K400V2S08S1Q1-Q10解析

tions 1 and 2 are based on this passage. 

Arts/archaeology

Cahokia / state / chiefdom

Cahokia是个酋邦而非国家

①George Milner cites three primary problems with the labeling of Cahokia, the large archaeological site by the Mississippi River, as a state rather than a chiefdom. ②First, finds at Cahokia are essentially similar to finds at other Mississippi chiefdoms, except that the amount of earth moved in building the mounds at Cahokia was greater than elsewhere. ②Second, fewer people lived at Cahokia than is commonly estimated (Milner estimates that there were only a few thousand inhabitants; more common estimates are 10,000 or 20,000 inhabitants): therefore, extensive taxes, trade, and tribute were not necessary to support them. ③Finally, while there is evidence of extensive earth movement, craftwork, trade, and elites at Cahokia, this does not indicate that Cahokia was politically centralized, economically specialized, or aggressively expansionistic.

乔治·米尔纳（George Milner）列举了将密西西比河沿岸的大型考古遗址Cahokia标记为 state而非chiefdom存在的三个主要问题。 首先，在Cahokia的发现与其他密西西比 chiefdom的发现基本相似，只是在Cahokia建造土丘时移动的土量大于其他地方。 其次，居住在Cahokia的人比通常估计的要少（Milner估计只有几千居民；更常见的估计是 10,000 或 20,000 居民）：因此，不需要大量的税收、贸易和贡品来支持他们。最后，虽然有证据表明Cahokia有大量的泥土被移动，以及手工艺、贸易和精英阶层，这并不表明Cahokia是一个政治中心、经济中心或者经历了激进的扩张。

1. The primary purpose of the passage is to

功能题 主旨题 中

文章质疑一个观点并给出三点理由。

B

A. underscore a characterization 相反

B. outline a challenge 概述一个反对观点。只有这个符合

C. point out an ambiguity 没有证据

D. discuss an oversimplification 没有证据

E. define a category 不是在定义，是在否定

2. The passage implies that political centralization is a feature that

细节题 推断题 易

C

A. has not historically tended to emerge in centers with fewer than 20,000 inhabitants 没有证据

B. distinguished other Mississippi chiefdoms from Cahokia 把其他酋邦和C区分开来。相反/没有证据

C. is considered characteristic of states but not of chiefdoms 符合

D. often results from aggressive expansionism and economic specialization 没有这层因果关系

E. has historically been necessary for extensive trade to occur 没有证据

Questions 3 to 6 are based on this passage:

Arts

Anthony Van Dyck / portraits / dress

范戴克并不是通过服饰来传递悲伤

①When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles I, he introduced an entirely new way of representing dress in portraiture. ②In women’s portraits, he enhanced sleeves and collars, and added lavish drapery and jewels. ③For the first time, an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. ④While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.

①Van Dyck’s Portrait of Thomas Killigrew and William, Lord Crofts (1638) demonstrates how the artist relaxed and unbuttoned men’s dress to accord with an underlying theme. ②The double portrait may be seen as an essay in grief: Killigrew, a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting; Crofts was her nephew. ③The painting contains clear references to the situation at hand. ④The background features a broken column, a traditional emblem of earthly transience. ⑤A drawing in Killigrew’s right hand depicts two funerary monuments. ⑥Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.

①Art historians have interpreted the clothing depicted in this portrait, particularly Crofts’ doublet, which is worn unbuttoned in back, as an allusion to the subjects’ grief-stricken distraction. ②It is true that Killigrew’s dress includes references to his loss—he wears a cross inscribed with his wife’s initials. ③There is an intuitive nature to this painting, which seems underscored by the loose clothing worn by both subjects. ④However, this reading of the costumes as a sign of grief does not take into account the seventeenth-century fashion conventions. ⑤Only Killigrew appears in noticeably disheveled attire; Crofts’ dress would be quite appropriate for a formal portrait. ⑥Though black clothing, such as that worn by Crofts, was common for mourning, it was also ordinary on other occasions. ⑦Furthermore, during the first stage of mourning, no shiny surfaces, such as Crofts’ satin doublet, would be permitted. ⑧The unbuttoned slit on Crofts’ doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse, who is gallivanting rather than grieving, wears a similarly undone doublet. ⑨Evidence suggests that by the late 1630s, a certain calculated looseness was conventional in men’s formal dress. ⑩Ribeiro, for example, cites the writings of moralists objecting to this style.

①Killigrew’s attire, though even looser than Crofts’, should not necessarily be associated with grief. ②Other seventeenth-century subjects depicted in melancholic states do not dress this way. ③Although Killigrew’s “undress” lends this portrait a distinctive intimacy, it might also refer to Killigrew’s literary career. ④Many of Van Dyck’s other subjects who engaged in literary pursuits are depicted in loose clothing. ⑤The blank sheet held by Crofts may be a reminder not only of Killigrew’s loss but also of his solace: he had but to express his grief in writing.

当佛兰德画家安东尼范戴克于 1632 年移居英国成为查理一世的宫廷画家时，他引入了一种全新的方式来表现肖像画中的服装。 在女性肖像中，他改进了袖子和衣领，并添加了丰富的褶皱和珠宝。 第一次，一位艺术家关注到了肖像画里的服饰，创造了幻想与现实的融合。 虽然范戴克在描绘女性时最具创新性，但他在男性肖像中使用了类似的元素。

Van Dyck 的 Thomas Killigrew 和 William Lord Crofts 的肖像（1638 年）展示了艺术家如何解放男装的桎梏以符合潜在的主题。 这幅双重肖像可以看作是一篇悲伤的表达：诗人和剧作家基利格鲁在这幅画作之前不久失去了他的妻子塞西莉亚（Cecelia）； 克罗夫茨是她的侄子。 这幅画清楚了反映了当时的情况。 画面背景是一根破碎的柱子，这是尘世短暂的传统象征。 基利格鲁右手的一幅画描绘了两座墓碑。 克罗夫茨拿着一张白纸。一些学者将这张白纸视为基利格鲁所持有的画作的类似物：象征着已逝。

艺术史学家将这幅肖像中描绘的服装，特别是克罗夫茨的紧身衣背部解开的扣子，解读为人物因悲伤而分心的暗示。的确，Killigrew 的穿着中暗示了他的遭遇——他戴着一个刻有他妻子姓名首字母的十字架。这幅画有一种直观的性质，这似乎被两个人物所穿的宽松衣服所强调。然而，这种将服装解读为悲伤标志的做法并没有考虑到 17 世纪的时尚习俗。只有基利格鲁穿着明显凌乱的服装出现；克罗夫茨的礼服非常适合正式肖像。虽然像克罗夫茨这样的黑色衣服在哀悼时很常见，但在其他场合也很普通。此外，在哀悼伊始，闪亮的服饰是不合适的，例如克罗夫茨的缎面紧身衣。 Crofts 紧身衣上未系扣的开衩可能与风格有关：一位身着 Bosse 1635 年时尚印花的法国朝臣穿着一件同样未解开的紧身衣，他是在巡游，而不是悲伤。有证据表明，到 1630 年代后期，男士正装中通常会出现一定的宽松度。例如，里贝罗在文章中提及了道德家们对这种穿衣风格的反对。

基利格鲁的着装虽然比克罗夫茨的还要宽松，但不一定与悲伤有关。其他17 世纪在绘画中忧郁的人物并不这样穿。虽然基利格鲁的“宽松衣服”为这幅肖像画带来了独特的情感，但它也可能指基利格鲁的作家身份。 范戴克笔下许多其他从事文学追求的人物都穿着宽松的衣服。 克罗夫茨拿着的白纸可能不仅提醒了基利格鲁的伤感，也提醒了他的慰藉：他不得不以书面形式表达他的悲痛。

3. The author of the passage suggests that if the cited “art historians” had taken account of seventeenth-century fashion, they would have been more likely to 

细节题 推断题 中

根据第二段，因为17世纪的时尚习俗表明，黑色服饰并不一定表达哀悼。

C

A. recognize that the clothing worn by the subjects in the Portrait contributes to an atmosphere of intimacy in the painting 无关

B. recognize the event to which Van Dyck’s approach to portraiture represented a departure from the practices of other artists 没有other artists的证据

C. recognize that Crofts’ manner of dress in the Portrait was appropriate for a formal portrait 符合however前后的对比

D. conclude that the doublet worn by Crofts in the Portrait is not made of satin 没有证据

E. be able to distinguish between the significance of the unbuttoned doublet depicted in the Portrait and that of the one depicted in a fashion print by Bosse 无关/没有证据

4. The author of the passage suggests which of the following about Killigrew’s disheveled attire in the Portrait of Thomas Killigrew and William, Lord Crofts ? 

细节题 推断题 易

B

A. It resembles clothing worn by subjects in melancholic states in other paintings in the period. 与最后一段第二句相反

B. It resembles the clothing worn by subjects in other Van Dyck paintings who were associated with literature. 符合最后一段第三句

C. It includes shiny materials that were not considered appropriate for the first stage of mourning. 穿错人了

D. It reflects the distraction and inattentiveness to dress typical of a person in a state of mourning. 相反。这不是作者观点

E. It has been regarded by art historians as evidence that Van Dyck chose the clothing worn by the subjects in the painting. 没有证据

5. The author’s reference to the “cross” worn by Killigrew serves primarily as 

功能题 目的题 易

十字架是作为证据表明艺术史学家关于悲伤的解读是对的。

A

A. a concession of partial agreement with a point made by other art historians about the Portrait 符合

B. evidence supporting the author’s main point about the significance of Killigrew’s state of dress in the Portrait 相反。

C. an example of the kind of detail overlooked by other art historians who have commented on the Portrait 没有overlooked证据

D. an example of the type of adornment that was rarely seen in portraiture before Van Dyck 没有rarely的证据

E. an illustration of the way in which Van Dyck used emblematic as well as realistic elements in this portraits 没有证据

6. Which of the following best describes the function of the last sentence of the passage?

功能题 目的题 易

最后一句顺承该段作者观点，提供补充证据。

C

A. It suggests that a certain detail of the painting should not be understood as emblematic. 相反。作者相反认为可能是具有象征意义的。只是跟艺术史学家认为的不一样。

B. It calls attention to a detail of the painting that art historians have generally overlooked. 没有overlook，只是解读不一样

C. It offers support for the author’s interpretation of the significance of Killigrew’s clothing. 支持作者关于Killigrew着装意义的解读。符合

D. It introduces evidence to support the author’s view of the appropriateness of Crofts’ manner of dress. 对象错了。原文最后一段是在为Killigrew的服饰进行解释。

E. It casts doubt on the way that art historians have interpreted the relationship between the two subjects in the painting. 与relationship无关

背景拓展：

Questions 7 is based on this passage:

Arts

music / fourteenth-century / nobility

贵族们自己也可能会演奏

All the music from fourteenth-century Europe for which written scores survive is so complex and is written in such difficult notation that it could have been played only by musicians whose lives were dedicated solely to such performance. Yet fourteenth-century European accounts, which in this respect probably give accurate portrayals of their times, describes many members of the nobility who excelled not only in musical performance, but also in dancing, poetry, and painting.

所有 14 世纪欧洲留下的乐谱都非常复杂，并且以如此困难的符号书写，以至于只能由毕生致力于此类演奏的音乐家演奏。 然而，14 世纪欧洲的记载，描述了许多不仅在音乐表演方面表现出色的贵族成员，而且在舞蹈、诗歌和绘画方面也表现出色，在这方面可能准确地描绘了他们的时代。（说明总会有贵族也能演奏的音乐）

7. The statements given, if true, most strongly support which of the following?

逻辑单题 逻辑支持 难

推断题。基于文章内容给出最合理的推断。

B

A. Some members of the nobility in fourteenth-century Europe abandoned other activities in order to become professional musicians. 没说非得让贵族去干他们不会的。本来就是两类人群。

B. There were styles of music performed in the fourteenth-century for which no written scores survive. 可以的。总会有贵族能玩的音乐。

C. Professional musicians in fourteenth-century Europe had more highly developed skills than do the most skilled professional musicians today. 跟今天没关系。做不出这样的比较

D. The fourteenth-century European accounts that describe members of the nobility as excelling in musical performance do not specify the amount of time these members devoted to music. 跟练习时间没关系，推不出来

E. Professional musicians in fourteenth-century Europe did not perform for gathering of members of the nobility. 所以贵族就得自己演奏？推不出来。

Questions 8 - 10 are based on this passage.

Sciences/biology

pollinator / flower constancy / interference

一次不采多种花

①Insect pollinators often restrict their visits to flowers of the same plant species on a single foraging trip, even when flowers of other species are available. ②In 1876 Darwin suggested that the reason for this behavior (generally referred to as flower constancy) is that pollinators forage more efficiently if they continue foraging on flowers they have recently learned to handle. ③Darwin’s hypothesis implies that learning additional flower-handling techniques interferes with a pollinator’s ability to recall previously learned flower-handling methods. ④Evidence for interference in butterflies switching between flowers of two plant species seems to be conclusive. ⑤In bumblebees, laboratory experiments have also provided some evidence of interference when the bees switch between flowers of two plant species, but the small size of the interference effects suggest that foraging bumblebees experience less difficulty switching between two plant species than butterflies do. ⑥This is consistent with field observations showing that individual bumblebees often visit two available plant species on a single trip. ⑦However, the fact that multiple specializations on more than two plant species are rarely observed in the field in bumblebees suggests that switching among several species may result in larger interference effects, which may limit the number of flower types that can be maintained in a bee’s foraging repertoire at any time. 

昆虫传粉者经常在一次觅食之旅中只造访同一物种的花朵，即使途中有其他物种的花朵。 1876 年，达尔文将这种行为（通常称为访花恒定性）解释为如果传粉者在最近学会处理的花朵上觅食，它们的觅食效率会更高。达尔文的假设意味着学习额外的花朵处理技术会干扰传粉者回忆以前学过的花朵处理方法的能力。有证据表明蝴蝶在两种不同植物花朵间觅食时会受到干扰。在大黄蜂中，实验室实验也提供了一些证据，证明大黄蜂在两种植物的花朵之间切换时会产生干扰，但实验也表明，觅食的大黄蜂在两种植物之间切换时遇到的困难比蝴蝶要小。这与实地观察一致，单个大黄蜂经常在一次旅行中访问两种可用的植物物种。然而，在田间很少观察到大黄蜂会在多于两种花朵间觅食。这一事实表明，在几种物种之间切换可能会导致更大的干扰效应，而这会限制蜜蜂觅食的植物花朵种类。

8. The primary purpose of the passage is to

功能题 主旨题 易

观点点评类文章。文章用证据支持了达尔文的观点。

D

A. cast doubt on Darwin’s hypothesis regarding flower constancy 相反

B. demonstrate that the flower-handling techniques of bumblebees are superior to those of butterflies 重点不在比较

C. analyze the impact on plant species of pollinators’ learning additional flower-handling techniques 没有对植物影响的证据

D. show that Darwin’s hypothesis regarding flower constancy is consistent with observations of pollinator behavior 符合

E. discuss differences between laboratory and field evidence regarding interference in pollinators 不是在讨论实验室和野外试验的不同。

9. The passage suggests that which of the following is true of the “evidence for interference”?

细节题 推断题 易

E

A. It is undermined by evidence from laboratory experiments involving interference in bumblebees. 没有undermined的证据

B. It is less useful regarding the nature of flower constancy in pollinators than is evidence regarding bumblebees. 并不less useful

C. It calls into question an assumption underlying Darwin’s understanding of interference in pollinators. 没有质疑

D. It indicates that some butterfly species exhibit a larger interference effect than others. 没有蝴蝶物种内部的比较。

E. It supports Darwin’s hypothesis regarding flower constancy. 符合

10. Select the sentence that introduces a theory regarding the possible advantage of flower constancy. 

功能题 句子选择题 易

②In 1876 Darwin suggested that the reason for this behavior (generally referred to as flower constancy) is that pollinators forage more efficiently if they continue foraging on flowers they have recently learned to handle.