TPO53托福閱讀Passage3題目及答案解析
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TPO53托福閱讀Passage3文本+題目+答案解析
Paleolithic Cave Paintings
In any investigation of the origins of art, attention focuses on the cave paintings created in Europe during the Paleolithic era (c. 40,000-10,000 years ago) such as those depicting bulls and other animals in the Lascaux cave in France. Accepting that they are the best preserved and most visible signs of what was a global creative explosion, how do we start to explain their appearance? Instinctively, we may want to update the earliest human artists by assuming that they painted for the sheer joy of painting. The philosophers of Classical Greece recognized it as a defining trait of humans to "delight in works of imitation"—to enjoy the very act and triumph of representation. If we were close to a real lion or snake, we might feel frightened. But a well- executed picture of a lion or snake will give us pleasure. Why suppose that our Paleolithic ancestors were any different?
This simple acceptance of art for art's sake has a certain appeal. To think of Lascaux as a gallery allows it to be a sort of special viewing place where the handiwork of accomplished artists might be displayed. Plausibly, daily existence in parts of Paleolithic Europe may not have been so hard, with an abundance of ready food and therefore the leisure time for art. The problems with this explanation, however, are various. In the first place, the proliferation of archaeological discoveries—and this includes some of the world's innumerablerock art sites that cannot be dated—has served to emphasize a remarkablylimited repertoire of subjects. The images that recur are those of animals.Human figures are unusual, and when they do make an appearance, they are rarely done with the same attention to form accorded to the animals. If Paleolithic artists were simply seeking to represent the beauty of the world around them, would they not have left a far greater range of pictures—of trees, flowers, of the Sun and the stars?
A further question to the theory of art for art's sake is posed by the high incidence of Paleolithic images that appear not to be imitative of any reality whatsoever. These are geometrical shapes or patterns consisting of dots or lines. Such marks may be found isolated or repeated over a particular surface but also scattered across more recognizable forms. A good example of this may be seen in the geologically spectacular grotto of Pêche Merle, in the Lot region of France. Here we encounter some favorite animals from the Paleolithicrepertoire—a pair of stout-bellied horses. But over and around the horses' outlines are multiple dark spots, daubed in disregard for the otherwise naturalistic representation of animals. What does such patterning imitate?There is also the factor of location. The caves of Lascaux might conceivably qualify as underground galleries, but many other paintings have been found in recesses totally unsuitable for any kind of viewing—tight nooks and crannies that must have been awkward even for the artists to penetrate, let alone for anyone else wanting to see the art.
Finally, we may doubt the notion that the Upper Paleolithic period was a paradise in which food came readily, leaving humans ample time to amuse themselves with art. 【_For Europe it was still the Ice Age. 【_An estimate of the basic level of sustenance then necessary for human survival has been judged at 2200 calories per day. 【_This consideration, combined with the stark emphasis upon animals in the cave art, has persuaded some archaeologists that the primary motive behind Paleolithic images must lie with the primary activity of Paleolithic people: hunting. 【_
Hunting is a skill. Tracking, stalking, chasing, and killing the prey are difficult, sometimes dangerous activities. What if the process could be made easier—by art? In the early decades of the twentieth century, Abbé Henri Breuil argued that the cave paintings were all about “sympathetic magic. ” The artists strived diligently to make their animal images evocative and realistic because they were attempting to capture the spirit of their prey. What could have prompted their studious attention to making such naturalistic, recognizable images?According to Breuil, the artists may have believed that if a hunter were able to make a true likeness of some animal, then that animal was virtually trapped.Images, therefore, may have had the magical capacity to confer success or luck in the hunt.
TPO53托福閱讀Passage2題目
Question 1 of 14
According to paragraph 1, what is significant about the paintings in the Lascaux caves?
A. They provide accurate depictions of the bulls and other animals living in Paleolithic France.
B. They are the best available source of information about daily life during the Paleolithic era.
C. They are some of the best surviving examples of what was possibly one of the world's earliest artistic movements.
D. They are the only evidence of creative expression among Paleolithic human beings.
Question 2 of 14
In paragraph 1, why does the author mention the views of the philosophers of Classical Greece?
A. To show how explanations about the appearance of cave painting during the Paleolithic have changed over time
B. To present a theory about humans and art that may be applicable to the Paleolithic era
C. To argue that Paleolithic paintings were created for the joy of painting, while Classical art was created to accurately represent the natural world
D. To demonstrate that the Greek philosophers were the first to accurately understand Paleolithic art
Question 3 of 14
Paragraph 2 suggests that the Lascaux cave paintings could have been created as art for art's sake only if which of the following were true?
A. Caves were often used as viewing places for handiwork of all kinds.
B. Artists during the Paleolithic era were especially accomplished.
C. Paleolithic people were able to satisfy their basic needs fairly easily.
D. People in Paleolithic Europe learned about art from people living in other areas.
Question 4 of 14
The word “Plausibly ” in the passage is closest in meaning to
A. Similarly
B. Obviously
C. Ideally
D. Possibly
Question 5 of 14
Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.
A. The limited variety in the subjects of rock art paintings has become increasingly evident in the many sites discovered.
B. The limited repertoire of subjects found in rock art has made it difficult for archaeologists to determine when each painting was created.
C. In the first place, there is little new archaeological information on the subject of rock art because of the limited number of recent discoveries.
D. Because many rock art sites cannot be dated, archaeologists have limited information about how rock art varied from period to period.
Question 6 of 14
According to paragraph 2, which of the following is true about human figures as subjects of rock art?
A. Human figures almost always appear alone and never appear with animals.
B. Images of humans are both rarer and less accurately drawn than those of animals.
C. Some of the most beautiful images in Paleolithic rock art are of human figures.
D. There is more variety in how humans are depicted in cave art than in how animals are.
Question 7 of 14
The word “spectacular ” in the passage is closest in meaning to
A. unique
B. impressive
C. isolated
D. sheltered
Question 8 of 14
In paragraph 3, why does the author include a description of a painting of horses from the grotto of Pêche Merle?
A. To emphasize that stout-bellied horses were the most commonly found animals in that region at the time the painting was made
B. To provide evidence that Paleolithic artists created realistic images more often than they created paintings of dots or lines
C. To give an example of a cave painting that contains elements that do not imitate reality
D. To demonstrate that Paleolithic artists captured many details of the animals they painted, such as the spots on the horses' coats
Question 12 of 14
The word “prompted ” in the passage is closest in meaning to
A. brought about
B. interfered with
C. increased
D. transformed
Question 9 of 14
According to paragraph 3, which of the following is true of the paintings located in the Lascaux caves?
A. They are all found in recesses that are difficult for viewers to reach
B. They fill every nook and cranny of a large underground gallery
C. Their location was probably more convenient for viewers than for the artists
D. They are easier to view than cave paintings at other locations.
Question 10 of 14
The word “diligently ” in the passage is closest in meaning to
A. with no success
B. with talent and skill
C. with mixed results
D. with persistence and hard work
Question 11 of 14
According to paragraph 5, Breuil proposed which of the following theories about the purpose of cave paintings?
A. They were used to teach young hunters the skills they needed to hunt.
B. They were images created to help people forget about the dangers and difficulties of their daily lives.
C. They were used in magic rituals to increase people's understanding of the natural world.
D. They were meant to capture the spirits of animals and thus bring success in the hunt.
Question 13 of 14
Look at the four squares[_ to add the sentence to the passage.
Obtaining this level of nourishment from such a harsh environment must have consumed most of Paleolithic people’s time and attention..
Question 14 of 14
Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points. Drag your answer choices to the spaces where they belong. To remove an answer choice, click on it. To review the passage, click VIEW TEXT.There are a number of arguments against the idea that Paleolithic cave paintings were created for the sheer joy of painting
A.It is generally agreed that art as imitation arose during the age of Classical Greece
B.Paleolithic artists often chose to paint pictures that were intended to frighten people
C.People in the Paleolithic era may not have had time for art, and the placement of the paintings does not indicate that they were meant to be looked at
D.Paleolithic artists chose to represent only a small segment of the natural world, and their paintings were not always strict imitations of nature
E.Hunting was central to Paleolithic life, and animals are central to cave art, leading some to believe that the paintings were created to bring luck to hunters.
F.Humans were rarely the subjects of cave paintings because it was thought that capturing the image of a hunter would cause the hunter to be virtually trapped.
TPO53托福閱讀Passage3答案解析
正確答案：C
題目解析：
本題定位到原文：Accepting that they are the best preserved and most visible signs of what was a global creative explosion這半句話。 此處原文的大意是：在我們接受了它們是保存最好的、最可視化的全球創(chuàng)造大爆發(fā)的產(chǎn)物后…... 題干問(wèn)的是Lascaux cave最重要的是什么。 選項(xiàng)A的意思是它們提供了舊石器時(shí)代最精確的對(duì)于牛和其他動(dòng)物的描繪信息，選項(xiàng)B的意思是它們是描述舊石器時(shí)代日常生活最有效的信息源，選項(xiàng)C的意思是它們是最早的世界上的藝術(shù)運(yùn)動(dòng)的最好的存在例子，選項(xiàng)D的意思是它們是舊石器時(shí)代人類(lèi)的創(chuàng)造性表達(dá)的唯一證據(jù)。只有選項(xiàng)C符合原文。其余三個(gè)選項(xiàng)均不合適。
正確答案：B
題目解析：
本題定位到原文：The philosophers of Classical Greece recognized it as a defining trait of humans to "delight in works of imitation"—to enjoy the very act and triumph of representation. 此處原文的大意是：古希臘的哲學(xué)家認(rèn)為這種壁畫(huà)證明人們是因?yàn)閱渭兛梢詮淖鳟?huà)過(guò)程中得到樂(lè)趣而進(jìn)行這種繪畫(huà)活動(dòng)。 題干問(wèn)的是作者為什么要提到這些哲學(xué)家。 選項(xiàng)A的意思是為了解釋舊石器壁畫(huà)隨時(shí)間的變化，選項(xiàng)B的意思是為了證明舊石器時(shí)代一個(gè)關(guān)于人類(lèi)和藝術(shù)的理論，選項(xiàng)C的意思是為了論證舊石器時(shí)代的繪畫(huà)是因?yàn)閱渭兊臉?lè)趣而創(chuàng)造的，雖然古典藝術(shù)是為了精確再現(xiàn)自然世界而產(chǎn)生的，選項(xiàng)D的意思是為了證明古希臘的哲學(xué)家是第一批準(zhǔn)確理解舊石器時(shí)代藝術(shù)的人。選項(xiàng)B正確，其他三個(gè)選項(xiàng)均不符合文意。
正確答案：C
題目解析：
本題定位到原文：Plausibly, daily existence in parts of Paleolithic Europe may not have been so hard, with an abundance of ready food and therefore the leisure time for art. 此處原文的大意是：看似合理的是，舊石器時(shí)代歐洲的生活并沒(méi)有那么困難，食物應(yīng)該是充足的，所以人們才有進(jìn)行藝術(shù)創(chuàng)作的休閑時(shí)間。 題干問(wèn)的是舊石器時(shí)代壁畫(huà)藝術(shù)被單純作為藝術(shù)而創(chuàng)作的前提是什么。 選項(xiàng)A的意思是壁畫(huà)被視為各種工藝品的觀看的地方，選項(xiàng)B的意思是舊石器時(shí)代的藝術(shù)家均是有成就的人，選項(xiàng)C的意思是舊石器時(shí)代的人能夠很容易地滿(mǎn)足他們的基本需要，選項(xiàng)D的意思是舊石器歐洲的人從其他地區(qū)學(xué)習(xí)到了這種藝術(shù)。選項(xiàng)C符合原文。其余三個(gè)選項(xiàng)均不合適。
正確答案：D
題目解析：
本題定位到原文：Plausibly, daily existence in parts of Paleolithic Europe may not have been so hard, with an abundance of ready food and therefore the leisure time for art. 此處原文的大意是：看似合理的是，舊石器時(shí)代歐洲的生活并沒(méi)有那么困難，食物應(yīng)該是充足的，所以人們才有進(jìn)行藝術(shù)創(chuàng)作的休閑時(shí)間。 題干問(wèn)的是plausibly的意思和四個(gè)選項(xiàng)中的哪一個(gè)最相似。 選項(xiàng)A的意思是相似的，選項(xiàng)B的意思是明顯的，選項(xiàng)C的意思是理想地，選項(xiàng)D的意思是可能地。選項(xiàng)D最符合plausibly的意思。其他三個(gè)選項(xiàng)則不符合。
正確答案：A
題目解析：
本題定位到原文：In the first place, the proliferation of archaeological discoveries—and this includes some of the world's innumerable rock art sites that cannot be dated—has served to emphasize a remarkably limited repertoire of subjects. 此處原文的大意是：首先，考古發(fā)現(xiàn)的繁榮發(fā)展——以及它包含了世界無(wú)數(shù)不可追溯時(shí)間的巖石藝術(shù)地點(diǎn)——證明了其繪畫(huà)對(duì)象的有限性。 題干問(wèn)的是四個(gè)選項(xiàng)里的哪句話是這句話的最好的同義轉(zhuǎn)述。 選項(xiàng)A正確轉(zhuǎn)述了原文的主要意思，選項(xiàng)B說(shuō)作畫(huà)對(duì)象的有限性導(dǎo)致了考古學(xué)家不好確定每一個(gè)畫(huà)作創(chuàng)造的時(shí)間，這個(gè)因果關(guān)系是無(wú)中生有，不選;選項(xiàng)C說(shuō)因?yàn)樽罱目脊虐l(fā)現(xiàn)很少，所以巖石繪畫(huà)的對(duì)象的信息也很少，也是無(wú)中生有，不選;選項(xiàng)D說(shuō)因?yàn)閹r石繪畫(huà)有很多不能被確定時(shí)間，所以考古學(xué)家對(duì)于巖石畫(huà)作隨時(shí)間的變化并不了解，也是無(wú)中生有，不選。
正確答案：B
題目解析：
本題定位到原文：Human figures are unusual, and when they do make an appearance, they are rarely done with the same attention to form accorded to the animals. 此處原文的大意是：人物畫(huà)像不常見(jiàn)，當(dāng)人物畫(huà)像出現(xiàn)的時(shí)候，我們也會(huì)發(fā)現(xiàn)它們很少能達(dá)到和動(dòng)物畫(huà)像一樣符合動(dòng)物實(shí)物的情況。 題干問(wèn)的是關(guān)于人物畫(huà)像，正確的信息是哪一條。 選項(xiàng)A的意思是人物畫(huà)像一直單獨(dú)出現(xiàn)，幾乎不和動(dòng)物畫(huà)像一起出現(xiàn);選項(xiàng)B的意思是人物畫(huà)像很少見(jiàn)，并且不如動(dòng)物畫(huà)像精確;選項(xiàng)C的意思是一些最漂亮的舊石器巖石壁畫(huà)是畫(huà)的人物;選項(xiàng)D的意思是人物畫(huà)像的多樣性強(qiáng)于動(dòng)物畫(huà)像的多樣性。選項(xiàng)B最符合原文。其他三個(gè)選項(xiàng)則都是無(wú)中生有。
題目解析：
本題定位到原文：A good example of this may be seen in the geologically spectacular grotto of Pêche Merle, in the Lot region of France. 此處原文的大意是：這個(gè)現(xiàn)象的一個(gè)好例子可能會(huì)被發(fā)現(xiàn)于法國(guó)Lot地區(qū)Pêche Merle的一處壯觀的洞穴里。 題干問(wèn)的是spectacular的意思和四個(gè)選項(xiàng)里的哪一個(gè)最合適。 選項(xiàng)A的意思是獨(dú)特的，選項(xiàng)B的意思是印象深刻的，選項(xiàng)C的意思是隔絕的，選項(xiàng)D的意思是受保護(hù)的。選項(xiàng)B最符合spectacular的意思。其余三個(gè)選項(xiàng)則不合適。
正確答案：C
題目解析：
本題定位到原文： Here we encounter some favorite animals from the Paleolithic repertoire—a pair of stout-bellied horses. But over and around the horses' outlines are multiple dark spots, daubed in disregard for the otherwise naturalistic representation of animals. 此處原文的大意是：我們可以在巖壁上看到一些舊石器時(shí)代人們最喜歡的動(dòng)物的畫(huà)像，比如大肚子的兩匹馬的畫(huà)像。但是在馬身上和周?chē)衼y畫(huà)的小黑點(diǎn)，算不上是自然主義的對(duì)于動(dòng)物形象的呈現(xiàn)。 題干問(wèn)的是為什么作者要描述一副關(guān)于馬的畫(huà)? 選項(xiàng)A的意思是為了說(shuō)明大肚子的馬是當(dāng)時(shí)最常見(jiàn)的動(dòng)物，選項(xiàng)B的意思是為了說(shuō)明舊石器的人比起畫(huà)點(diǎn)和線條外更傾向于創(chuàng)造現(xiàn)實(shí)主義的圖畫(huà)，選項(xiàng)C的意思是為了說(shuō)明巖壁畫(huà)包含一些并不是模仿現(xiàn)實(shí)的內(nèi)容，選項(xiàng)D的意思是為了證明舊石器的藝術(shù)家捕捉到了很多細(xì)節(jié)，比如說(shuō)馬皮上的斑點(diǎn)。選項(xiàng)C符合原文。其余三個(gè)選項(xiàng)則不符合文意。
正確答案：D
題目解析：
本題定位到原文：The caves of Lascaux might conceivably qualify as underground galleries, but many other paintings have been found in recesses totally unsuitable for any kind of viewing...... 此處原文的大意是：Lascaux的巖畫(huà)質(zhì)量好到可以被視為是地下畫(huà)廊，其他地區(qū)的壁畫(huà)狀態(tài)則很差，差到則不適合被觀察。 題干問(wèn)的是Lascaux的巖畫(huà)和其他地區(qū)的有什么不同。 選項(xiàng)A的意思是它們質(zhì)量在逐漸變差，以至于不能被觀察，選項(xiàng)B的意思是它們鋪滿(mǎn)了一處地下畫(huà)廊的每一處裂隙和角落，選項(xiàng)C的意思是它們的位置更適合觀察者去觀察而不是適合研究者去觀察，選項(xiàng)D的意思是它們比其他地區(qū)的壁畫(huà)更容易觀察。選項(xiàng)D符合文意。其他三個(gè)選項(xiàng)均不符合。
正確答案：D
題目解析：
本題定位到原文：The artists strived diligently to make their animal images evocative and realistic because they were attempting to capture the spirit of their prey. 此處原文的大意是：因?yàn)樗囆g(shù)家在嘗試著去捕捉筆下事物的靈魂，所以他們一直致力于讓他們的動(dòng)物形象有感染力且真實(shí)。 題干問(wèn)的是diligently的含義和哪個(gè)選項(xiàng)最貼近。 選項(xiàng)A的意思是不成功的，選項(xiàng)B的意思是通過(guò)天賦和能力，選項(xiàng)C的意思是帶有混雜結(jié)果的，選項(xiàng)D的意思是通過(guò)堅(jiān)持和勤奮。選項(xiàng)D最符合diligently的意思。其余三個(gè)選項(xiàng)則不符合。
正確答案：D
題目解析：
本題定位到原文：According to Breuil, the artists may have believed that if a hunter were able to make a true likeness of some animal, then that animal was virtually trapped. 此處原文的大意是：根據(jù)Breuil的說(shuō)法，古代的繪畫(huà)者可能相信如果獵手可以畫(huà)出很像獵物的圖像，他就可以真的捕獲這個(gè)動(dòng)物。 題干問(wèn)的是Breuil認(rèn)為舊石器人畫(huà)壁畫(huà)的目的是什么。 選項(xiàng)A的意思是它們被用來(lái)教年幼的獵人應(yīng)該學(xué)習(xí)什么樣子的捕獵技能，選項(xiàng)B的意思是它們是為了幫助人們忘記生活中的困難和危險(xiǎn)，選項(xiàng)C的意思是它們被用在魔法儀式里，以增加人們對(duì)于自然世界的理解，選項(xiàng)D的意思是它們意味著捕捉動(dòng)物的靈魂，以成功狩獵。選項(xiàng)D符合原文意思，其余三個(gè)選項(xiàng)則不符合。
正確答案：A
題目解析：
本題定位到原文：What could have prompted their studious attention to making such naturalistic, recognizable images? 此處原文的大意是：是什么讓他們用心地去創(chuàng)作如此自然的、可辨認(rèn)的圖畫(huà)? 題干問(wèn)的是prompted的意思和哪個(gè)選項(xiàng)的意思最接近。 選項(xiàng)A的意思是帶來(lái)，選項(xiàng)B的意思是干涉，選項(xiàng)C的意思是增加，選項(xiàng)D的意思是改變。選項(xiàng)A最符合prompt的含義。其余三個(gè)選項(xiàng)則均不合適。
正確答案：C
題目解析：
本題定位到原文：倒數(shù)第二段。 此處原文的大意是：本段主要講述了舊石器巖畫(huà)和當(dāng)時(shí)的人們的狩獵行為的關(guān)聯(lián)。 題干問(wèn)的是“從艱苦的環(huán)境里獲得這種程度的營(yíng)養(yǎng)物質(zhì)想必消耗掉了舊石器人們大多數(shù)的時(shí)間和注意力”該插入哪個(gè)位置。 此題做題的關(guān)鍵是需要插入句子里的this level of nourishment。只有選項(xiàng)C的前面的一句話里提到 2200 calories per day，對(duì)應(yīng)了nourishment，選項(xiàng)C合適。其他三個(gè)可插入點(diǎn)都沒(méi)有可以對(duì)應(yīng)的內(nèi)容。
正確答案：CDE
題目解析：
選項(xiàng)A無(wú)中生有，文中說(shuō)Greece是為了表明這是他們哲學(xué)家的觀點(diǎn)，而不是為了說(shuō)明時(shí)間，不選; 選項(xiàng)B的“目的是去恐嚇別人”這個(gè)信息是無(wú)中生有，原文中沒(méi)有對(duì)應(yīng)的信息，不選; 選項(xiàng)C正確概括了第二段的內(nèi)容，選; 選項(xiàng)D正確概括了第三段的內(nèi)容，選; 選項(xiàng)E正確概括了倒數(shù)第二段的內(nèi)容，選; 選項(xiàng)F的因果關(guān)系是無(wú)中生有的，文中沒(méi)有給出過(guò)人類(lèi)很少成為繪畫(huà)對(duì)象的原因，不選。
TPO53托福閱讀Passage3解析
正確答案：B
題目解析：本題定位到原文：So it's interesting to note that the use of recorded sound was originally controversial. 此處原文的大意是：我們不妨來(lái)說(shuō)說(shuō)聲音最開(kāi)始應(yīng)用的時(shí)候是怎樣有爭(zhēng)議的。 題干問(wèn)的是這個(gè)講座的大意是什么。 選項(xiàng)A的意思是電影院對(duì)于早期有聲電影的影響，選項(xiàng)B的意思是早期有聲電影的聲音使用中的爭(zhēng)論，選項(xiàng)C的意思是在聲音發(fā)展之后電影的巨大進(jìn)步，選項(xiàng)D的意思是觀看者對(duì)于早期有聲電影的反應(yīng)。只有選項(xiàng)B符合原文，其余三個(gè)選項(xiàng)都不合適。
正確答案：ABD
題目解析：本題定位到原文：And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater. ...... Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common. ...... Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action. 此處原文的大意是： 1. 以前的電影不是不需要聲音，而是技術(shù)沒(méi)有發(fā)展到可以加進(jìn)聲音的程度，而且當(dāng)時(shí)還有現(xiàn)場(chǎng)演奏; 2. 劇院里已經(jīng)使用了很好聲音效果很長(zhǎng)時(shí)間了; 3. 電影播放現(xiàn)場(chǎng)會(huì)有配音演員現(xiàn)場(chǎng)發(fā)聲; 題干問(wèn)的是默片劇院會(huì)使用怎樣的聲音。 選項(xiàng)A的意思是現(xiàn)場(chǎng)音樂(lè)演奏，選項(xiàng)B的意思是劇院里創(chuàng)造出來(lái)的音效，選項(xiàng)C的意思是錄制好的聲音，選項(xiàng)D的意思是電影里的現(xiàn)場(chǎng)旁白，選項(xiàng)E的意思是電影之前的音樂(lè)演出。選項(xiàng)ABD符合原文。其余兩個(gè)則不符合。
正確答案：A
題目解析：本題定位到原文：an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise. 此處原文的大意是：這一點(diǎn)很好地例證了當(dāng)時(shí)絕多數(shù)情況下只顧掙錢(qián)的影片制作人，對(duì)自己的觀眾沒(méi)信心，擔(dān)心不這么做，觀眾就看不懂電影了。題干問(wèn)的是教授對(duì)于早期電影制作人的態(tài)度。 選項(xiàng)A的意思是他對(duì)他們?cè)陔娪吧系挠绊懗峙械膽B(tài)度，選項(xiàng)B的意思是他覺(jué)得他們沒(méi)有影響電影，選項(xiàng)C的意思是他覺(jué)得他們能理解觀眾需要的東西，選項(xiàng)D的意思是他認(rèn)為他們可能會(huì)有進(jìn)步。只有選項(xiàng)A合適，其余三個(gè)選項(xiàng)均不符合原文。
正確答案：B
題目解析：本題定位到原文：So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. 此處原文的大意是：因此，20年代的電影基本上都是直接從舞臺(tái)(也就是劇院)里成功的戲劇直接轉(zhuǎn)換過(guò)來(lái)的。 題干問(wèn)的是二十世紀(jì)二十年代有聲電影的特征是什么。選項(xiàng)A的意思是角色之間的對(duì)話最少，選項(xiàng)B的意思是很多電影是緊緊基于戲劇的，選項(xiàng)C的意思是音樂(lè)被添加到了大多數(shù)電影里，選項(xiàng)D的意思是聲音被單獨(dú)錄制然后后期加進(jìn)電影里。選項(xiàng)B合適原文，其余三個(gè)選項(xiàng)均不合適。
正確答案：C
題目解析：本題定位到原文：Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous. 此處原文的大意是：除非我們看到無(wú)線電或者管弦樂(lè)隊(duì)，音樂(lè)就是“非同步聲”。如果攝像機(jī)拍到的是聽(tīng)眾，而不是演講者，那就是“非同步聲”。如果我們聽(tīng)到的不在屏幕上的背景音，那就是“非同步聲”。 題干問(wèn)的是同步聲的例子是哪一個(gè)。 選項(xiàng)A的意思是角色聽(tīng)到火車(chē)聲但看不到火車(chē)，選項(xiàng)B的意思是過(guò)去的對(duì)話在角色腦海中重現(xiàn)，選項(xiàng)C的意思是角色彈吉他唱歌，選項(xiàng)D的意思是片尾曲。只有選項(xiàng)C符合原文，其余三個(gè)選項(xiàng)不符合。
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TPO53托福閱讀Passage3題目及答案解析
