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<TD align=middle><FONT size=3>1997年1月托福阅读全真试题</FONT></TD></TR>
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<TD class=l17><FONT class=f14 id=zoom><BR>Questions
20-28<O:P> <SPAN style="mso-spacerun: yes"><BR>
</SPAN>The sculptural legacy that the new United States
inherited <BR>from its colonial predecessors was far from a
rich one, and <BR>in fact, in 1776 sculpture as an art form was
still in the hands <BR>of artisans and craftspeople. Stone
carvers engraved their motifs <BR>of skulls and crossbones and
other religious icons of death <BR>into the gray slabs that we
still see standing today in old burial <BR>grounds. Some
skilled craftspeople made intricately carved <BR>wooden
ornamentations for furniture or architectural
decorations, <BR>while others caved wooden shop signs and
ships' figureheads.<BR> Although they often achieved expression
and formal excellence <BR>in their generally primitive style,
they remained artisans <BR>skilled in the craft of carving and
constituted a group distinct <BR>from what we normally think of
as "sculptors" in today's <BR>use of the word.<O:P>
</O:P></SPAN>
<P></P>
<P class=MsoNormal><SPAN lang=EN-US><SPAN
style="mso-spacerun: yes"> </SPAN>On the rare occasion when a
fine piece of sculpture was <BR>desired, Americans turned to
foreign sculptors, as in the 1770's <BR>when the cities of New
York and Charleston, South Carolina, <BR>commissioned the
Englishman Joseph Wilton to make marble <BR>statues of William
Pitt. Wilton also made a lead equestrian <BR>image of King
George III that was created in New York in <BR>1770 and torn
down by zealous patriots six years later. A few <BR>marble
memorials with carved busts, urns, or other
decorations <BR>were produced in England and brought to the
colonies to <BR>be set in the walls of churches-as in King's
Chapel in <BR>Boston. But sculpture as a high art, practiced by
artists who <BR>knew both the artistic theory of their
Renaissance-Baroque-<BR>Rococo predecessors and the various
technical procedures of modeling,<BR>casting, and carving rich
three-dimensional forms, was <BR>not known among Americans in
1776. Indeed, for many years <BR>thereafter, the United States
had two groups from which to <BR>choose - either the local
craftspeople or the imported talent of <BR>European
sculptors.<O:P> </O:P></SPAN></P>
<P class=MsoNormal><SPAN lang=EN-US><SPAN
style="mso-spacerun: yes"> </SPAN>The eighteenth century was
not one in which powerful <BR>sculptural conceptions were
developed. Add to this the timidity <BR>with which unschooled
artisans - originally trained as stonemasons, <BR>carpenters,
or cabinetmakers - attacked the medium <BR>from which they were
to make their images, and one understands<BR>more fully the
development of sculpture made in the<BR>United States in the late
eighteenth century.<O:P> <BR>20.<SPAN
style="mso-tab-count: 1"> </SPAN>What is the main idea of the
passage?<O:P> <BR>(A)<SPAN style="mso-tab-count: 1">
</SPAN>There was great demand for the work of eighteenth-century
artisans.<O:P> <BR>(B)<SPAN style="mso-tab-count: 1">
</SPAN>Skilled sculptors did not exist in the United States in the
1770's.<O:P> <BR>(C)<SPAN style="mso-tab-count: 1">
</SPAN>Many foreign sculptors worked in the United States after
1776.<O:P> <BR>(D)<SPAN style="mso-tab-count: 1">
</SPAN>American sculptors were hampered by a lack of tools and
materials.<O:P> <BR>21.<SPAN
style="mso-tab-count: 1"> </SPAN>The word "motifs" in
line 3 is closest in meaning to<O:P> <BR>(A)<SPAN
style="mso-tab-count: 1"> </SPAN>tools<O:P> <BR>(B)<SPAN
style="mso-tab-count: 1"> </SPAN>prints<O:P>
<BR>(C)<SPAN style="mso-tab-count: 1">
</SPAN>signatures<O:P> <BR>(D)<SPAN
style="mso-tab-count: 1"> </SPAN>designs<O:P>
<BR>22.<SPAN style="mso-tab-count: 1"> </SPAN>The
work of which of the following could be seen in burial grounds?<O:P>
<BR>(A)<SPAN style="mso-tab-count: 1"> </SPAN>European
sculptors<O:P> <BR>(B)<SPAN style="mso-tab-count: 1">
</SPAN>Carpenters<O:P> <BR>(C)<SPAN
style="mso-tab-count: 1"> </SPAN>Stone carves<O:P>
<BR>(D)<SPAN style="mso-tab-count: 1">
</SPAN>Cabinetmakers<O:P> <BR>23.<SPAN
style="mso-tab-count: 1"> </SPAN>The word "other" in
line 6 refers to<O:P> <BR>(A)<SPAN
style="mso-tab-count: 1"> </SPAN>craftspeople<O:P>
<BR>(B)<SPAN style="mso-tab-count: 1">
</SPAN>decorations<O:P> <BR>(C)<SPAN
style="mso-tab-count: 1"> </SPAN>ornamentations<O:P>
<BR>(D)<SPAN style="mso-tab-count: 1"> </SPAN>shop signs<O:P>
<BR>24.<SPAN style="mso-tab-count: 1"> </SPAN>The
word "distinct" in line 9 is closest in meaning to<O:P>
<BR>(A)<SPAN style="mso-tab-count: 1">
</SPAN>separate<O:P> <BR>(B)<SPAN
style="mso-tab-count: 1"> </SPAN>assembled<O:P>
<BR>(C)<SPAN style="mso-tab-count: 1">
</SPAN>notable<O:P> <BR>(D)<SPAN style="mso-tab-count: 1">
</SPAN>inferior<O:P> <BR>25.<SPAN
style="mso-tab-count: 1"> </SPAN>The word "rare" in line
11 is closest in meaning to<O:P> <BR>(A)<SPAN
style="mso-tab-count: 1"> </SPAN>festive<O:P>
<BR>(B)<SPAN style="mso-tab-count: 1">
</SPAN>infrequent<O:P> <BR>(C)<SPAN
style="mso-tab-count: 1"> </SPAN>delightful<O:P>
<BR>(D)<SPAN style="mso-tab-count: 1">
</SPAN>unexpected<O:P> <BR>26.<SPAN
style="mso-tab-count: 1"> </SPAN>Why does the author
mention Joseph Wilton in line 13?<O:P> <BR>(A)<SPAN
style="mso-tab-count: 1"> </SPAN>He was an English sculptor
who did work in the United States.<O:P> <BR>(B)<SPAN
style="mso-tab-count: 1"> </SPAN>He was well known for his
wood carvings<O:P> <BR>(C)<SPAN
style="mso-tab-count: 1"> </SPAN>He produced sculpture for
churches.<O:P> <BR>(D)<SPAN style="mso-tab-count: 1">
</SPAN>He settled in the United States in 1776.<O:P>
<BR>27.<SPAN style="mso-tab-count: 1"> </SPAN>What
can be inferred about the importation of marble memorials from
England?<O:P> <BR>(A)<SPAN style="mso-tab-count: 1">
</SPAN>Such sculpture was less expensive to produce locally than to
import<O:P> <BR>(B)<SPAN style="mso-tab-count: 1">
</SPAN>Such sculpture was not available in the United States.<O:P>
<BR>(C)<SPAN style="mso-tab-count: 1"> </SPAN>Such
sculpture was as prestigious as those made locally.<O:P>
<BR>(D)<SPAN style="mso-tab-count: 1"> </SPAN>The materials
found abroad were superior.<O:P> <BR>28.<SPAN
style="mso-tab-count: 1"> </SPAN>How did the work of
American carvers in 1776 differ from that of contemporary
sculptors?<O:P> <BR>(A)<SPAN style="mso-tab-count: 1">
</SPAN>It was less time-consuming<O:P> <BR>(B)<SPAN
style="mso-tab-count: 1"> </SPAN>It was more dangerous.<O:P>
<BR>(C)<SPAN style="mso-tab-count: 1"> </SPAN>It was
more expensive.<O:P> <BR>(D)<SPAN
style="mso-tab-count: 1"> </SPAN>It was less
refined.<O:P> <BR></FONT></SPAN></P></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE>
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