托福reading(编辑修改稿)

托福reading(编辑修改稿)内容摘要：

d warp (C) willow and feathers (D) sedge and weaving 10. The word staples in line 23 is closest in meaning to (A) binations (B) limitations (C) accessories (D) basic elements 11. The word distinct in lime 26 is closest in meaning to (A) systematic (B) beautiful (C) different (D) patible 12. Which of the following statements about Pomo baskets can be best inferred from the passage ? (A) Baskets produced by other Native Americans were less varied in design than those of the Pomo people. (B) Baskets produced by Pomo weavers were primarily for ceremonial purposes. (C) There were a very limited number of basketmaking materials available to the Pomo people. (D) The basketmaking production of the Pomo people has increased over the years. PASSAGE 4 The term Hudson River school was applied to the foremost representatives of nieenthcentury North American landscape painting. Apparently unknown during the golden days of the American landscape movement, which began around 1850 and lasted until the late 186039。 s, the Hudson River school seems to have emerged in the 187039。 s as a direct result of the struggle between the old and the new generations of artists, each to assert its own style as the representative American art. The older painters, most of whom were born before 1835, practiced in a mode often selftaught and monopolized by landscape subject matter and were securely established in and fostered by the reigning American art anization, the National Academy of Design. The younger painters returning home from training in Europe worked more with figural subject matter and in a bold and impressionistic technique。 their prospects for patronage in their own country were uncertain, and they sought to attract it by attaining academic recognition in New York. One of the results of the conflict between the two factions was that what in previous years had been referred to as the American, native, or, occasionally, New York school — the most representative school of American art in any genre — had by 1890 bee firmly established in the minds of critics and public alike as the Hudson River school. The sobriquet was first applied around 1879. While it was not intended as flattering, it was hardly inappropriate. The Academicians at whom it was aimed had worked and socialized in New York, the Hudson39。 s port city, and had painted the river and its shores with varying frequency. Most important, perhaps, was that they had all maintained with a certain fidelity a manner of technique and position consistent with those of America39。 s first popular landscape artist, Thomas Cole, who built a career painting the Catskill Mountain scenery bordering the Hudson River. A possible implication in the term applied to the group of landscapists was that many of them had, like Cole, lived on or near the banks of the Hudson. Further, the river had long served as the principal route to other sketching grounds favored by the Academicians, particularly the Adirondacks and the mountains of Vermont and New Hampshire. 1. What does the passage mainly discuss? (A) The National Academy of Design (B) Paintings that featured the Hudson River (C) North American landscape paintings (D) The training of American artists in European academies 2. Before 1870, what was considered the most representative kind of American painting? (A) Figural painting (B) Landscape painting (C) Impressionistic painting (D) Historical painting 3. The word struggle in line 5 is closest in meaning to (A) connection (B) distance (C) munication (D) petition 4. The word monopolized in line 7 is closest in meaning to (A) alarmed (B) dominated (C) repelled (D) pursued 5. According to the passage , what was the function of the National Academy of Design for the painters born before 1835? (A) It mediated conflicts between artists. (B) It supervised the incorporation of new artistic techniques. (C) It determined which subjects were appropriate. (D) It supported their growth and development. 6. The word it in line 12 refers to (A) matter (B) technique (C) patronage (D) country 7. The word factions in line 13 is closest in meaning to (A) sides (B) people (C) cities (D) images 8. The word flattering in line 18 is closest in meaning to (A) expressive (B) serious (C) plimentary (D) flashy 9. Where did the younger generation of painters receive its artistic training? (A) In Europe (B) In the Adirondacks (C) In Vermont (D) In New Hampshire PASSAGE 5 Perhaps the most obvious way artistic creation reflects how people live is by mirroring the environment — the materials and technologies available to a culture. Stone, wood, tree bark, clay, and sand are generally available materials. In addition, depending on the locality, other resources may be accessible: shells, horns, gold, copper, and silver. The different uses to which societies put these materials are of interest to anthropologists who may ask, for example, why people choose to use clay and not copper when both items are available. Although there are no conclusive answers yet, the way in which a society views its environment is sometimes apparent in its choice and use of artistic materials. The use of certain metals, for example, may be reserved for ceremonial objects of special importance. Or the belief in the supernatural powers of a stone or tree may cause a sculptor to be sensitive to that material. What is particularly meaningful to anthropologist is the realization that although the materials available to a society may to some extent limit or influence what it can do artistically, the materials by no means determine what is done. Why do the artists in Japanese society rake sand into patterns。 and the artists。