刘勇黄金阅读tpo1-19 原文翻译及答案解析.pdf

托福保分 100+： 刘勇黄金阅读 tpo1-19刘勇黄金阅读 tpo1-19原文翻译+答案解析目录1.APPLIED ARTS AND FINE ARTS72.THE ORIGINS OF CETACEANS123.DESERT FORMATION194.EARLY CINEMA285.AGGRESSION376.ARTISANS AND INDUSTRIALIZATION467.SWIMMING MACHINES558.NINETEENTH-CENTURY POLITICS IN THE UNITED STATES639.THE EXPRESSION OF EMOTIONS7210.GEOLOGY AND LANDSCAPE8111.GROUNDWATER9012.THE ORIGINS OF THEATER9713.TIMBERLINE VEGETATION ON MOUNTAINS10414.ARCHITECTURE 11115.Depletion of the Ogallala Aquifer11816.The Long-Term Stability of Ecosystems12517.Opportunists and Competitors 13218.Lascaux Cave Paintings13819.Electricity from Wind 14520.Deer Populations of the Puget Sound15221.Cave Art in Europe15922.Petroleum Resources 16623.Meteorite Impact and Dinosaur Extinction17324.MINERALS AND PLANTS18025.THE ORIGIN OF THE PACIFIC ISLAND PEOPLE 18726.THE CAMBRIAN EXPLOSION19527.Powering the Industrial Revolution 20228.William Smith20929.Infantile Amnesia21630.The Geologic History of the Mediterranean22331.Ancient Rome and Greece23032.Agriculture, Iron, and the Bantu Peoples 23733.THE RISE OF TEOTIHUACAN24434.EXTINCTION OF THE DINOSAURS25135.RUNNING WATER ON MARS25936.Colonizing the Americas via the Northwest Coast26637.REFLECTION IN TEACHING27438.THE ARRIVAL OF PLANT LIFE IN HAWAII 281托福保分 100+： 39.FEEDING HABITS OF EAST AFRICAN HERBIVORES 28840.LOIE FULLER29541.GREEN ICEBERGS30242.Chinese Pottery 30943.Variations in the Climate31644.Seventeenth-Century European Economic Growth 32345.Ancient Egyptian Sculpture33046.Orientation and Navigation33747.Begging by Nestlings34448.Which Hand Did They Use?35149.Transition to Sound in Film35850.Water in the Desert36651.Types of Social Groups37352.Biological Clocks38053.Methods of Studying Infant Perception38754.Children and Advertising 39455.Maya Water Problems40156.Pastoralism in Ancient Inner Eurasia 40857.A Warm-Blooded Turtle41558.Mass Extinctions42259.Glacier Formation42960.Trade and the Ancient Middle East43661.Development of the Periodic Table 44362.Planets in Our Solar System45163.Europe'sEarlySeaTradewithAsia-----------------------------------------------------------------------------------45764.AnimalSignalsintheRainForest------------------------------------------------------------------------------------46465.Symbiotic Relationships47266. Industrialization in the Netherlands and Scandinavia47967.The mystery of yawning48568.Lightning49169.The Roman Army's Impact on Britain49770.Succession, Climax, and Ecosystems50471.Discovering the Ice Ages 511托福阅读知识体系519《文勇的新托福强化阅读白金班》520《穿越重洋，给你思维的力量》522APPLIED ARTS AND FINE ARTSAlthough we now tend to refer to the various crafts according to the materials used to constructthem-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of托福保分 100+： function, which led to their being known as the “applied arts.“ Approaching crafts from the pointof view of function, we can divide them into simple categories: containers, shelters and supports.There is no way around the fact that containers, shelters, and supports must be functional. Theapplied arts are thus bound by the laws of physics, which pertain to both the materials used intheir making and the substances and things to be contained, supported, and sheltered. Theselaws are universal in their application, regardless of cultural beliefs, geography, or climate. If a pothas no bottom or has large openings in its sides, it could hardly be considered a container in anytraditional sense. Since the laws of physics, not some arbitrary decision, have determined thegeneral form of applied-art objects, they follow basic patterns, so much so that functional formscan vary only within certain limits. Buildings without roofs, for example, are unusual because theydepart from the norm. However, not all functional objects are exactly alike; that is why werecognize a Shang Dynasty vase as being different from an Inca vase. What varies is not the basicform but the incidental details that do not obstruct the object's primary function.Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects.It is often taken for granted that this is also true for the maker of fine-art objects. This assumptionmisses a significant difference between the two disciplines. Fine-art objects are not constrainedby the laws of physics in the same way that applied-art objects are. Because their primarypurpose is not functional, they are only limited in terms of the materials used to make them.Sculptures must, for example, be stable, which requires an understanding of the properties ofmass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas willbe taut, and the paint must not deteriorate, crack, or discolor. These are problems that must beovercome by the artist because they tend to intrude upon his or her conception of the work. Forexample, in the early Italian Renaissance, bronze statues o。