GMAT閱讀講座-學生講義120207

1、托福閱讀詞句章題三字經(jīng)：準.狠、快by annazhonzxiaona(3)boostor2cnforagegradienthomogeneousphotosynthesis-詞 你都認識嗎?casualty convention consecutive overtaken conceive unsubstantiated二、句典型的托福長句1. the cinema did not emerge as a form of mass consumption until its technology evolved from the initial ”peepshow" format

2、to the point where images were projected on a screen in a darkened theater.2. although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active partic

3、ipation by the exhibitor.3. with the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the kinetoscope and the mutoscope, which was a similar machine that reproduced motion by means of successive images on i

4、ndividual photographic cards instead of on strips of celluloid.三、章如何才能快速掃蕩段落和篇章？ancient egyptian sculpturein order to understand ancient egyptian art, it is vital to know as much as possible of the elite egyptians1 view of the world and the functions and contexts of the art produced for them. withou

5、t this knowledge we can appreciate only the formal content of egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. in fact, a lack of understanding concerning the purposes of egyptian art has often led it to be

6、compared unfavorably with the art of other cultures: why did the egyptians not develop sculpture in which the body turned and twisted through space like classical greek statuary? why do the artists seem to get left and right confused? and why did they not discover the geometric perspective as europe

7、an artists did in the renaissance? the answer to such questions has nothing to do with a lack of skill or imagination on the part of egyptian artists and everything to do with the purposes for which they were producing their art.the majority of three-dimensional representations, whether standing, se

8、ated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. when such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchang

9、ed for three thousand years. frontality is, however, directly related to the functions of egyptian statuary and the contexts in which the statues were set up. statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. they were d

10、esigned to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased re

11、cipient. very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entranc

12、e gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context.statues were normally made of stone, wood, or metal. stone statues were worked from single rectangular blocks of mat

13、erial and retained the compactness of the original shape. the stone between the arms and the body and between the legs in standing figures or the legs and the seat in seated ones was not normally cut away. from a practical aspect this protected the figures against breakage and psychologically gives

14、the images a sense of strength and power, usually enhanced by a supporting back pillar. by contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finished work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by

15、the lost wax process. the arms could be held away from the body and carry separate items in their hands; there is no back pillar. the effect is altogether lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and metal statues still display frontali

16、ty.apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. the function of these is quite different. many are

17、 made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making musi

18、c, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.四. 題主旨題14. directions: an introductory sentence for a brief summary of the passage is provided below. complete the summary by selecting the three answer that express the most important ideas in the passag

19、e. some sentences do not belong in the summary because they express ideas that not presented in the passage or are minor ideas in the passage. this question is worth 2 points.the distinctive look of ancient egyptian sculpture was determined largely by its function.answer choiceso the twisted forms o

20、f egyptian statues indicate their importance in ritual actions.o the reason egyptian statues are motionless is linked to their central role in cultural rituals.o stone, wood, and metal statues all display the feature of frontality.o statues were more often designed to be viewed in isolation rather t

21、han placed within buildings.o the contrasting poses used in statues of elite and nonelite egyptians reveal their difference in social status.o although the appearances of formal and generic statues differ, they share the same function.lms (learning management system) 界面:所有班次el學員：所有學員3十拆號專項練習公敎流區(qū)托福閱讀

22、專項練習單詞會意1 m o托福聞讀專項練習-單詞會意2 m 托福閱讀專項練習.句意理解1直童托福聞讀專項練習-句空理解3直荀 托福聞讀專項練習-句意理解2直冒 托福閱讀專項練習-閱讀講解ml 托福閱讀專項練習.閱讀講解2直盲 十托福聽力專項練習托福聽力專項練習.呈菜做題法1 ml 托福聽力專項練習呈菜做題法2 § 托福聽力專項練習.呈菜做題法3直宜托福聽力專項練習呈菜做題法4直宜q托福聽力專項練習呈菜做題法5直童 聽法訓練真正聽明白stepl »1匚 聽法訓練真正聽明白step2直童其它題第一類：詞匯題第二類：指代題第三類：復述題第四類：according to細節(jié)題 第五

23、類:all except題笫六類：修辭，目的類題 第七類：infer題第八類：句子插回原文題1. the word vital in the passage is closest ino attractive o essential o usual o practical2. paragraph 1 suggests that one reason egyptian art is viewed less favorably than other art is that egyptian art lackso a realistic sense of human body proportion

24、o a focus on distinctive forms of varying sizes o the originality of european arto the capacity to show the human body in motion3. in paragraph 1, the author mentions all of the following as necessary in appreciating egyptian art except an understanding ofo the reasons why the art was madeo the natu

25、re of aristocratic egyptian beliefso the influences of egyptian art on later art such as classical greek arto how the art was usedparagraph 2： the majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neithe

26、r twisting nor turning when such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. frontality is, however, directly related to the functions

27、of egyptian statuary and the contexts in which the statues were set up. statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. they were designed to be put in places where these beings could manifest themselves in order to be

28、 the recipients of ritual actions. thus it made sense to show the statue looking ahead at what was happening in front of it, so that the lmng performer of the ritual could interact with the divine or deceased recipient. very often such statues were enclosed in rectangular shrines or wall niches whos

29、e only opening was at the front, making it natural for the statue to display frontality. other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed

30、against or between pillars: their frontality worked perfectly within the architectural context.4- according to paragraph 2, why are egyptian statues portrayed frontalty?o to create a psychological effect of distance and isolationo to allow them to fulfill their important role in ceremonies of egypti

31、an lifeo to provide a contrast to statues with a decorative functiono to suggest the rigid, unchanging egyptian philosophical attitudes5. the word context in the passage is closest in meaning too connectiono influenceo environment o requirement6. the author mentions an arch讓ectural setting in the pa

32、ssage in order too suggest that arch lecture was as important as sculpture to egyptian artists o offer 3 further explanation for the frontal pose of egyptian statues o explain how the display of statues replaced other forms of architectural decoration o illustrate the religious function of egyptian

33、statues7. the word they in the passage refers too statueso gatewayso templeso pillared courtsparagraph 3： statues were normally made of stone, wood, or metal. stone statues were worked from single rectangular blocks of material and retained the compactness of the original shape. the stone between th

34、e arms and the body and between the legs in standing figures or the legs and the seat in seated ones was not normally cut away. from a practical aspect this protected the figures against breakage and psychologically gives the images a sense of strength and power, usually enhanced by a supporting bac

35、k pillar. by contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finished work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by the lost wax process the arms could be held away from the body and carry separ

36、ate items in their hands; there is no back pillar. the effect is altogether lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and metal statues still display frontality.& according to paragraph 3, why were certain areas of a stone statue lef

37、t uncarved?o to prevent damage by providing physical stabilityo to emphasize that the material was as important as the figure itselfo to emphasize that the figure was not meant to be a real human beingo to provide another artist with the chance to finish the carving9- the word core in the passage is

38、 closest in meaning too materialo layero centero frame10. according to paragraph 3, which of the following statements about wooden statues is true?o wooden statues were usually larger than stone statues.o wooden statues were made from a single piece of wood.o wooden statues contained pieces of metal

39、 or stone attached to the front.o wooden statues had a different effect on the viewer than stone statues.paragraph 4： apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of threedimensional representations that depicts gene

40、ric figures, frequently servants, from the nonelite population. the function of these is quite different. many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. unlike formal statues that are limited to static poses of standing, sitting, and kneeling, t

41、hese figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks-11. the word depicts in the passage is closest in meaning too imagines o classifies o elevates o portrays12. according to paragraph 4, what is the difference between statues that represent the egyptian ehte and statues that represent the none