沖分初級(jí)班閱讀TP。分冊(cè)

（適合60-75分）

目錄

TPO-113

AncientEgyptianSculpture3

OrientationandNavigation8

BeggingbyNestlings14

TPO-1220

WhichHandDidTheyUse?20

TransitiontoSoundinFilm26

WaterintheDesert33

TPO-1339

TypesofSocialGroups39

BiologicalClocks45

MethodsofStudyingInfantPerception52

TPO-1458

ChildrenandAdvertising58

MayaWaterProblems64

PastoralisminAncientInnerEurasia71

TPO-1577

AWarm-BloodedTurtle77

MassExtinctions83

GlacierFormation89

TPO-1695

TradeandtheAncientMiddleEast95

DevelopmentofthePeriodicTable102

PlanetsinOurSolarSystem109

TPO-17115

EarlySeaTradewithAsia115

AnimalSignalsintheRainForest121

SymbioticRelationships127

TPO-18133

IndustrializationintheNetherlandsandScandinavia133

Themysteryofyawning139

Lightning145

TPO-19151

TheRomanArmy'sImpactonBritain151

Succession,Climax,andEcosystems157

DiscoveringtheIceAges163

TPO-20169

WestwardMigration169

EarlySettlementsintheSouthwestAsia175

Preservation181

TPO21187

GeothermalEnergy187

TheOriginsofAgriculture192

AutobiographicalMemory197

TPO22202

Spartina202

TheBirthofPhotography208

TheAllendeMeteorite213

TPO23219

UrbanClimates219

Seventeenth-CenturyDutchAgriculture224

RockArtoftheAustraliaAborigines229

TPO24234

LakeWater234

BreathingduringSleep239

MovingintoPueblos244

TPO25249

ThesurfaceofMars249

TheDeclineofVenetianShipping255

TheEvolutionaryOriginofPlants261

KEY266

TPO-11

AncientEgyptianSculpture

InordertounderstandancientEgyptianart,itisvitaltoknowasmuchas

possibleoftheeliteEgyptians'viewoftheworldandthefunctionsandcontextsof

theartproducedforthem.Withoutthisknowledgewecanappreciateonlytheformal

contentofEgyptianart,andwewillfailtounderstandwhyitwasproducedorthe

conceptsthatshapeditandcausedittoadoptitsdistinctiveforms.Infact,alackof

understandingconcerningthepurposesofEgyptianarthasoftenledittobe

comparedunfavorablywiththeartofothercultures:WhydidtheEgyptiansnot

developsculptureinwhichthebodyturnedandtwistedthroughspacelikeclassical

Greekstatuary?Whydotheartistsseemtogetleftandrightconfused?Andwhydid

theynotdiscoverthegeometricperspectiveasEuropeanartistsdidinthe

Renaissance?Theanswertosuchquestionshasnothingtodowithalackofskillor

imaginationonthepartofEgyptianartistsandeverythingtodowiththepurposesfor

whichtheywereproducingtheirart.

Themajorityofthree-dimensionalrepresentations,whetherstanding,seated,or

kneeling,exhibitwhatiscalledfrontality:theyfacestraightahead,neithertwisting

norturning.Whensuchstatuesareviewedinisolation,outoftheiroriginalcontext

andwithoutknowledgeoftheirfunction,itiseasytocriticizethemfortheirrigid

attitudesthatremainedunchangedforthreethousandyears.Frontalityis,however,

directlyrelatedtothefunctionsofEgyptianstatuaryandthecontextsinwhichthe

statuesweresetup.Statueswerecreatednotfortheirdecorativeeffectbuttoplay

aprimaryroleinthecultsofthegods,theking,ancthedead.Theyweredesigned

tobeputinplaceswherethesebeingscouldmanifestthemselvesinordertobethe

recipientsofritualactions.Thusitmadesensetoshowthestatuelookingaheadat

whatwashappeninginfrontofit,sothatthelivingperformeroftheritualcould

interactwiththedivineordeceasedrecipient.Veryoftensuchstatueswere

enclosedinrectangularshrinesorwallnicheswhoseonlyopeningwasatthefront,

makingitnaturalforthestatuetodisplayfrontality.Otherstatuesweredesignedto

beplacedwithinanarchitecturalsetting,forinstance,infrontofthemonumental

entrancegatewaystotemplesknownaspylons,orinpillaredcourts,wherethey

wouldbeplacedagainstorbetweenpillars:theirfrontalityworkedperfectlywithin

thearchitecturalcontext.

Statueswerenormallymadeofstone,wood,ormetal.Stonestatueswere

workedfromsinglerectangularblocksofmaterialandretainedthecompactnessof

theoriginalshape.Thestonebetweenthearmsandthebodyandbetweenthelegs

instandingfiguresorthelegsandtheseatinseatedoneswasnotnormallycut

away.Fromapracticalaspectthisprotectedthefiguresagainstbreakageand

psychologicallygivestheimagesasenseofstrengthandpower,usuallyenhanced

byasupportingbackpilar.Bycontrast,woodenstatueswerecarvedfromseveral

piecesofwoodthatwerepeggedtogethertoformthefinishedwork,andmetal

statueswereeithermadebywrappingsheetmetalaroundawoodencoreorcastby

thelostwaxprocess.Thearmscouldbeheldawayfromthebodyandcarry

separateitemsintheirhands;thereisnobackpillar.Theeffectisaltogetherlighter

andfreerthanthatachievedinstone,butbecauseoothperformthesamefunction,

formalwoodenandmetalstatuesstilldisplayfrontality.

Apartfromstatuesrepresentingdeities,kings,andnamedmembersoftheelite

thatcanbecalledformal,thereisanothergroupofthree-dimensional

representationsthatdepictsgenericfigures,frequentlyservants,fromthenonelite

population.Thefunctionoftheseisquitedifferent.Manyaremadetobeputinthe

tombsoftheeliteinordertoservethetombownersintheafterlife.Unlikeformal

statuesthatarelimitedtostaticposesofstanding,sitting,andkneeling,these

figuresdepictawiderangeofactions,suchasgrindinggrain,bakingbread,

producingpots,andmakingmusic,andtheyareshowninappropriateposes,

bendingandsquattingastheycarryouttheirtasks.

1.Theword“vital"inthepassageis

[Paragraph1]Inordertounderstand

closestinmeaningto

oattractiveancientEgyptianart,itisvitaltoknow

oessentialasmuchaspossibleoftheelite

ousualEgyptians'viewoftheworldandthe

opracticalfunctionsandcontextsoftheart

producedforthem.Withoutthis

2.Paragraph1suggeststhatonereasonknowledgewecanappreciateonlythe

EgyptianartisviewedlessfavorablythanformalcontentofEgyptianart,andwe

otherartisthatEgyptianartlackswillfailtounderstandwhyitwas

oarealisticsenseofhumanbodyproducedortheconceptsthatshaped

proportionitandcausedittoadoptitsdistinctive

oafocusondistinctiveformsofvaryingforms.Infact,alackofunderstanding

sizesconcerningthepurposesofEgyptian

otheoriginalityofEuropeanartarthasoftenledittobecompared

othecapacitytoshowthehumanbodyinunfavorablywiththeartofother

motioncultures:WhydidtheEgyptiansnot

developsculptureinwhichthebody

3.Inparagraph1,theauthormentionsallturnedandtwistedthroughspacelike

ofthefollowingasnecessaryinclassicalGreekstatuary?Whydothe

appreciatingEgyptianartEXCEPTanartistsseemtogetleftandright

understandingofconfused?Andwhydidtheynot

othereasonswhytheartwasmadediscoverthegeometricperspectiveas

othenatureofaristocraticEgyptianbeliefsEuropeanartistsdidinthe

otheinfluencesofEgyptianartonlaterartRenaissance?Theanswertosuch

suchasclassicalGreekartquestionshasnothingtodowithalack

ohowtheartwasusedofskillorimaginationonthepartof

Egyptianartistsandeverythingtodo

withthepurposesforwhichtheywere

producingtheirart.

4.Accordingtoparagraph2,whyare

[Paragraph2]Themajorityof

Egyptianstatuesportrayedfrontality?

0T0createapsychologicaleffectofthree-dimensionalrepresentations,

distanceandisolationwhetherstanding,seated,orkneeling,

0T0allowthemtofulfilltheirimportantroleexhibitwhatiscalledfrontality:theyface

inceremoniesofEgyptianlifestraightahead,neithertwistingnorturning.

0T0provideacontrasttostatueswithaWhensuchstatuesareviewedinisolation,

decorativefunctionoutoftheiroriginalcontextandwithout

0T0suggesttherigid,unchangingknowledgeoftheirfunction,itiseasyto

Egyptianphilosophicalattitudescriticizethemfortheirrigidattitudesthat

remainedunchangedforthreethousanc

5.Theword“context"intnepassageisyears.Frontalityis,however,directly

closestinmeaningtorelatedtothefunctionsofEgyptian

oconnectionstatuaryandthecontextsinwhichthe

oinfluencestatuesweresetup.Statueswerecreated

oenvironmentnotfortheirdecorativeeffectbuttoplaya

orequirementprimaryroleinthecultsofthegods,the

king,andthedead.Theyweredesignedto

6.TheauthormentionsHanarchitecturalbeputinplaceswherethesebeingscould

setting'1inthepassageinordertomanifestthemselvesinordertobethe

osuggestthatarchitecturewasasrecipientsofritualactions.Thusitmade

importantassculpturetoEgyptianartistssensetoshowthestatuelookingaheadat

cofferafurtherexplanationforthefrontalwhatwashappeninginfrontofit,sothat

poseofEgyptianstatuesthelivingperformeroftheritualcould

oexplainhowthedisplayofstatuesinteractwiththedivineordeceased

replacedotherformsofarchitecturalrecipient.Veryoftensuchstatueswere

decorationenclosedinrectangularshrinesorwall

oillustratethereligiousfunctionofnicheswhoseonlyopeningwasatthe

Egyptianstatuesfront,makingitnaturalforthestatueto

displayfrontality.Otherstatueswere

7.Theword“they”inthepassagereferstodesignedtobeplacedwithinan

ostatuesarchitecturalsetting,forinstance,infront

ogatewaysofthemonumentalentrancegatewaysto

otemplestemplesknownaspylons,orinp川ared

opillaredcourtscourts,wheretheywouldbeplaced

againstorbetweenpillars:theirfrontality

workedperfectlywithinthearchitectural

context.

8.Accordingtoparagraph3,whywere

[Paragraph3]Statueswerenormally

certainareasofastonestatueleft

uncarved?madeofstone,wood,ormetal.Stone

oTopreventdamagebyprovidingphysicalstatueswereworkedfromsingle

stabilityrectangularblocksofmaterialandretained

oToemphasizethatthematerialwasasthecompactnessoftheoriginalshape.

importantasthefigureitselfThestonebetweenthearmsandthebody

oToemphasizethatthefigurewasnotandbetweenthelegsinstandingfiguresor

meanttobearealhumanbeingthelegsandtheseatinseatedoneswas

oToprovideanotherartistwiththechancenotnormallycutaway.Fromapractical

tofinishthecarvingaspectthisprotectedthefiguresagainst

breakageandpsychologicallygivesthe

9.Theword"core"inthepassageisimagesasenseofstrengthandpower,

closestinmeaningtousuallyenhancedbyasupportingback

omaterialpillar.Bycontrast,woodenstatueswere

olayercarvedfromseveralpiecesofwoodthat

ocenterwerepeggedtogethertoformthefinished

oframework,andmetalstatueswereeithermade

bywrappingsheetmetalaroundawooden

10.Accordingtoparagraph3,whichofthecoreorcastbythelostwaxprocess.Ths

followingstatementsaboutwoodenarmscouldbeheldawayfromthebody

statuesistrue?andcarryseparateitemsintheirhands;

oWoodenstatueswereusuallylargerthanthereisnobackpillar.Theeffectis

stonestatues.altogetherlighterandfreerthanthat

oWoodenstatuesweremadefromasingleachievedinstone,butbecauseboth

pieceofwood.performthesamefunction,formalwooden

oWoodenstatuescontainedpiecesofandmetalstatuesstilldisplayfrontality.

metalorstoneattachedtothefront.

oWoodenstatueshadadifferenteffecton

theviewerthanstonestatues.

11.Theworddepictsinthepassageis

[Paragraph4]Apartfromstatues

closestinmeaningto

oimaginesrepresentingdeities,kings,andnamed

oclassifiesmembersoftheelitethatcanbecalled

?elevatesformal,thereisanothergroupof

oportraysthree-dimensionalrepresentationsthat

depictsgenericfigures,frequently

12.Accordingtoparagraph4,whatistheservants,fromthenonelitepopulation.The

differencebetweenstatuesthatrepresentfunctionoftheseisquitedifferent.Many

theEgyptianeliteandstatuesthataremadetobeputinthetombsoftheelite

representthenoneliteclasses?inordertoservethetombownersinthe

?Statuesoftheeliteareincludedintombs,afterlife.Unlikeformalstatuesthatare

butstatuesofthenonelitearenot.limitedtostaticposesofstanding,sitting,

oStatuesoftheeliteareinmotionlessandkneeling,thesefiguresdepictawide

poses,whilestatuesofthenoneliteareinrangeofactions,suchasgrindinggrain,

activeposes.bakingbread,producingpots,andmaking

oStatuesoftheeliteareshownstanding,music,andtheyareshowninappropriate

whilestatuesofthenoneliteareshownposes,bendingandsquattingasthey

sittingorkneeling.carryouttheirtasks.

oStatuesoftheeliteserveanimportant

function,whilestatuesofthenoneliteare

decorative.

[Paragraph4]Apartfromstatuesrepresentingdeities,kings,andnamedmembersofthe

elitethatcanbecalledformal,thereisanothergroupofthree-dimensional

representationsthatdepictsgenericfigures,frequentlyservants,fromthenonelite

population.-Thefunctionoftheseisquitedifferent.-Manyaremadetobeputinthe

tombsoftheeliteinordertoservethetombownersintheafterlife.allnlikeformal

statuesthatarelimitedtostaticposesofstanding,sitting,andkneeling,thesefigures

depictawiderangeofactions,suchasgrindinggrain,bakingbread,producingpots,

andmakingmusic,andtheyareshowninappropriateposes,bendingandsquatting

astheycarryouttheirtasks.■

13.Lookatthefoursquares[■]thatindicatewherethefollowingsentencecouldbeacded

tothepassage.

Infact,itistheactionandnotthefigureitselfthatisimportant.

14.[Directions]Anintroductorysentenceforabriefsummaryofthepassageis

providedbelow.CompletethesummarybyselectingtheTHREEanswerthatexpress

themostimportantideasinthepassage.Somesentencesdonotbelonginthe

summarybecausetheyexpressideasthatnotpresentedinthepassageorareminorideas

inthepassage.Thisquestionisworth2points.

ThedistinctivelookofancientEgyptiansculpturewasdeterminedlargelybyitsfunction.

AnswerChoices

oThetwistedformsofEgyptianstatuesindicatetheirimportanceinritualactions.

oThereasonEgyptianstatuesaremotionlessislinkedtotheircentralroleinculturalrituals.

oStone,wood,andmetalstatuesalldisplaythefeatureoffrontality.

oStatuesweremoreoftendesignedtobeviewedinisolationratherthanplacedwithin

buildings.

oThecontrastingposesusedinstatuesofeliteandnoneliteEgyptiansrevealtheir

differenceinsocialstatus.

oAlthoughtheappearancesofformalandgenericstatuesdiffer,theysharethesame

function.

OrientationandNavigation

lbSouthAmericans,robinsarebirdsthatflynortheveryspring.ToNorthAmericans,

therobinssimplyvacationinthesoutheachwinter.Furthermore,theyflytoveryspecific

placesinSouthAmericaandwilloftencomebacktothesametreesinNorthAmerican

yardsthefollowingspring.Thequestionisnotwhytheywouldleavethecoldofwinterso

muchashowtheyfindtheirwayaround.Thequestionperplexedpeopleforyears,until,in

the1950s,aGermanscientistnamedGustaveKramerprovidedsomeanswersand,in

theprocess,raisednewquestions.

Kramerinitiatedimportantnewkindsofresearchregardinghowanimalsorientand

navigate.Orientationissimplyfacingintherightdirection;navigationinvolvesfindingones

wayfrompointAtopointB.

Earlyinhisresearch,Kramerfoundthatcagedmigratorybirdsbecameveryrestlessat

aboutthetimetheywouldnormallyhavebegunmigrationinthewild.Furthermore,he

noticedthatastheyflutteredaroundinthecage,theyoftenlaunchedthemselvesinthe

directionoftheirnormalmigratoryroute.Hethensetupexperimentswithcagedstarlings

andfoundthattheirorientationwas,infact,inthepropermigratorydirectionexceptwnen

theskywasovercast,atwhichtimestherewasnocleardirectiontotheirrestless

movements.Kramersurmised,therefore,thattheywereorientingaccordingtothe

positionoftheSun.Totestthisidea,heblockedtheirviewoftheSunandusedmirrorsto

changeitsapparentposition.Hefoundthatunderthesecircumstances,thebirdsoriented

withrespecttothenew"Sun."TheyseemedtobeusingtheSunasacompassto

determinedirection.Atthetime,thisideaseemedpreposterous.Howcouldabird

navigatebytheSunwhensomeofusloseourwaywithroadmaps?Obviously,more

testingwasinorder.

So,inanothersetofexperiments,Kramerputidenticalfoodboxesaroundthecage,

withfoodinonlyoneoftheboxes.Theboxeswerestationary,andtheonecontainingfood

wasalwaysatthesamepointofthecompass.However,itspositionwithrespecttothe

surroundingscouldbechangedbyrevolvingeithertheinnercagecontainingthebirdsor

theouterwalls,whichservedasthebackground.AslongasthebirdscouldseetheSun,

nomatterhowtheirsurroundingswerealtered,theywentdirectlytothecorrectfoodbox.

Whethertheboxappearedinfrontoftherightwallortheleftwall,theyshowednosignsof

confusion.Onovercastdays,however,thebirdsweredisorientedandhadtroublelocating

theirfoodbox.

Inexperimentingwithartificialsuns,Kramermadeanotherinterestingdiscovery.Ifthe

artificialSunremainedstationary,thebirdswouldshifttheirdirectionwithrespecttoitata

rateofabout15degreesoerhour,theSun'srateofmovementacrossthesky.Apparently,

thebirdswereassumingthatthe"Sun"theysawwasmovingatthatrate.Whenthereal

Sunwasvisible,howeverthebirdsmaintainedaconstantdirectionasitmovedacrossthe

sky.Inotherwords,theywereabletocompensatefortheSun'smovement.Thismeant

thatsomesortofbiologicalclockwasoperating-andaverypreciseclockatthat.

Whataboutbirdsthatmigrateatnight?Perhapstheynavigatebythenightsky.7ctest

theidea,cagednight-migratingbirdswereplacedonthefloorofaplanetariumduringtheir

migratoryperiod.Aplanetariumisessentiallyatheaterwithadomelikeceilingontowhicha

nightskycanbeprojectedforanynightoftheyear.Whentheplanetariumskymatchedthe

skyoutside,thebirdsflutteredinthedirectionoftheirnormalmigration.Butwhenthedome

wasrotated,thebirdschangedtheirdirectiontomatchtheartificialsky.Theresultsclearly

indicatedthatthebirdswereorientingaccordingtothestars.

Thereisaccumulatingevidenceindicatingthatbirdsnavigatebyusingawidevariety

ofenvironmentalcues.Otherareasunderinvestigationincludemagnetism,landmarks,

coastlines,sonar,andevensmells.Thestudiesarecomplicatedbythefactthatthedata

aresometimescontradictoryandthemechanismsapparentlychangefromtimetotime.

Furthermore,onesensoryabilitymaybackupanother.

1.Whichofthefollowingcanbeinferred【Paragraph1]ToSouthAmericans,

aboutbirdmigrationfromparagraph1?robinsarebirdsthatflynortheveryspring.

?BirdswilltakethemostdirectmigratoryToNorthAmericans,therobinssimply

routetotheirnewhabitatvacationinthesoutheachwinter.

oThepurposeofmigrationistojoinwithFurthermore,theyflytoveryspecific

largergroupsofbirds.placesinSouthAmericaandwilloften

eBirdmigrationgenerallyinvolvesmovingcomebacktothesametreesinNorth

backandforthbetweennorthandsouth.Americanyardsthefollowingspring.The

oThedestinationofbirds'migrationcanquestionisnotwhytheywouldleavethe

changefromyeartoyear.coldofwintersomuchashowtheyfind

theirwayaround.Thequestionperplexed

2.Theword“Dernlexed”inthepassagepeopleforyears,until,inthe1950s,a

isclosestinmeaningtoGermanscientistnamedGustaveKramer

?defeatedprovidedsomeanswersand,inthe

ointerestedprocess,raisednewquestions.

opuzzled

ooccupied

3.Whichofthesentencesbelowbest[Paragraph3]Earlyinhisresearch,

expressestheessentialinformationinKramerfoundthatcagedmigratorybirds

thehiqhliqhtedsentenceinthebecameveryrestlessataboutthetime

passage?Incorrectchoiceschangethetheywouldnormallyhavebegun

meaninginimportantwaysorleaveoutmigrationinthewild.Furthermore,he

essentialinformation.noticedthatastheyflutteredaroundin

oExperimentsrevealedthatcagedthecage,theyoftenlaunchedthemselves

starlingsdisplayedalackofdirectionalinthedirectionoftheirnormalmigratory

senseandrestlessmovements.route.He:hensetupexperimentswith

oExperimentsrevealedthatcagedcaaedstarlinqsandfoundthattheir

starlingswereunabletoorientorientationwas,infact,intheproper

themselvesinthedirectionoftheirnormalmiQratorydirectionexceptwhenthesky

migratoryroute.wasovercast,atwhichtimestherewas

oExperimentsrevealedthattherestlessnocleardirectiontotheirrestless

movementofcagedstarlingshadnoclearmovements.Kramersurmised,therefore,

direction.thattheywereorientingaccordingtothe

oExperimentsrevealedthatcagedpositionoftheSun.Totestthisidea,he

starlings'orientationwasaccurateunlessblockedtheirviewoftheSunandused

theweatherwasovercast.mirrorstochangeitsapparentposition.

Hefoundthatunderthesecircumstances,

4.Theword^preposterous11inthethebirdscrientedwithrespecttothenew

passageisclosestinmeaningto"Sun."TheyseemedtobeusingtheSur

ounbelievableasacompasstodeterminedirection.At

?inadequatethetime,thisideaseemedpreposteroijs.

olimitedHowcouldabirdnavigatebytheSun

?creativewhensomeofusloseourwaywithroad

maps?Obviously,moretestingwasin

5.Accordingtoparagraph3,whydidorder.

Kramerusemirrorstochangethe

apparentpositionoftheSun?

oTotesttheeffectoflightonthebirds'

restlessness

oTotestwhetherbirdswereusingtheSun

tonavigate

oTosimulatetheshiftingoflightthebirds

wouldencounteralongtheirregular

migratoryroute

oTocausethebirdstomigrateata

differenttimethantheywouldinthewild

6.Accordingtoparagraph3,whendo

cagedstarlingsbecomerestless?

oWhentheweatherisovercast

oWhentheyareunabletoidentifytheir

normalmigratoryroute

oWhentheirnormaltimeformigration

arrives

oWhenmirrorsareusedtochangethe

apparentpositionoftheSun

7.Whichofthefollowingcanbeinferred[Paragraph4]So,inanothersetof

fromparagraph4aboutKramersreasonexperiments,Kramerputidenticalfood

forfillingonefoodboxandleavingtheboxesaroundthecage,withfoodinonly

restempty?oneoftheboxes.Theboxeswere

oHebelievedthebirdswouldeatfoodstationary,andtheonecontainingfood

fromonlyonebox.wasalwaysatthesamepointofthe

oHewantedtoseewhethertheSunalonecompass.However,itspositionwith

controlledthebirds'abilitytonavigaterespecttothesurroundingscouldbe

towardtheboxwithfood.changedbyrevolvingeithertheinner

oHethoughtthatifalltheboxescontainedcagecontainingthebirdsortheouter

food,thiswoulddistractthebirdsfromwalls,whichservedasthebackground.

followingtheirmigratoryroute.AslongasthebirdscouldseetheSun,no

oHeneededtotestwhetherthebirdsmatterhowtheirsurroundingswere

preferredhavingthefoocatanyparticularaltered,theywentdirectlytothecorrect

pointofthecompass.foodbox.Whethertheboxappearedin

frontoftherightwallortheleftwall,they

showednosignsofconfusion.On

overcastdays,however,thebirdswere

disorientedandhadtroublelocatingtheir