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1、托福阅读真题集锦（二）PASSAGE 3The Native Americans of northern California were highly skilled at basketry, using the reeds,grasses, barks, and roots they found around them to fashion articles of all sorts and sizes-not only trays, containers, and cooking pots, but hats, boats, fish traps, baby carriers, and c
2、eremonialobjects.Of all these experts, none excelled the Pomo a group who lived on or near the coast during the 1800s, and whose descendants continue to live in parts of the same region to this day. They made baskets three feet in diameter and others no bigger than a thimble. The Pomo people were ma
3、sters of decoration. Some of their baskets were completely covered with shell pendants; others with feathers that made the baskets surfaces as soft as the breasts of birds. Moreover, the Pomopeople made use of more weaving techniques than did their neighbors. Most groups made all their basketwork by
4、 twining the twisting of a flexible horizontal material, called a weft, aroundstiffer vertical strands of material, the warp. Others depended primarily on coiling a process in which a continuous coil of stiff material is held in the desired shape with tight wrapping offlexible strands. Only the Pomo
5、 people used both processes with equal ease and frequency. In addition, they made use of four distinct variations on the basic twining process, often employingmore than one of them in a single article.Although a wide variety of materials was available, the Pomo people used only a few. The warp was a
6、lways made of willow, and the most commonly used weft was sedge root, a woodyfiber that could easily be separated into strands no thicker than a thread. For color, the Pomo people used the bark of redbud for their twined work and dyed bullrush root for black in coiledwork. Though other materials wer
7、e sometimes used, these four were the staples in their finest basketry.If the basketry materials used by the Pomo people were limited, the designs were amazingly varied. Every Pomo basketmaker knew how to produce from fifteen to twenty distinct patternsthat could be combined in a number of different
8、 ways.1. What best distinguished Pomo baskets from baskets of other groups?(A) The range of sizes, shapes, and designs(B) The unusual geometric(C) The absence of decoration(D) The rare materials used2. The word fashion in line 2 is closest in meaning to(A) maintain(B) organize(C) trade(D) create3. T
9、he Pomo people used each of the following materials to decorate baskets EXCEPT(A) shells(B) feathers(C) leaves(D) bark4. What is the authors main point in the second paragraph?(A) The neighbors of the Pomo people tried to improve on the Pomo basket weaving techniques.(B) The Pomo people were the mos
10、t skilled basket weavers in their region.(C) The Pomo people learned their basket weaving techniques from other Native Americans.(D) The Pomo baskets have been handed down for generations.5. The word others in line 9 refers to(A) masters(B) baskets(C) pendants(D) surfaces6. According to the passage
11、, 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. According to the passage , what did the Pomo people use as the warp in their baskets?(A) bullrush(B) willow(C) sedge(D) redbud8. The wo
12、rd article in line 17 is close in meaning to(A) decoration(B) shape(C) design(D) object9. According to the passage . The relationship between redbud and twining is most similar to the relationship between(A) bullrush and coiling(B) weft and warp(C) willow and feathers(D) sedge and weaving10. The wor
13、d staples in line 23 is closest in meaning to(A) combinations(B) limitations(C) accessories(D) basic elements11. The word distinct in lime 26 is closest in meaning to(A) systematic(B) beautiful(C) different(D) compatible12. Which of the following statements about Pomo baskets can be best inferred fr
14、om the passage ?(A) Baskets produced by other Native Americans were less varied in design than those of the Pomo people.(B) Baskets produced by Pomo weavers were primarily for ceremonial purposes.(C) There were a very limited number of basketmaking materials available to the Pomo people.(D) The bask
15、etmaking production of the Pomo people has increased over the years.PASSAGE 4The term Hudson River school was applied to the foremost representatives of nineteenth-century North American landscape painting. Apparently unknown during the golden days of the American landscape movement, which began aro
16、und 1850 and lasted until the late 1860s, the Hudson River school seems to have emerged in the 1870s as a direct result of the struggle between the old and the new generations of artists, each to assert its own style as the representative American art. Theolder painters, most of whom were born befor
17、e 1835, practiced in a mode often self-taught and monopolized by landscape subject matter and were securely established in and fostered by the reigning American art organization, the National Academy of Design. The younger painters returning home from training in Europe worked more with figural subj
18、ect matter and in a bold and impressionistic technique; their prospects for patronage in their own country were uncertain, and they sought to attract it by attaining academic recognition in New York. One of the results of the conflict between the two factions was that what in previous years had been
19、 referred to as the American, native, or, occasionally, New York school the most representative school of American art in any genre had by 1890 become firmly established in the minds of critics and public alike as the Hudson River school.The sobriquet was first applied around 1879. While it was not
20、intended as flattering, it was hardly inappropriate. The Academicians at whom it was aimed had worked and socialized in NewYork, the Hudsons port city, and had painted the river and its shores with varying frequency. Most important, perhaps, was that they had all maintained with a certain fidelity a
21、 manner of technique and composition consistent with those of Americas first popular landscape artist, Thomas Cole,who built a career painting the Catskill Mountain scenery bordering the Hudson River. A possible implication in the term applied to the group of landscapists was that many of them had,
22、like Cole,lived on or near the banks of the Hudson. Further, the river had long served as the principal route toother sketching grounds favored by the Academicians, particularly the Adirondacks and the mountains of Vermont and New Hampshire.1. What does the passage mainly discuss?(A) The National Ac
23、ademy of Design(B) Paintings that featured the Hudson River(C) North American landscape paintings(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) Landscape painting(C) Impressionist
24、ic painting(D) Historical painting3. The word struggle in line 5 is closest in meaning to(A) connection(B) distance(C) communication(D) competition4. The word monopolized in line 7 is closest in meaning to(A) alarmed(B) dominated(C) repelled(D) pursued5. According to the passage , what was the funct
25、ion of the National Academy of Design for the painters born before 1835?(A) It mediated conflicts between artists.(B) It supervised the incorporation of new artistic techniques.(C) It determined which subjects were appropriate.(D) It supported their growth and development.6. The word it in line 12 r
26、efers to(A) matter(B) technique(C) patronage(D) country7. The word factions in line 13 is closest in meaning to(A) sides(B) people(C) cities(D) images8. The word flattering in line 18 is closest in meaning to(A) expressive(B) serious(C) complimentary(D) flashy9. Where did the younger generation of painters receive its artistic training?(A) In Europe(B) In the Adirondacks(C) In Vermont(D) In New Hampshire答案： PASSAGE 3 BDCBB CBDAD CA PASSAGE 4 BBDBD CACA