iBT新托福阅读黄金22篇（1）

第一篇 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, 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). 　　5．According to paragraph 2, sculptors in the Italian Renaissance stopped using cannonballs in bronze statues of horses because 　　○they began using a material that made the statues weigh less 　　○they found a way to strengthen the statues internally 　　○the aesthetic tastes of the public had changed over time 　　○the cannonballs added too much weight to the statues 　　6．Why does the author discuss the bronze statues of horses created by artists in the early Italian Renaissance? 　　○To provide an example of a problem related to the laws of physics that a fine artist must overcome 　　○To argue that fine artists are unconcerned with the laws of physics 　　○To contrast the relative sophistication of modern artists in solving problems related to the laws of physics 　　○To note an exceptional piece of art constructed without the aid of technology 　　7．An introductory sentence for a brief summary of the passage is provided below．Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage．Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage．This question is worth 2 points. 　　This passage discusses fundamental differences between applied-art objects and fine-art objects． 　　● 　　● 　　● 　　Answer Choices 1．The fine arts are only affected by the laws of physics because of the limitations of the materials that are used．2．Applied-art objects are bound by the laws of physics in two ways: by the materials used to make them, and the function they are to serve．3．Crafts are known as "applied arts" because it used to be common to think of them in terms of their function．4．In the fine arts, artists must work to overcome the limitations of their materials, but in the applied arts, artists work in concert with their materials．5．Making fine-art objects stable requires an understanding of the properties of mass, weight, distribution, and stress．6．In the twentieth century, artists working in the fine arts often treat materials in new ways whereas applied arts specialists continue to think of crafts in terms of function. 　　8．Directions: Complete the table below to summarize information about the two types of art discussed in the passage．Match the appropriate statements to the types of art with which they are associated．This question is worth 3 points. 　　TYPES OF ART STATEMENTS The Applied Arts Select 3 　　● 　　● 　　● 　　The Fine Arts Select 2 　　● 　　● 　　Statements 　　1．An object's purpose is primarily aesthetic． 　　2．Objects serve a functional purpose． 　　3．The incidental details of objects do not vary． 　　4．Artists work to overcome the limitations of their materials． 　　5．The basic form of objects varies little across cultures． 　　6．Artists work in concert with their materials． 　　7．An object's place of origin is difficult to determine. 　　Drag your answer choices to the spaces where they belong．To review the passage, click on View Text. 　　参考答案： 　　3.○applied-art objects 　　4.○Functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics． 　　5.○they found a way to strengthen the statues internally 　　6.○To provide an example of a problem related to the laws of physics that a fine artist must overcome 　　7.○ 2 4 6 　　8.○ 2 5 6 1 4

参考译文 　　即便我们现在趋于根据主体材质来归类各种手工艺品，比如陶土，玻璃，木头， 纤维还有金属， 我们更通常通过他们的功能来归类， 这就是实用艺术品。 通过按功能来区分手工艺品的观点，我们可以把它她们分为：容器，遮蔽物，支撑物。毫无疑问容器，遮蔽物，支撑物能打会其功能。实用艺术品因为要考虑用于制造和要容纳，支撑，遮挡的物品的质地继而受到客观条件的限制。 这些条件具有普遍性，不受文化信仰，地理条件和气候所左右。如果一个壶没有底或者在一侧有一个大开口，在任何传统意义上他都就很难被看作一个容器。 由于实用艺术品的一般形式取决于客观条件，不可以武断，它们遵循基本的样式，这样功能形式才能被明确的限定。 举个例子，建筑没有屋顶非常不寻常，因为它违反了规范。虽然，并不是所有的功能物品都非常相似，那也是为什么我们鉴别商代花瓶和印加花瓶 不同。区别不是他们的基本功能不同而是那些不影响其基本功能附带细节带来的。 　　实用艺术品制作者会将其对于客观条件的敏感作重要考量。 人们也往往想当然的认为对于纯艺术品制造者也是如此。这种假定忽略了两者重要的不同点。纯艺术品不像实用艺术品那样受到客观条件的约束。 因为他们的基础诉求不是功能性，它们仅仅受限于他们用来制作的材料。据个例子，雕塑必须要牢固，这就需要了解质量，重量分布和压力方面的参数。绘画必须有坚挺的支架，以使画布绷紧，并且绘画也不可以有毁损，裂纹，活着变色。这些艺术家必须克服的，因为塔门往往侵犯到了她们对于艺术品的构想。举个例子，在意大利文艺复兴早期，抬起一条腿的马的青铜像，往往有一个炮弹在脚下。这样做因为需要炮弹去支撑腿的中的重量。换言之，炮弹摆着那里不是因为艺术家的对于美的意愿，而是因为客观条件的要求。从雕塑家学到如何用铁支架加强他们的内部结构后，炮弹就很快消失的这个事实上就知道， 这个设计很明确是对于必要的结构性的妥协。（铁比青铜来的结实得多） 　　虽然在20世纪纯艺术经常用心的方法处理材料，艺术家关于材料态度的基本区别仍是相对不变的。因此，不夸大的说，纯艺术的从业人员为克服材料的限制而工作，而从事实用美术的人则根据材料来工作。