雅思阅读机经20150704.doc

雅思考试机经雅思阅读机经V20150704一、 考试时间：2015年7月4日（周六）二、 考试概述：本次考试三篇文章，一篇旧题，一篇旧题改编，一篇新题。第一篇The origin of films，介绍电影技术的起源，这与2014年4月24日Photography and Artists属于同类型，很多专有词汇都有重叠。第二篇The treetop research，介绍对于树梢的研究，此题的题材很新颖，雅思剑桥真题体系中，剑七第三套第三篇Europes Forests可作为参考。第三篇The Grimms Fairy Tale，介绍格林童话，这是2014年3月13日的原题，涉及到人物传记的文章，剑九第一套第一篇的William Henry Perkin可作为参考。三、文章简介Passage 1: The origin of films，电影技术的起源Passage 2: The treetop research，树梢的研究。Passage 3: The Grimms Fairy Tale，格林童话四、篇章分析：Passage 1：文章内容全文介绍了电影的发展史，特别就早期的电影技术进行了研究和探讨。题型分布与答案参考186618715. photography18796. mirror*7. disco*8. on a screen9. T10. F11. F several of CC(一种电影) still exist today12. T13. NG相关拓展The cinema did not emerge as a form of mass consumption until its technology evolved from the initial peepshow format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose. Thomas Edisons peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time.The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10 to $15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine-a projectorfrom him instead of several.Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, ThomasArmat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edisons former assistant, William Dickson) perfected projection devices. These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to amass audience.With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.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 participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.With the advent of projection, the viewers 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 individual photographic cards instead of on strips of celluloid. It suddenly became publican experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feetPassage 2：文章内容全文介绍的是树木的顶端的生态和其对于树木的特殊作用。题型分布与答案参考14. E opinion of experts on a certain access method have changed15. D a description of physical limitation of a certain access16. F17. A the details of ecological and environmental of canopy18. B a description of lack of cooperation and research19. c20. e21. a22. d 23. b24. asserts25. balloon相关拓展What is the TreeTop Barbie project?TreeTop Barbie was designed to inspire youth especially young girls to become aware of the field of the forest canopy. She is a real Barbie doll, but wears hand-tailored clothes that are modeled on real field clothes and climbing gear, including a field guide to canopy plants and animals (both Barbie- and human-sized). The TreeTop Barbie package includes the doll and a personal letter from Barbie about forests and their importance to people. TreeTop Barbie can serve as a role model to encourage young girls in directions that are alternatives to the mainstream Barbie doll and what she represents in our society. TreeTop Barbie and her accompanying educational materials also provide a link between youth and an exciting part of the natural world in tropical and temperate ecosystems. TreeTop Barbie is distributed by The International Canopy Network (ICAN), a not-for-profit organization dedicated to promoting forest canopy conservation through research and education. Funds generated will support this and other outreach activities. Exploration of forest canopies is no easy tasksince researchers cant cross between tree-tops, they have to clamber up trunks, explore, descend, and then climb the next. Or they did, until the advent of the SolVin Bretzel Canopy Raft. A canopy raft is, basically, an inflatable PVC pontoon frame with high-tension netting spread between. Theyre pre-inflated and lifted into positioned via airship, dirigible, or helicopter. Once in position, the rafts are set down among the tree-tops, allowing researchers unfettered access to the uppermost reaches of the forest ecosystem. Scientists can observe from the raft, rappel from it toothey can even live on its temporary floor for several days at a time. The pretzel shape of the raft in the top image is known as a SolVin Bretzel, created by architect Gilles Ebersolt (yes, like Pretzel but in German), a recent design that replaced the previous, octagonal raft shape. Its unique 400m area offers numerous advantages over its predecessors. Its a more structurally sound platform that maximizes surface area, preventing any outlying section from folding or collapsing. Its also extremely lightweightmeaning it doesnt crush the new growth of the canopy upon which it rests. Passage 3：文章内容文章讲述了格林童话的一些创作过程。即格林童话最初对世界的一些影响及演变，以及人们对于格林童话看法的发展。题型分布与答案参考27. N the Grimm brother knew they would gain international fame, the lasting fame would shock the Grimm28. NG the Grimm were reinforced to do work of their own secret29. Y the sales of Fairy Tale in England was higher than in German30. NG31. Y some parents still thought the Fairy Tale was not good for their children32. N the fairy Tale author considered the man who made contribution to the story of Cinderella as the original model 33. A the flowering of children literature level in 1800s34. A- illustration the change of Fairy Tale in order to match with the modern times (refining & resoftening)35. C36. D another contributor of the Fairy Tale in Italy37. F the reason why some people think the Fairy Tale belongs to German38. H some violent stories 39. E40. D相关拓展Grimms Fairy Tales exerted a profound influence on many generations, and defined what a fairy tale is.Jacob Grimm died 150 years ago today, four years after his younger brother Wilhelm. Together they changed forever the face of literature, especially childrens literature, with their collection of stories usually translated into English as Grimms Fairy Tales.This book came to dominate all other fairy-tale collections, and especially through the Disney animations, has exerted a profound influence on many generations. The Grimms came to define what we think a fairy tale is.There was a boom industry in fairy tales in the nineteenth century: C.L. Dodgson (aka Lewis Carroll) thought that Alices Adventures in Wonderland was a new line in fairy-lore, and it was first tried out on the children of George MacDonald, perhaps the greatest fairy-tale writer of the nineteenth century (a musical version of his fairy tale The Light Princess by Tori Amos and Samuel Adamson will shortly be opening in the National Theatre).There are fairy tale elements in some of the great Victorian novels, for example Jane Eyre and Great Expectations, not to mention darker works such as Strange Case of Dr. Jekyll and Mr. Hyde, The Picture of Dorian Gray and Dracula itself.A twentieth century work such as Orwells Animal Farm is built on the ancient tradition of fables, which form a part of the Grimms collection. Fantasy works by C.S. Lewis and J.R.R. Tolkien were explicitly thought of as fairy tales by their authors, who had some of the wisest words of the century (or indeed any century) to say about fairy tales.More recently, and especially after Angels Carters The Bloody Chamber (and its film version A Company of Wolves), there has been a new wave of subversive fairy tales, as well as graphic novels (Bill Willinghams Fables) and TV series (Once Upon a Time). The fairy tale tradition and its off-shoots in fantasy have never had a higher profile.However, the brothers have also had a pretty grim press over the years. Not only have they been accused of sexism, sadism and racism, in the middle of last century their books were linked to the rise of Nazism, and even banned in Germany during the Allied occupation because they were used by the Nazis to foster German ethnicity.Ironically the Grimms Childrens and Household Tales took shape under an earlier occupation of the country we now call Germany, but which at the beginning of the nineteenth century was a collection of small principalities occupied by the French armies under Napoleon.Childrens and Household Tales did not begin life as a childrens book; it only gradually became that, partly under the influence of the English version entitled German Popular Stories translated by Edgar Taylor and illustrated by George Cruikshank.The fragmented identity caused by the internal divisions within Germany, and its occupation by the French, led to a strong impulse to reconstruct a sense of national identity though the collection of old legends and stories which were characteristically German. Or so the Grimms thought; ironically some of the oral tales they collected were not pure German at all, but versions of French literary tales.This impulse to collect and enshrine a national tradition is understandable in the political context of the time. Nationalism can be a fine thing the trouble is that it can also degenerate into something much nastier, as we have seen even in thes