新托福阅读考试试题.docx

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1、 新托福阅读考试试题 模拟试题一： The discovery of freezing has changed our eating habits more than any other related invention. Because many foods contain large amounts of water, they freeze solidly at or just below 32 degrees Fahrenheit. When we lower the temperature to well below the freezing point and prevent a

2、ir from penetrating the food, we retard the natural process of decay that causes food to spoil. Freezing preserves the flavor and nutrients of food better than any other preservation method. When properly prepared and packed, foods and vegetables can be stored in the freezer for one year. Most veget

3、ables and some fruits need blanching before they are frozen, and to avoid this step would be an expensive mistake. The result would be a product largely devoid of vitamins and minerals. Proper blanching curtails the enzyme action, which vegetables require during their growth and ripening but which c

4、ontinues after maturation and will lead to decay unless it is almost entirely stopped by blanching. This process is done in two ways, either by plunging vegetables in a large amount of rapidly boiling water for a few minutes or by steaming them. For steam blanching, it is important that timing begin

5、 when the water at the bottom of the pot is boiling. Different vegetables require different blanching times, and specified times for each vegetable must be observed. Under-blanching is like no blanching at all, and over-blanching, while stopping the enzyme action, will produce soggy, discolored vege

6、tables. 1.Why does the author mention 32 degrees Fahrenheit? A.To suggest the storage temperature for most foods B.To identify the freezing point of water C.To state the correct setting for a freezer D.To give the temperature for blanching 2.Why does the author use the term expensive mistake in disc

7、ussing blanching? A.To state that blanching is expensive but very effective B.To warn that not blanching will harm the foods nutritional value C.To emphasize the importance of blanching only a few items at a time D.To show that many people waste food by blanching improperly 答案： 1.B2.B 模拟试题二： The Uni

8、ted States dancer Loie Fuller (18621928) found theatrical dance in the late nineteenthcentury artistically unfulfilling. She considered herself an artist rather than a mere entertainer,and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shiftin

9、g play of lights and colors on thevoluminous skirts or draperies she wore, which she kept in constant motion principallythrough movements of her arms, sometimes extended with wands concealed under hercostumes. She rejected the technical virtuosity of movement in ballet, the most prestigiousform of t

10、heatrical dance at that time, perhaps because her formal dance training was minimal.Although her early theatrical career had included stints as an actress, she was not primarilyinterested in storytelling or expressing emotions through dance; the drama of her dancingemanated from her visual effects.

11、Although she discovered and introduced her art in the United States, she achieved her greatestglory in Paris, where she was engaged by the Folies Bergre in 1892 and soon became “LaLoie,” the darling of Parisian audiences. Many of her dances represented elements or naturalobjectsFire, the Lily, the B

12、utterfly, and so onand thus accorded well with the fashionableArt Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing alsoattracted the attention of French poets and painters of the period, for it appealed to their likingfor mystery, their belief in art for art”s sak

13、e, a nineteenth-century idea that art is valuable initself rather than because it may have some moral or educational benefit, and their efforts tosynthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which wasthen in its infancy), colored g

14、els, slide projections, and other aspects of stage technology. Sheinvented and patented special arrangements of mirrors and concocted chemical dyes for herdraperies. Her interest in color and light paralleled the research of several artists of the period,notably the painter Seurat, famed for his Poi

15、ntillist technique of creating a sense of shapes andlight on canvas by applying extremely small dots of color rather than by painting lines. One ofFuller”s major inventions was underlighting, in which she stood on a pane of frosted glassilluminated from underneath. This was particularly effective in

16、 her Fire Dance (1895), performedto the music of Richard Wagner”s “Ride of the Valkyries.” The dance caught the eye of artistHenri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of herdances. Although she gave li

17、ttle thought to music in her earliest dances, she later used scoresby Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky,Faur, Debussy, and Mussorgsky, composers who were then considered progressive. Shebegan to address more ambitious themes in her dances such as The

18、 Sea, in which her dancersinvisibly agitated a huge expanse of silk, played upon by colored lights. Always open toscientific and technological innovations, she befriended the scientists Marie and Pierre Curieupon their discovery of radium and created a Radium Dance, which simulated thephosphorescenc

19、e of that element. She both appeared in filmsthen in an early stage ofdevelopmentand made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) wasplayed by Ren Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition t

20、o her owndances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her.Although she is remembered today chiefly for her innovations in stage lighting, her activitiesalso touched Isa

21、dora Duncan and Ruth St. Denis, two other United States dancers who wereexperimenting with new types of dance. She sponsored Duncan”s first appearance in Europe.Her theater at the Paris Exposition was visited by St. Denis, who found new ideas aboutstagecraft in Fuller”s work and fresh sources for he

22、r art in Sada Yocco”s plays. In 1924 St.Denis paid tribute to Fuller with the duet Valse la Loie. Paragraph 1: The United States dancer Loie Fuller (18621928) found theatrical dance in thelate nineteenth century artistically unfulfilling. She considered herself an artist rather than amere entertaine

23、r, and she, in turn, attracted the notice of other artists. 1. What can be inferred from paragraph 1 about theatrical dance in the late nineteenthcentury? It influenced many artists outside of the field of dance. It was very similar to theatrical dance of the early nineteenth century. It was more a

24、form of entertainment than a form of serious art. It was a relatively new art form in the United States. Paragraph 2: Fuller devised a type of dance that focused on the shifting play of lights andcolors on the voluminous skirts or draperies she wore, which she kept in constant motionprincipally thro

25、ugh movements of her arms, sometimes extended with wands concealed underher costumes. She rejected the technical virtuosity of movement in ballet, the mostprestigious form of theatrical dance at that time, perhaps because her formal dance trainingwas minimal. Although her early theatrical career had

26、 included stints as an actress, she wasnot primarily interested in storytelling or expressing emotions through dance; the drama of herdancing emanated from her visual effects. 2. According to paragraph 2, all of the following are characteristic of Fuller”s type of danceEXCEPT experimentation using c

27、olor large and full costumes continuous movement of her costumes technical virtuosity of movement 3. The word prestigious in the passage is closest in meaning to highly regarded financially rewarding demanding serious 4. Which of the sentences below best expresses the essential information in the hi

28、ghlightedsentence in the passage? Incorrect choices change the meaning in important ways or leave outessential information. Fuller was more interested in dance”s visual impact than in its narrative or emotionalpossibilities. Fuller used visual effects to dramatize the stories and emotions expressed

29、in her work. Fuller believed that the drama of her dancing sprang from her emotional style of storytelling. Fuller”s focus on the visual effects of dance resulted from her early theatrical training as anactress. Paragraph 3: Although she discovered and introduced her art in the United States, she ac

30、hievedher greatest glory in Paris, where she was engaged by the Folies Bergre in 1892 and soonbecame “La Loie,” the darling of Parisian audiences. Many of her dances represented elements ornatural objectsFire, the Lily, the Butterfly, and so onand thus accorded well with thefashionable Art Nouveau s

31、tyle, which emphasized nature imagery and fluid, sinuous lines. Herdancing also attracted the attention of French poets and painters of the period, for it appealedto their liking for mystery, their belief in art for art”s sake, a nineteenth-century idea that art isvaluable in itself rather than beca

32、use it may have some moral or educational benefit, and theirefforts to synthesize form and content. 5. The word engaged in the passage is closest in meaning to noticed praised hired attracted 6. The word synthesize in the passage is closest in meaning to improve define simplify integrate 7. Accordin

33、g to paragraph 3, why was Fuller”s work well received in Paris? Parisian audiences were particularly interested in artists and artistic movements from theUnited States. Influential poets tried to interest dancers in Fuller”s work when she arrived in Paris. Fuller”s work at this time borrowed directl

34、y from French artists working in other media. Fuller”s dances were in harmony with the artistic values already present in Paris. Paragraph 4: Fuller had scientific leanings and constantly experimented with electrical lighting(which was then in its infancy), colored gels, slide projections, and other

35、 aspects of stagetechnology. She invented and patented special arrangements of mirrors and concocted chemicaldyes for her draperies. Her interest in color and light paralleled the research of several artists ofthe period, notably the painter Seurat, famed for his Pointillist technique of creating a

36、sense ofshapes and light on canvas by applying extremely small dots of color rather than by paintinglines. One of Fuller”s major inventions was underlighting, in which she stood on a pane offrosted glass illuminated from underneath. This was particularly effective in her Fire Dance(1895), performed

37、to the music of Richard Wagner”s “Ride of the Valkyries.” The dance caughtthe eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. 8. According to paragraph 4, Fuller”s Fire Dance was notable in part for its use of colored gels to illuminate glass use of dyes and paints to creat

38、e an image of fire technique of lighting the dancer from beneath draperies with small dots resembling the Pointillist technique of Seurat Paragraph 5: As her technological expertise grew more sophisticated, so did the otheraspects of her dances. Although she gave little thought to music in her earli

39、est dances, shelater used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduatingto Stravinsky, Faur, Debussy, and Mussorgsky, composers who were then consideredprogressive. She began to address more ambitious themes in her dances such as The Sea,in which her dancers invisibl

40、y agitated a huge expanse of silk, played upon by colored lights.Always open to scientific and technological innovations, she befriended the scientists Marie andPierre Curie upon their discovery of radium and created a Radium Dance, which simulated thephosphorescence of that element. She both appear

41、ed in filmsthen in an early stage ofdevelopmentand made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) wasplayed by Ren Clair, later a leading French film director. 9. Why does the author mention Fuller”s The Sea? To point out a dance of Fuller”s in which music did not play an

42、 important role To explain why Fuller sometimes used music by progressive composers To illustrate a particular way in which Fuller developed as an artist To illustrate how Fuller”s interest in science was reflected in her work 10. The word agitated in the passage is closest in meaning to emerged fro

43、m beneath created movement in arranged themselves in pretended to be Paragraph 6: At the Paris Exposition in 1900, she had her own theater, where, in addition toher own dances, she presented pantomimes by the Japanese actress Sada Yocco. Sheassembled an all-female company at this time and establishe

44、d a school around 1908, butneither survived her. Although she is remembered today chiefly for her innovations in stagelighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other UnitedStates dancers who were experimenting with new types of dance. She sponsored Duncan”s firstap

45、pearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who foundnew ideas about stagecraft in Fuller”s work and fresh sources for her art in Sada Yocco”s plays.In 1924 St. Denis paid tribute to Fuller with the duet Valse la Loie. 11. According to paragraph 6, what was true

46、 of Fuller”s theater at the Paris Exposition? It presented some works that were not by Fuller. It featured performances by prominent male as well as female dancers. It became a famous school that is still named in honor of Fuller. It continued to operate as a theater after Fuller died. 12. The passa

47、ge mentions which of the following as a dance of Fuller”s that was set to music? Fire Dance Radium Dance Le Lys de la Vie Valse la Loie Paragraph 5: As her technological expertise grew more sophisticated, so did the otheraspects of her dances. Although she gave little thought to music in her earliest dances, shelater used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduatingto Stravinsky, Faur, Debussy, and Mussorgsky, composers who were then consideredprogressive. She began to address more a