托福阅读真题最全

1、托福阅读真题3PASSAGE 3The Native Amer icans of northern CaIi fornia were highly skilled atbasketry, using the reeds, grasses, barks, and roots they found around them to fashi on art ic I es of a I I sorts and sizesnot only trays, containers, and cooking pots, but hats, boats, f ish traps, baby carr i ers,

2、 andceremon i a Iobjects.Of a I I these experts, none exceI Ied the Porno a group who Ii vedon or near the coast dur i ng the 1800* s, and whose desce ndants con tinue to live in par ts of thesame region to thisday.They madebaskets three feetin diameter and others no bigger thana th imbIe. The Pomo

3、peop I e were masters of decoration. Some of the i r baskets were comp Ietely covered with she I Ipendants; others with feathers that made the baskets' surfaces as soft as the breasts of bi rdsMoreover, the Pomo peopIe made use of more weaving techniques than did thei r neighbors.Most groups mad

4、e a I I thei r basketwork by twining 一 the twisting of a flexible hor i zontal material,called a weft, around st iffer vertical strands of material, the warp.Others depended pr imar iIy on coi ling a process in which a continu ous coi I of stiff mat erial i s held in the des i red shape with tight w

5、rapping of flexible st rands Only the Pomo peop I e used both processes with equaI easeand frequency. In addition, they made use of four distinet var iations on the basic twining process,often empIoying more than one of them in a single articIeAlthough a wide var iety of materials was avai lable, th

6、e Pomo peopIe used on Iy a few. Thewarp was a I ways made of wi I low, and the mos t common I y used wef t was sedge root, a woodyfiber that cou I d eas i I y be separa ted into strands no t hicker t han a t hread For color, the PomopeopIe used the bark of redbud for thei r twined work and dyed buI

7、I rush root for black incoiled work Though other materials were sometimes used, these four were the staples in thei rfinest basketry.I f the baske try mat erials used by the Pomo peop I e were I imit ed, the designs wereamaz i ng I y var i ed Every Pomo baske tmaker knew how to produce from fifteen

8、to twentyd i stinct patterns that couId be comb ined i n a number of d i fferent ways.1. What best distinguished Pomo baskets from baskets of other groups(A) The range of sizes, shapes, and designs(B) The unusuaI geometrie(C) The absenee of decoration(D) The rare materials used2. The word “fashion&q

9、uot; in line 2 is closest in meaning to(A) ma i nta i n(B) organize(C) trade(D) create3. The Porno peop Ie used each of the foI Iowing mater ia I s to decorate basketsEXCEPT(A) she I I s(B) feathers(C) I eaves(D) bark4. What is the author' s main point in the second paragraph(A) The neighbors of

10、 the Porno peop Ie tr ied to improve on the Porno basket weaving techniques.(B) The Pomo peop I e were the mos t skilled baske t weavers i n t he i r regio n.(C) The Pomo peopIe I earned the i r basket weav i ng techn i ques from other Nati ve Amer i cans.(D) The Pomo baskets have been handed down f

11、or generations.5. The word ”others n in line 9 refers to(A) masters(B) baskets(C) pendants(D) surfaces6. According to the passage , a weft is a(A) tool for separating sedge root(B) process used for co I or i ng baskets(C) pliabIe maternaI woven around the warp(D) pattern used to decorate baskets7. A

12、ccording to the passage , what did the Porno peopIe use as the warpi n thei r baskets(A) bulI rush(B) willow(C) sedge(D) redbud8. The word HarticIeu in line 17 is cIose in meaning to(A) decoration(B) shape(C) des i gn(D) object9. Accord ing to the passage The re I a tio nship between redbud and t wi

13、ning i s most simiI ar to the re I ationship between(A) buI I rush and coiling(B) weft and warp(C) willow and feathers(D) sedge and weav i ng10. The word "stapIesH in Iine 23 is cIosest in meaning to(A) comb i nat i ons(B) I imitations(C) accessor i es(D) bas i c eIements11. The word ndistinct1

14、' in lime 26 is cIosest in meaning to(A) systemat i c(B) beaut i fu I(C) d i fferent(D) compatibIe12. Wh i ch of the following stat emen ts abo ut Porno baske ts can be bes t i nferred from the passage(A) Baske ts produced by ot her Native Amer ica ns were I ess var i ed in des i g n than those

15、of the Pomo people(B) Baskets produced by Pomo weavers were pr imar i Iy for ceremonial purposes(C) There were a very I imited nu mber of baske tmaking mat erials ava i I ab I eto the Pomo people.(D) The basketmaking production of the Pomo peop I e hasi ncreased over theyears.PASSAGE 4The term ，,Hud

16、son R i ver schoo IH was app I i edto the foremos trepresentatives ofn i net een th cen tury Nor th Amer i can I andscape painting.Apparent 丨 y unknowndur ing the goldendays o ft he Amer ican I andscape movement, which bega n aro un d 1850 and I as teduntil the lateI8601 s, the Hudson River schooI s

17、eems to have emerged in the 18701 s asa di rect resuIt of thest rugg I e bet ween the o I d and the new genera t i ons of artists, each to asser tits own style as the representative Amer ican art. Theo Ider pa i nters, most of whom were born before 1835, practicedin a mode often seIf一taught and mono

18、poI ized by Iandscape subject matter and were secure IyestabIi shed in and fostered by the reigning Amer ican art organization, the National Academy ofDesign. The younger painters returning home from training in Europe worked more with figuraIsubject matter and i n a bo Id and impress i on i stic te

19、chnique; t he i r prospects for patronage i n the i rown country were uncertain, and they sought to attract it by attaining academic recogn it ion inNew York One of the resu Its of the conf I ict bet wee n the two fac ti ons was that what in previousyears had been referred to as the "AmericarT,

20、 "native”，or, occasional Iy, "New York" schooI themost representative schooI of Amer ican art in any genre had by 1890 become fi rmlyestab Ii shed i n the minds of cr itics and pub Iic alike as the Hudson R i ver schooI The sobr iquet was f i rst appI ied around 1879 While it was not

21、intended as fI atter i ng, it washard Iy inappropr iate. The Academicians at whom it was aimed had worked and soc i a Ii zed i nNew York, the Hudson1 s port c i ty, and had pa i nted the r i ver and i ts shores with varying frequency. Most important, perhaps, was that they had a I I maintained with

22、a certa i n fide Iity amanner of technique and composition consistent with those of Amer ica1s f i rst popularIandscape artist, Thomas Co Ie,who built a career pa i nting the Catskill Mountain seeneryborder i ng the Hudson River. A poss i bIe imp Iication in the term appIi ed to the group ofIandscap

23、 i sts was that many of them had, Ii ke Co Ie, I i ved on or near the banks of the Hudson.Fur ther, t he r i ver had I ong served as thepri ncipal rou te toot her ske tching grounds favored by the Academicians, particuI ar Iy the Ad i rondacks and the mountains ofVermont and NewHampshi re.1 What doe

24、s the passage mainly d i scuss(A) The National Academy of Design(B) Paintings that featured the Hudson River(C) North Amer ican Iandscape paintings(D) The tra ining of Amer ican artists in European academies2. Before 1870, what was considered the most representative kind of Amer ican painting(A) Fig

25、uraI painting(B) Landscape painting(C) Impress i on i st i c pa i nt i ngmeaning toin meaning to(D) Hi stori cal pa i nting3. The word "struggle" in line 5 is closest in(A) connect i on(B) distance(C) communication(D) compet i t i on4. The word "monopolized" in line 7 is cIosest(A) a I armed(B) domi nated(C) repe I I ed(D) pursued5