劍橋雅思閱讀11原文真題解析
雅思閱讀部分的真題資料，同學們需要進行一些細緻的總結，比如說雅思閱讀解析其實就是很重要的內容，接下來就是小編給同學們帶來的關於劍橋雅思閱讀11原文解析(test2)的內容，一起來詳細的分析一下吧，希望對你們的備考有所幫助。
劍橋雅思閱讀11原文(test2)
READING PASSAGE 1
You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below.
Raising the Mary Rose
How a sixteenth-century warship was recovered from the seabed
On 19 July 1545, English and French fleets were engaged in a sea battle off the coast of southern England in the area of water called the Solent, between Portsmouth and the Isle of Wight. Among the English vessels was a warship by the name of Mary Rose. Built in Portsmouth some 35 years earlier, she had had a long and successful fighting career, and was a favourite of King Henry VIII. Accounts of what happened to the ship vary: while witnesses agree that she was not hit by the French, some maintain that she was outdated, overladen and sailing too low in the water, others that she was mishandled by undisciplined crew. What is undisputed, however, is that the Mary Rose sank into the Solent that day, taking at least 500 men with her. After the battle, attempts were made to recover the ship, but these failed.
The Mary Rose came to rest on the seabed, lying on her starboard (right) side at an angle of approximately 60 degrees. The hull (the body of the ship) acted as a trap for the sand and mud carried by Solent currents. As a result, the starboard side filled rapidly, leaving the exposed port (left) side to be eroded by marine organisms and mechanical degradation. Because of the way the ship sank, nearly all of the starboard half survived intact. During the seventeenth and eighteenth centuries, the entire site became covered with a layer of hard grey clay, which minimised further erosion.
Then, on 16 June 1836, some fishermen in the Solent found that their equipment was caught on an underwater obstruction, which turned out to be the Mary Rose. Diver John Deane happened to be exploring another sunken ship nearby, and the fishermen approached him, asking him to free their gear. Deane dived down, and found the equipment caught on a timber protruding slightly from the seabed. Exploring further, he uncovered several other timbers and a bronze gun. Deane continued diving on the site intermittently until 1840, recovering several more guns, two bows, various timbers, part of a pump and various other small finds.
The Mary Rose then faded into obscurity for another hundred years. But in 1965, military historian and amateur diver Alexander McKee, in conjunction with the British Sub-Aqua Club, initiated a project called ‘Solent Ships’. While on paper this was a plan to examine a number of known wrecks in the Solent, what McKee really hoped for was to find the Mary Rose. Ordinary search techniques proved unsatisfactory, so McKee entered into collaboration with Harold E. Edgerton, professor of electrical engineering at the Massachusetts Institute of Technology. In 1967, Edgerton’s side-scan sonar systems revealed a large, unusually shaped object, which McKee believed was the Mary Rose.
Further excavations revealed stray pieces of timber and an iron gun. But the climax to the operation came when, on 5 May 1971, part of the ship’s frame was uncovered. McKee and his team now knew for certain that they had found the wreck, but were as yet unaware that it also housed a treasure trove of beautifully preserved artefacts. Interest in the project grew, and in 1979, The Mary Rose Trust was formed, with Prince Charles as its President and Dr Margaret Rule its Archaeological Director. The decision whether or not to salvage the wreck was not an easy one, although an excavation in 1978 had shown that it might be possible to raise the hull. While the original aim was to raise the hull if at all feasible, the operation was not given the go-ahead until January 1982, when all the necessary information was available.
An important factor in trying to salvage the Mary Rose was that the remaining hull was an open shell. This led to an important decision being taken: namely to carry out the lifting operation in three very distinct stages. The hull was attached to a lifting frame via a network of bolts and lifting wires. The problem of the hull being sucked back downwards into the mud was overcome by using 12 hydraulic jacks. These raised it a few centimetres over a period of several days, as the lifting frame rose slowly up its four legs. It was only when the hull was hanging freely from the lifting frame, clear of the seabed and the suction effect of the surrounding mud, that the salvage operation progressed to the second stage. In this stage, the lifting frame was fixed to a hook attached to a crane, and the hull was lifted completely clear of the seabed and transferred underwater into the lifting cradle. This required precise positioning to locate the legs into the ‘stabbing guides’ of the lifting cradle. The lifting cradle was designed to fit the hull using archaeological survey drawings, and was fitted with air bags to provide additional cushioning for the hull’s delicate timber framework. The third and final stage was to lift the entire structure into the air, by which time the hull was also supported from below. Finally, on 11 October 1982, millions of people around the world held their breath as the timber skeleton of the Mary Rose was lifted clear of the water, ready to be returned home to Portsmouth.
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 is some doubt about what caused the Mary Rose to sink.
2 The Mary Rose was the only ship to sink in the battle of 19 July 1545.
3 Most of one side of the Mary Rose lay undamaged under the sea.
4 Alexander McKee knew that the wreck would contain many valuable historical objects.
Questions 5-8
Look at the following statements (Questions 5-8) and the list of dates below.
Match each statement with the correct date, A-G.
Write the correct letter, A-G, in boxes 5-8 on your answer sheet.
5 A search for the Mary Rose was launched.
6 One person’s exploration of the Mary Rose site stopped.
7 It was agreed that the hull of the Mary Rose should be raised.
8 The site of the Mary Rose was found by chance.
List of Dates
A 1836 E 1971
B 1840 F 1979
C 1965 G 1982
D 1967
Questions 9-13
Label the diagram below.
Choose NO MORE THAN TWO WORDS from the passage for each answer.
Write your answers in boxes 9-13 on your answer sheet.
Raising the hull of the Mary Rose: Stages one and two
READING PASSAGE 2
You should spend about 20 minutes on Questions 14-26, which are based on Reading Passage 2 on the following pages.
Questions 14-20
Reading Passage 2 has seven paragraphs, A-G.
Choose the correct heading for each paragraph from the list of headings below.
Write the correct number, i-ix, in boxes 14-20 on your answer sheet.
List of Headings
i Evidence of innovative environment management practices
ii An undisputed answer to a question about the moai
iii The future of the moai statues
iv A theory which supports a local belief
v The future of Easter Island
vi Two opposing views about the Rapanui people
vii Destruction outside the inhabitants’ control
viii How the statues made a situation worse
ix Diminishing food resources
14 Paragraph A
15 Paragraph B
16 Paragraph C
17 Paragraph D
18 Paragraph E
19 Paragraph F
20 Paragraph G
What destroyed the civilisation of Easter Island?
A Easter Island, or Rapu Nui as it is known locally, is home to several hundred ancient human statues ?— the moai. After this remote Pacific island was settled by the Polynesians, it remained isolated for centuries. All the energy and resources that went into the moai — some of which are ten metres tall and weigh over 7,000 kilos — came from the island itself. Yet when Dutch explorers landed in 1722, they met a Stone Age culture. The moai were carved with stone tools, then transported for many kilometres, without the use of animals or wheels, to massive stone platforms. The identity of the moai builders was in doubt until well into the twentieth century. Thor Heyerdahl, the Norwegian ethnographer and adventurer, thought the statues had been created by pre-lnca peoples from Peru. Bestselling Swiss author Erich von Daniken believed they were built by stranded extraterrestrials. Modern science — linguistic, archaeological and genetic evidence — has definitively proved the moai builders were Polynesians, but not how they moved their creations. Local folklore maintains that the statues walked, while researchers have tended to assume the ancestors dragged the statues somehow, using ropes and logs.
B When the Europeans arrived, Rapa Nui was grassland, with only a few scrawny trees. In the 1970s and 1980s, though, researchers found pollen preserved in lake sediments, which proved the island had been covered in lush palm forests for thousands of years. Only after the Polynesians arrived did those forests disappear. US scientist Jared Diamond believes that the Rapanui people — descendants of Polynesian settlers — wrecked their own environment. They had unfortunately settled on an extremely fragile island — dry, cool, and too remote to be properly fertilised by windblown volcanic ash. When the islanders cleared the forests for firewood and farming, the forests didn’t grow back. As trees became scarce and they could no longer construct wooden canoes for fishing, they ate birds. Soil erosion decreased their crop yields. Before Europeans arrived, the Rapanui had descended into civil war and cannibalism, he maintains. The collapse of their isolated civilisation, Diamond writes, is a ‘worst-case scenario for what may lie ahead of us in our own future’.
C The moai, he thinks, accelerated the self-destruction. Diamond interprets them as power displays by rival chieftains who, trapped on a remote little island, lacked other ways of asserting their dominance. They competed by building ever bigger figures. Diamond thinks they laid the moai on wooden sledges, hauled over log rails, but that required both a lot of wood and a lot of people. To feed the people, even more land had to be cleared. When the wood was gone and civil war began, the islanders began toppling the moai. By the nineteenth century none were standing.
D Archaeologists Terry Hunt of the University of Hawaii and Carl Lipo of California State University agree that Easter Island lost its lush forests and that it was an ‘ecological catastrophe’ — but they believe the islanders themselves weren’t to blame. And the moai certainly weren’t. Archaeological excavations indicate that the Rapanui went to heroic efforts to protect the resources of their wind-lashed, infertile fields. They built thousands of circular stone windbreaks and gardened inside them, and used broken volcanic rocks to keep the soil moist. In short, Hunt and Lipo argue, the prehistoric Rapanui were pioneers of sustainable farming.
E Hunt and Lipo contend that moai-building was an activity that helped keep the peace between islanders. They also believe that moving the moai required few people and no wood, because they were walked upright. On that issue, Hunt and Lipo say, archaeological evidence backs up Rapanui folklore. Recent experiments indicate that as few as 18 people could, with three strong ropes and a bit of practice, easily manoeuvre a 1,000 kg moai replica a few hundred metres. The figures’ fat bellies tilted them forward, and a D-shaped base allowed handlers to roll and rock them side to side.
F Moreover, Hunt and Lipo are convinced that the settlers were not wholly responsible for the loss of the island’s trees. Archaeological finds of nuts from the extinct Easter Island palm show tiny grooves, made by the teeth of Polynesian rats. The rats arrived along with the settlers, and in just a few years, Hunt and Lipo calculate, they would have overrun the island. They would have prevented the reseeding of the slow-growing palm trees and thereby doomed Rapa Nui’s forest, even without the settlers’ campaign of deforestation. No doubt the rats ate birds’ eggs too. Hunt and Lipo also see no evidence that Rapanui civilisation collapsed when the palm forest did. They think its population grew rapidly and then remained more or less stable until the arrival of the Europeans, who introduced deadly diseases to which islanders had no immunity. Then in the nineteenth century slave traders decimated the population, which shrivelled to 111 people by 1877.
G Hunt and Lipo’s vision, therefore, is one of an island populated by peaceful and ingenious moai builders and careful stewards of the land, rather than by reckless destroyers ruining their own environment and society. ‘Rather than a case of abject failure, Rapu Nui is an unlikely story of success’, they claim. Whichever is the case, there are surely some valuable lessons which the world at large can learn from the story of Rapa Nui.
Questions 21-24
Complete the summary below.
Choose ONE WORD ONLY from the passage for each answer.
Write your answers in boxes 21-24 on your answer sheet.
Jared Diamond’s View
Diamond believes that the Polynesian settlers on Rapa Nui destroyed its forests, cutting down its trees for fuel and clearing land for 21 __________. Twentieth-century discoveries of pollen prove that Rapu Nui had once been covered in palm forests, which had turned into grassland by the time the Europeans arrived on the island. When the islanders were no longer able to build the 22 __________ they needed to go fishing, they began using the island’s 23 __________ as a food source, according to Diamond. Diamond also claims that the moai were built to show the power of the island’s chieftains, and that the methods of transporting the statues needed not only a great number of people, but also a great deal of 24 __________.
Questions 25 and 26
Choose TWO letters, A-E.
Write the correct letters in boxes 25 and 26 on your answer sheet.
On what points do Hunt and Lipo disagree with Diamond?
A the period when the moai were created
B how the moai were transported
C the impact of the moai on Rapanui society
D how the moai were carved
E the origins of the people who made the moai
READING PASSAGE 3
You should spend about 20 minutes on Questions 27-40, which are based on Reading Passage 3 below.
Neuroaesthetics
An emerging discipline called neuroaesthetics is seeking to bring scientific objectivity to the study of art, and has already given us a better understanding of many masterpieces. The blurred imagery of Impressionist paintings seems to stimulate the brain’s amygdala, for instance. Since the amygdala plays a crucial role in our feelings, that finding might explain why many people find these pieces so moving.
Could the same approach also shed light on abstract twentieth-century pieces, from Mondrian’s geometrical blocks of colour, to Pollock’s seemingly haphazard arrangements of splashed paint on canvas? Sceptics believe that people claim to like such works simply because they are famous. We certainly do have an inclination to follow the crowd. When asked to make simple perceptual decisions such as matching a shape to its rotated image, for example, people often choose a definitively wrong answer if they see others doing the same. It is easy to imagine that this mentality would have even more impact on a fuzzy concept like art appreciation, where there is no right or wrong answer.
Angelina Hawley-Dolan, of Boston College, Massachusetts, responded to this debate by asking volunteers to view pairs of paintings — either the creations of famous abstract artists or the doodles of infants, chimps and elephants. They then had to judge which they preferred. A third of the paintings were given no captions, while many were labelled incorrectly — volunteers might think they were viewing a chimp’s messy brushstrokes when they were actually seeing an acclaimed masterpiece. In each set of trials, volunteers generally preferred the work of renowned artists, even when they believed it was by an animal or a child. It seems that the viewer can sense the artist’s vision in paintings, even if they can’t explain why.
Robert Pepperell, an artist based at Cardiff University, creates ambiguous works that are neither entirely abstract nor clearly representational. In one study, Pepperell and his collaborators asked volunteers to decide how ‘powerful’ they considered an artwork to be, and whether they saw anything familiar in the piece. The longer they took to answer these questions, the more highly they rated the piece under scrutiny, and the greater their neural activity. It would seem that the brain sees these images as puzzles, and the harder it is to decipher the meaning, the more rewarding is the moment of recognition.
And what about artists such as Mondrian, whose paintings consist exclusively of horizontal and vertical lines encasing blocks of colour? Mondrian’s works are deceptively simple, but eye-tracking studies confirm that they are meticulously composed, and that simply rotating a piece radically changes the way we view it. With the originals, volunteers’ eyes tended to stay longer on certain places in the image, but with the altered versions they would flit across a piece more rapidly. As a result, the volunteers considered the altered versions less pleasurable when they later rated the work.
In a similar study, Oshin Vartanian of Toronto University asked volunteers to compare original paintings with ones which he had altered by moving objects around within the frame. He found that almost everyone preferred the original, whether it was a Van Gogh still life or an abstract by Miro. Vartanian also found that changing the composition of the paintings reduced activation in those brain areas linked with meaning and interpretation.
In another experiment, Alex Forsythe of the University of Liverpool analysed the visual intricacy of different pieces of art, and her results suggest that many artists use a key level of detail to please the brain. Too little and the work is boring, but too much results in a kind of ‘perceptual overload’; according to Forsythe. What’s more, appealing pieces both abstract and representational, show signs of ‘fractals’ — repeated motifs recurring in different scales. Fractals are common throughout nature, for example in the shapes of mountain peaks or the branches of trees. It is possible that our visual system, which evolved in the great outdoors, finds it easier to process such patterns.
It is also intriguing that the brain appears to process movement when we see a handwritten letter, as if we are replaying the writer’s moment of creation. This has led some to wonder whether Pollock’s works feel so dynamic because the brain reconstructs the energetic actions the artist used as he painted. This may be down to our brain’s ‘mirror neurons’, which are known to mimic others’ actions. The hypothesis will need to be thoroughly tested, however. It might even be the case that we could use neuroaesthetic studies to understand the longevity of some pieces of artwork. While the fashions of the time might shape what is currently popular, works that are best adapted to our visual system may be the most likely to linger once the trends of previous generations have been forgotten.
It’s still early days for the field of neuroaesthetics — and these studies are probably only a taste of what is to come. It would, however, be foolish to reduce art appreciation to a set of scientific laws. We shouldn’t underestimate the importance of the style of a particular artist, their place in history and the artistic environment of their time. Abstract art offers both a challenge and the freedom to play with different interpretations. In some ways, it’s not so different to science, where we are constantly looking for systems and decoding meaning so that we can view and appreciate the world in a new way.
Questions 27-30
Choose the correct letter, A, B, C or D.
Write the correct letter in boxes 27-30 on your answer sheet.
27 In the second paragraph, the writer refers to a shape-matching test in order to illustrate
A the subjective nature of art appreciation.
B the reliance of modern art on abstract forms.
C our tendency to be influenced by the opinions of others.
D a common problem encountered when processing visual data.
28 Angelina Hawley-Dolan’s findings indicate that people
A mostly favour works of art which they know well.
B hold fixed ideas about what makes a good work of art.
C are often misled by their initial expectations of a work of art.
D have the ability to perceive the intention behind works of art.
29 Results of studies involving Robert Pepperell’s pieces suggest that people
A can appreciate a painting without fully understanding it.
B find it satisfying to work out what a painting represents.
C vary widely in the time they spend looking at paintings.
D generally prefer representational art to abstract art.
30 What do the experiments described in the fifth paragraph suggest about the paintings of Mondrian?
A They are more carefully put together than they appear.
B They can be interpreted in a number of different ways.
C They challenge our assumptions about shape and colour.
D They are easier to appreciate than many other abstract works.
Questions 31-33
Complete the summary using the list of words, A-H, below.
Write the correct letters, A-H, in boxes 31-33 on your answer sheet.
Art and the Brain
The discipline of neuroaesthetics aims to bring scientific objectivity to the study of art. Neurological studies of the brain, for example, demonstrate the impact which Impressionist paintings have on our 31 __________. Alex Forsythe of the University of Liverpool believes many artists give their works the precise degree of 32 __________ which most appeals to the viewer’s brain. She also observes that pleasing works of art often contain certain repeated 33 __________ which occur frequently in the natural world.
A interpretation B complexity C emotions
D movements E skill F layout
G concern H images
Questions 34-39
Do the following statements agree with the views of the writer in Reading Passage 3?
In boxes 34-39 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 there is no information on this
34 Forsythe’s findings contradicted previous beliefs on the function of ‘fractals’ in art.
35 Certain ideas regarding the link between ‘mirror neurons’ and art appreciation require further verification.
36 People’s taste in paintings depends entirely on the current artistic trends of the period.
37 Scientists should seek to define the precise rules which govern people’s reactions to works of art.
38 Art appreciation should always involve taking into consideration the cultural context in which an artist worked.
39 It is easier to find meaning in the field of science than in that of art.
Question 40
Choose the correct letter, A, B, C or D.
Write the correct letter in box 40 on your answer sheet.
40 What would be the most appropriate subtitle for the article?
A Some scientific insights into how the brain responds to abstract art
B Recent studies focusing on the neural activity of abstract artists
C A comparison of the neurological bases of abstract and representational art
D How brain research has altered public opinion about abstract art
劍橋雅思閱讀11原文參考譯文(test2)
PASSAGE 1 參考譯文：
打撈瑪麗玫瑰號船
記一艘16世紀的戰艦是如何從海底被打撈的
索倫特水域地處英國南部海岸，位於朴茨茅斯和懷特島之間，1545年7月19日，英國與法國艦隊在這裏展開了一場海戰。英國艦隊中的一艘戰艦名爲瑪麗玫瑰號。戰艦於35年前在朴茨茅斯建造，她擁有長久而勝利的戰鬥歷程，並且是國王亨利八世最喜愛的戰艦。關於戰艦上發生的事情說法各異：目擊者認爲戰艦並非被法國人擊中，有些人認爲她過於老化，載重過多，並且在水中航行過低，另一些人認爲戰艦被不守紀律的船員進行了不當操作。然而無可爭議的是，瑪麗玫瑰號在那一天沉入索倫特海峽，船上至少有500人。戰後人們試圖找到這艘船，但均未成功。
瑪麗玫瑰號靠在海底，以大約60度的角度倒向其右舷一側。索倫特洋流帶來的沙土和淤泥進入船體。因此，右舷一側很快被填滿，留下左側經受海洋生物和機械降解的侵蝕。由於船隻沉沒的方式，右舷一側幾乎完整地保留了下來。在17和18世紀，整片區域被一層堅硬的灰色粘土覆蓋，這使進一步的侵蝕降到最低。
然後，在1836年6月16日，索倫特海灣的一些漁民發現他們的設備被海底的某個障礙物卡住，而這正是瑪麗玫瑰號。潛水員John Deane恰好正在探索附近的另一艘沉沒船隻，漁民靠近他，請他幫助鬆開齒輪。Deane下潛後發現設備被海底一個木製的輕微突出物體卡住。繼續探査後，他發現了更多的木料以及一把銅製槍支。Deane斷斷續續地繼續潛入這個地點直至1840年，他發現了更多的槍支、兩把弓、各種各樣的木製品、一隻水泵的部件，以及各種各樣的其他零碎物品。
瑪麗玫瑰號隨後又銷聲匿跡幾百年。但是在1965年，軍事史學家、業餘潛水員Alexander McKee和英國潛水俱樂部，聯合發起了一項名爲“索倫特海峽的船隻”的項目。在名義上這是一項研究很多索倫特海峽已知沉船的計劃，而McKee真正希望的是找到瑪麗玫瑰號。常規的搜索技術被證明無法令人滿意，因此McKee開始同麻省理工學院的電子工程學教授Harold E. Edgerton合作。1967年，Edgerton的側向掃描聲納系統展示出一個巨大的、形態獨特的物體，McKee相信這就是瑪麗玫瑰號。
進一步的發掘工作找到了散落的木頭碎片以及一把銅製槍支。但是這個項目的高潮在1971年5月5 曰來到，船隻結構框架的一部分被找到。McKee及其團隊確信他們找到了沉船，但尚未意識到其中還有保存完好的精美工藝品寶藏。公衆對這個項目的興趣在増加，1979年，瑪麗玫瑰號信託基金成立，Charles王子擔任主席，Margaret Rule博士擔任考古負責人。儘管1978年的發掘工作已經顯示可能能夠打撈起整個船體，而做出是否打撈船隻的決定卻並非易事。儘管最初的目標是在一切可行的情況下打撈起整個船體，但這一操作直1982年1月所有需要的信息都完備的時候才被允許執行。
試圖打撈起瑪麗玫瑰號要考慮的一個重要因素在於殘留的船體是一個打開的外殼。這導致了一項重要的決定：即在三個非常重要的階段進行起重操作。船體通過一系列螺栓和起吊索貼緊起吊架。通過使用12臺液壓起重機解決了船體被向下吸回到泥土中的問題。隨着起吊架緩慢地升起它的四個支腳，船體在幾天的時間裏升起了幾釐米。只有當船體完全懸掛在起吊架上，不受海底和周圍泥土的吸力影響時，救援作業才進入到了第二個階段。在這一階段，起吊架被固定在一個綁在起重機上的掛鉤上，船體被升起，完全脫離海底並在水下被轉移至升降籃中。這要求精準的定位來將支腳固定在升降籃的“對扣引導”上。使用考古勘測繪圖來設計升降籃與船體匹配，並且匹配氣囊來爲船體脆弱的木質框架提供額外的緩衝。第三個也是最後一個階段是將整個船體升起到空中，同時船體從下方得到支撐。最終，在1982年10月11日，全世界數百萬人屏吸見證瑪麗玫瑰號的木質骨架升離水面，等待回到朴茨茅斯。
TEST 2 PASSAGE 2 參考譯文：
什麼破壞了復活節島的文明?
A 復活節島，在當地被稱爲拉帕努伊(Rapu Nui)，是幾百個遠古人類雕像(摩艾像)的故鄉。波利尼西亞人(Polynesians)在這個遙遠的太平洋島嶼定居之後，在幾個世紀裏復活節島都與世隔絕。一些摩艾像高達十米，重量超過7000公斤，它們所需的所有能源和資源都來自島嶼自身。當荷蘭探險家在1722年登陸時，他們見到了石器時代文化。摩艾像由石器工具雕刻而成，之後在沒有使用動物或車輛的情況下長途運送，到巨大的石臺上。摩艾像建造者的身份直到20世紀才確定。 來自挪威的民族誌學者以及探險家Thor Heyerdahl認爲，雕像由祕魯的前印加時代的人們建立。瑞士暢銷作家Erich von Daniken認爲它們由滯留的外星人建立。現代科學(語言學、考古學和遺傳學證據)確切地證明了摩艾像的建造者爲波利尼西亞人，但並不清楚他們如何移動自己的創作品。當地傳說認爲雕像可以行走，而研究者往往認爲當地祖先使用了某些方式拖拽雕像，如使用繩索或原木。
B 當歐洲人抵達時，拉帕努伊是一片草原，只有很少的小樹木。但是在20世紀70年代和80年代，研究者們在湖泊沉積物中發現了花粉，證明島嶼曾被鬱鬱蔥蔥的棕櫚樹林覆蓋了幾千年。只是在波利尼西亞人到來之後這些樹林才消失。美國科學家Jared Diamond認爲是拉帕努伊人(波利尼西亞定居者的後代)破壞了他們自己的環境。他們不幸地定居在了一座板度脆弱的島嶼——乾燥，寒冷，太遙遠以至於無法得到風吹來的火山灰而變得豐饒。當島上居民爲了木柴和農耕清除了樹林，森林便不再生長。隨着樹木的減少，他們不再能夠建造獨木舟來捕魚，轉而以鳥類爲食。水土流失降低了他們的作物產量。他說，在歐洲人來到之前，拉帕努伊淪落到了內戰和自相殘殺的地步。他寫到，他們文明的坍塌，是一種“在我們自己的未來，可能出現在我們面前的最壞情況”。
C 他認爲摩艾像加速了當地的自我毀滅。Diamond將其解釋爲一種競爭的首領之間的力量展示，他們被困在遙遠的小島上，沒有其他方式來鞏固自己的統治。因此他們通過建造越來越大的人像來競爭。Diamond認爲他們將摩艾像放在木質雪橇上，在木軌上拉動，但這需要大量的木頭和人力。爲了供養他們，需要清理掉更多的土地。當木頭用光，內戰開始，島上居民開始推翻摩艾像。到19世紀已經沒有摩艾像屹立在那裏了。
D 夏威夷大學的考古學家Terry Hunt和加州州立大學的Carl Lipo認爲復活節島失去了茂盛的樹林是一種“生態災難”——但他們認爲島上的居民本身不應該受到指責。摩艾像當然也不應該受到指責。考古發掘表明拉帕努伊人做出了巨大的努力去保護他們受狂風席捲且並不肥沃的土地。他們建造了上千的環形石頭防風林，在其中栽培花木，並使用破碎的火山岩保持土壤溼潤。簡言之，Hunt和 Lipo認爲，史前的拉帕努伊人是可持續農業的先行者。
E Hunt和Lipo認爲摩艾像的建立是一項有助於維持島上居民間和平的活動。他們同樣認爲移動摩艾像並不需要多少人力，也不需要木頭，因爲它們可以直立移動。Hunt和Lipo說，在這個問題上，考古學證據支持拉帕努伊的民間說法。最近的實驗表明，三條結實的繩子再加上一些練習，僅僅18個人就能夠輕鬆地控制一座1000公斤的摩艾像複製品移動幾百米。人像較大的腹部使它們向前傾斜，D字形的底部使操作人員可以把它們從一側滾向另一側。
F 此外，Hunt和Lipo相信樹木破壞並非完全由島上居民所致。考古學研究發現在已經滅絕的復活節島的棕櫚樹上的堅果顯示出微小的凹槽，這是波利尼西亞鼠的牙齒造成的。Hunt和Lipo估計鼠類同定居者一同到達這裏，在短短几年間，它們就覆蓋了整座島嶼。也許是它們阻止了緩慢生長的棕櫚樹林的再次播種，因而甚至在沒有居民進行森林砍伐的情況下，註定了拉帕努伊森林的毀滅。毫無疑問老鼠也會以鳥類的蛋爲食。Hunt和Lipo同樣發現沒有證據表明拉帕努伊文明在棕櫚樹林消失時坍塌。他們認爲在歐洲人到來之前，島上人口在快速増加之後保持了或多或少的穩定，歐洲人帶來了致命的疾病，而島上居民對這些疾病並不具備免疫能力。之後19世紀販奴商大量殺害島民，到1877年人口僅剩111人。
G 因此，以Hunt和Lipo的觀點來看，這個島嶼上居住着和平的有獨創性的摩艾像建造者們以及小心翼翼的土地維護者，而不是不計後果毀掉自己的環境與社會的破壞者。他們認爲“拉帕努伊是一個不太可能的成功故事，而非一個不幸的失敗事件”。不論事實如何，必然存在一些整個世界可以從拉帕努伊的故事上學到的寶貴經驗。
TEST 2 PASSAGE 3 參考譯文：
神經美學
一種稱爲神經美學的新興學科正試圖將科學的客觀性引入藝術研究，並且已經帶給我們對很多名作更好的理解。例如，印象派繪畫模糊的圖像似乎可以刺激大腦杏仁核。由於杏仁覈對我們的感覺有至關重要的作用，這一發現或許可以解釋爲什麼很多人認爲這些畫如此生動。
同樣的方法也可以用於闡釋抽象的20世紀作品麼?從蒙德里安的幾何色塊，到波洛克看上去似乎隨意潑在畫布上的色彩?懷疑論者相信人們聲稱喜歡這些作品僅僅是因爲它們非常有名。我們確實有從衆的傾向。例如，當被要求做出簡單的知覺判斷比如給旋轉的圖像匹配形狀，如果人們看到他人做出同樣的行爲，他們經常會選擇錯誤的答案。很容易想象這種心態對模糊概念會有更多影響，例如藝術鑑賞，在這方面沒有正確或錯誤答案之分。
馬薩諸塞州波士頓學院的Angelina Hawley-Dolan迴應這一爭論的方式是讓志願者們觀察一些作品——著名抽象派畫家的作品或是嬰兒、猩猩或大象的塗鴉。他們需要判斷更喜歡哪一種。有三分之一的作品沒有給出圖片說明，而很多是被錯誤標註的——當志願者看到一幅受人讚揚的名畫時，他們可能認爲自己正在觀看黑猩猩雜亂無章的繪畫。在每一組試驗中，志願者往往更喜歡著名藝術家的作品，即使他們認爲這是由動物或兒童完成的。似乎觀察者能夠感覺到藝術家在作品中的意義，即使他們無法解釋爲什麼。
卡迪夫大學的藝術家Robert Pepperell創作了模棱兩可的作品，它們既不是完全抽象的，也不是清晰具象的。在一項研究中，Pepperell和他的同事要求志願者判斷他們認爲一幅作品是多麼“有力”，以及他們是否在作品中看到了任何熟悉的事物。他們用來回答問題的時間越久，經過觀察後給出的分數越高，並且他們的神經活動越活躍。這或許意味着大腦將這些圖像看做謎題，破解其含義的過程越困難，識別的時候就會有更多收穫感。
那麼像蒙德里安這樣的藝術家呢?他的作品完全由水平的和垂直的線條將彩色的色塊包含其中。蒙德里安的作品使人誤以爲非常簡單，但是眼球追蹤研究證明這些作品被細緻地創作，並且僅僅旋轉圖畫就會徹底改變我們欣賞它的方式。對於原作，志願者的眼睛往往在圖畫的特定地點停留較長時間，但是對於改動過的版本他們會更快地掠過。因此，當志願者們隨後對作品進行評分吋，他們認爲改動過的版本不那麼令人愉快。
在一項類似的研究中，多倫多大學的Oshin Vartanian要求志願者比較原作和在作品框架內移動物體後的作品。他發現幾乎每個人都更喜歡原作，無論它是梵高的靜物作品還是米羅的抽象派作品。Vartanian同樣發現改變繪畫的構成方式會降低那些與意義和理解有關的大腦區域的激活。
在另一項實驗中，利物浦大學的Alex Forsythe研究了不同藝術作品的視覺複雜性，她的研究結果表明很多藝術家使用關鍵的細節來令大腦愉悅。根據Forsythe的觀點，細節太少，作品會過於乏味，而細節太多會導致一種“知覺超載”。此外，吸引人的作品，無論抽象或具象，都表現出“分形”的跡象——重複的圖形以不同的比例重現。分形在自然中非常普遍，例如在山峯或是樹枝的形狀中。可能我們在戶外進化的視覺系統發現處理這類模式更爲簡單。
同樣有趣的是當我們看一封手寫的信件時，大腦會對動作進行加工，就像我們在重放作者的創作過程。這使得一些人猜想是否波洛克的作品令人感覺如此生動是因爲大腦重建了作者繪畫時使用的生動動作。這可能是由於我們大腦的“鏡像神經元”，它們會模仿他人的動作。然而，這一假設需要被徹底地驗證。或許我們甚至可以使用神經美學研究來理解一些藝術作品的經久不衰。一時的時尚可能會造就當今流行什麼，一旦之前的流行趨勢被忘記，最適應我們視覺系統的作品或許最有可能被留下。
神經美學領域依然處於初期階段——這些研究或許僅僅是一種嘗試。然而，將美學鑑賞簡化爲一系列科學法則是不明智的。我們不應該低估某類特定藝術家的風格、歷史地位及其所處時代的藝術環境的重要性。抽象派藝術對不同的詮釋方式提供了挑戰與自由。通過某些方式，藝術與科學不會如此之不同，在科學領域中，我們一直在尋找系統並解碼其含義，這樣我們可以以一種新的方式觀察和欣賞這個世界。
答案解析
Passage1
Question 1
答案： True
關鍵詞： Mary Rose, sink
定位原文: 第1段第4句“Accounts of what... ” 瑪麗玫瑰號沉沒的原因，有很多種解釋，有些人說這樣……，另一些人……。
解題思路: 其中可以看到 while witnesses agree that..., some maintain that..., others that…這一結構，說明人們對於其沉沒原因並沒有達成共識，與題目的“對於瑪麗玫瑰號爲何沉沒存在一些爭議”表述一致。
Question 2
答案： NOT GIVEN
關鍵詞： 19 July 1545, sink
定位原文： 時間出現在第1段第1句，後面的信息出現在第5句“What is undisputed... ”然而無可爭議的是，瑪麗玫瑰號在那一天沉入索倫特海峽，船上至少有500人。
解題思路： 文中只提到戰艦沉沒，關於“是否是唯一”這一 點並沒有提及，而題目說瑪麗玫瑰號是1545年7月19日的戰鬥中唯一沉沒的船隻，因此本題答案爲NOT GIVEN。
Question 3
答案： True
關鍵詞： one side the Mary Rose
定位原文： 第2段第4句“Because of the way the ship sank …” 由於船隻沉沒的方式，右舷一側幾乎完整地保留了下來。
解題思路：文章第二段對瑪麗玫瑰號在海底的情況進行了描述，其中第四句說到右舷一側幾乎被 完整地保留了下來，這與題目中的表述“瑪麗玫瑰號的一側大部分在海中沒有受到破壞。”一致，因此本題答案爲TRUE。
Question 4
答案： False
關鍵詞： historical objects
對應原文： 第5段第3句“McKee and his team now knew…” McKee及其團隊確信他們找到了沉船，但尚未意識到其中還有保存完好的精美工藝品寶藏。
解題思路： 本題說McKee知道沉船中會有許多historical objects,而根據第5段第3句的描述， McKee 和他的團隊 unaware that it also housed a treasure trove…說明他們並不知道這一情況，因此題目表述與原文相反，本題答案爲 FALSE。
Question 5
答案： C
關鍵詞： launched
定位原文： 第4段前兩句“The Mary Rose then faded into …”瑪麗玫瑰號隨後又銷聲匿跡幾百年。但是在1965年，軍事史學家、業餘潛水員Alexander McKee和英國潛水俱樂部，聯合發起了一項名爲“索倫特海峽的船隻”的項目。
解題思路： 第四段 中的initiated與題目中的launched爲同義替換，與“一項瑪麗玫瑰號的搜索行動啓動”爲同義表達。所以選1965年。
Question 6
答案: B
關鍵詞: stopped
定位原文: 第3段最後一句“Deane continued … ”Deane斷斷續續地繼續潛入這個地點直至1840年，他發現了更多的槍支、兩把弓、各種各樣的木製品、一隻水泵的部件，以及各種各樣的其他零碎物品。第4段第1句：“The Mary Rose…” 瑪麗玫瑰號隨後又銷聲匿跡幾百年。
解題思路： John Deane在瑪麗玫瑰號所在的海域進行了搜索並且 發現了一系列物品，其後在第四段第一句說到之後的幾百年都沒有再進行這樣的行爲，說明Deane的搜索行爲stopped，與題目中“一個人對瑪麗玫瑰號的搜索停止”表述一致。
Question 7
答案： G
關鍵詞： agreed
定位原文： 第5段最後一句“While the original aim …” 儘管最初的目標是在一切可行的情況下打撈起整個船體，但這一操作直到1982年1月所有需要的信息都完備的時候才被允許執行。
解題思路：題目說“瑪麗玫瑰號的船體打撈得到同意”，這與文中定位處“直到1982年1月，打撈瑪麗玫瑰號船體的計劃纔得到許可”表述一致。
Question 8
答案: A
關鍵詞: found by chance
定位原文: 第三3段前兩句“Then, on 16 June 1836…” 其後，在1836年6月16日，索倫特海灣的一些漁民發現他們的設備被海底的某個障礙物卡住，而這正是瑪麗玫瑰號。潛水員John Deane恰好正在探索附近的另一艘沉沒船隻，漁民接近他，請他幫助鬆開齒輪。
解題思路: 本題所說的偶然發現瑪麗玫瑰號的所在地這一信息在文章第三段出現，漁民們的船隻偶然發現了瑪麗玫瑰號，而恰好John Deane在附近，這都與題目的表述一致。時間是1836年。
Question 9
答案: (lifting) frame
關鍵詞: attached, by wires
定位原文: 第6段的第3句“The hull was attached to……” 船體通過一系列螺栓和起吊索貼緊起吊架。
解題思路：本題對應的是打撈船體的第一個階段，其中定位詞出現在文章第6段第3句，the hull was attached to a lifting frame 與題目中 attached to hull一致，而之後的wires也屬於原詞重現，考慮到題目的字數要求，答案爲(lifting) frame。
Question 10
答案: hydraulic jacks
關鍵詞： sucked into mud
定位原文：第6段第4句 “The problem of the hull…”通過使用12臺液壓起重機解決了船體被向下吸回到泥土中的問題。
解題思路: the problem of the hull being sucked back，這與題目對應，而關於解決這一問題的表達爲was overcome by using 12 hydraulic jacks，因此本題答案爲 hydraulic jacks。
Question 11
答案: stabbing guides
關鍵詞: legs
定位原文: 第6段的第8句“This required precise…” 這要求精準的定位來將支腳固定在升降籃的“對扣引導”上。
解題思路: 本題問的是legs被placed into什麼地方，原文 第六段第八句中的locate the legs into與題目 中的legs are placed into對應，因此之後的名 詞結構即爲應當填入的詞彙，因此本題答案爲 stabbing guides。
Question 12
答案： (lifting) cradle
關鍵詞： lowered into
定位原文： 第6段第9句“The lifting cradle…”使用考古勘測繪圖來設計升降籃與船體匹配，並且匹配氣囊來爲船體脆弱的木質框架提供額外的緩衝。
解題思路： 本題說到的船體lower into與定位處相對應，其中提到 the lifting cradle was designed to fit the hull, 通過分析這一表達來找到應當填入名詞，因此本題答案爲(lifting) cradle。
Question 13
答案： air bags
關鍵詞： less likely affected by infectious diseases
定位原文： 第6段第9句“The lifting cradle…”使用考古勘測繪圖來設計升降籃與船體匹配，並且匹配氣囊來爲船體脆弱的木質框架提供額外的緩衝。
解題思路： 在12題之後，就可以清楚看到13題的答案。題目中的extra protection 與文章第六段第九句中的additional cushioning 對應，而提供這種額外保護的是air bags，因此本題答案爲air bags。
Test 2 Passage2
Question 14
答案: ii
關鍵詞: undisputed answer
定位原文: A段的第6、9句“The identity of.. ” 摩艾像的建造者身份直到20世紀才確定，現代科學(語言學等)確認建造者是波利尼西亞人。
解題思路: A段首先介紹了摩艾像的背景，之後探討了摩艾像建造者的身份問題。第六句中說到20世紀時人們纔對這一問題有了確定的答案，之後描述了人們對這個問題存在的一些猜測;但在本段第九句中明確說到現代科學給出了確定的答案，即摩艾像的建造者是波利尼西亞人。
Question 15
答案: ix
關鍵詞: food resources
定位原文: B段的第6、7、8句。“When the islanders…”當島上居民爲了木柴和農耕清除了樹林，森林便不再生長。隨着樹木的減少，他們不再能夠建造獨木舟來捕魚，轉而以鳥類爲食。水土流失降低了他們的作物產量。
解題思路: 文章B段重點描述了美國科學家Jared Diamond對於拉帕努伊環境破壞的觀點，他認爲是當地人自己造成了這種情況，並且從不同的方面進行了分析。其中在第六、七句提到由於島上居民將樹林用作木柴和農耕，樹木受到破壞不再生長，從而無法繼續造船捕魚;之後也在第八句提到了作物產量減少的問題，這與ix選項所表達的減少食物資源一致。因此本題答案爲ix。
Question 16
答案： viii
關鍵詞： the statues, worse
定位原文： C段第1句“The moai, he thinks…”他認爲摩艾像加速了當地的自我毀滅。
解題思路: 本段首句提4摩艾像加i 了當地的自我毀滅， 之後Diamond在本段中具體解釋了這一觀點， 選項中viii的表述與本段內容一致。因此本題 答案爲viii。
Question 17
答案： i
關鍵詞：innovative, environment, management, practices
定位原文： D段第3、4句“Archaeological excavations...”考古發掘表明拉帕努伊人做出了巨大的努力去保護他們受狂風席捲且並不肥沃的土地。他們建造了上千的環形石頭防風林，在其中栽培花木，並使用破碎的火山岩保持土壤溼潤。
解題思路：本段Terry Hunt和Carl Lipo提出了不同的觀點，即他們認爲生態破壞並非是當地居民或摩艾像的責任，相反他們還做出了巨大的努力。 其中第3句表達了這一觀點，而第4句則是具體地寫到circular stone windbreaks, 以證明他們的努力。因此本題答案爲i。
Question 18
答案: iv
關鍵詞： a local belief
定位原文： E段第3句 “On that issue, Hunt…” Hunt和Lipo說，在這個問題上，考古學證據支持拉帕努伊的民間說法。
解題思路: 本段講的是摩艾像的移動方式。Hunt和Lipo 對此提出了不同的看法，他們認爲由於摩艾像特殊的形狀，不需要太多的人力和木頭就可以移動它們，並且提出這與當地的民間說法一致。 因此本題答案爲iv。
Question 19
答案: vii
關鍵詞： outside the inhabitants， control
定位原文： F段第1句 “Moreover, Hunt…” 此外，Hunt和Lipo相信樹木破壞並非完全由島上居民所致。
解題思路：本段中Hunt和Lipo的觀點是島上環境的破壞並不是島上居民造成的，而是由於鼠類的泛濫以及歐洲人的登陸，而這是當地居民無法控制的，與 vii 選項 Destruction outside the inhabitants' control一致。因此本題答案爲vii。
Question 20
答案： vi
關鍵詞： opposing views
定位原文： G段第1、2句 “Hunt and Lipo’s vision…” 因此，以Hunt和Lipo的觀點來看，這個島嶼上居住着和平的有獨創性的摩艾像建造者們以及小心翼翼的土地維護者，而不是不計後果毀掉自己的環境與社會的破壞者。他們認爲“拉帕努伊是一個不太可能的成功故事，而非一個不幸的失敗事件”。
解題思路：在G段的第1句和第2句中，都提到了與 opposing views about the Rapanui people 相關的內容，同時Hunt和Lipo再次持積極的態度，相當於對自己的觀點進行了總結。因此本題答案爲vi。
Question 21
答案： farming
關鍵詞： cutting down its trees for fuel, clearing land
定位原文： B段第6句“When the islanders cleared the forests for firewood and farming…” 當島上居民爲了木柴和農耕清除了樹林，森林便不再生長。
解題思路：Jared Diamond的觀點在B段出現。本題提到了當地人破壞森林，並且cutting down trees 和clearing land, 這一信息出現在原文中B段第6句，這一行爲的目的是爲了 firewood and farming; 這一併列結構在題目中被for fuel同義替換，clearing land的目的也可以就此找到， 因此本題答案爲farming。
Question 22
答案： canoes
關鍵詞：go fishing
定位原文：B段第7句 “As trees became scarce and they could no…”隨着樹木的減少，他們不再能夠建造獨木舟來捕魚，轉而以鳥類爲食。
解題思路: 題目說到當地島上居民不再能夠建造捕魚所需的東西，在原文B段第七句中出現了 could no longer construct, 這與題目中 no longer able to build意思一致;而文中提到的for fishing 也與題目中 they needed to go fishing 意思一致，因此可見wooden canoes爲所需名詞, 同時有要求one word，得出答案。
Question 23
答案： birds
關鍵詞：food source
定位原文： 同上題
解題思路：上一題中已經提到人們無法繼續建造wooden canoes, 在B段第七句中說到他們以鳥類爲食;而本題提到了food source, 判斷本題答案爲 birds。
Question 24
答案: wood
關鍵詞: people
定位原文: C段第4句“Diamond thinks they laid the moai on…” Diamond認爲他們將摩艾像放在木質雪橇上，在木軌上拉動，但這需要大量的木頭和人力。
解題思路：本題說到運送雕像所需要的東西，之後出現 not only..., but also這一併列結構，而在原文 C段第四句中，也以並列結構描述了所需要的是 both a lot of wood and a lot of people; 由於題目中已經出現了people, 因此本題答案爲wood。
Question 25 and Question 26
答案： B & C
關鍵詞：Disagree
定位原文： C、D、E 三段
解題思路：ADE三項全文並沒有提及;關於摩艾像的運輸，Hunt和Lipo 二人與Diamond持不同看法;其中Diamond的觀點出現在文章C段，他認爲雕像是放在木質雪橇上然後通過木軌被拉動，而Hunt和Lipo的觀點出現在E段，他們認爲雕像的移動同當地說法一致，雕像可以在幾個人和沒有繩索的控制下直立移動;對於拉帕努伊社會的影響方面，Diamond認爲摩艾像加速了當地的破壞，這一觀點出現在C段;而Hunt和Lipo認爲摩艾像對當地社會起到了積極的作用，這一觀點在D段和E段都進行了具體的描述。
Test 2 Passage 3
Question 27
答案：C
關鍵詞：second paragraph, a shape-matching test
定位原文：第二段
解題思路：題目：在第二段，作者提到圖形匹配試驗是爲了證明：A.藝術鑑賞的主觀性質;B.現代藝術對抽象形式的依賴; C.我們傾向於被他人的意見影響;D.加工視覺數據時遇到的普遍問題。本題問的是提及a shape-matching test的作用，首先需要在原文中找到這個信息，然後在周圍尋找論點型的句子，這類句子往往在具體的例子之前。題目中的a shape-matching test出現在文章第二段第四句，而這句的內容是爲了說明第三句的an inclination to follow the crowd, 然後在選項中尋找這個內容的同義替換，可以看到C選項表達的含義與此一致， 因此本題答案爲C。
Question 28：
答案：D
關鍵詞：Angelina Hawley-Dolan
定位原文： 第三段
解題思路：題目：Angelina Hawley Dolan的發現說明人們：A. 最喜歡那些他們瞭解很多的作品;B. 對於什麼使藝術作品優秀持不變的觀點;C. 經常被他們最初對作品的期待誤導;D. 能力感知作品背後的意義。本題可以通過人名Angelina Hawley-Dolan定位到文章第三段。本段描述實驗過程和觀點，最後一句提到the viewer can sense the artist’s vision in paintings,這一表述與D選項的含義一致，因此本題答案爲D。
Question 29：
答案：B
關鍵詞：Robert Pepperell
定位原文：第四段
解題思路：題目： Robert Pepperell作品的研究結果表明人們：A. 在沒有完全理解一幅作品的情況下欣賞它;B. 明白—幅作品的含義會令人有滿足感;C. 欣贊作品所花費的時間會相差許多;D. 相比抽象藝術，人們通常更喜歡具象的藝術。本題問到Robert Pepperell的研究結果，首先根據人名定位到文章第四段，本段對Robert Pepperell的研究及結果進行了描述。本段最後一句給出了結論，即破解其含義的過程越困難，人們越會感到rewarding, 這與 B選項的表達一致，因此本題答案爲B
Question 30：
答案：A
關鍵詞：fifth paragraph
定位原文： 第五段
解題思路：題目：關於蒙德里安的作品，第五段描述的實驗表明什麼?A. 它們比看上去被更認真地組織在一起;B. 它們可以通過多種不同方式被解讀;C. 它們挑戰我們關於形狀與色彩的看法;D. 它們比很多其他抽象作品更容易被欣賞。本題問的是關於蒙德里安作品的實驗，可以根據題幹信息定位到原文第五段，其中第二句說到其作品deceptively simple, culously composed，說明其作品會讓人誤以爲非常簡單，但其創作非常精細，這與A選項的表述一致，因此本題答案爲A。
Question 31：
答案：C
關鍵詞：Impressionist paintings
定位原文：第1段第2、3句 “The blurred imagery of…”
解題思路：本題問到印象派繪畫的影響。原文第一段第二、三句說到印象派繪畫可以刺激大腦杏仁核，而杏仁核的作用是影響我們的feelings,選項中feelings 的同義替換emotions符合含義，因此本題答案爲C。
Question 32：
答案：B
關鍵詞：Alex Forsythe
定位原文：第7段第1句“In another experiment, Alex…”
解題思路：本題可以根據人名定位至第七段，該段第一句提到她研究作品的visual intricacy, 而很多作品使用了 a key level of detail, 這與B選項complexity的含義一致，因此本題答案爲B。
Question 33：
答案：H
關鍵詞：repeated, natural world
定位原文： 第7段第3句“What's more, appealing pieces…”
解題思路：題幹中的pleasing works 與原文第七段第三句中的appealing pieces 爲同義替 換，而原文之後提到的repeated motifs 與題目中的repeated _____ 對應，選項中images與motifs含義一致，因此本題答案爲H。
Question 34：
答案：NOT GIVEN
關鍵詞：fractals
定位原文：第7段第3、4句“What's more, appealing pieces…”
解題思路：關於fractal的表述在原文第7段第3、4句出現，但這裏只是描述了這種情況在很多作品中出現，並且在自然界中也比較普遍，對於Forsythe的發現與之前的觀點是否存在矛盾並沒有提及，因此本題“Forsythe的發現與之前關於藝術中的分形作用的觀點相矛盾”未被提及，答案爲NOT GIVEN。
Question 35：
答案：YES
關鍵詞：mirror neurons
定位原文：第8段3、4、5句“This may be down to our brain's…”
解題思路：題目中提到的“鏡像神經元”與藝術鑑賞有關的觀點出現在原文第八段，其中說到了This may be down to... 以及 The hypothesis will need to be thoroughly tested，說明目前這一觀點還沒有形成定論，需要進一步的驗證，這與題目表述“require further verification”一致，因此本題答案爲YES。
Question 36：
答案：NO
關鍵詞：artistic trends of the period
定位原文：第8段最後一句“While the fashions of the time…”
解題思路：本題說到人們藝術品位的問題，原文第八段最後一句提到一些作品在流行趨勢結束之 後依然受人喜歡，這些作品往往是best adapted to our visual system，所以完全依賴於當前藝術趨勢的說法是錯誤的，因此本題答案爲NO。
Question 37：
答案：NO
關鍵詞：people's reactions to works of art
定位原文：第9段第2句“It would, however, be foolish to…”
解題思路：關於科學家是否需要定義精準的規則，原文第九段第二句中有提及，作者認爲reduce art appreciation to a set of scientific laws是foolish的，這與題目的表述相反，因此本題答案爲NO。
Question 38：
答案：YES
關鍵詞：cultural context
定位原文：第9段第3句 “We shouldn't underestimate…”
解題思路：文章第9段第3句已經說到，應當關注the importance of the style of a particular artist, their place in history and the artistic environment of their time，這與題目中所說的 cultural context in which an artist worked 一致，因此本題答案爲 YES。
Question 39：
答案：NOT GIVEN
關鍵詞：the filed of science
定位原文：第9段最後一句“In some ways, it's not so different to science…”
解題思路：在文章第9段最後一句中，說到藝術和科學not so different，而科學一直尋求decode meaning，此處關於find meaning的描述並沒有將藝術和科學進行對比，也就不存在easier的問題，因此本題答案爲NOT GIVEN。
Question 40：
答案：A
關鍵詞：subtitle
定位原文：全文主題考查
解題思路：題目：本文最合適的副標題是什麼?A. 關於大腦如何對抽象藝術做出反應的一些科學見解;B. 最近一些關注抽象派藝術家神經活動的研究;C. 關於抽象和具象藝術的神經基礎的對;D. 關於大腦的研究如何改變人們對抽象藝術的看法。四個選項分別提到了大腦對抽象藝術的反應、抽象派藝術家的神經活動、抽象和具象藝術的神經基礎對比以及人們對抽象藝術看法的改變，通過對四個選項主題詞的對比，可以看到只有A選項符合文章內容並且是全文一直在討論的話題。當然，爲了驗證文章構思，如果以此爲副標題，反過來看看寫出的文章與本文是否一致。因此本題答案爲A。
