bringing Up Baby? A The plot suffers from the filmmakers wish to focus on humorous
47、 dialogue. B The dialogue helps to make it one of the best comedy films ever produced. C There is a mismatch between the speed of the dialogue and the speed of actions. D The nature of the dialogue emphasises key elements of the film. 18 The writer refers to the click of a door to make the point that realistic sounds A are often used to give the audience a false impression of events in the film. B may be interp