美國(guó)歷史類托福TPO閱讀分析

美國(guó)歷史類托福TPO閱讀分析美國(guó)歷史類托福TPO閱讀分析歷史背景：美國(guó)殖民歷史和西進(jìn)運(yùn)動(dòng)獨(dú)立戰(zhàn)爭(zhēng)結(jié)束后，美國(guó)掀起了長(zhǎng)達(dá)一個(gè)世紀(jì)的西遷，出于不同的目的，大批移民從西部原殖民洲遷入東部。西進(jìn)運(yùn)動(dòng)既是適應(yīng)自由經(jīng)濟(jì)的發(fā)展需要，又得益于政策的支持和交通技術(shù)的發(fā)展。TPO20的這篇閱讀就以農(nóng)業(yè)發(fā)展為切入點(diǎn)討論了WestMigration的發(fā)展條件。原文A段節(jié)選ThestoryofthewestwardmovementofpopulationintheUnitedStatesis,inthemain,thestoryofthee某pansionofAmericanagriculture—ofthedevelopmentofnewareasfortheraisingoflivestockandthecultivationofwheat,corn,tobacco,andcotton.After1815improvedtransportationenabledmoreandmorewesternfarmerstoescapeaself-sufficientwayoflifeandenteranationalmarketeconomy.分析：全文分析第一句話是一個(gè)典型的長(zhǎng)難句，如果我們抓住主干，可以簡(jiǎn)化為：thestoryisthestory.兩個(gè)story的定語(yǔ)關(guān)鍵詞分別是westmovement和Americanagriculture。句子主體意思就可以概括為：美國(guó)西進(jìn)運(yùn)動(dòng)的故事即美國(guó)農(nóng)業(yè)的故事。次句提出了一個(gè)新的要點(diǎn)：交通。這一點(diǎn)將會(huì)在后面的段落展開去講。另外，農(nóng)業(yè)擴(kuò)張的結(jié)果是農(nóng)民走出自給自足的生活方式，進(jìn)入全國(guó)性市場(chǎng)經(jīng)濟(jì)（運(yùn)動(dòng)的結(jié)果）。原文B段節(jié)選Whywerethesehundredsofthousandsofsettlers—mostofthemfarmers,someofthemartisans—drawnawayfromtheclearedfieldsandestablishedcitiesandvillagesoftheEast?CertaincharacteristicsofAmericansocietyhelptoe某plainthisremarkablemigration.分析：B段設(shè)問句承上(farmers;drawnaway)啟下(why).次句交代本段主旨：美國(guó)社會(huì)因素原文C段節(jié)選TheWesthadplentyofattractions:thealluvialriverbottoms,thefecundsoilsoftherollingforestlands,theblackloamsoftheprairiesweretemptingtoNewEnglandfarmers...分析：這一段講西部自身的吸引力原文D段節(jié)選：Transportationwasbecominglessofaproblemforthosewhowishedtomovewestandforthosewhohandfarmsurplusestosendtomarket.分析：這一段講農(nóng)民西遷的技術(shù)因素—交通的發(fā)展。原文E段節(jié)選：Twootherdevelopmentspresagedtheendoftheeraofturnpikesandstartedatransportationrevolutionthatresultedinincreasedregionalspecializationandthegrowthofanationalmarketeconomy.分析：是對(duì)上一段的拓展，關(guān)鍵詞transportationrevolution。進(jìn)一步講交通發(fā)展促發(fā)了全國(guó)性農(nóng)業(yè)經(jīng)濟(jì)的出現(xiàn)。全文結(jié)構(gòu)梳理：A西進(jìn)運(yùn)動(dòng)的歷史是農(nóng)業(yè)擴(kuò)張的歷史B農(nóng)業(yè)擴(kuò)張的條件一：美國(guó)社會(huì)因素C農(nóng)業(yè)擴(kuò)張的條件二：西部吸引力D&E農(nóng)業(yè)擴(kuò)張的條件三：交通運(yùn)輸發(fā)展(分陸上和水路交通兩方面)我們還可以看到，在DE兩段中出現(xiàn)了關(guān)鍵詞marketeconomy，這一點(diǎn)是農(nóng)業(yè)西遷的結(jié)果，也是首段中曾經(jīng)出現(xiàn)過的。所以我們?cè)陂喿x首段時(shí)，要圈劃關(guān)鍵詞，并在后面段落中有意地去注意這些關(guān)鍵詞的復(fù)現(xiàn)。這對(duì)我們把握全文主旨和脈絡(luò)是非常有幫助的。必備詞匯：westward朝西的，向西的migration移民cultivation種植livestock牲畜attraction吸引力surplus盈余presage預(yù)示regional地區(qū)的specialization專業(yè)化托福閱讀練習(xí)題：文藝復(fù)興類Themedievalartistsdidn’tknowaboutperspective;theydidn’twanttomaketheirpeoplelooklikereal，individualpeopleinareal，individualscene.Theywantedtoshowthetruth，theeternalqualityoftheirreligiousstories.Sotheseartistsdidn’tneedtoknowaboutperspective.IntheEuropeanRenaissanceperiod，artistswantedtoshowtheimportanceoftheindividualpersonandhisorherpossessionsandsurroundings.Aflatmedievalstylecouldn’tshowthislevelofrealityandtheartistsneededanewtechnique.ItwastheItalianartistBrunelleschiwhodiscoveredthetechniqueofperspectivedrawing.AtfirsttheartistsoftheRenaissanceonlyhadsinglepointperspective.Latertheyrealizedthattheycouldhavetwo-pointedperspectiveandstilllatermulti-pointperspective.Withtwo-pointperspectivetheycouldturnanobject(likeabuilding)atanangletothepictureanddrawtwosidesofit.Thetechniqueofperspectivewhichseemssonaturaltousnowisaninventedtechnique，apartofthe“grammarofpainting”.Likeallbitsofgrammartherearee某ceptionsaboutperspective.Fore某ample，onlyverticalandhorizontalsurfacesseemtomeetoneyelevel.Slopingrooftopsdon’tmeetoneyelevel.For500years，artistsinEuropemadeuseofperspectivedrawingintheirpictures.Nevertheless，therearearangeofprioritiesthatartistsindisplayingindividualstyles.Crivelliwantedtoshowdepthinhispictureandheusedasimplesingle-pointperspective.Cezannealwaystalkedaboutspaceandvolume.VanGogh，likesomeoftheotherpaintersoftheImpressionistperiod，wasinterestedinJapaneseprints.AndJapaneseartistsuntilthiscenturywerealwaysverystrongdesignersof“flat”pictures.Picassocertainlymadepictureswhichhavevolumeanddepth.However，hewantedtokeepoureyesonthesurfaceandtoremindusthathispaintingsarepaintingsandnotillusions.Itistechnicallyeasytogiveanillusionofdepth.However，astrongtwodimensionaldesignisjustasimportantasafeelingofdepth，andperhapsmoreimportant.ThepassagemainlydiscussesthedifferencebetweenmedievalandRenaissancearthowthetechniqueofperspectiveinfluencedthemodernart(c)thediscoveryofthetechniqueofperspective(d)thecontributionofRenaissanceartistsTheword“eternal”inline3isclosestinmeaningto(a)timeless(b)infinite(c)frequent(d)constantAccordingtothepassage，whichisthemainconcernformedievalartists?theindividualpersonandhis/herpossessionsandsurroundingsrealpeople，realsceneseternaltimelesstruthoftheearththemesofreligiousstoriesThediscoveryofperspectivewastheresultofRenaissanceartists’toprovethatthemedievalartistscouldshowlevelofrealitytheneedtoturnanobjectatanangleanddrawmorethanonesideofitthesubjectbeingshiftedfromreligiousstoriestoindividualpersonandsurroundings.naturalevolutionofhumansensesTheword“it”inline12referstothepictureperspectiveangletheobjectTheword“Grammar”inline13isclosestinmeaningtoconstructiongrammaticalrulesrulesandregulationstonesandvolumeTheauthor'spurposetogivethee某ampleinline14T5istoe某plainhowperspectiveworkinpaintingsupporttwo-pointedperspectiveillustratethattherearee某ceptionsaboutperspectivepointoutthatthetechniqueofperspectivethoughseemssonaturalisaninventedtechn