戴爾美語練功坊 托福閱讀(12/20) - 英檢
By Quintina
at 2013-12-20T15:51
at 2013-12-20T15:51
Table of Contents
戴爾美語練功坊 托福閱讀(12/20) *
TOEFL Reading
Ancient Egyptian Sculpture
In order to understand ancient Egyptian art, it is vital to know as much as
possible of the elite Egyptians' view of the world and the functions and
contexts of the art produced for them. Without this knowledge we can
appreciate only the formal content of Egyptian art, and we will fail to
understand why it was produced or the concepts that shaped it and
caused it to adopt its distinctive forms. In fact, a lack of understanding
concerning the purposes of Egyptian art has often led it to be compared
unfavorably with the art of other cultures: Why did the Egyptians not
develop sculpture in which the body turned and twisted through space
like classical Greek statuary? Why do the artists seem to get left
and right confused? And why did they not discover the geometric
perspective as European artists did in the Renaissance? The answer to
such questions has nothing to do with a lack of skill or imagination on
the part of Egyptian artists and everything to do with the purposes for
which they were producing their art.
The majority of three-dimensional representations, whether standing,
seated, or kneeling, exhibit what is called frontality:
they face straight ahead, neither twisting nor turning. When such statues
are viewed in isolation, out of their original context and without knowledge
of their function, it is easy to criticize them for their rigid attitudes that
remained unchanged for three thousand years. Frontality is, however,
directly related to the functions of Egyptian statuary and the contexts in
which the statues were set up. Statues were created not for their decorative
effect but to play a primary role in the cults of the gods, the king, and the dead.
They were designed to be put in places where these beings could manifest
themselves in order to be the recipients of ritual actions. Thus it made
sense to show the statue looking ahead at what was happening in front of it,
so that the living performer of the ritual could interact with the divine or
deceased recipient. Very often such statues were enclosed in rectangular
shrines or wall niches whose only opening was at the front, making it natural
for the statue to display frontality. Other statues were designed to be
placed within an architectural setting, for instance, in front of
the monumental entrance gateways to temples known as pylons,
or in pillared courts, where they would be placed against or between pillars:
their frontality worked perfectly within the architectural context.
Statues were normally made of stone, wood, or metal. Stone statues were
worked from single rectangular blocks of material and retained the
compactness of the original shape. The stone between the arms and the
body and between the legs in standing figures or the legs and the seat in
seated ones was not normally cut away. From a practical aspect this
protected the figures against breakage and psychologically gives the
images a sense of strength and power, usually enhanced by a supporting
back pillar. By contrast, wooden statues were carved from several pieces
of wood that were pegged together to form the finished work, and metal
statues were either made by wrapping sheet metal around a wooden core or
cast by the lost wax process. The arms could be held away from the body
and carry separate items in their hands; there is no back pillar.
The effect is altogether lighter and freer than that achieved in stone,
but because both perform the same function, formal wooden and metal
statues still display frontality.
Apart from statues representing deities, kings, and named members of
the elite that can be called formal, there is another group of three -
dimensional representations that depicts generic figures, frequently servants,
from the nonelite population. (A)■ The function of these is quite different.
(B)■ Many are made to be put in the tombs of the elite in order to serve
the tomb owners in the afterlife. (C)■ Unlike formal statues that are
circumscribed to static poses of standing, sitting, and kneeling, these figures
depict a wide range of actions, such as grinding grain, baking bread,
producing pots, and making music, and they are manifested in appropriate
poses, bending and squatting as they carry out their tasks. (D)■
1. The word " vital " in the passage is closest in meaning to
(A) glamorous
(B) essential
(C) usual
(D) tepid
2. Paragraph 1 suggests that one reason Egyptian art is viewed less
favorably than other art is that Egyptian art lacks
(A) a realistic sense of human body proportion
(B) a focus on distinctive forms of varying sizes
(C) the originality of European art
(D) the capacity to show the human body in motion
3. In paragraph 1, the author mentions all of the following as necessary
in appreciating Egyptian art EXCEPT an understanding of
(A) the reasons why the art was made
(B) the nature of aristocratic Egyptian beliefs
(C) the influences of Egyptian art on later art such as classical Greek art
(D) how the art was used
4. According to paragraph 2, why are Egyptian statues portrayed frontality?
(A) To create a psychological effect of distance and isolation
(B) To allow them to fulfill their important role in ceremonies of Egyptian life
(C) To provide a contrast to statues with a decorative function
(D) To suggest the rigid, unchanging Egyptian philosophical attitudes
5. The author mentions " an architectural setting " in the passage in order to
(A) suggest that architecture was as important as sculpture to Egyptian artists
(B) offer the further explanation for the frontal pose of Egyptian statues
(C) explain how the display of statues replaced other forms
of architectural decoration
(D) illustrate the religious function of Egyptian statues
6. According to paragraph 3, why were certain areas of a stone statue left uncarved?
(A) To prevent damage by providing physical stability
(B) To emphasize that the material was as important as the figure itself
(C) To emphasize that the figure was not meant to be a real human being
(D) To provide another artist with the chance to finish the carving
7. According to paragraph 4, what is the difference between statues that
represent the Egyptian elite and statues that represent the nonelite classes?
(A) Statues of the elite are included in tombs,
but statues of the nonelite are not.
(B) Statues of the elite are in motionless poses, while statues of
the nonelite are in active poses.
(C) Statues of the elite are shown standing, while statues of the nonelite
are shown sitting or kneeling.
(D) Statues of the elite serve an important function, while statues
of the nonelite are decorative.
8. Look at the four squares [■] that indicate where the following
sentence could be added to the passage.
In fact, it is the action and not the figure itself that is important.
Where would the sentence best fit?
Answers:
1. vital (adj. ) 重要的 ; 與生命有關的
(A) glamorous 有魅力的 ;迷人的 = fascinating = enchantin
= captivating = enthralling = bewitching = charming
(B) essential 必要的
(C) usual 平常的; 一般的
(D) tepid 微溫的 = lukewarm
答案為 B .
2. 第一段暗示相較其他文明之藝術埃及藝術較不受青睞為缺乏
原文定位: In fact, a lack of understanding concerning the purposes
of Egyptian art has often led it to be compared unfavorably with the art of
other cultures: Why did the Egyptians not develop sculpture in which
the body turned and twisted through space like classical Greek statuary?
Why do the artists seem to get left and right confused? And why did
they not discover the geometric perspective as European artists did
in the Renaissance?
文中提及埃及之雕刻作品為何不像古典希臘雕
像一樣肢體呈現轉身扭轉之體態.
正確答案選擇 (D) the capacity to show the human body in motion
3. 作者提到欣賞埃及之藝術作品必須理解下列除外:
In order to understand ancient Egyptian art, it is vital to know as
much as possible of the elite Egyptians' view of the world and the
functions and contexts of the art produced for them.
Without this knowledge we can appreciate only the formal content of
Egyptian art, and we will fail to understand why it was produced or
the concepts that shaped it and caused it to adopt its distinctive forms.
In fact, a lack of understanding concerning the purposes of Egyptian art
has often led it to be compared unfavorably with the art of other cultures:
Why did the Egyptians not develop sculpture in which the body turned
and twisted through space like classical Greek statuary?
欲瞭解埃及之藝術作品, 必要知道其製作原因; 貴族之觀點
elite Egyptians' view of the world ; 及如何製作. 然而; 文中並無論
述"埃及之藝術作品對後來古典希臘藝術之影響. 答案選 C.
4. According to paragraph 2, why are Egyptian statues portrayed frontality?
題中作者為何提出" 為何埃及雕像呈現出正面像frontality. "
此題主要測驗"修辭目的" (Rhetorical Purpose)
原文 --- Frontality is, however, directly related to the functions
of Egyptian statuary and the contexts in which the statues were set up.
Statues were created not for their decorative effect but to play a primary
role in the cults of the gods, the king, and the dead. They were designed
to be put in places where these beings could manifest themselves in order to
be the recipients of ritual actions.
埃及雕像呈現出正面像frontality 並非為了裝飾作用, 而是為了
展現出儀式典禮之角色. 選擇答案為
(B) To allow them to fulfill their important role in ceremonies of Egyptian life
5. The author mentions " an architectural setting " in the passage in order to
此題主要測驗"修辭目的" (Rhetorical Purpose)
原文 --- Very often such statues were enclosed in rectangular shrines
or wall niches whose only opening was at the front, making it natural for
the statue to display frontality. Other statues were designed to be placed
within an architectural setting, for instance, in front of the monumental
entrance gateways to temples known as pylons, or in pillared courts,
where they would be placed against or between pillars: their frontality
worked perfectly within the architectural context.
利用 an architectural setting 定位該句出現 " for instance " 舉例,
意味該句乃為上述之闡釋說明, 故而進一步閱讀出 " 為了雕像得
以展示出 frontality.
正確答案為 B.
6. According to paragraph 3, why were certain areas of a stone statue left uncarved?
根據第三段為何石雕像遺留未雕塑之部份?
The stone between the arms and the body and between the legs in
standing figures or the legs and the seat in seated ones was not normally
cut away. From a practical aspect this protected the figures against
breakage and psychologically gives the images a sense of strength and
power, usually enhanced by a supporting back pillar.
not normally cut away = uncarved
其主要目的為為避免雕像斷裂. 正確答案選擇 A.
7. According to paragraph 4, what is the difference between statues that
represent the Egyptian elite and statues that represent the nonelite classes?
埃及雕像中菁英份子與非菁英份子之雕像主要差異為何?
原文 : Apart from statues representing deities, kings, and named
members of the elite that can be called formal, there is another group of
three -dimensional representations that depicts generic figures, frequently
servants, from the nonelite population. The function of these is quite
different. Many are made to be put in the tombs of the elite in order to
serve the tomb owners in the afterlife. Unlike formal statues that are
circumscribed to static poses of standing, sitting, and kneeling, these figures
depict a wide range of actions, such as grinding grain, baking bread,
producing pots, and making music, and they are manifested in appropriate
poses, bending and squatting as they carry out their tasks.
菁英份子之雕像體態為站立, 坐或屈膝跪下之姿而與非菁英份子
之雕像則為進行各式各樣之動作.
答案選擇 (B) Statues of the elite are in motionless poses,
while statues of the nonelite are in active poses.
8. 此題為插入句型 (Insertion)
(1) succession (承接) ; (2) transition (轉折) ; (3) pronoun (代名詞)
此插入句--- In fact, it is the action and not the figure itself that is important.
原文: Apart from statues representing deities, kings, and named
members of the elite that can be called formal, there is another group of three
-dimensional representations that depicts generic figures, frequently
servants, from the nonelite population. (A)■ The function of these is
quite different. (B)■ Many are made to be put in the tombs of the elite
in order to serve the tomb owners in the afterlife. (C)■ Unlike formal
statues that are circumscribed to static poses of standing, sitting,
and kneeling, these figures depict a wide range of actions, such as grinding
grain, baking bread, producing pots, and making music, and they are
manifested in appropriate poses, bending and squatting as they carry
out their tasks. (D)■
原插入句中關鍵字詞 " the action " ,
暗示該句須插入於前者已提及相關動作,
答案判讀為 D.", disappeared 。
--
TOEFL Reading
Ancient Egyptian Sculpture
In order to understand ancient Egyptian art, it is vital to know as much as
possible of the elite Egyptians' view of the world and the functions and
contexts of the art produced for them. Without this knowledge we can
appreciate only the formal content of Egyptian art, and we will fail to
understand why it was produced or the concepts that shaped it and
caused it to adopt its distinctive forms. In fact, a lack of understanding
concerning the purposes of Egyptian art has often led it to be compared
unfavorably with the art of other cultures: Why did the Egyptians not
develop sculpture in which the body turned and twisted through space
like classical Greek statuary? Why do the artists seem to get left
and right confused? And why did they not discover the geometric
perspective as European artists did in the Renaissance? The answer to
such questions has nothing to do with a lack of skill or imagination on
the part of Egyptian artists and everything to do with the purposes for
which they were producing their art.
The majority of three-dimensional representations, whether standing,
seated, or kneeling, exhibit what is called frontality:
they face straight ahead, neither twisting nor turning. When such statues
are viewed in isolation, out of their original context and without knowledge
of their function, it is easy to criticize them for their rigid attitudes that
remained unchanged for three thousand years. Frontality is, however,
directly related to the functions of Egyptian statuary and the contexts in
which the statues were set up. Statues were created not for their decorative
effect but to play a primary role in the cults of the gods, the king, and the dead.
They were designed to be put in places where these beings could manifest
themselves in order to be the recipients of ritual actions. Thus it made
sense to show the statue looking ahead at what was happening in front of it,
so that the living performer of the ritual could interact with the divine or
deceased recipient. Very often such statues were enclosed in rectangular
shrines or wall niches whose only opening was at the front, making it natural
for the statue to display frontality. Other statues were designed to be
placed within an architectural setting, for instance, in front of
the monumental entrance gateways to temples known as pylons,
or in pillared courts, where they would be placed against or between pillars:
their frontality worked perfectly within the architectural context.
Statues were normally made of stone, wood, or metal. Stone statues were
worked from single rectangular blocks of material and retained the
compactness of the original shape. The stone between the arms and the
body and between the legs in standing figures or the legs and the seat in
seated ones was not normally cut away. From a practical aspect this
protected the figures against breakage and psychologically gives the
images a sense of strength and power, usually enhanced by a supporting
back pillar. By contrast, wooden statues were carved from several pieces
of wood that were pegged together to form the finished work, and metal
statues were either made by wrapping sheet metal around a wooden core or
cast by the lost wax process. The arms could be held away from the body
and carry separate items in their hands; there is no back pillar.
The effect is altogether lighter and freer than that achieved in stone,
but because both perform the same function, formal wooden and metal
statues still display frontality.
Apart from statues representing deities, kings, and named members of
the elite that can be called formal, there is another group of three -
dimensional representations that depicts generic figures, frequently servants,
from the nonelite population. (A)■ The function of these is quite different.
(B)■ Many are made to be put in the tombs of the elite in order to serve
the tomb owners in the afterlife. (C)■ Unlike formal statues that are
circumscribed to static poses of standing, sitting, and kneeling, these figures
depict a wide range of actions, such as grinding grain, baking bread,
producing pots, and making music, and they are manifested in appropriate
poses, bending and squatting as they carry out their tasks. (D)■
1. The word " vital " in the passage is closest in meaning to
(A) glamorous
(B) essential
(C) usual
(D) tepid
2. Paragraph 1 suggests that one reason Egyptian art is viewed less
favorably than other art is that Egyptian art lacks
(A) a realistic sense of human body proportion
(B) a focus on distinctive forms of varying sizes
(C) the originality of European art
(D) the capacity to show the human body in motion
3. In paragraph 1, the author mentions all of the following as necessary
in appreciating Egyptian art EXCEPT an understanding of
(A) the reasons why the art was made
(B) the nature of aristocratic Egyptian beliefs
(C) the influences of Egyptian art on later art such as classical Greek art
(D) how the art was used
4. According to paragraph 2, why are Egyptian statues portrayed frontality?
(A) To create a psychological effect of distance and isolation
(B) To allow them to fulfill their important role in ceremonies of Egyptian life
(C) To provide a contrast to statues with a decorative function
(D) To suggest the rigid, unchanging Egyptian philosophical attitudes
5. The author mentions " an architectural setting " in the passage in order to
(A) suggest that architecture was as important as sculpture to Egyptian artists
(B) offer the further explanation for the frontal pose of Egyptian statues
(C) explain how the display of statues replaced other forms
of architectural decoration
(D) illustrate the religious function of Egyptian statues
6. According to paragraph 3, why were certain areas of a stone statue left uncarved?
(A) To prevent damage by providing physical stability
(B) To emphasize that the material was as important as the figure itself
(C) To emphasize that the figure was not meant to be a real human being
(D) To provide another artist with the chance to finish the carving
7. According to paragraph 4, what is the difference between statues that
represent the Egyptian elite and statues that represent the nonelite classes?
(A) Statues of the elite are included in tombs,
but statues of the nonelite are not.
(B) Statues of the elite are in motionless poses, while statues of
the nonelite are in active poses.
(C) Statues of the elite are shown standing, while statues of the nonelite
are shown sitting or kneeling.
(D) Statues of the elite serve an important function, while statues
of the nonelite are decorative.
8. Look at the four squares [■] that indicate where the following
sentence could be added to the passage.
In fact, it is the action and not the figure itself that is important.
Where would the sentence best fit?
Answers:
1. vital (adj. ) 重要的 ; 與生命有關的
(A) glamorous 有魅力的 ;迷人的 = fascinating = enchantin
= captivating = enthralling = bewitching = charming
(B) essential 必要的
(C) usual 平常的; 一般的
(D) tepid 微溫的 = lukewarm
答案為 B .
2. 第一段暗示相較其他文明之藝術埃及藝術較不受青睞為缺乏
原文定位: In fact, a lack of understanding concerning the purposes
of Egyptian art has often led it to be compared unfavorably with the art of
other cultures: Why did the Egyptians not develop sculpture in which
the body turned and twisted through space like classical Greek statuary?
Why do the artists seem to get left and right confused? And why did
they not discover the geometric perspective as European artists did
in the Renaissance?
文中提及埃及之雕刻作品為何不像古典希臘雕
像一樣肢體呈現轉身扭轉之體態.
正確答案選擇 (D) the capacity to show the human body in motion
3. 作者提到欣賞埃及之藝術作品必須理解下列除外:
In order to understand ancient Egyptian art, it is vital to know as
much as possible of the elite Egyptians' view of the world and the
functions and contexts of the art produced for them.
Without this knowledge we can appreciate only the formal content of
Egyptian art, and we will fail to understand why it was produced or
the concepts that shaped it and caused it to adopt its distinctive forms.
In fact, a lack of understanding concerning the purposes of Egyptian art
has often led it to be compared unfavorably with the art of other cultures:
Why did the Egyptians not develop sculpture in which the body turned
and twisted through space like classical Greek statuary?
欲瞭解埃及之藝術作品, 必要知道其製作原因; 貴族之觀點
elite Egyptians' view of the world ; 及如何製作. 然而; 文中並無論
述"埃及之藝術作品對後來古典希臘藝術之影響. 答案選 C.
4. According to paragraph 2, why are Egyptian statues portrayed frontality?
題中作者為何提出" 為何埃及雕像呈現出正面像frontality. "
此題主要測驗"修辭目的" (Rhetorical Purpose)
原文 --- Frontality is, however, directly related to the functions
of Egyptian statuary and the contexts in which the statues were set up.
Statues were created not for their decorative effect but to play a primary
role in the cults of the gods, the king, and the dead. They were designed
to be put in places where these beings could manifest themselves in order to
be the recipients of ritual actions.
埃及雕像呈現出正面像frontality 並非為了裝飾作用, 而是為了
展現出儀式典禮之角色. 選擇答案為
(B) To allow them to fulfill their important role in ceremonies of Egyptian life
5. The author mentions " an architectural setting " in the passage in order to
此題主要測驗"修辭目的" (Rhetorical Purpose)
原文 --- Very often such statues were enclosed in rectangular shrines
or wall niches whose only opening was at the front, making it natural for
the statue to display frontality. Other statues were designed to be placed
within an architectural setting, for instance, in front of the monumental
entrance gateways to temples known as pylons, or in pillared courts,
where they would be placed against or between pillars: their frontality
worked perfectly within the architectural context.
利用 an architectural setting 定位該句出現 " for instance " 舉例,
意味該句乃為上述之闡釋說明, 故而進一步閱讀出 " 為了雕像得
以展示出 frontality.
正確答案為 B.
6. According to paragraph 3, why were certain areas of a stone statue left uncarved?
根據第三段為何石雕像遺留未雕塑之部份?
The stone between the arms and the body and between the legs in
standing figures or the legs and the seat in seated ones was not normally
cut away. From a practical aspect this protected the figures against
breakage and psychologically gives the images a sense of strength and
power, usually enhanced by a supporting back pillar.
not normally cut away = uncarved
其主要目的為為避免雕像斷裂. 正確答案選擇 A.
7. According to paragraph 4, what is the difference between statues that
represent the Egyptian elite and statues that represent the nonelite classes?
埃及雕像中菁英份子與非菁英份子之雕像主要差異為何?
原文 : Apart from statues representing deities, kings, and named
members of the elite that can be called formal, there is another group of
three -dimensional representations that depicts generic figures, frequently
servants, from the nonelite population. The function of these is quite
different. Many are made to be put in the tombs of the elite in order to
serve the tomb owners in the afterlife. Unlike formal statues that are
circumscribed to static poses of standing, sitting, and kneeling, these figures
depict a wide range of actions, such as grinding grain, baking bread,
producing pots, and making music, and they are manifested in appropriate
poses, bending and squatting as they carry out their tasks.
菁英份子之雕像體態為站立, 坐或屈膝跪下之姿而與非菁英份子
之雕像則為進行各式各樣之動作.
答案選擇 (B) Statues of the elite are in motionless poses,
while statues of the nonelite are in active poses.
8. 此題為插入句型 (Insertion)
(1) succession (承接) ; (2) transition (轉折) ; (3) pronoun (代名詞)
此插入句--- In fact, it is the action and not the figure itself that is important.
原文: Apart from statues representing deities, kings, and named
members of the elite that can be called formal, there is another group of three
-dimensional representations that depicts generic figures, frequently
servants, from the nonelite population. (A)■ The function of these is
quite different. (B)■ Many are made to be put in the tombs of the elite
in order to serve the tomb owners in the afterlife. (C)■ Unlike formal
statues that are circumscribed to static poses of standing, sitting,
and kneeling, these figures depict a wide range of actions, such as grinding
grain, baking bread, producing pots, and making music, and they are
manifested in appropriate poses, bending and squatting as they carry
out their tasks. (D)■
原插入句中關鍵字詞 " the action " ,
暗示該句須插入於前者已提及相關動作,
答案判讀為 D.", disappeared 。
--
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