Questions 1 and 2 are based on this passage.??

Arts/history

colonial Mexico / inflate prices?

墨西哥商人哄抬物價(jià)

①According to the traditional view of commerce in colonial Mexico, the substantial merchants of?Mexico City, acting in concert with Spanish exporters, colluded to inflate prices. ②Price fixing would have?required a significant degree of collaboration, since no single merchant came close to enjoying?monopoly power. ③According to Hoberman, the number of wholesale merchants in Mexico varied from ?252 in 1598 to 177 in 1689 to around 200 in the late eighteenth century.?④Hoberman's figures may be conservative, however.?⑤As Kicza notes many prominent merchants did not use the formal titles— mercader or almacenero—that Hoberman looked for in compiling her data.?⑥Yet even if we accept Hoberman’s numbers, that still leaves far too many to have successfully cooperated to fix prices.?

根據(jù)墨西哥殖民時(shí)期的傳統(tǒng)商業(yè)觀，墨西哥城的大量商人與西班牙出口商合作，合謀抬高價(jià)格。 定價(jià)需要很大程度的合作，因?yàn)闆](méi)有一個(gè)商人能接近享有壟斷權(quán)力。 根據(jù)霍伯曼的說(shuō)法，墨西哥批發(fā)商的數(shù)量從 1598 年的 252 家到 1689 年的 177 家，再到 18 世紀(jì)后期的 200 家左右。 然而，霍伯曼的數(shù)據(jù)可能是保守的。 正如 Kicza 所指出的，許多著名的商人并沒(méi)有使用 Hoberman 在編譯她的數(shù)據(jù)時(shí)尋找的正式頭銜——mercader 或 almacenero。 然而，即使我們接受霍伯曼估測(cè)的數(shù)字，這些商人的數(shù)量仍舊太多了，不可能達(dá)成固定價(jià)格。

1. In the context of the overall argument, the highlighted sentence primarily functions to?

功能題 目的題 難

這句話在解釋為什么H的數(shù)據(jù)保守。

A

A. imply that evidence against the view the author opposes could be understated?暗示反對(duì)作者所反對(duì)的觀點(diǎn)的證據(jù)可能被低估。都不是人話。但竟然是對(duì)的

B. provide evidence to support a point that is made in the subsequent sentence 往前不是往后

C. suggest that evidence that might appear relevant is invalidated by a hidden bias 沒(méi)有bias的證據(jù)

D. indicate the need for further evidence to support the author’s position 沒(méi)有證據(jù)

E. point a weakness in evidence that has been used against the author’s position 沒(méi)有質(zhì)疑作者觀點(diǎn)

2. Hoberman’s data are important to the author’s argument primarily because they?

細(xì)節(jié)題 中

D

A. show the dangers of generalizing about colonial commerce in Mexico 沒(méi)有dangers的證據(jù)

B. highlight the wide variation in the number of merchants in Mexico during the colonial period? 無(wú)關(guān)，另外這數(shù)據(jù)也算不上wide variation

C. provide the basis for a view about colonial commerce in Mexico that the author disputes 相反，并不能提供basis

D. call into question a basic assumption of the established view of colonial commerce in Mexico 符合，懟的就是你

E. point to the highly competitive nature of colonial commerce in Mexico 沒(méi)有competitive的證據(jù)

生詞摘錄：

collude 勾結(jié)，串通

Questions 3 to 6 are based on this passage:

重復(fù)

Arts

Anthony Van Dyck / portraits / dress

范戴克并不是通過(guò)服飾來(lái)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(huà)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(huà)家時(shí)，他引入了一種全新的方式來(lái)表現(xiàn)肖像畫(huà)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(huà)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(lèi)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(shī)人和劇作家基利格魯在這幅畫(huà)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(huà)清楚了反映了當(dāng)時(shí)的情況。 畫(huà)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(huà)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(huà)作的類(lèi)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(kāi)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(huà)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(méi)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(jiàn)，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(kāi)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(kāi)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(huà)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(huà)帶來(lái)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)氖湃?，也提醒了他的慰藉：他不得不以?shū)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(wú)關(guān)

B. recognize the event to which Van Dyck’s approach to portraiture represented a departure from the practices of other artists 沒(méi)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(méi)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(wú)關(guān)/沒(méi)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(méi)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(méi)有overlooked證據(jù)

D. an example of the type of adornment that was rarely seen in portraiture before Van Dyck 沒(méi)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(méi)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(méi)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. 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

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

背景拓展：

Question 7 is based on this passage:?

Sciences/biology

streambeds / ultravillet radiation / algae

紫外線照射河床導(dǎo)致藻類(lèi)先減后增

When streambeds are experimentally exposed to high-intensity ultraviolet radiation, the amount of algae in those streambeds at first declines but after about three weeks increases to well beyond original?levels. Some scientists hypothesize that the increase occurs because exposure to high-intensity ultraviolet radiation, which is somewhat harmful to algae, makes the stream-dwelling insects that feed?on the algae unable to reproduce.?

當(dāng)河床實(shí)驗(yàn)性地暴露在高強(qiáng)度紫外線輻射下時(shí)，這些河床中的藻類(lèi)數(shù)量起初會(huì)下降，但大約三周后會(huì)增加到遠(yuǎn)遠(yuǎn)超過(guò)原來(lái)的水平。 一些科學(xué)家假設(shè)這種增加的發(fā)生是因?yàn)楸┞队趯?duì)藻類(lèi)有害的高強(qiáng)度紫外線輻射，使得以藻類(lèi)為食的溪流昆蟲(chóng)無(wú)法繁殖。

7. Which of the following, if true, could best serve as evidence in favor of the scientists’ hypothesis??

邏輯單題 邏輯支持 易

加強(qiáng)就是排他因，或找否命題，或者補(bǔ)充新證據(jù)。

E

A. Populations of steam-dwelling insects that feed on algae can develop resistance to high-intensity ultraviolet radiation within three weeks. 會(huì)削弱

B. It takes about three weeks for a stream that has been depleted of its insect life to become?repopulated.? 會(huì)削弱

C. Stream-dwelling insects that feed on algae will generally turn to other food sources in the?absence of algae to feed on. 但最后還是會(huì)吃回來(lái)的。不能加強(qiáng)

D. Many species of algae that grow in streambeds rely on the nutrients provided by animals that?feed on algae-eating insects. 會(huì)削弱

E. For stream-dwelling insects that feed on algae, a three-week-long life cycle is typical, whether?or not the insects have been exposed to high-intensity ultraviolet radiation. 三周之后這些昆蟲(chóng)也回不來(lái)了。補(bǔ)充了新證據(jù)，可以加強(qiáng)。

Questions 8 - 10 are based on this passage:?

Arts/archaeology

smelting / metallurgy / kiln

金屬冶煉的起源

①Because there is no direct evidence as to how smelting was discovered, its origin has long been a subject?of scholarly speculation. ②Smelting requires, among other things, heating a metallic ore to a high?temperature, so an obvious conjecture was that it first occurred when someone inadvertently dropped?a piece of copper ore into a fire and noticed the results. ③This campfire theory is not very convincing,?however, because open wood or charcoal fires rarely exceed a temperature of 700?C, whereas copper?smelting requires reaching 1084?C, the melting point of copper. ④Furthermore, simply heating malachite ?[a mineral containing copper] to 1084?C will not produce metallic copper; it must be heated for hours?in a “reducing atmosphere” (an oxygen-poor, carbon-rich atmosphere), which an open fire does not?provide.?

①M(fèi)ore persuasive is the pottery kiln theory, which suggests that metallurgy began when potters using?malachite to color their pots may have found small bits of smelted copper in their kilns, prompting?them to undertake deliberate experiments.?②The latter theory is more plausible for several reasons: first?because fires in the closed kilns could reach the requisite temperature; second, because they produced a reducing atmosphere; and third, because?copper smelting and high-temperature kilns make their initial?appearance in the archaeological record at approximately the same time.?③Both the campfire and pottery-kiln theories, it should be noted, would suggest that the pioneer metallurgists may well have been?women. ?

由于沒(méi)有直接證據(jù)表明冶煉是如何被發(fā)現(xiàn)的，因此其起源長(zhǎng)期以來(lái)一直是學(xué)術(shù)推測(cè)的主題。 除其他條件外，冶煉需要將金屬礦石加熱到高溫，因此一個(gè)明顯的猜想是，它首先發(fā)生在有人不小心將一塊銅礦石掉入火中并發(fā)現(xiàn)了改變。 然而，這種營(yíng)火理論并不是很有說(shuō)服力，因?yàn)槁短炷绢^或木炭火很少超過(guò) 700?C 的溫度，而銅冶煉需要達(dá)到 1084?C，即銅的熔點(diǎn)。 此外，簡(jiǎn)單地將孔雀石（一種含銅礦物）加熱到 1084?C 不會(huì)產(chǎn)生金屬銅； 它必須在明火無(wú)法提供的“還原性氣體”（貧氧、富含碳的氣體環(huán)境）中加熱數(shù)小時(shí)。

更有說(shuō)服力的是陶窯理論，該理論表明，當(dāng)陶工使用孔雀石為他們的陶罐上色時(shí)，冶金學(xué)就開(kāi)始了，他們可能在他們的窯中發(fā)現(xiàn)了少量的冶煉銅，促使他們進(jìn)行了主動(dòng)實(shí)驗(yàn)。 后一種理論更合理有幾個(gè)原因：首先是因?yàn)榉忾]窯中的火可以達(dá)到必要的溫度； 其次，因?yàn)樗鼈儺a(chǎn)生了還原環(huán)境； 第三，銅冶煉和高溫窯在考古記錄中的首次出現(xiàn)幾乎是同時(shí)的。 應(yīng)該指出，營(yíng)火理論和陶窯理論都表明，最早的冶金學(xué)家很可能是女性。

Consider each of the choices separately and select all that apply.?

8. The author makes which of the following points about open wood fires??

細(xì)節(jié)題 易

BC

A. They were not widely used at the time smelting originated. 無(wú)關(guān)/沒(méi)有證據(jù)

B. They do not get hot enough to melt copper. 符合一段3句

C. They do not provide the reducing atmosphere necessary for smelting to occur. 符合一段4句

9. Which of the following is true about the two theories discussed in the passage??

細(xì)節(jié)題 中

D

A. Both theories conclude that after its discovery, smelting quickly became widespread. 沒(méi)有證據(jù)

B. Both theories assume that smelting originated with an accidental finding. 干擾項(xiàng)。

C. Both theories receive some support from the archaeological record. 第一個(gè)沒(méi)有

D. One theory argues that smelting originated accidentally, while the other sees it as the result of?deliberate experimentation. 符合

E. One theory considers smelting a commercial activity, while the other focuses on its being a?form of artistic expression. 沒(méi)有證據(jù)

10. Which of the following, if true, would most clearly serve to weaken the pottery-kiln theory??

細(xì)節(jié)題 削弱題 中

找他因或者是否前提

B

A. Archaeologists have been unable to find evidence of copper smelting and evidence of closed?kilns in the same archaeological sites. 不需要同一地點(diǎn)，同一時(shí)期就行。找不到也可能是能力不足，并不是真的沒(méi)有。

B. When smelting was first discovered, very few kilns were able to sustain high temperatures for?long periods of time. 燒不久，屬于他因，可以削弱。

C. When smelting was first discovered, many high-temperature kilns were open rather than?closed.?那還是有些封閉的，同時(shí)文章也沒(méi)說(shuō)open的kiln不能產(chǎn)生還原性氣體

D. Remains of malachite-colored pottery are much more abundant than is evidence of closed?kilns. 一個(gè)爐子里燒很多個(gè)，沒(méi)毛病。

E. Copper ore is generally scarce in areas where archaeologists found evidence of high?temperature-kilns.礦多少不重要，有就行

生詞摘錄：

smelting 熔煉

malachite??/?m?l?ka?t/? 孔雀石