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OFFICIAL53 Directions: 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.Drag your answer choices to the spaces where they belong. To remove an answer choice, click on it.To review the passage, click VIEW TEXT.There are a number of arguments against the idea that Paleolithic cave paintings were created for the sheer joy of painting

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Paleolithic Cave Paintings
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In any investigation of the origins of art, attention focuses on the cave paintings created in Europe during the Paleolithic era (c. 40,000-10,000 years ago) such as those depicting bulls and other animals in the Lascaux cave in France. Accepting that they are the best preserved and most visible signs of what was a global creative explosion, how do we start to explain their appearance? Instinctively, we may want to update the earliest human artists by assuming that they painted for the sheer joy of painting. The philosophers of Classical Greece recognized it as a defining trait of humans to "delight in works of imitation"—to enjoy the very act and triumph of representation. If we were close to a real lion or snake, we might feel frightened. But a well- executed picture of a lion or snake will give us pleasure. Why suppose that our Paleolithic ancestors were any different?

This simple acceptance of art for art's sake has a certain appeal. To think of Lascaux as a gallery allows it to be a sort of special viewing place where the handiwork of accomplished artists might be displayed. Plausibly, daily existence in parts of Paleolithic Europe may not have been so hard, with an abundance of ready food and therefore the leisure time for art. The problems with this explanation, however, are various. In the first place, the proliferation of archaeological discoveries—and this includes some of the world's innumerable rock art sites that cannot be dated—has served to emphasize a remarkably limited repertoire of subjects. The images that recur are those of animals. Human figures are unusual, and when they do make an appearance, they are rarely done with the same attention to form accorded to the animals. If Paleolithic artists were simply seeking to represent the beauty of the world around them, would they not have left a far greater range of pictures—of trees, flowers, of the Sun and the stars?

A further question to the theory of art for art's sake is posed by the high incidence of Paleolithic images that appear not to be imitative of any reality whatsoever. These are geometrical shapes or patterns consisting of dots or lines. Such marks may be found isolated or repeated over a particular surface but also scattered across more recognizable forms. A good example of this may be seen in the geologically spectacular grotto of Pêche Merle, in the Lot region of France. Here we encounter some favorite animals from the Paleolithic repertoire—a pair of stout-bellied horses. But over and around the horses' outlines are multiple dark spots, daubed in disregard for the otherwise naturalistic representation of animals. What does such patterning imitate? There is also the factor of location. The caves of Lascaux might conceivably qualify as underground galleries, but many other paintings have been found in recesses totally unsuitable for any kind of viewing—tight nooks and crannies that must have been awkward even for the artists to penetrate, let alone for anyone else wanting to see the art.

Finally, we may doubt the notion that the Upper Paleolithic period was a paradise in which food came readily, leaving humans ample time to amuse themselves with art. For Europe it was still the Ice Age. An estimate of the basic level of sustenance then necessary for human survival has been judged at 2200 calories per day. This consideration, combined with the stark emphasis upon animals in the cave art, has persuaded some archaeologists that the primary motive behind Paleolithic images must lie with the primary activity of Paleolithic people: hunting.

Hunting is a skill. Tracking, stalking, chasing, and killing the prey are difficult, sometimes dangerous activities. What if the process could be made easier—by art? In the early decades of the twentieth century, Abbé Henri Breuil argued that the cave paintings were all about “sympathetic magic. ” The artists strived diligently to make their animal images evocative and realistic because they were attempting to capture the spirit of their prey. What could have prompted their studious attention to making such naturalistic, recognizable images? According to Breuil, the artists may have believed that if a hunter were able to make a true likeness of some animal, then that animal was virtually trapped. Images, therefore, may have had the magical capacity to confer success or luck in the hunt.

14.Directions: 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.Drag your answer choices to the spaces where they belong. To remove an answer choice, click on it.To review the passage, click VIEW TEXT.There are a number of arguments against the idea that Paleolithic cave paintings were created for the sheer joy of painting

A.It is generally agreed that art as imitation arose during the age of Classical Greece

B.Paleolithic artists often chose to paint pictures that were intended to frighten people

C.People in the Paleolithic era may not have had time for art, and the placement of the paintings does not indicate that they were meant to be looked at

D.Paleolithic artists chose to represent only a small segment of the natural world, and their paintings were not always strict imitations of nature

E.Hunting was central to Paleolithic life, and animals are central to cave art, leading some to believe that the paintings were created to bring luck to hunters.

F.Humans were rarely the subjects of cave paintings because it was thought that capturing the image of a hunter would cause the hunter to be virtually trapped.

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正确答案:CDE
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【题目翻译】说明:下面是文章的简要概括的介绍句。通过选择三个答案来完成总结,这三个答案表达了文章中最重要的观点。有些句子不属于摘要,因为它们表达了文章中没有呈现的想法,或者是文章中的次要思想。 有很多人反对旧石器时代洞穴绘画纯粹是为了绘画的乐趣而创作的。 【判定题型】根据问题的提问方式和6选3的作答方式可以确定该题目为概要小结题。 【选项定位及分析】 选项A无中生有,文中说Greece是为了表明这是他们哲学家的观点,而不是为了说明时间,不选; 选项B的“目的是去恐吓别人”这个信息是无中生有,原文中没有对应的信息,不选; 选项C正确概括了第二段的内容,选; 选项D正确概括了第三段的内容,选; 选项E正确概括了倒数第二段的内容,选; 选项F的因果关系是无中生有的,文中没有给出过人类很少成为绘画对象的原因,不选。

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