tions 1 and 2 are based on this passage.?

Arts/archaeology

Cahokia / state / chiefdom

Cahokia是個(gè)酋邦而非國(guó)家

①George Milner cites three primary problems with the labeling of Cahokia, the large archaeological site by the Mississippi River, as a state rather than a chiefdom. ②First, finds at Cahokia are essentially similar to finds at other Mississippi chiefdoms, except that the amount of earth moved in building the mounds at Cahokia was greater than elsewhere. ②Second, fewer people lived at Cahokia than is commonly estimated (Milner estimates that there were only a few thousand inhabitants; more common estimates are 10,000 or 20,000 inhabitants): therefore, extensive taxes, trade, and tribute were not necessary to support them. ③Finally, while there is evidence of extensive earth movement, craftwork, trade, and elites at Cahokia, this does not indicate that Cahokia was politically centralized, economically specialized, or aggressively expansionistic.

喬治·米爾納（George Milner）列舉了將密西西比河沿岸的大型考古遺址Cahokia標(biāo)記為 state而非chiefdom存在的三個(gè)主要問題。 首先，在Cahokia的發(fā)現(xiàn)與其他密西西比 chiefdom的發(fā)現(xiàn)基本相似，只是在Cahokia建造土丘時(shí)移動(dòng)的土量大于其他地方。 其次，居住在Cahokia的人比通常估計(jì)的要少（Milner估計(jì)只有幾千居民；更常見的估計(jì)是 10,000 或 20,000 居民）：因此，不需要大量的稅收、貿(mào)易和貢品來支持他們。最后，雖然有證據(jù)表明Cahokia有大量的泥土被移動(dòng)，以及手工藝、貿(mào)易和精英階層，這并不表明Cahokia是一個(gè)政治中心、經(jīng)濟(jì)中心或者經(jīng)歷了激進(jìn)的擴(kuò)張。

1.?The primary purpose of the passage is to

功能題 主旨題 中

文章質(zhì)疑一個(gè)觀點(diǎn)并給出三點(diǎn)理由。

B

A. underscore a characterization 相反

B. outline a challenge?概述一個(gè)反對(duì)觀點(diǎn)。只有這個(gè)符合

C. point out an ambiguity?沒有證據(jù)

D. discuss an oversimplification 沒有證據(jù)

E. define a category 不是在定義，是在否定

2. The passage implies that political centralization is a feature that

細(xì)節(jié)題 推斷題 易

C

A. has not historically tended to emerge in centers with fewer than 20,000 inhabitants 沒有證據(jù)

B. distinguished other Mississippi chiefdoms from Cahokia 把其他酋邦和C區(qū)分開來。相反/沒有證據(jù)

C. is considered characteristic of states but not of chiefdoms 符合

D. often results from aggressive expansionism and economic specialization 沒有這層因果關(guān)系

E. has historically been necessary for extensive trade to occur 沒有證據(jù)

Questions 3 to 6 are based on this passage:

Arts

Anthony Van Dyck / portraits / dress

范戴克并不是通過服飾來傳遞悲傷

①When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles I, he introduced an entirely new way of representing dress in portraiture.?②In women’s portraits, he enhanced sleeves and collars, and added lavish drapery and jewels. ③For the first time, an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. ④While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.

①Van Dyck’s?Portrait of Thomas Killigrew and William, Lord Crofts?(1638) demonstrates how the artist relaxed and unbuttoned men’s dress to accord with an underlying theme.?②The double portrait may be seen as an essay in grief: Killigrew, a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting; Crofts was her nephew. ③The painting contains clear references to the situation at hand. ④The background features a broken column, a traditional emblem of earthly transience. ⑤A drawing in Killigrew’s right hand depicts two funerary monuments. ⑥Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.

①Art historians have interpreted the clothing depicted in this portrait, particularly Crofts’ doublet, which is worn unbuttoned in back, as an allusion to the subjects’ grief-stricken distraction. ②It is true that Killigrew’s dress includes references to his loss—he wears a cross inscribed with his wife’s initials. ③There is an intuitive nature to this painting, which seems underscored by the loose clothing worn by both subjects.?④However, this reading of the costumes as a sign of grief does not take into account the seventeenth-century fashion conventions. ⑤Only Killigrew appears in noticeably disheveled attire; Crofts’ dress would be quite appropriate for a formal portrait. ⑥Though black clothing, such as that worn by Crofts, was common for mourning, it was also ordinary on other occasions. ⑦Furthermore, during the first stage of mourning, no shiny surfaces, such as Crofts’ satin doublet, would be permitted. ⑧The unbuttoned slit on Crofts’ doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse, who is gallivanting rather than grieving, wears a similarly undone doublet. ⑨Evidence suggests that by the late 1630s, a certain calculated looseness was conventional in men’s formal dress. ⑩Ribeiro, for example, cites the writings of moralists objecting to this style.

①Killigrew’s attire, though even looser than Crofts’, should not necessarily be associated with grief.?②Other seventeenth-century subjects depicted in melancholic states do not dress this way.?③Although Killigrew’s “undress” lends this portrait a distinctive intimacy, it might also refer to Killigrew’s literary career. ④Many of Van Dyck’s other subjects who engaged in literary pursuits are depicted in loose clothing. ⑤The blank sheet held by Crofts may be a reminder not only of Killigrew’s loss but also of his solace: he had but to express his grief in writing.

當(dāng)佛蘭德畫家安東尼范戴克于?1632?年移居英國(guó)成為查理一世的宮廷畫家時(shí)，他引入了一種全新的方式來表現(xiàn)肖像畫中的服裝。 在女性肖像中，他改進(jìn)了袖子和衣領(lǐng)，并添加了豐富的褶皺和珠寶。 第一次，一位藝術(shù)家關(guān)注到了肖像畫里的服飾，創(chuàng)造了幻想與現(xiàn)實(shí)的融合。?雖然范戴克在描繪女性時(shí)最具創(chuàng)新性，但他在男性肖像中使用了類似的元素。

Van Dyck 的 Thomas Killigrew 和 William Lord Crofts 的肖像（1638 年）展示了藝術(shù)家如何解放男裝的桎梏以符合潛在的主題。 這幅雙重肖像可以看作是一篇悲傷的表達(dá)：詩人和劇作家基利格魯在這幅畫作之前不久失去了他的妻子塞西莉亞（Cecelia）；?克羅夫茨是她的侄子。 這幅畫清楚了反映了當(dāng)時(shí)的情況。 畫面背景是一根破碎的柱子，這是塵世短暫的傳統(tǒng)象征。 基利格魯右手的一幅畫描繪了兩座墓碑。 克羅夫茨拿著一張白紙。一些學(xué)者將這張白紙視為基利格魯所持有的畫作的類似物：象征著已逝。

藝術(shù)史學(xué)家將這幅肖像中描繪的服裝，特別是克羅夫茨的緊身衣背部解開的扣子，解讀為人物因悲傷而分心的暗示。的確，Killigrew?的穿著中暗示了他的遭遇——他戴著一個(gè)刻有他妻子姓名首字母的十字架。這幅畫有一種直觀的性質(zhì)，這似乎被兩個(gè)人物所穿的寬松衣服所強(qiáng)調(diào)。然而，這種將服裝解讀為悲傷標(biāo)志的做法并沒有考慮到?17?世紀(jì)的時(shí)尚習(xí)俗。只有基利格魯穿著明顯凌亂的服裝出現(xiàn)；克羅夫茨的禮服非常適合正式肖像。雖然像克羅夫茨這樣的黑色衣服在哀悼時(shí)很常見，但在其他場(chǎng)合也很普通。此外，在哀悼伊始，閃亮的服飾是不合適的，例如克羅夫茨的緞面緊身衣。?Crofts?緊身衣上未系扣的開衩可能與風(fēng)格有關(guān)：一位身著?Bosse 1635?年時(shí)尚印花的法國(guó)朝臣穿著一件同樣未解開的緊身衣，他是在巡游，而不是悲傷。有證據(jù)表明，到?1630?年代后期，男士正裝中通常會(huì)出現(xiàn)一定的寬松度。例如，里貝羅在文章中提及了道德家們對(duì)這種穿衣風(fēng)格的反對(duì)。

基利格魯?shù)闹b雖然比克羅夫茨的還要寬松，但不一定與悲傷有關(guān)。其他17 世紀(jì)在繪畫中憂郁的人物并不這樣穿。雖然基利格魯?shù)摹皩捤梢路睘檫@幅肖像畫帶來了獨(dú)特的情感，但它也可能指基利格魯?shù)淖骷疑矸荨?范戴克筆下許多其他從事文學(xué)追求的人物都穿著寬松的衣服。 克羅夫茨拿著的白紙可能不僅提醒了基利格魯?shù)膫?，也提醒了他的慰藉：他不得不以書面形式表達(dá)他的悲痛。

3. The author of the passage suggests that if the cited “art historians” had taken account of seventeenth-century fashion, they would have been more likely to?

細(xì)節(jié)題 推斷題 中

根據(jù)第二段，因?yàn)?7世紀(jì)的時(shí)尚習(xí)俗表明，黑色服飾并不一定表達(dá)哀悼。

C

A. recognize that the clothing worn by the subjects in the?Portrait?contributes to an atmosphere of intimacy in the painting 無關(guān)

B. recognize the event to which Van Dyck’s approach to portraiture represented a departure from the practices of other artists 沒有other artists的證據(jù)

C. recognize that Crofts’ manner of dress in the?Portrait?was appropriate for a formal portrait 符合however前后的對(duì)比

D. conclude that the doublet worn by Crofts in the?Portrait?is not made of satin 沒有證據(jù)

E. be able to distinguish between the significance of the unbuttoned doublet depicted in the Portrait?and that of the one depicted in a fashion print by Bosse 無關(guān)/沒有證據(jù)

4.?The author of the passage suggests which of the following about Killigrew’s disheveled attire in the?Portrait of Thomas Killigrew and William, Lord Crofts???

細(xì)節(jié)題 推斷題 易

B

A. It resembles clothing worn by subjects in melancholic states in other paintings in the period. 與最后一段第二句相反

B. It resembles the clothing worn by subjects in other Van Dyck paintings who were associated with literature. 符合最后一段第三句

C. It includes shiny materials that were not considered appropriate for the first stage of mourning. 穿錯(cuò)人了

D. It reflects the distraction and inattentiveness to dress typical of a person in a state of mourning. 相反。這不是作者觀點(diǎn)

E. It has been regarded by art historians as evidence that Van Dyck chose the clothing worn by the subjects in the painting. 沒有證據(jù)

5. The author’s reference to the “cross” worn by Killigrew serves primarily as?

功能題 目的題 易

十字架是作為證據(jù)表明藝術(shù)史學(xué)家關(guān)于悲傷的解讀是對(duì)的。

A

A. a concession of partial agreement with a point made by other art historians about the?Portrait 符合

B. evidence supporting the author’s main point about the significance of Killigrew’s state of dress in the?Portrait 相反。

C. an example of the kind of detail overlooked by other art historians who have commented on the?Portrait 沒有overlooked證據(jù)

D. an example of the type of adornment that was rarely seen in portraiture before Van Dyck 沒有rarely的證據(jù)

E. an illustration of the way in which Van Dyck used emblematic as well as realistic elements in this portraits 沒有證據(jù)

6. Which of the following best describes the function of the last sentence of the passage?

功能題 目的題 易

最后一句順承該段作者觀點(diǎn)，提供補(bǔ)充證據(jù)。

C

A. It suggests that a certain detail of the painting should not be understood as emblematic. 相反。作者相反認(rèn)為可能是具有象征意義的。只是跟藝術(shù)史學(xué)家認(rèn)為的不一樣。

B. It calls attention to a detail of the painting that art historians have generally overlooked. 沒有overlook，只是解讀不一樣

C. It offers support for the author’s interpretation of the significance of Killigrew’s clothing. 支持作者關(guān)于Killigrew著裝意義的解讀。符合

D. It introduces evidence to support the author’s view of the appropriateness of Crofts’ manner of dress. 對(duì)象錯(cuò)了。原文最后一段是在為Killigrew的服飾進(jìn)行解釋。

E. It casts doubt on the way that art historians have interpreted the relationship between the two subjects in the painting. 與relationship無關(guān)

背景拓展：

Questions 7 is based on this passage:

Arts

music / fourteenth-century / nobility

貴族們自己也可能會(huì)演奏

All the music from fourteenth-century Europe for which written scores survive is so complex and is written in such difficult notation that it could have been played only by musicians whose lives were dedicated solely to such performance. Yet fourteenth-century European accounts, which in this respect probably give accurate portrayals of their times, describes many members of the nobility who excelled not only in musical performance, but also in dancing, poetry, and painting.

所有 14 世紀(jì)歐洲留下的樂譜都非常復(fù)雜，并且以如此困難的符號(hào)書寫，以至于只能由畢生致力于此類演奏的音樂家演奏。 然而，14 世紀(jì)歐洲的記載，描述了許多不僅在音樂表演方面表現(xiàn)出色的貴族成員，而且在舞蹈、詩歌和繪畫方面也表現(xiàn)出色，在這方面可能準(zhǔn)確地描繪了他們的時(shí)代。（說明總會(huì)有貴族也能演奏的音樂）

7. The statements given, if true, most strongly support which of the following?

邏輯單題 邏輯支持 難

推斷題?；谖恼聝?nèi)容給出最合理的推斷。

B

A. Some members of the nobility in fourteenth-century Europe abandoned other activities in order to become professional musicians. 沒說非得讓貴族去干他們不會(huì)的。本來就是兩類人群。

B. There were styles of music performed in the fourteenth-century for which no written scores survive. 可以的。總會(huì)有貴族能玩的音樂。

C. Professional musicians in fourteenth-century Europe had more highly developed skills than do the most skilled professional musicians today. 跟今天沒關(guān)系。做不出這樣的比較

D. The fourteenth-century European accounts that describe members of the nobility as excelling in musical performance do not specify the amount of time these members devoted to music. 跟練習(xí)時(shí)間沒關(guān)系，推不出來

E. Professional musicians in fourteenth-century Europe did not perform for gathering of members of the nobility.?所以貴族就得自己演奏？推不出來。

Questions 8 - 10 are based on this passage.

Sciences/biology

pollinator / flower constancy / interference

一次不采多種花

①Insect pollinators often restrict their visits to flowers of the same plant species on a single foraging trip, even when flowers of other species are available. ②In 1876 Darwin suggested that the reason for this behavior (generally referred to as flower constancy) is that pollinators forage more efficiently if they continue foraging on flowers they have recently learned to handle. ③Darwin’s hypothesis implies that learning additional flower-handling techniques interferes with a pollinator’s ability to recall previously learned flower-handling methods. ④Evidence for interference?in butterflies switching between flowers of two plant species seems to be conclusive. ⑤In bumblebees, laboratory experiments have also provided some evidence of interference when the bees switch between flowers of two plant species, but the small size of the interference effects suggest that foraging bumblebees experience less difficulty switching between two plant species than butterflies do. ⑥This is consistent with field observations showing that individual bumblebees often visit two available plant species on a?single trip. ⑦However, the fact that multiple specializations on more than two plant species are rarely observed in the field in bumblebees suggests that switching among several species may result in larger interference effects, which may limit the number of flower types that can be maintained in a bee’s?foraging repertoire at any time.?

昆蟲傳粉者經(jīng)常在一次覓食之旅中只造訪同一物種的花朵，即使途中有其他物種的花朵。?1876 年，達(dá)爾文將這種行為（通常稱為訪花恒定性）解釋為如果傳粉者在最近學(xué)會(huì)處理的花朵上覓食，它們的覓食效率會(huì)更高。達(dá)爾文的假設(shè)意味著學(xué)習(xí)額外的花朵處理技術(shù)會(huì)干擾傳粉者回憶以前學(xué)過的花朵處理方法的能力。有證據(jù)表明蝴蝶在兩種不同植物花朵間覓食時(shí)會(huì)受到干擾。在大黃蜂中，實(shí)驗(yàn)室實(shí)驗(yàn)也提供了一些證據(jù)，證明大黃蜂在兩種植物的花朵之間切換時(shí)會(huì)產(chǎn)生干擾，但實(shí)驗(yàn)也表明，覓食的大黃蜂在兩種植物之間切換時(shí)遇到的困難比蝴蝶要小。這與實(shí)地觀察一致，單個(gè)大黃蜂經(jīng)常在一次旅行中訪問兩種可用的植物物種。然而，在田間很少觀察到大黃蜂會(huì)在多于兩種花朵間覓食。這一事實(shí)表明，在幾種物種之間切換可能會(huì)導(dǎo)致更大的干擾效應(yīng)，而這會(huì)限制蜜蜂覓食的植物花朵種類。

8. The primary purpose of the passage is to

功能題 主旨題 易

觀點(diǎn)點(diǎn)評(píng)類文章。文章用證據(jù)支持了達(dá)爾文的觀點(diǎn)。

D

A. cast doubt on Darwin’s hypothesis regarding flower constancy 相反

B. demonstrate that the flower-handling techniques of bumblebees are superior to those of?butterflies 重點(diǎn)不在比較

C. analyze the impact on plant species of pollinators’ learning additional flower-handling?techniques 沒有對(duì)植物影響的證據(jù)

D. show that Darwin’s hypothesis regarding flower constancy is consistent with observations of?pollinator behavior 符合

E. discuss differences between laboratory and field evidence regarding interference in?pollinators 不是在討論實(shí)驗(yàn)室和野外試驗(yàn)的不同。

9. The passage suggests that which of the following is true of the “evidence for?interference”?

細(xì)節(jié)題 推斷題 易

E

A. It is undermined by evidence from laboratory experiments involving interference in?bumblebees. 沒有undermined的證據(jù)

B. It is less useful regarding the nature of flower constancy in pollinators than is evidence?regarding bumblebees. 并不less useful

C. It calls into question an assumption underlying Darwin’s understanding of interference in?pollinators. 沒有質(zhì)疑

D. It indicates that some butterfly species exhibit a larger interference effect than others. 沒有蝴蝶物種內(nèi)部的比較。

E. It supports Darwin’s hypothesis regarding flower constancy. 符合

10. Select the sentence that introduces a theory regarding the possible advantage of flower?constancy.?

功能題 句子選擇題 易

②In 1876 Darwin suggested that the reason for this behavior (generally referred to as flower constancy) is that pollinators forage more efficiently if they continue foraging on flowers they have recently learned to handle.