文勇黄金5.9.doc

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文勇的新托福精选阅读（原黄金29篇）真题[2010年4月15日 5.9版本]

俺常常收到同学们的邮件，要我推荐各种各样阅读材料,问我iBT的复习资料中 Barron, Longman, Delta等等哪个更好。我其实很无奈---因为尽管这些机构很大牌,但大牌丝毫都不意味着文章“质量高”(比如你可以想想三鹿奶粉)---说这些机构的文章质量不高,并不是说文字写得不好,而是说这些文章的句子结构, 论述方式, 出题思路与ETS的并不一致(有时候甚至大相径庭)：用这样的材料训练，实在是 事倍功半。

于是，我们实在应该去找找由ETS出的iBT文章来做：（我们能够找到的|由ETS编纂的标准iBT文章有）
1. OG Official Guide 官方指南，由ETS提供的iBT考试指南；
之中的13篇文章 Applied Arts and Fine Arts一文属于ETS范例文章,故题目不全；
；（其中3篇为第三版OG之中的文章）
2. 13次（套）TPO TOEFL Practice Online: http://toeflpractice.ets.org/ (由ETS提供的，要给44.95美刀一次的真题考试)；
之中的3*13=39篇文章 现在报名之后，赠送的是一套Mini Test， 只有1篇文章13道题目；
；
3. 早期 大家都知道，我是一个温和的人；

报名之时ETS赠送的3篇在线测试题
4. ETS官方给出的模考软件之中抽出的1篇文章；

于是这个文档在我的一时兴起之下，出现了：
OG拿在手上，可以一个个字的敲成电子版；TPO的所有考试都是在自己的计算机进行，于是可以一边花钱参加考试,一边截图与录像---再利用截下来的图片，逐个的敲下来；早期的ETS赠送的3篇在线测试题，我也恰好有电子版本；官方的模考软件稍微用点功夫，就能将文章提取并复制出来。虽然工作有些繁杂，但总算完成了所有文章的敲打工作。再花了些时间，把这53篇文章都做了答案，附在文章的后面。（由于TPO之中有3篇文章与OG中完全重复,于是减去3篇,只剩下53篇。）同时我还更正了OG上几个明显的错误（详见文后附录）当然，我还做出了方便大家理解文章的参考译文，附在文章的后面。

在这53篇由ETS出的文章没有做完之前，我们实在不应该花时间在任何其他的题目之上。我有时候甚至会对着我的弟兄们高呼：“没有把这53篇做３遍，你好意思上考场么？你好意思花钱在任何一本垃圾书上面么？
”

另外，如果你正在准备iBT-SAT-GRE的作文部分或者写留学文书，也应该仔细的琢磨一下这些文章：经过ETS打磨的文章，无一不是精妙绝伦，极具模仿价值。常常有同学拜托我帮她（他）写PS，也说起自己的句子怎么看都像是小学生写的（尽管用上了GRE里面的单词），于是会随口问我“勇哥，您的写作能力是怎么训练出来的。”我说，“看呗，看呗：托福文章看多了，写作能力自然就提高了。”
“这ETS的这些文章真的那么好？”。每当听到这个问题，我都会装做赵本山的样子来一句“谁用谁知道～～”

文勇

欢迎进行未删节的转载|且不必告诉我你转载到哪里去|都是一个战壕里面的弟兄啊…

告诉大家一个好消息，本文档中的TPO1-TPO9，以及在线测试题和官方模考题目的解析已经在市面上可以买到了！（好吧，我承认以下显然是广告部分）：

这本《托福真题详解-阅读分卷-第一册》是给弟兄们现在市面上可以获得的TPO1-TPO9阅读部分的文章解析，题目解析，中文翻译和每篇文章的必备词汇：文章解析是为了让大家养成从整体抓文章结构的感觉，题目解析是为了使大家能够在做完题之后知道正确选项为什么对，错误选项为什么错——并且因此来培养良好的做题思路，中文翻译是为了帮助大家扫除那些自以为理解对但实际理解有误的句子，在每篇文章后面配上必备词汇无非是为了节省大家的一些查单词而已。
另外，这本书还包含了一张CD（我想你可能第一次听说阅读书籍里面包含MP3光盘的）——走在路上的时候，不妨“听一听”阅读文章—不但熟悉词句，甚至还能练练听力呢：）——尽管托福被划分成为了听说读写四个方面，但我想不会有人拒绝在熟悉阅读文本的同时，提高听力。

当当网的链接
大家有什么建议和想法可以在网上进行评论，我会加以改进的~：）

一开始做这件事情的时候，文档之中有不少的typo，还好获得了弟兄们的支持和理解，这个文档的错误才慢慢的越变越少。很感激大家对这个文档的关心和帮助，这个文档还是会一直地做下去，为大家提供第一手的托福阅读复习资料。
新增加文章的翻译还在进行当中，请大家耐心等待~：）

既然这些文章都是托福真题，那么它们的出处具体是怎么样的呢？
TPO1来自网上公布的题目，TPO2来自OG，TPO3来自2006年8月12日，
TPO4来自2006年10月8日，TPO5来自2008年3月8日，TPO6来自2007年12月10日
TPO7来自2007年2月24日/2007年12月14日
TPO8来自2008年2月9日/2008年12月21日
TPO9来自2008年5月4日，TPO10来自2008年6月7日，
TPO11来自2006年12月8日（阅读+口语）/2006年12月15日（听力+写作）
TPO12来自2006年12月8日（听力+独立写作）/2006年12月15日（阅读+口语）/2007年12月1日（综合写作）
TPO13来自2006年6月9日/2007年6月30日
以上统计来自于康老师

一个让人热血沸腾的活动：
关于以上宣传的这本书，我考虑了很久，然后在这个文档中留下了奇怪的话：
嘿，朋友，你可以考虑用如下的方式来免费获得本书[或本系列中的任意一本]：
只需在本书内找到5处以上错误，或者改进5处以上的解题方法，即可免费获得本书，详情参见（）
原因其实很简单：尽管我很期盼，也自以为很尽力，但的确不可能写出一本完全没有错误的书
于是真的需要您的帮助，使我在下一个版本之中，少犯一些错误。

请原谅我的直接。
本文檔由 刘文勇出于个人兴趣制作，由陈睿|李想等协助制作,该行为并不代表任何机构;

注意:文章源自ETS,
版权啥的自然都来自ETS,
这一点毫无疑问,
由于教务繁忙,
估计各种错误是少不了的,
如果你发现了错误且有空的话,
就拜托你发邮件告诉我一下吧)
( Mail@)
我都会在文档的附录中标记你的贡献，
若找到五处以上的错误，免费电话答疑；
若找到十处以上直接请吃饭：)
Introduction
Many students sent me E-mail, asking me to recommend some reading materials. Of assorted iBT preparing materials, Barron, Longman, Delta, etc, which is the best? As often as not, I feel at a loss: does brand equal to quality? These branded institutions are highly publicized, however, their passages and questions are not necessarily of quality. Does the brand “Sanlu” mean something to you? “QUALITY and safety are the foundations of social harmony,” proclaim posters at the headquarters of the Sanlu Group, until recently one of China’s biggest producers of milk powder. Now we all know that Sanlu Scandal has been more than an embarrassment. To say that these “branded” passages are not of quality does not mean they are not stylish, elegant or carefully-written; in fact, I discovered that the passage types, sentence patterns, arguing methods, and arrangement of questions are not quite consistent with, and sometimes even wildly divergent from those of ETS. I reflect that practicing with these materials cannot expect a satisfactory result. At this, we should collect ETS’s original passages and questions. Such passages available include:

1. 13 passages in Official Guide (OG);
2. 13 sets from TPO, with 3 passages included in each set, 39 passages in total;
3. 3 passages provided by ETS to the applicants for a test on line in the early time of iBT,
4. 1 passage extracted from the simulated exam software provided by ETS;
(3 passages in TPO are abstracted from OG, so they are exactly the same)

Then, I cannot resist the temptation to make such a text: I typed every letter of the 13 passages in OG into computer; I paid dollars for the TPO and completed it myself, filming the screen and capturing every page. Then I typed all the passages with the help of videos and captured pictures. The 3 passages in the on-line test happened to be available to me; and as for the one passage in the simulated exam, though with a little difficulty, I nevertheless succeeded make an electronic text of it. Of course, I finished all these questions and attached the answer to end of this text. Eventually, the final “deluxe” edition of this text, including 53 passages in aggregate (3 passages in TPO are abstracted from OG, so they are exactly the same. Then taking 3 from 56 leaves 53 passages at last. ) I insist that before carefully finished and studied these 53 passages, we should not let ourselves distracted by any other materials. Sometimes, I yelled to my students, only a joke, “If you had not studied these passages and questions 3 times at least, how could you be barefaced enough to sit in the exam room? Shame on you to waste your mother’s money buying other costly books!”

In addition, have you got ants in your pants every time you make a stab at writing? Do you go berserk for your personal statement? If you are preparing for the iBT, SAT, GRE, etc, writing, essays, or your personal statement, these passages can also be of help: polished by ETS, words, sentence, and structures of these passages are “epic…”, and worth imitating for none-native English users. Frequently, friends asked me to help with their personal statement, complaining why what they had written looked so naïve, immature and awkward, even littered with those “glorious noble” GRE words (Actually, these words made their personal statement even freak!). And they asked, “Wenyong, my brother, how you forged your impressive writing skills?” I said, “Read! Read! And read again! The more you read, the better you write.” “Are these iBT passages really so amazing?” I affected a tone of a comedian, “try them!”

How good can these passages be? “They are golden, they are precious, they are diamonds!”
Yours
Wenyong
目录
1.APPLIED ARTS AND FINE ARTS 7
2.THE ORIGINS OF CETACEANS 12
3.DESERT FORMATION 19
4.EARLY CINEMA 28
5.AGGRESSION 37
6.ARTISANS AND INDUSTRIALIZATION 46
7.SWIMMING MACHINES 55
8.NINETEENTH-CENTURY POLITICS IN THE UNITED STATES 63
9.THE EXPRESSION OF EMOTIONS 72
10.GEOLOGY AND LANDSCAPE 81
11.GROUNDWATER 90
12.THE ORIGINS OF THEATER 97
13.TIMBERLINE VEGETATION ON MOUNTAINS 104
14.ARCHITECTURE 111
15.Depletion of the Ogallala Aquifer 118
16.The Long-Term Stability of Ecosystems 125
17.Opportunists and Competitors 132
18.Lascaux Cave Paintings 139
19.Electricity from Wind 146
20.Deer Populations of the Puget Sound 153
21.Cave Art in Europe 160
22.Petroleum Resources 167
23.Meteorite Impact and Dinosaur Extinction 174
24.MINERALS AND PLANTS 181
25.THE ORIGIN OF THE PACIFIC ISLAND PEOPLE 188
26.THE CAMBRIAN EXPLOSION 196
27.Powering the Industrial Revolution 203
28.William Smith 209
29.Infantile Amnesia 216
30.The Geologic History of the Mediterranean 223
31.Ancient Rome and Greece 230
32.Agriculture, Iron, and the Bantu Peoples 237
33.THE RISE OF TEOTIHUACAN 244
34.EXTINCTION OF THE DINOSAURS 251
35.RUNNING WATER ON MARS 259
36.Colonizing the Americas via the Northwest Coast 266
37.REFLECTION IN TEACHING 274
38.THE ARRIVAL OF PLANT LIFE IN HAWAII 281
39.FEEDING HABITS OF EAST AFRICAN HERBIVORES 288
40.LOIE FULLER 295
41.GREEN ICEBERGS 302
42.Chinese Pottery 309
43.Variations in the Climate 315
44.Seventeenth-Century European Economic Growth 321
45.Ancient Egyptian Sculpture 328
46.Orientation and Navigation 335
47.Begging by Nestlings 341
48.Which Hand Did They Use? 347
49.Transition to Sound in Film 353
50.Water in the Desert 359
51.Types of Social Groups 365
52.Biological Clocks 371
53.Methods of Studying Infant Perception 377
54.Children and Advertising 383
55.Maya Water Problems 389
56.Pastoralism in Ancient Inner Eurasia 395
招聘启事 402

APPLIED ARTS AND FINE ARTS
Although we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led to their being known as the "applied arts." Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike; that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What varies is not the basic form but the incidental details that do not obstruct the object's primary function.

Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker of fine-art objects. This assumption misses a significant difference between the two disciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the sculptor's aesthetic intentions, placed the ball there. That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze).

Even though the fine arts in the twentieth century often treat materials in new ways, the basic difference in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant. It would therefore not be too great an exaggeration to say that practitioners of the fine arts work to overcome the limitations of their materials, whereas those engaged in the applied arts work in concert with their materials.

Paragraph 1: Although we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led to their being known as the "applied arts." Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike; that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What varies is not the basic form but the incidental details that do not obstruct the object's primary function.

3. The word they in the passage refers to
○Applied-art objects
○The laws of physics
○Containers
○The sides of pots

4. Which of the following best expresses the essential information in the highlighted sentence? Incorrect answer choices change the meaning in important ways or leave out essential information.
○Functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics.
○The function of applied-art objects is determined by basic patterns in the laws of physics.
○Since functional applied-art objects vary only within certain limits, arbitrary decisions cannot have determined their general form.
○The general form of applied-art objects is limited by some arbitrary decision that is not determined by the laws of physics.

Paragraph 2: Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker of fine-art objects. This assumption misses a significant difference between the two disciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, w