劍橋雅思閱讀翻譯及答案解析11(test4)
劍橋雅思閱讀部分的題目可以進(jìn)行一些分類(lèi)總結(jié)，因?yàn)榭荚嚨某Ｒ?jiàn)內(nèi)容一般都會(huì)在下次考試中出現(xiàn)的。下面就是今天小編給大家?guī)?lái)的劍橋雅思閱讀11原文(test4)的內(nèi)容，希望能夠幫助同學(xué)們備考雅思考試。
劍橋雅思閱讀11原文(test4)
READING PASSAGE 1
You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below.
Research using twins
To biomedical researchers all over the world, twins offer a precious opportunity to untangle the influence of genes and the environment — of nature and nurture. Because identical twins come from a single fertilized egg that splits into two, they share virtually the same genetic code. Any differences between them — one twin having younger looking skin, for example — must be due to environmental factors such as less time spent in the sun.
Alternatively, by comparing the experiences of identical twins with those of fraternal twins, who come from separate eggs and share on average half their DNA, researchers can quantify the extent to which our genes affect our lives. If identical twins are more similar to each other with respect to an ailment than fraternal twins are, then vulnerability to the disease must be rooted at least in part in heredity.
These two lines of research — studying the differences between identical twins to pinpoint the influence of environment, and comparing identical twins with fraternal ones to measure the role of inheritance — have been crucial to understanding the interplay of nature and nurture in determining our personalities, behavior, and vulnerability to disease.
The idea of using twins to measure the influence of heredity dates back to 1875, when the English scientist Francis Galton first suggested the approach (and coined the phrase ‘nature and nurture’). But twin studies took a surprising twist in the 1980s, with the arrival of studies into identical twins who had been separated at birth and reunited as adults. Over two decades 137 sets of twins eventually visited Thomas Bouchard’s lab in what became known as the Minnesota Study of Twins Reared Apart. Numerous tests were carried out on the twins, and they were each asked more than 15,000 questions.
Bouchard and his colleagues used this mountain of data to identify how far twins were affected by their genetic makeup. The key to their approach was a statistical concept called heritability. In broad terms, the heritability of a trait measures the extent to which differences among members of a population can be explained by differences in their genetics. And wherever Bouchard and other scientists looked, it seemed, they found the invisible hand of genetic influence helping to shape our lives.
Lately, however, twin studies have helped lead scientists to a radical new conclusion: that nature and nurture are not the only elemental forces at work. According to a recent field called epigenetics, there is a third factor also in play, one that in some cases serves as a bridge between the environment and our genes, and in others operates on its own to shape who we are.
Epigenetic processes are chemical reactions tied to neither nature nor nurture but representing what researchers have called a ‘third component’. These reactions influence how our genetic code is expressed: how each gene is strengthened or weakened, even turned on or off, to build our bones, brains and all the other parts of our bodies.
If you think of our DNA as an immense piano keyboard and our genes as the keys — each key symbolizing a segment of DNA responsible for a particular note, or trait, and all the keys combining to make us who we are — then epigenetic processes determine when and how each key can be struck, changing the tune being played.
One way the study of epigenetics is revolutionizing our understanding of biology is by revealing a mechanism by which the environment directly impacts on genes. Studies of animals, for example, have shown that when a rat experiences stress during pregnancy, it can cause epigenetic changes in a fetus that lead to behavioral problems as the rodent grows up. Other epigenetic processes appear to occur randomly, while others are normal, such as those that guide embryonic cells as they become heart, brain, or liver cells, for example.
Geneticist Danielle Reed has worked with many twins over the years and thought deeply about what twin studies have taught us. ‘It’s very clear when you look at twins that much of what they share is hardwired,’ she says. ‘Many things about them are absolutely the same and unalterable. But it’s also clear, when you get to know them, that other things about them are different. Epigenetics is the origin of a lot of those differences, in my view.’
Reed credits Thomas Bouchard’s work for today’s surge in twin studies. ‘He was the trailblazer,’ she says. ‘We forget that 50 years ago things like heart disease were thought to be caused entirely by lifestyle. Schizophrenia was thought to be due to poor mothering. Twin studies have allowed us to be more reflective about what people are actually born with and what’s caused by experience.’
Having said that, Reed adds, the latest work in epigenetics promises to take our understanding even further. ‘What I like to say is that nature writes some things in pencil and some things in pen,’ she says. Things written in pen you can’t change. That’s DNA. But things written in pencil you can. That’s epigenetics. Now that we’re actually able to look at the DNA and see where the pencil writings are, it’s sort of a whole new world.’
Questions 1-4
Do the following statements agree with the information given in Reading Passage 1?
In boxes 1-4 on your answer sheet, write
TRUE if the statement agrees with the information
FALSE if the statement contradicts the information
NOT GIVEN if there is no information on this
1 There may be genetic causes for the differences in how young the skin of identical twins looks.
2 Twins are at greater risk of developing certain illnesses than non-twins.
3 Bouchard advertised in newspapers for twins who had been separated at birth.
4 Epigenetic processes are different from both genetic and environmental processes.
Questions 5-9
Look at the following statements (Questions 5-9) and the list of researchers below.
Match each statement with the correct researcher, A, B or C.
Write the correct letter, A, B or C, in boxes 5-9 on your answer sheet.
NB You may use any letter more than once.
List of Researchers
A Francis Galton
B Thomas Bouchard
C Danielle Reed
5 invented a term used to distinguish two factors affecting human characteristics
6 expressed the view that the study of epigenetics will increase our knowledge
7 developed a mathematical method of measuring genetic influences
8 pioneered research into genetics using twins
9 carried out research into twins who had lived apart
Questions 10-13
Complete the summary using the list of words, A-F, below.
Write the correct letter, A-F, in boxes 10-13 on your answer sheet.
Epigenetic processes
In epigenetic processes, 10 __________ influence the activity of our genes, for example in creating our internal 11 __________ The study of epigenetic processes is uncovering a way in which our genes can be affected by our 12 __________ One example is that if a pregnant rat suffers stress, the new-born rat may later show problems in its 13 __________.
A nurture B organs C code
D chemicals E environment F behaviour/behavior
READING PASSAGE 2
You should spend about 20 minutes on Questions 14-26, which are based on Reading Passage 2 below.
An Introduction to Film Sound
Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music.
Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer’s voice supplies an element of character.
When voice textures fit the performer’s physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the ‘inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe’.
The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism — largely due to its frenetic dialogue.
Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the ‘click’ of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the ‘click’ of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the ‘click’ with an increase in volume; this helps to engage the audience in a moment of suspense.
Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance’s siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film’s city setting.
We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.
Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century — the modern film.
Questions 14-18
Choose the correct letter, A, B, C or D.
Write the correct letter in boxes 14-18 on your answer sheet.
14 In the first paragraph, the writer makes a point that
A the director should plan the sound track at an early stage in filming.
B it would be wrong to overlook the contribution of sound to the artistry of films.
C the music industry can have a beneficial influence on sound in film.
D it is important for those working on the sound in a film to have sole responsibility for it.
15 One reason that the writer refers to Humphrey Bogart is to exemplify
A the importance of the actor and the character appearing to have similar personalities.
B the audience’s wish that actors are visually appropriate for their roles.
C the value of the actor having had similar feelings to the character.
D the audience’s preference for dialogue to be as authentic as possible.
16 In the third paragraph, the writer suggests that
A audiences are likely to be critical of film dialogue that does not reflect their own experience.
B film dialogue that appears to be dull may have a specific purpose.
C filmmakers vary considerably in the skill with which they handle dialogue.
D the most successful films are those with dialogue of a high quality.
17 What does the writer suggest about Bringing Up Baby?
A The plot suffers from the filmmaker’s wish to focus on humorous dialogue.
B The dialogue helps to make it one of the best comedy films ever produced.
C There is a mismatch between the speed of the dialogue and the speed of actions.
D The nature of the dialogue emphasises key elements of the film.
18 The writer refers to the ‘click’ of a door to make the point that realistic sounds
A are often used to give the audience a false impression of events in the film.
B may be interpreted in different ways by different members of the audience.
C may be modified in order to manipulate the audience’s response to the film.
D tend to be more significant in films presenting realistic situations.
Questions 19-23
Do the following statements agree with the information given in Reading Passage 2?
In boxes 19-23 on your answer sheet, write
TRUE if the statement agrees with the information
FALSE if the statement contradicts the information
NOT GIVEN if there is no information on this
19 Audiences are likely to be surprised if a film lacks background music.
20 Background music may anticipate a development in a film.
21 Background music has more effect on some people than on others.
22 Background music may help the audience to make certain connections within the film.
23 Audiences tend to be aware of how the background music is affecting them.
Questions 24-26
Complete each sentence with the correct ending, A-E, below.
Write the correct letter, A-E, in boxes 24-26 on your answer sheet.
24 The audience’s response to different parts of a film can be controlled
25 The feelings and motivations of characters become clear
26 A character seems to be a real person rather than an actor
A when the audience listens to the dialogue.
B if the film reflects the audience’s own concerns.
C if voice, sound and music are combined appropriately.
D when the director is aware of how the audience will respond.
E when the actor’s appearance, voice and moves are consistent with each other.
READING PASSAGE 3
You should spend about 20 minutes on Questions 27-40, which are based on Reading Passage 3 on the following pages.
Questions 27-32
Reading Passage 3 has six paragraphs, A-F.
Choose the correct heading for paragraphs A-F from the list of headings below. Write the correct number, i-vii, in boxes 27-32 on your answer sheet.
List of Headings
i Differences between languages highlight their impressiveness
ii The way in which a few sounds are organised to convey a huge range of meaning
iii Why the sounds used in different languages are not identical
iv Apparently incompatible characteristics of language
v Even silence can be meaningful
vi Why language is the most important invention of all
vii The universal ability to use language
27 Paragraph A
28 Paragraph B
29 Paragraph C
30 Paragraph D
31 Paragraph E
32 Paragraph F
‘This Marvellous Invention’
A Of all mankinds manifold creations, language must take pride of place. Other inventions — the wheel, agriculture, sliced bread — may have transformed our material existence, but the advent of language is what made us human. Compared to language, all other inventions pale in significance, since everything we have ever achieved depends on language and originates from it. Without language, we could never have embarked on our ascent to unparalleled power over all other animals, and even over nature itself.
B But language is foremost not just because it came first. In its own right it is a tool of extraordinary sophistication, yet based on an idea of ingenious simplicity: ‘this marvellous invention of composing out of twenty-five or thirty sounds that infinite variety of expressions which, whilst having in themselves no likeness to what is in our mind, allow us to disclose to others its whole secret, and to make known to those who cannot penetrate it all that we imagine, and all the various stirrings of our soul’. This was how, in 1660, the renowned French grammarians of the Port-Royal abbey near Versailles distilled the essence of language, and no one since has celebrated more eloquently the magnitude of its achievement. Even so, there is just one flaw in all these hymns of praise, for the homage to languages unique accomplishment conceals a simple yet critical incongruity. Language is mankind’s greatest invention — except, of course, that it was never invented. This apparent paradox is at the core of our fascination with language, and it holds many of its secrets.
C Language often seems so skillfully drafted that one can hardly imagine it as anything other than the perfected handiwork of a master craftsman. How else could this instrument make so much out of barely three dozen measly morsels of sound? In themselves, these configurations of mouth — p,f,b,v,t,d,k,g,sh,a,e and so on — amount to nothing more than a few haphazard spits and splutters, random noises with no meaning, no ability to express, no power to explain. But run them through the cogs and wheels of the language machine, let it arrange them in some very special orders, and there is nothing that these meaningless streams of air cannot do: from sighing the interminable boredom of existence to unravelling the fundamental order of the universe.
D The most extraordinary thing about language, however, is that one doesn’t have to be a genius to set its wheels in motion. The language machine allows just about everybody — from pre-modern foragers in the subtropical savannah, to post-modern philosophers in the suburban sprawl — to tie these meaningless sounds together into an infinite variety of subtle senses, and all apparently without the slightest exertion. Yet it is precisely this deceptive ease which makes language a victim of its own success, since in everyday life its triumphs are usually taken for granted. The wheels of language run so smoothly that one rarely bothers to stop and think about all the resourcefulness and expertise that must have gone into making it tick. Language conceals art.
E Often, it is only the estrangement of foreign tongues, with their many exotic and outlandish features, that brings home the wonder of languages design. One of the showiest stunts that some languages can pull off is an ability to build up words of breath-breaking length, and thus express in one word what English takes a whole sentence to say. The Turkish word ?ehirlili?tiremediklerimizdensiniz, to take one example, means nothing less than ‘you are one of those whom we cant turn into a town-dweller’. (In case you were wondering, this monstrosity really is one word, not merely many different words squashed together — most of its components cannot even stand up on their own.)
F And if that sounds like some one-off freak, then consider Sumerian, the language spoken on the banks of the Euphrates some 5,000 years ago by the people who invented writing and thus enabled the documentation of history. A Sumerian word like munintuma’a (‘when he had made it suitable for her’) might seem rather trim compared to the Turkish colossus above. What is so impressive about it, however, is not its lengthiness but rather the reverse — the thrifty compactness of its construction. The word is made up of different slots, each corresponding to a particular portion of meaning. This sleek design allows single sounds to convey useful information, and in fact even the absence of a sound has been enlisted to express something specific. If you were to ask which bit in the Sumerian word corresponds to the pronoun ‘it’ in the English translation when he had made it suitable for her, then the answer would have to be nothing. Mind you, a very particular kind of nothing: the nothing that stands in the empty slot in the middle. The technology is so fine-tuned then that even a non-sound, when carefully placed in a particular position, has been invested with a specific function. Who could possibly have come up with such a nifty contraption?
Questions 33-36
Complete the summary using the list of words, A-G, below.
Write the correct letter, A-G, in boxes 33-36 on your answer sheet.
The importance of language
The wheel is one invention that has had a major impact on 33 __________ aspects of life, but no impact has been as 34 __________ as that of language. Language is very 35 __________, yet composed of just a small number of sounds. Language appears to be 36 __________ to use. However, its sophistication is often overlooked.
A difficult B complex C original
D admired E material F easy
G fundamental
Questions 37-40
Do the following statements agree with the views of the writer in Reading Passage 3?
In boxes 37-40 on your answer sheet, write
YES if the statement agrees with the views of the writer
NO if the statement contradicts the views of the writer
NOT GIVEN if it is impossible to say what the writer thinks about this
37 Human beings might have achieved their present position without language.
38 The Port-Royal grammarians did justice to the nature of language.
39 A complex idea can be explained more clearly in a sentence than in a single word.
40 The Sumerians were responsible for starting the recording of events.
劍橋雅思閱讀11原文參考譯文(test4)
PASSAGE 1 參考譯文：
雙胞胎研究
對(duì)于全世界的生物醫(yī)藥學(xué)研究者來(lái)說(shuō)，雙胞胎提供了一個(gè)寶貴的機(jī)會(huì)以供他們探究基因和環(huán)境——也就是先天和后天一所產(chǎn)生的影響。因?yàn)橥央p胞胎來(lái)自于分裂為二的同一個(gè)受精卵，所以他們實(shí)際上享有著完全相同的基因代碼。二人之間的任何差異一例如雙胞胎中的某個(gè)有著看起來(lái)更為年輕的肌膚——都必定是環(huán)境因素造成的，比如日曬時(shí)間更少。
另一方面，通過(guò)比較同卵雙胞胎與異卵雙胞胎(后者來(lái)自?xún)蓚€(gè)不同的受精卵而擁有平均來(lái)說(shuō)約為一半的相同基因)的經(jīng)歷，研究人員就可以量化地得出我們的基因到底在何種程度上影響著我們的生活。如果對(duì)于某種疾病同卵雙胞胎二人之間的反應(yīng)比起異卵雙胞胎來(lái)更為相似，那么容易得上這種疾病的特征就至少有一部分原因是來(lái)自遺傳因素。
這樣兩條研究線索——研究同卵雙胞胎之間的不同以確認(rèn)環(huán)境的影響，以及比較同卵雙胞胎與異卵雙胞胎之間的異同以衡量遺傳因素所扮演的角色——一直以來(lái)都是至關(guān)重要的，我們需要借此來(lái)理解先天因素與后天因素是如何綜合作用起來(lái)決定我們的個(gè)性、行為和易感染某些疾病的程度。
研究雙胞胎以衡量遺傳因素的影響這個(gè)理念可以追溯到1875年，當(dāng)時(shí)英國(guó)科學(xué)家Francis Gallon第一次提出了這樣一種方法(并且創(chuàng)造了“先天和后天”這樣一種說(shuō)法)。但是雙胞胎研究在20世紀(jì)80年代迎來(lái)了一個(gè)令人意想不到的轉(zhuǎn)折，當(dāng)時(shí)出現(xiàn)了這樣一種思路，其研究對(duì)象為那些出生時(shí)即被分開(kāi)而各自長(zhǎng)大成人后才重新聚首的同卵雙胞胎們。在二十年的時(shí)間里，前后共有137對(duì)雙胞胎走進(jìn)了Thomas Bouchard的實(shí)驗(yàn)室，這次研究后來(lái)成為了廣為人知的“被異地養(yǎng)大雙胞胎的明尼蘇達(dá)研究”。在這些雙胞胎身上開(kāi)展了不計(jì)其數(shù)的測(cè)試，他們中的每個(gè)人都回答了15,000多個(gè)問(wèn)題。
Bouchard和他的同事們利用了這批數(shù)目驚人的海量數(shù)據(jù)來(lái)辨識(shí)雙胞胎到底在何種程度上受到其基因組成的影響。他們所采用的研究方法的關(guān)鍵在于一種稱(chēng)之為“可遺傳性”的統(tǒng)計(jì)學(xué)數(shù)理概念。從廣義概念上來(lái)說(shuō)，任何某種特質(zhì)的可遺傳性所衡量的是人口群體中各個(gè)成員之間的個(gè)體差異可以在何種程度上由他們彼此之間基因方面的差異來(lái)解釋。而似乎無(wú)論Bouchard和其他科學(xué)家們?nèi)绾慰创@個(gè)問(wèn)題，他們都能發(fā)現(xiàn)基因影響力的這只無(wú)形之手在參與塑造我們的人生。
然而，近年來(lái)，對(duì)于雙胞胎的研究已幫助引導(dǎo)科學(xué)家們得出了一個(gè)不同于以往的新結(jié)論：并非只有先天和后天這兩個(gè)基礎(chǔ)原因在發(fā)生作用。根據(jù)一個(gè)近期出現(xiàn)的被稱(chēng)為“表觀遺傳性”(epigenetics)的研究新領(lǐng)域的看法，還有第三個(gè)因素在起作用，它有時(shí)候作為一道連接橋梁，貫通于環(huán)境與我們自身基因的二者之間;而另一些時(shí)候則直接著手塑造我們每一個(gè)人。
表觀遺傳的過(guò)程是這樣一些化學(xué)反應(yīng)，它們既不與先天也不與后天相關(guān)，而是代表著研究人員所稱(chēng)之為的“第三組成因素”。這些反應(yīng)影響著我們基因代碼的表現(xiàn)方式：每一項(xiàng)基因是如何得到加強(qiáng)或削弱，甚至是被激活或關(guān)閉，從而構(gòu)建起我們的骨骼、大腦和身體的所有其他組成部分。
如果你把我們的DNA設(shè)想成一組巨大的鋼琴鍵盤(pán)而我們的基因就是其中的琴鍵——每個(gè)琴鍵象征著DNA的一個(gè)片段，負(fù)責(zé)某個(gè)音調(diào)或者說(shuō)特質(zhì)，而所有的琴鍵組合起來(lái)就構(gòu)成了每一個(gè)獨(dú)特的我們，那么表觀遺傳的過(guò)程就決定著每一個(gè)琴鍵可以什么時(shí)候、以何種方式被彈響，從而改變著演奏曲目的旋律。
表觀遺傳學(xué)研究之所以徹底改變了我們對(duì)于生物學(xué)的理解，方式之一就在于它揭示出這樣一種機(jī)制，外在環(huán)境正是通過(guò)這樣一種機(jī)制直接作用于內(nèi)在基因。舉例來(lái)說(shuō)，動(dòng)物研究已經(jīng)證實(shí)了：當(dāng)一只老鼠在懷孕期間有過(guò)緊張壓力的體驗(yàn)，就可能在其胎兒中引發(fā)表觀遺傳性的改變，進(jìn)而隨著這只嚙齒動(dòng)物的成長(zhǎng)導(dǎo)致其行為方面的各種問(wèn)題。有一些表觀遺傳過(guò)程似乎是隨機(jī)發(fā)生的，而另一些則為常規(guī)現(xiàn)象，例如那些指導(dǎo)胚胎細(xì)胞如何分化成為心臟、大腦或肝臟細(xì)胞的過(guò)程。
基因?qū)W家Danielle Reed多年來(lái)研究過(guò)許多對(duì)雙胞胎，深入思考過(guò)雙胞胎研究到底可以教會(huì)我們哪些知識(shí)。“當(dāng)觀察一對(duì)雙胞胎時(shí)，你能夠清楚地看出他們之間所共有的許多東西都是基因硬件所決定的，”她這樣說(shuō)道。“關(guān)于他們的許多東西都是絕對(duì)一模一樣和不可改變的。但是當(dāng)你深入了解了他們以后，同樣清楚顯現(xiàn)的則是他們身上還有很多其他東西都是不一樣的。在我看來(lái)，表觀遺傳學(xué)正是大部分這些差異之所以產(chǎn)生的根源所在?！?/p>
Reed認(rèn)為今天關(guān)于雙胞胎研究的蓬勃發(fā)展都要?dú)w功于Thomas Bouchard的工作?！八沁@個(gè)領(lǐng)域的先驅(qū)，”她說(shuō)到?！拔覀兺浟耍驮?0年前，例如心臟疾病這樣的事情還被認(rèn)為完全是由個(gè)人生活方式引起的。精神分裂癥過(guò)去曾被視為原因在于母親養(yǎng)育得不好。雙胞胎研究使得我們?nèi)ミM(jìn)一步深思人們到底生而具有哪些特征，又有哪些情況是由個(gè)人經(jīng)歷所造成的?！?/p>
說(shuō)完這些，Reed還補(bǔ)充說(shuō)，最近在表觀遺傳學(xué)領(lǐng)域中的研究工作還很有可能帶領(lǐng)我們的理解更進(jìn)一步?！拔蚁胍f(shuō)的是，我們的先天用鉛筆寫(xiě)好了一些內(nèi)容，又用墨筆寫(xiě)好了另一些內(nèi)容，”她這樣說(shuō)?！坝媚P寫(xiě)下的內(nèi)容是無(wú)法改變的，那是我們的DNA。但是用鉛筆寫(xiě)下的內(nèi)容卻可以修改，那就是表觀遺傳學(xué)。現(xiàn)在既然我們己經(jīng)有能力探査DNA并看出哪些是鉛筆寫(xiě)出來(lái)的內(nèi)容了，這便進(jìn)入了一個(gè)全新的世界?！?/p>
TEST 4 PASSAGE 2 參考譯文：
電影聲音簡(jiǎn)介
雖然我們也許會(huì)將電影視為在本質(zhì)上以視覺(jué)為核心的體驗(yàn)，但我們著實(shí)不能低估了電影聲音的重要作用。一套內(nèi)涵豐富的電影原聲常常和銀幕上的畫(huà)面同樣復(fù)雜深刻，并且最終也是影片導(dǎo)演需要肩負(fù)的重要職責(zé)。完整的原聲包括三個(gè)核心組成元素：演員說(shuō)話聲、音效和音樂(lè)。這三個(gè)聲道必須融合在一起并彼此平衡調(diào)和，這樣才能產(chǎn)生必要的側(cè)重點(diǎn)，進(jìn)而實(shí)現(xiàn)影片所想達(dá)到的效果。針對(duì)以上提到的三種聲道所展開(kāi)的話題將在后文中一一進(jìn)行討論。這些話題包括對(duì)話、同步和不同步音效，以及音樂(lè)。
讓我們從“對(duì)話”開(kāi)始。與舞臺(tái)戲劇相同，對(duì)話的作用是講述故事并表達(dá)角色的感想和動(dòng)機(jī)。隨著電影的角色化，觀眾常常區(qū)分不出角色與演員之間會(huì)存在什么差別。于是，舉個(gè)例子來(lái)說(shuō)，演員Humphrey Bogart 就是片中人物Sam Spade;角色特征與真人特征似乎融合在了一起，難分彼此。這也許是因?yàn)楸硌菡弑救说囊糍|(zhì)提供了角色構(gòu)成的一個(gè)基本元素。
當(dāng)聲音特質(zhì)配合了表演者的容貌和手勢(shì)，一個(gè)完整而非常真實(shí)的人物就出現(xiàn)了。觀眾看到的不是一個(gè)演員在展示自己的技藝，而是另一個(gè)普通人在與他的人生進(jìn)行著掙扎搏斗。這樣一點(diǎn)頗為有趣：如何使用對(duì)話以及到底使用多少數(shù)量的對(duì)話在不同的電影中差別極大。比方說(shuō)，在《2001》這部非常成功的科幻電影中，并沒(méi)有使用很多對(duì)話，出現(xiàn)的少量對(duì)話也大部分都是平淡無(wú)味的，幾乎沒(méi)有什么內(nèi)在意趣。通過(guò)這種方式，電影拍攝者得以描繪出Thomas Sobochack和Vivian Sobochack在《電影簡(jiǎn)介》中所說(shuō)到的那種效果：“相比于人類(lèi)創(chuàng)造出來(lái)的宏偉科技和大千宇宙的視覺(jué)美感，個(gè)人的反應(yīng)是多么的渺小不足”。
而另一方面，喜劇電影《育嬰奇譚》則給出了幾乎沒(méi)有停歇、飛快得驚人的對(duì)話。這種對(duì)話的使用不但突出了Katherine Hepburn所扮演角色的滑稽荒謬，而且也強(qiáng)調(diào)了電影本身的荒誕和由此產(chǎn)生的幽默詼諧。觀影者被從一個(gè)噱頭拋向另一個(gè)噱頭，從一場(chǎng)對(duì)話拉入另一場(chǎng)對(duì)話，根本來(lái)不及做出任何反應(yīng)。觀眾們置身于一場(chǎng)各種行為快速切換的旋風(fēng)之中，僅僅是努力跟上情節(jié)發(fā)展就已很不容易了。這部電影代表著純粹的逃避現(xiàn)實(shí)主義風(fēng)格——一大原因就在于其中凌亂癲狂的對(duì)話。
同步音效指的是那些與銀幕上正在出現(xiàn)的畫(huà)面同步或相匹配的聲音。比方說(shuō)，如果影片中的某個(gè)角色正在彈鋼琴，那么鋼琴的聲音就會(huì)播放出來(lái)。同步的各種聲音増加了影片的真實(shí)感并且有助于營(yíng)造出某種特定的氛圍。例如，一扇門(mén)被打開(kāi)時(shí)發(fā)出的“咔嗒”聲也許僅僅是為了向觀眾證明此處展示的場(chǎng)景是真實(shí)的，而觀眾可能也僅僅只是在潛意識(shí)中注意到了這個(gè)意料之中的聲響。然而，如果開(kāi)門(mén)的“咔嗒”聲是一個(gè)即將到來(lái)的惡性事件——例如一場(chǎng)入室盜竊——之中的組成部分，影片混音師則有可能會(huì)刻意放大音量來(lái)引起觀眾的注意，這能有助于將觀眾卷入懸念時(shí)刻。
另一方面，不同步音效并不匹配于銀幕上任何可見(jiàn)的聲音來(lái)源。之所以運(yùn)用這樣的音效，是為了提供某種恰當(dāng)?shù)奈⒚钋榫w氛圍，同時(shí)也有可能増加影片的真實(shí)感。比如，在影片前景的聲音和畫(huà)面正在描述兩個(gè)人進(jìn)行爭(zhēng)吵的時(shí)候，影片拍攝者有可能會(huì)選擇救護(hù)車(chē)的汽笛聲作為背景聲音。這種不同步的救護(hù)車(chē)汽笛聲突出了爭(zhēng)吵所帶來(lái)的精神傷害;而與此同時(shí)，汽笛的聲音還增加了影片的真實(shí)感，因?yàn)樗崾玖擞捌某鞘斜尘霸O(shè)定。
我們大概都已對(duì)電影中的背景音樂(lè)相當(dāng)熟悉了，它們?cè)谟捌腥绱藷o(wú)處不在，以至于只在沒(méi)有出現(xiàn)的時(shí)候我們才能注意到。我們知道它被用來(lái)渲染情緒和韻律。它一般不會(huì)喧賓奪主引人關(guān)注，而是為影片中所刻畫(huà)的故事和/或人物提供了某種基調(diào)或情緒態(tài)度。此外，背景音樂(lè)還常常能夠預(yù)示一種氛圍上的變化。比方說(shuō)，凌亂失調(diào)的音樂(lè)可以在電影中用來(lái)暗示一場(chǎng)正在到來(lái)(但目前還并不明顯可見(jiàn))的危險(xiǎn)或?yàn)?zāi)難。
背景音樂(lè)可以通過(guò)在不同場(chǎng)景之間建立聯(lián)系來(lái)幫助觀眾理解劇情。例如，與某個(gè)角色或場(chǎng)景有關(guān)的某個(gè)特定的樂(lè)曲主題可以在影片中不同的部位反復(fù)出現(xiàn)，由此來(lái)提醒觀眾注意到其核心主旨或主題思想。
電影聲音同時(shí)包含傳統(tǒng)和創(chuàng)新。我們已經(jīng)逐漸學(xué)會(huì)了預(yù)期在飛速追車(chē)的場(chǎng)景中音樂(lè)一定會(huì)加速，而在恐怖電影中則必定會(huì)有嘎吱作響的門(mén)聲。然而，注意到這樣一點(diǎn)也是極其重要的：聲音往往是以一種十分精妙出色的方式被人們所感知。音效的作用通常在很大程度上是微妙難察的，常常只有我們的潛意識(shí)思維才會(huì)注意到它們。除了關(guān)注影片的空間效果之外，我們需要刻意培養(yǎng)自己注意電影音效的能力，這樣才能真正欣賞到這種在20世紀(jì)里如此鮮活而富有生機(jī)的藝術(shù)形式——現(xiàn)代電影。
TEST 4 PASSAGE 3 參考譯文：
“這項(xiàng)美妙的發(fā)明”
A 在人類(lèi)所有各種各樣的創(chuàng)造品中，語(yǔ)言必定占有最重要的地位。其他發(fā)明——車(chē)輪、農(nóng)耕、切片面包——也許徹底改變了我們的物質(zhì)生活，但語(yǔ)言的進(jìn)步才是真正使得我們稱(chēng)其為人的關(guān)鍵所在。與語(yǔ)言相比，所有其他發(fā)明在重要性上都會(huì)黯然失色，因?yàn)槲覀兯〉玫囊磺谐删投加匈?lài)于語(yǔ)言并且源自于它。如果沒(méi)有語(yǔ)言，我們?nèi)祟?lèi)永遠(yuǎn)不可能登上凌駕所有其他動(dòng)物、甚至駕馭大自然本身的高高位置。
B 但是語(yǔ)言之所以地位至高無(wú)上，并不僅僅因?yàn)樗南葋?lái)先到。就其本身而言它是一種極其精密復(fù)雜的工具，然而其基礎(chǔ)理念卻又簡(jiǎn)單純粹得令人稱(chēng)奇：“這項(xiàng)奇妙的發(fā)明利用二十五或三十種發(fā)音組合出了那樣無(wú)窮無(wú)盡的表達(dá)方式，這些發(fā)音自身雖然與我們心中所想并無(wú)相似之處，卻使得我們可以借此向其他人展露出心中的全部秘密，令那些原本無(wú)法透視我們心靈的他人知曉我們?nèi)康南胂笠饽睿约拔覀冹`魂中所有的震顫悸動(dòng)?！边@就是在：1660年，位于凡爾賽附近Port-Royal修道院中那些著名的法語(yǔ)語(yǔ)法大師們所用來(lái)精煉地闡釋語(yǔ)言精髓的措辭，自那以來(lái)再也沒(méi)有其他人能用更加雄辯的方式來(lái)高度贊頌語(yǔ)言所取得成就的輝煌燦爛、舉足輕重了。即便如此，在所有這些贊頌之詞中還是存在著一個(gè)問(wèn)題，因?yàn)閷?duì)于語(yǔ)言之獨(dú)一無(wú)二成就的敬辭掩蓋了一個(gè)簡(jiǎn)單卻又至關(guān)重要的不一致性。語(yǔ)言是人類(lèi)最偉大的發(fā)明——只除了，當(dāng)然了，它根本不是被發(fā)明的。這種顯而易見(jiàn)的悖論正是我們驚嘆著迷于語(yǔ)言的核心原因，它包含著語(yǔ)言自身的許多秘密。
C 語(yǔ)言通常看起來(lái)如此匠心機(jī)巧、精密完善，除了將它視作某個(gè)天才大師的完美設(shè)計(jì)之外簡(jiǎn)直無(wú)法再做他想。如若不然，這個(gè)工具是如何能用捉襟見(jiàn)肘的二三十個(gè)細(xì)碎音素拼湊出如此豐富意義的?如果單憑它們自己，這些不同口部形狀所發(fā)出來(lái)的聲音——p, f, b, v, t, d, k, g, sh, a, e等等——只不過(guò)是些隨意的吞吐之聲，沒(méi)有任何含義的偶然聲響，沒(méi)有能力表達(dá)思想，沒(méi)有力量解釋說(shuō)明。但是把它們送進(jìn)語(yǔ)言機(jī)器的齒輪轉(zhuǎn)動(dòng)之中，讓它用一些非常特殊的順序?qū)⑺鼈兣帕薪M合一番，就沒(méi)有什么是這些原本毫無(wú)意義的氣流所不能做到的了：從嘆息生活那看似沒(méi)完沒(méi)了的無(wú)聊平淡，到破解宇宙的基本秩序。
D 然而，語(yǔ)言的最為非比尋常之處，在于任何人都不需要天賦異稟才能讓它的齒輪開(kāi)始運(yùn)轉(zhuǎn)。語(yǔ)言機(jī)器允許每個(gè)人——無(wú)論是亞熱帶稀樹(shù)草原上過(guò)著原始生活的狩獵采集者，還是城郊雜戶區(qū)里的后現(xiàn)代哲學(xué)家——都能將這些無(wú)意義的聲音聯(lián)系起來(lái)，進(jìn)行無(wú)窮無(wú)盡的組合以表達(dá)各種微妙的感受，并且全程顯然不費(fèi)吹灰之力。然而正是這種具有欺騙性的看似輕而易舉性使得語(yǔ)言成了其自身成功的受害者，因?yàn)樵谌粘Ｉ钪兴姆N.種輝煌成就通常被人們視作了理所應(yīng)當(dāng)。語(yǔ)言的機(jī)輪轉(zhuǎn)動(dòng)得如此平順，以至于我們很少會(huì)費(fèi)心去停下來(lái)思考一下：要讓它順利運(yùn)轉(zhuǎn)，其背后必定是動(dòng)用了多少隨機(jī)應(yīng)變與精密技巧。語(yǔ)言掩蓋住了藝術(shù)。
E 通常，只有當(dāng)遭遇了陌生的外來(lái)語(yǔ)言，體會(huì)了它們的許多稀奇古怪和不同之處，我們才開(kāi)始意識(shí)到語(yǔ)言的設(shè)計(jì)精妙之處。有一些語(yǔ)言能夠展示出來(lái)的最今人嘆為觀止的特色之一，是能夠搭建起某些長(zhǎng)得無(wú)法一口氣讀完的單詞，由此用一個(gè)單詞就能表達(dá)英語(yǔ)需要用一整個(gè)句子才能說(shuō)出來(lái)的意思。舉一個(gè)例子來(lái)說(shuō)明，土耳其詞匯sehirmisriremediklerirnizdensiniz表示的意思是“你就是這樣一個(gè)我們?cè)趺炊紱](méi)法改造成鄉(xiāng)鎮(zhèn)人的家伙?！?請(qǐng)不要疑惑，這個(gè)看著嚇人的字眼真的只是一個(gè)單詞，而并非是許多不同的詞匯被強(qiáng)行擠壓在了一起——這個(gè)單詞中的許多組成部分甚至不能獨(dú)立構(gòu)成某一個(gè)詞。)。
F 如果上面那個(gè)例子聽(tīng)起來(lái)像是某個(gè)例外性的怪胎，那么請(qǐng)考慮一下蘇美爾語(yǔ)，講這種語(yǔ)言的人們?cè)诖蠹s5000年前住在幼發(fā)拉底河兩岸，他們發(fā)明了書(shū)寫(xiě)并由此開(kāi)創(chuàng)了書(shū)面的歷史記載。像munintuma’a(當(dāng)他為她把它準(zhǔn)備合適了以后)這樣的一個(gè)蘇美爾詞匯若是與上面那個(gè)龐然大物的土耳其字眼相比，可能會(huì)顯得相當(dāng)簡(jiǎn)潔。然而，它之所以如此令人驚嘆，并非它的冗長(zhǎng)而是恰恰相反——正是其語(yǔ)義構(gòu)建的緊湊簡(jiǎn)約。這個(gè)單詞由不同的片段組成，每個(gè)片段對(duì)應(yīng)一部分語(yǔ)義。這種先進(jìn)流暢的設(shè)計(jì)使得單個(gè)發(fā)音也可以傳達(dá)出有用信息，而且實(shí)際上即使某個(gè)沒(méi)有發(fā)出來(lái)的音都可以用以表達(dá)某些特定含義。如果你要問(wèn)，在一個(gè)可以翻譯成英語(yǔ)句子“當(dāng)他為她把它準(zhǔn)備合適了以后”的蘇美爾單詞中，哪一個(gè)部分對(duì)應(yīng)于“它”這個(gè)意思，那么答案只能是“沒(méi)有”。不過(guò)你要注意了，這是一種非常特定性的沒(méi)有：是位于單詞片段之間的空白之處的沒(méi)有。也就是說(shuō)，這門(mén)語(yǔ)言技術(shù)己經(jīng)如此精編細(xì)制，甚至是一個(gè)沒(méi)有發(fā)出來(lái)的聲音，當(dāng)它被仔細(xì)放置在某個(gè)特定位置的時(shí)候，都被賦予了一個(gè)具體的功能。究竟是什么人發(fā)明了這樣一項(xiàng)奇妙的裝置呢?
劍橋雅思閱讀11原文解析(test4)
Passage 1
Question 1
答案： FALSE
關(guān)鍵詞： genetic causes, skin
定位原文: 第1段第2、3句“Because identical twins come from…”同卵雙胞胎享有同樣的基因密碼，兩人出現(xiàn)不同只可能是環(huán)境因素造成的差異。
解題思路: 本題出題位置符合順序原則，作為文后第一個(gè)題型中的第一道題，考生可以輕松在正文第一段中定位到一模一樣的skin一詞。從理解上來(lái)看本題也并不困難：原文明確說(shuō)到同卵雙胞胎來(lái)自同一顆受精卵，基因完全相同，一切不同都是后天環(huán)境因素造成的。這與題干信息“同卵雙胞胎的皮膚看起來(lái)有多年輕，其背后有可能存在著基因方面的原因”相悖，因此答案為FALSE。
Question 2
答案： NOT GIVEN
關(guān)鍵詞： greater risk, developing certain illnesses, non-twins
定位原文： 第2段第2句“If identical twins are…”
解題思路： 題干中的illness 一詞回到原文中有兩個(gè)對(duì)應(yīng)的同義替換詞，分別為ailment 和disease。即使對(duì)前者不甚熟悉但必定應(yīng)當(dāng)認(rèn)識(shí)后者，所以定位并不算難。仔細(xì)閱讀文章內(nèi)容可知，本句只是提及同卵雙胞胎與異卵雙胞胎在對(duì)某種疾病產(chǎn)生反應(yīng)的方面有何異同，比較的對(duì)象只涉及“雙胞胎”這個(gè)范圍，并未將之與“非雙胞胎”比較，沒(méi)有明確提及題干的信息“雙胞胎比非雙胞胎更有風(fēng)險(xiǎn)得上某些疾病”，通讀后文后，也沒(méi)有其他的答題定位區(qū)域，因此答案為NOT GIVEN。
Question 3
答案： NOT GIVEN
關(guān)鍵詞： Bouchard, advertised, newspapers
定位原文： 第4段第2句“Over two decades 137 sets of …”
解題思路： 本題可以憑借Bouchard這個(gè)專(zhuān)有名詞而輕松在文中定位，但仔細(xì)閱讀文章內(nèi)容就會(huì)發(fā)現(xiàn)，確實(shí)有許多雙胞胎參與了此人所進(jìn)行的研究，但并沒(méi)有明確提及那些雙胞胎們是通過(guò)什么途徑來(lái)到Bouchard實(shí)驗(yàn)室的，沒(méi)有“報(bào)紙”和“廣告”這些信息，因此答案是NOT GIVEN。
Question 4
答案： TRUE
關(guān)鍵詞： epigenetic processes
對(duì)應(yīng)原文： 第6段最后一句“According to a recent field called …”
解題思路： Epigenetic這個(gè)詞作為學(xué)科名稱(chēng)，一模一樣地出現(xiàn)在文中第6段，可以被輕松定位。閱讀定位句則可以知道，這一作用過(guò)程確實(shí)既不同于環(huán)境因素，也不同于基因因素，與題干表述相一致，因此答案為T(mén)RUE。
Question 5
答案： A
關(guān)鍵詞： invented a term, two factors
定位原文： 第4段第1句“The idea of using twins…”
解題思路： 題目：invented a term used to distinguish two factors affecting human characteristics; 譯文：發(fā)明了一個(gè)術(shù)語(yǔ)用來(lái)區(qū)分影響個(gè)人特質(zhì)的兩種因素。本題基本上就是考査考生對(duì)coin這個(gè)單詞作為動(dòng)詞表示“創(chuàng)造”;這個(gè)單詞作為名詞還可表示“術(shù)語(yǔ)——這個(gè)詞匯知識(shí)點(diǎn)，而coin a term這樣的用法在此前的劍橋真題里已經(jīng)出現(xiàn)過(guò)，此題答案為A。
Question 6
答案: C
關(guān)鍵詞: study of epigenetics, increase, knowledge
定位原文: 第12段最后1句“Having said that, Reed … ”
解題思路： 題目：expressed the view that the study of epigenetics will increase our knowledge;譯文：表達(dá)了這樣一個(gè)觀點(diǎn)：對(duì)于表觀遺傳學(xué)的研究將會(huì)增加我們的知識(shí)。本題的定位稍有麻煩，因?yàn)镽eed這個(gè)人名在文章的后三段中都有所提及，對(duì)比這幾段文章中的相關(guān)內(nèi)容，待讀到最后一段時(shí)理解原文應(yīng)該不難，increase our knowledge 與 take our understanding further 是簡(jiǎn)單的同義表述關(guān)系，本題答案為C。
Question 7
答案： B
關(guān)鍵詞： mathematical method
定位原文： 第5段第1、2句“Bouchard and his colleagues …”
解題思路： 題目：developed a mathematical method of measuring genetic influences;譯文：開(kāi)創(chuàng)了一種數(shù)學(xué)方法來(lái)衡量基因的影響。本題出題點(diǎn)距離人名定位處并不遠(yuǎn)，statistical concept 與 mathematical method 為同義替換關(guān)系，此題答案為B。
Question 8
答案: A
關(guān)鍵詞: pioneered
定位原文: 第4段第1句“The idea of using twins to measure…”
解題思路: 題目：pioneered research into genetics using twins; 譯文：開(kāi)創(chuàng)了通過(guò)雙胞胎來(lái)研究基因?qū)W的做法。本題與第五題的定位完全相同，都是原文中的同一句，且從考查單詞的難度上來(lái)看，比第5題更容易理解。無(wú)論date back (追溯到)這個(gè)詞組還是first這個(gè)單詞都不會(huì)造成理解困難，正是Francis Galton開(kāi)創(chuàng)了研究雙胞胎的先河，本題答案為A。
Question 9
答案: B
關(guān)鍵詞: lived apart
定位原文: 第4段第2、3句“But twin studies took a surprising twist in…”
解題思路： 題目：carried out research into twins who had lived apart; 譯文：對(duì)那些各自生活在不同地方的雙胞胎進(jìn)行了研究。無(wú)論是原文中第二句里的separated at birth and reunited as adults 還是第三句里的 Reared apart, 都明確對(duì)應(yīng)題干中的lived apart這個(gè)信息，只需明確這個(gè)研究對(duì)象到底是Francis Galton還是Thomas Bouchard所研究的即可。經(jīng)過(guò)仔細(xì)閱讀可知為后者，因此本題答案為B。
Question 10
答案: D
關(guān)鍵詞： epigenetic processes
定位原文： 第7段第1、2句“Epigenetic processes…”
解題思路: 題干說(shuō)“在表觀遺傳過(guò)程中，_____會(huì)影響我們的基因活動(dòng)行為”。用epigenetic processes可以輕松在原文中定位到出題位置，但需要耐心讀完相鄰的兩句，才可根據(jù)后句里的these reactions這個(gè)指代更加確定答案應(yīng)為前一句中的chemical reactions, 根據(jù)意思選擇最接近的選項(xiàng)，由此可得答案為D。
Question 11
答案: B
關(guān)鍵詞: create, internal
定位原文: 第7段第2句“These reactions …”
解題思路: 題干說(shuō)“在表觀遺傳過(guò)程中，化學(xué)反應(yīng)會(huì)影響我們的基因活動(dòng)行為，例如在創(chuàng)造我們內(nèi)部_____的時(shí)候”。本題的出題位置與上一題來(lái)自同一句話，看出原文中的 parts of our bodies 正是對(duì)應(yīng) internal organs 這一表述，因此答案為B選項(xiàng)：organs。
Question 12
答案： E
關(guān)鍵詞： uncover, genes, affected
定位原文： 第9段第1句“One way the study of …”
解題思路： 題干說(shuō)“表觀遺傳學(xué)的研究正在探索我們的基因會(huì)以怎樣的方式受到我們的_____的影響”。考生應(yīng)該不難找到原文中impact與題干中be affected by的同義替換，對(duì)比可知答案為E選項(xiàng)：environment。
Question 13
答案： behaviour/behavior
關(guān)鍵詞： pregnant rat, stress, problems
定位原文： 第9段第2句“Studies of animals, for example, have shown…”
解題思路： 題干說(shuō)“有一個(gè)例證：如果一只懷孕的老鼠經(jīng)歷過(guò)緊張壓力體驗(yàn)，新生的幼鼠日后就有可能展現(xiàn)出_______方面的問(wèn)題”。“懷孕的老鼠”這個(gè)信息在文中容易定位，考生只需認(rèn)真閱讀定位句即可得出答案為F選項(xiàng)。
Test 4 Passage 2
Question 14
答案: B
關(guān)鍵詞: first paragraph
定位原文: 第1段整體內(nèi)容
解題思路: 本題考査考生是否能夠讀懂作者在第一段里表達(dá)的主要看法，很難使用此段中的某一句話來(lái)確定答案，需要考生讀懂本段大意并對(duì)比四個(gè)選項(xiàng)內(nèi)容，從而做出恰當(dāng)選擇。
A項(xiàng)說(shuō)“導(dǎo)演應(yīng)該在拍攝的早期階段就計(jì)劃好電影原聲”，而原文中只是提及“規(guī)劃音效也應(yīng)該是導(dǎo)演的職責(zé)所在”,并未提及是否該早早動(dòng)手規(guī)劃;C項(xiàng)說(shuō)“音樂(lè)產(chǎn)業(yè)可以對(duì)電影中的聲音產(chǎn)生有益影響”，這個(gè)信息完全不曾被提及;D項(xiàng)說(shuō)“負(fù)責(zé)電影中聲音的工作人員應(yīng)該對(duì)音效擔(dān)負(fù)起完全的責(zé)任來(lái)，這很重要”，更是故意曲解了文中的“統(tǒng)籌音效和關(guān)注畫(huà)面質(zhì)量同樣都是導(dǎo)演的應(yīng)有之責(zé)”，混淆視聽(tīng)。對(duì)比可得正確答案為B項(xiàng)。
Question 15
答案: A
關(guān)鍵詞: Humphrey Bogart
定位原文: 第2段的第3、4句“Often with film characterization the audience perceives little…”
解題思路: 題目問(wèn)作者提到Humphrey Bogart的一個(gè)原因是為了證明什么。人名可以幫助考生輕松定位。只看包含Humphrey Bogart的一句，缺失了此段的上下文，也不易得出答案。B項(xiàng)說(shuō)“觀眾希望演員在視覺(jué)上適合他們所扮演的角色”，也就是說(shuō)希望演員的外貌特征符合角色描述，但本段反復(fù)提及的著眼點(diǎn)在于“性格特征”而非外貌;C項(xiàng)屬于完全未被提及的信息;D項(xiàng)說(shuō)“觀眾更傾向于對(duì)話要盡可能顯得真實(shí)”，雖然本段確實(shí)意在解釋“對(duì)話”在電影中所扮演的角色，但是并有明確說(shuō)到它必須像真的，所以也不對(duì)。
Question 16
答案： B
關(guān)鍵詞： third paragraph
定位原文： 第3段內(nèi)容
解題思路: A項(xiàng)說(shuō)“如果電影對(duì)話不能反映觀眾自身經(jīng)歷，他們就有可能會(huì)持批評(píng)性態(tài)度”，未被提及的;C項(xiàng)說(shuō)“電影制作者在如何處話的技巧上彼此有著極大的差別”，這個(gè)選項(xiàng)與原文中how dialogue is used and the very amount of dialogue used vanes widely among films有一定相似之處，可能會(huì)給部分考生造成一定干擾。但仔細(xì)分辨之下不難看出，原文只說(shuō)了“不同電影中對(duì)話的用法和用量有很大差別”，并未明確說(shuō)是電影制作者使用技巧的差別，是干擾選項(xiàng);D項(xiàng)說(shuō)“最成功的電影是那些有著高質(zhì)量對(duì)話的電影”，也是無(wú)中生有的信息。
Question 17
答案： D
關(guān)鍵詞： Bringing Up Baby
定位原文： 第4段內(nèi)容
解題思路： 問(wèn)的是關(guān)于Bringing Up Baby 這部電影說(shuō)了什么，根據(jù)本段內(nèi)容，作者說(shuō)這部電影故意使用了又快又滑稽的對(duì)話形式來(lái)突出影片的荒誕風(fēng)格。因此正確答案為選項(xiàng)D“對(duì)話的性質(zhì)強(qiáng)化了影片中的關(guān)鍵元素?！盇項(xiàng)說(shuō)“由于電影制作人想要關(guān)注幽默對(duì)話而使情節(jié)受到了損害”;B項(xiàng)說(shuō)“對(duì)話幫助這部電影成為了有史以來(lái)最好的喜劇電影之一”;C項(xiàng)說(shuō)“對(duì)話的速度與動(dòng)作的速度之間不匹配”。這三項(xiàng)內(nèi)容在本段中都不曾被提及。
Question 18
答案: C
關(guān)鍵詞： ‘click’ of a door
定位原文： 第5段第4句“For example, the 'click' of a door being opened…”
解題思路: 題目問(wèn)：作者提到了推門(mén)的“咔嗒”聲來(lái)說(shuō)明，模擬真實(shí)情況的聲音_____。A項(xiàng)說(shuō)“經(jīng)常被用來(lái)讓觀眾對(duì)影片中的事件產(chǎn)生錯(cuò)誤印象”;B項(xiàng)說(shuō)“可能會(huì)被觀眾中的不同成員按照不同的方式進(jìn)行理解”;D項(xiàng)說(shuō)“往往在那些展示現(xiàn)實(shí)場(chǎng)景的電影中顯得更為重要”。這三項(xiàng)內(nèi)容在本段不曾被提及。而C中“也有可能加以改變用來(lái)控制觀眾對(duì)電影的反應(yīng)”是定位處的同義表達(dá)。
Question 19
答案: TRUE
關(guān)鍵詞： surprised, lacks, background music
定位原文： 第7段的第1句“We are probably all familiar with…”
解題思路： 定位處的so… as to 表示 “如此…以至于”，背景音樂(lè)無(wú)處不在，以至于觀眾必須注意到它的存在，和題目的“如果一部電影缺了背景音樂(lè)，觀眾有可能會(huì)感到奇怪?！笔峭x表達(dá)。
Question 20
答案： TRUE
關(guān)鍵詞： background music, anticipate, development
定位原文：第7段倒數(shù)第2句“In addition, background music…”
解題思路： 定位處說(shuō)背景音樂(lè)通常預(yù)示著氛圍變化，foreshadow 與may anticipate 是同義表達(dá)，題目中說(shuō)“背景音樂(lè)有可能預(yù)示出一部電影中的情節(jié)發(fā)展”與定位原文是同義表達(dá)，因此答案為T(mén)RUE。
Question 21
答案： NOT GIVEN
關(guān)鍵詞： background music, more effect than
定位原文：第7段第3、4、5句“Usually not meant to be noticeable …”
解題思路： 文中與題目有關(guān)的定位區(qū)域在第7段，文中說(shuō)到，通?？赡懿皇枪室庾屓俗⒁獾模皇钦f(shuō)背景音樂(lè)通常奠定了故事的基調(diào)，或者人物的感情態(tài)度，再者，預(yù)示氛圍變化。而題目中卻說(shuō)背景音樂(lè)對(duì)一些人產(chǎn)生的效果比對(duì)另一些人所產(chǎn)生的效果更大。這樣的信息在文中完全沒(méi)有提及。所以答案只能是NG。
Question 22
答案： True
關(guān)鍵詞： background music, make certain connections
定位原文： 第8段內(nèi)容
解題思路: 題目說(shuō)背景音樂(lè)可以幫助觀眾在影片中(不同場(chǎng)景之間)找到某些關(guān)聯(lián)，在閱讀第8段第1句后，即可大致判斷這個(gè)表述是True，如果覺(jué)得不夠確信，再往后閱讀，可以確定答案。
Question 23
答案： FALSE
關(guān)鍵詞： aware, background music, affecting
定位原文： 第9段第4句“The effects of sound are often largely…”
解題思路： 定位處已經(jīng)明確說(shuō)明聲音的效果通常來(lái)說(shuō)是非常微妙的，只是潛意識(shí)才能注意到。而題目說(shuō)的是“觀眾往往會(huì)注意到背景音樂(lè)如何對(duì)他們產(chǎn)生影響?！?題目中用background music，原文中用了sound這個(gè)簡(jiǎn)單詞，正文中所使用的effects一詞與題干中affect的同義替換，對(duì)比內(nèi)容，可知答案為FALSE。
Question 24
答案: C
關(guān)鍵詞: audience's response, can be controlled
定位原文: 第1段第3、4句“The entire sound track consists of…”
解題思路： 題目問(wèn)的是觀眾對(duì)于影片中不同部分的反應(yīng)可以在何種情況下被控制。難點(diǎn)在與理解原文的create desired effects，即是指“創(chuàng)造出(電影制作者)所想要達(dá)到的效果”，也就是希望去掌控或操控觀眾觀影之后會(huì)產(chǎn)生什么樣的反應(yīng)。題目中的“must be mixed and balanced so as to produce the necessary emphases”就是C選項(xiàng)的“如果人的聲音、其他聲響和音樂(lè)進(jìn)行了恰當(dāng)混合的話”。
Question 25
答案： A
關(guān)鍵詞： feelings and motivations
定位原文： 第2段第2句“As is the case with stage drama…”
解題思路： 原文中“dialogue serves to tell the story and expresses feelings and motivations of characters as well”，可見(jiàn)是dialogue完成兩個(gè)目標(biāo)，一是講述故事，二是表達(dá)人物感情和動(dòng)機(jī)，很容易選到A:當(dāng)觀眾聽(tīng)著對(duì)話的時(shí)候。
Question 26
答案： E
關(guān)鍵詞： character, real person, actor
定位原文： 第3段第1句“When voice textures fit the performer's physiognomy…”
解題思路： 定位原文處說(shuō)到音質(zhì)符合人物的外表，姿勢(shì)，一個(gè)非常真實(shí)的人物形象就出來(lái)了。題目問(wèn)的是“一個(gè)角色看似更像一個(gè)真實(shí)的人而非一位演員”，所以選項(xiàng)E“當(dāng)演員的外貌、聲音和動(dòng)作彼此協(xié)調(diào)一致時(shí)”是正確選項(xiàng)。
Test 4 Passage 3
Question 27
答案： vi
關(guān)鍵詞： most important invention
定位原文：A段內(nèi)容
解題思路：實(shí)際上，本段第一句話就點(diǎn)明此段主要談及“語(yǔ)言在人類(lèi)的所有發(fā)明中占據(jù)最重要的地位”，take pride of place意為“有最重要的地位”;接下來(lái)的每一句話都是在以不同的方式反復(fù)闡述原因所在和表現(xiàn)形式。第二句話說(shuō)“其他發(fā)明改變的是人類(lèi)的物質(zhì)生活，而語(yǔ)言則是使人真正稱(chēng)其為人的原因”;第三句話說(shuō)“一切發(fā)明跟語(yǔ)言比起來(lái)都會(huì)相形失色”;第四句話還說(shuō)“要是沒(méi)有語(yǔ)言，人類(lèi)不可能發(fā)展到今天這樣的狀態(tài)”。無(wú)論正確理解其中哪句話的大意都不難看出正確選項(xiàng)為vi。
Question 28：
答案：iv
關(guān)鍵詞：incompatible characteristics
定位原文：B段內(nèi)容
解題思路：本段的解題難度比較高，原因是本段整段都是典型的承上啟下，答案的定位主要集中在后三句話所表達(dá)的意思里。前三句話先是繼續(xù)對(duì)語(yǔ)言的重要地位進(jìn)行了進(jìn)一步描述和贊美。從倒數(shù)第三句開(kāi)始話鋒一轉(zhuǎn)，指出雖然語(yǔ)言如此偉大，但還是存在著不一致、相矛盾之處，conceal，隱藏;incongruity，不一致;倒數(shù)第二句提出：“語(yǔ)言是最偉大的發(fā)明，然而它卻并不是被發(fā)明出來(lái)的”，進(jìn)一步點(diǎn)出這其中存在邏輯上的矛盾;最后一句再次以paradox 一詞來(lái)確證。后三句共同表達(dá)了類(lèi)似的意思，即語(yǔ)言雖然偉大但卻存在矛盾、悖論之處，正確答案為iv。
Question 29：
答案：ii
關(guān)鍵詞：a few sounds, huge range of meaning
定位原文：C段內(nèi)容
解題思路：本段的第一句話其實(shí)就是在委婉地夸獎(jiǎng)贊美語(yǔ)言的設(shè)計(jì)精巧。第二句話則是以“設(shè)問(wèn)”形式提出，語(yǔ)言用“three dozen”這么一點(diǎn)兒的發(fā)音元素是怎么組合成了“so much”意義表達(dá)呢?本句即是在表達(dá)“用一點(diǎn)點(diǎn)發(fā)音元素弄出許多許多表達(dá)”這個(gè)意思。之后的兩句也是在進(jìn)一歩展開(kāi)說(shuō)明這個(gè)論點(diǎn)，本段采用的是“總一分”結(jié)構(gòu)，主旨句在第二句中，正確答案為ii。
Question 30：
答案：vii
關(guān)鍵詞：universal ability
定位原文：D段內(nèi)容
解題思路：本段是個(gè)“總-分-總”結(jié)構(gòu)，第一句話即點(diǎn)明“每個(gè)人都能讓語(yǔ)言這部機(jī)器運(yùn)轉(zhuǎn)起來(lái)”，接下來(lái)的幾句話分別指出：“無(wú)論什么人都能使用語(yǔ)言”、“但是正因如此人們才對(duì)它過(guò)于想當(dāng)然了”、“也就沒(méi)有刻意去重視它研究它”，結(jié)尾句則做出總結(jié)：“語(yǔ)言遮掩了其藝術(shù)性”。但每句話都避開(kāi)了“使用”這個(gè)詞匯，而是比喻性地反復(fù)提及“讓機(jī)輪運(yùn)轉(zhuǎn)”、“串聯(lián)起意義”和“使機(jī)器運(yùn)行”，増加了理解難度。正確答案為vii。
Question 31：
答案：i
關(guān)鍵詞：differences, highlight, impressiveness
定位原文：E段內(nèi)容
解題思路：第一句先指出“往往只有遭遇我們不熟悉的外語(yǔ)時(shí)我們才會(huì)注意到語(yǔ)言設(shè)計(jì)結(jié)構(gòu)的精巧”;之后舉出一個(gè)特長(zhǎng)的土耳其詞匯來(lái)對(duì)比與英語(yǔ)表達(dá)方式的不同;然后再進(jìn)一步進(jìn)行細(xì)節(jié)解釋說(shuō)明。無(wú)論是“difference差異”還是“impressiveness令人驚嘆”的含義都沒(méi)有明確的同義替換詞在文中出現(xiàn)，需考生在讀懂句子后自行體會(huì)，正確答案為i。
Question 32：
答案：v
關(guān)鍵詞：silence, meaningful
定位原文：F段內(nèi)容
解題思路：本段的結(jié)構(gòu)與B段有類(lèi)似之處：前半段進(jìn)一步列舉例證來(lái)說(shuō)明不同語(yǔ)言之間存在著令人驚嘆的差異之處，后半段才開(kāi)始說(shuō)到“即使the absence of a sound也可以具有某些意義”。不過(guò)文章讀到了此處，備選答案只剩下iii和v兩項(xiàng)，也可利用排除法來(lái)找出相對(duì)更加合宜的選項(xiàng)，正確答案為v。
Question 33：
答案：E: material
關(guān)鍵詞：wheel, major impact
定位原文：A段第2句“Other inventions…”
解題思路：題干說(shuō) “車(chē)輪這個(gè)發(fā)明對(duì)生活的______方面有著重大的影響”，要定位wheel一詞不難，通過(guò)對(duì)比原文也可以比較輕松地看出 existence與題干中的life互為同義替換關(guān)系，可得答案為選項(xiàng)E: material。
Question 34：
答案：G：fundamental
關(guān)鍵詞：no impact
定位原文：A段第3句“Compared to language…”
解題思路：題干說(shuō)“但是沒(méi)有任何影響能像語(yǔ)言產(chǎn)生的影響那樣_____”，原文中并未直接出現(xiàn)impact這樣的單詞，也沒(méi)有as...as的句型結(jié)構(gòu)，而是用 Compared to表達(dá)了語(yǔ)言與其他發(fā)明的比較關(guān)系，需要認(rèn)真閱讀理解原文。好在此空與上一題同處在一個(gè)句子之中，依序閱讀文章句子可得答案為選項(xiàng)G：fundamental。
Question 35：
答案： B: complex
關(guān)鍵詞： yet, small number of sounds
定位原文：B段第2句“In its own right…”
解題思路：題干說(shuō)“語(yǔ)言非常_____，然而卻由僅僅非常少量的聲音組成”。根據(jù)本句中的yet轉(zhuǎn)折關(guān)系可知空格中的答案應(yīng)當(dāng)與a small number of sounds所表達(dá)的“少量、簡(jiǎn)單”形成對(duì)比、轉(zhuǎn)折的關(guān)系。找到“少量聲音”所對(duì)應(yīng)的twenty-five or thirty sounds，對(duì)比可知此處用來(lái)形容語(yǔ)言另一屬性的詞匯為sophistication，對(duì)應(yīng)答案為選項(xiàng)B: complex。
Question 36：
答案： F: easy
關(guān)鍵詞：to use, overlooked
定位原文：D段全段內(nèi)容
解題思路：題干說(shuō)“語(yǔ)言看似用起來(lái)是_____ ”，考生如果感覺(jué)此句給出的信息不夠，可以再看下一句題干，得知“語(yǔ)言的復(fù)雜精密性常被忽略”這個(gè)補(bǔ)充定位信息。此題位置出在D段，如前文List of Headings中關(guān)于D段的講解所言，本段的句子其實(shí)并不很難理解，但卻用了大量比喻性用法拐彎抹角地表達(dá)語(yǔ)義，可以得出答案為選項(xiàng)F: easy。
Question 37：
答案： NO
關(guān)鍵詞：achieved, present position, without language
定位原文：A段第3、4句“Compared to language…”
解題思路：題干說(shuō)“人類(lèi)即使沒(méi)有語(yǔ)言也有可能發(fā)展到今天這樣的狀態(tài)”，achieved和without language的題干關(guān)鍵詞都是原詞重現(xiàn)地出現(xiàn)在文中，容易定位，閱讀對(duì)應(yīng)的兩句原文可知，作者明確指出如果沒(méi)有語(yǔ)言人類(lèi)不可能達(dá)到今天這樣凌駕其他動(dòng)物甚至駕馭自然的成就，題干與此相矛盾，答案為NO。
Question 38：
答案： YES
關(guān)鍵詞：Port-Royal grammarians
定位原文：B段第3句“This was how…”
解題思路：題干說(shuō)“Port-Royal的語(yǔ)法學(xué)家們正確地評(píng)價(jià)了語(yǔ)言的本質(zhì)”，根據(jù)Port- Royal 定位，do justice to是“公平對(duì)待、公正評(píng)價(jià)”的意思，以及原文中celebrated eloquently the magnitude是“以極具表現(xiàn)力的方式贊美了其重要地位”的意思，可得答案為YES。
Question 39：
答案： NOT GIVEN
關(guān)鍵詞：complex idea, sentence, single word
定位原文：E自然段
解題思路： 題干說(shuō)“一個(gè)復(fù)雜的概念用一個(gè)句子來(lái)解釋比用一個(gè)單詞來(lái)解釋會(huì)更清楚”，E段內(nèi)容中第一句先指出“往往只有遭遇我們不熟悉的外語(yǔ)時(shí)我們才會(huì)注意到語(yǔ)言設(shè)計(jì)結(jié)構(gòu)的精巧”;之后舉出一個(gè)特長(zhǎng)的土耳其詞匯來(lái)對(duì)比與英語(yǔ)表達(dá)方式的不同，這是跟題干內(nèi)容可能僅有聯(lián)系的定位區(qū)域，但是這個(gè)例子只是為了說(shuō)明語(yǔ)言的奇妙性，是個(gè)特例，而且說(shuō)的是一個(gè)單詞表達(dá)了一個(gè)句子的意思，并不是題目所表達(dá)的通用概念，這個(gè)觀點(diǎn)沒(méi)有出現(xiàn)過(guò)。所以答案是NG。
Question 40：
答案： YES
關(guān)鍵詞：Sumerians, recording of events
定位原文：F段第1句“And if that sounds like…”
解題思路： 題干說(shuō)“是蘇美爾人開(kāi)始了記錄事件的做法”，Sumerians找到文中相應(yīng)位置，看懂題干中recorcunff of events 與原文 documentation of history 的對(duì)應(yīng)也應(yīng)該沒(méi)有太大問(wèn)題，答案為YES。
劍橋雅思閱讀翻譯及答案解析11(test4)相關(guān)文章：
劍橋雅思閱讀翻譯及答案解析11(test4)
