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托福阅读真题3PASSAGE3TheNativeAmericansofnorthernCaliforniawerehighlyskilledatbasketry,usingthereeds,grasses,barks,androotstheyfoundaroundthemtofashionarticlesofallsortsandsizes-notonlytrays,containers,andcookingpots,buthats,boats,fishtraps,babycarriers,andceremonialobjects.Ofalltheseexperts,noneexcelledthePomo—agroupwholivedonornearthecoastduringthe1800's,andwhosedescendantscontinuetoliveinpartsofthesameregiontothisday.Theymadebasketsthreefeetindiameterandothersnobiggerthanathimble.ThePomopeopleweremastersofdecoration.Someoftheirbasketswerecompletelycoveredwithshellpendants;otherswithfeathersthatmadethebaskets'surfacesassoftasthebreastsofbirds.Moreover,thePomopeoplemadeuseofmoreweavingtechniquesthandidtheirneighbors.Mostgroupsmadealltheirbasketworkbytwining—thetwistingofaflexiblehorizontalmaterial,calledaweft,aroundstifferverticalstrandsofmaterial,thewarp.Othersdependedprimarilyoncoiling—aprocessinwhichacontinuouscoilofstiffmaterialisheldinthedesiredshapewithtightwrappingofflexiblestrands.OnlythePomopeopleusedbothprocesseswithequaleaseandfrequency.Inaddition,theymadeuseoffourdistinctvariationsonthebasictwiningprocess,oftenemployingmorethanoneoftheminasinglearticle.Althoughawidevarietyofmaterialswasavailable,thePomopeopleusedonlyafew.Thewarpwasalwaysmadeofwillow,andthemostcommonlyusedweftwassedgeroot,awoodyfiberthatcouldeasilybeseparatedintostrandsnothickerthanathread.Forcolor,thePomopeopleusedthebarkofredbudfortheirtwinedworkanddyedbullrushrootforblackincoiledwork.Thoughothermaterialsweresometimesused,thesefourwerethestaplesintheirfinestbasketry.IfthebasketrymaterialsusedbythePomopeoplewerelimited,thedesignswereamazinglyvaried.EveryPomobasketmakerknewhowtoproducefromfifteentotwentydistinctpatternsthatcouldbecombinedinanumberofdifferentways.1.WhatbestdistinguishedPomobasketsfrombasketsofothergroups?(A)Therangeofsizes,shapes,anddesigns(B)Theunusualgeometric(C)Theabsenceofdecoration(D)Therarematerialsused2.Thewordfashioninline2isclosestinmeaningto(A)maintain(B)organize(C)trade(D)create3.ThePomopeopleusedeachofthefollowingmaterialstodecoratebasketsEXCEPT(A)shells(B)feathers(C)leaves(D)bark4.Whatistheauthor'smainpointinthesecondparagraph?(A)TheneighborsofthePomopeopletriedtoimproveonthePomobasketweavingtechniques.(B)ThePomopeoplewerethemostskilledbasketweaversintheirregion.(C)ThePomopeoplelearnedtheirbasketweavingtechniquesfromotherNativeAmericans.(D)ThePomobasketshavebeenhandeddownforgenerations.5.Thewordothersinline9refersto(A)masters(B)baskets(C)pendants(D)surfaces6.Accordingtothepassage,aweftisa(A)toolforseparatingsedgeroot(B)processusedforcoloringbaskets(C)pliablematernalwovenaroundthewarp(D)patternusedtodecoratebaskets7.Accordingtothepassage,whatdidthePomopeopleuseasthewarpintheirbaskets?(A)bullrush(B)willow(C)sedge(D)redbud8.Thewordarticleinline17iscloseinmeaningto(A)decoration(B)shape(C)design(D)object9.Accordingtothepassage.Therelationshipbetweenredbudandtwiningismostsimilartotherelationshipbetween(A)bullrushandcoiling(B)weftandwarp(C)willowandfeathers(D)sedgeandweaving10.Thewordstaplesinline23isclosestinmeaningto(A)combinations(B)limitations(C)accessories(D)basicelements11.Theworddistinctinlime26isclosestinmeaningto(A)systematic(B)beautiful(C)different(D)compatible12.WhichofthefollowingstatementsaboutPomobasketscanbebestinferredfromthepassage?(A)BasketsproducedbyotherNativeAmericanswerelessvariedindesignthanthoseofthePomopeople.(B)BasketsproducedbyPomoweaverswereprimarilyforceremonialpurposes.(C)TherewereaverylimitednumberofbasketmakingmaterialsavailabletothePomopeople.(D)ThebasketmakingproductionofthePomopeoplehasincreasedovertheyears.PASSAGE4ThetermHudsonRiverschoolwasappliedtotheforemostrepresentativesofnineteenth-centuryNorthAmericanlandscapepainting.ApparentlyunknownduringthegoldendaysoftheAmericanlandscapemovement,whichbeganaround1850andlasteduntilthelate1860's,theHudsonRiverschoolseemstohaveemergedinthe1870'sasadirectresultofthestrugglebetweentheoldandthenewgenerationsofartists,eachtoassertitsownstyleastherepresentativeAmericanart.Theolderpainters,mostofwhomwerebornbefore1835,practicedinamodeoftenself-taughtandmonopolizedbylandscapesubjectmatterandweresecurelyestablishedinandfosteredbythereigningAmericanartorganization,theNationalAcademyofDesign.TheyoungerpaintersreturninghomefromtraininginEuropeworkedmorewithfiguralsubjectmatterandinaboldandimpressionistictechnique;theirprospectsforpatronageintheirowncountrywereuncertain,andtheysoughttoattractitbyattainingacademicrecognitioninNewYork.OneoftheresultsoftheconflictbetweenthetwofactionswasthatwhatinpreviousyearshadbeenreferredtoastheAmerican,native,or,occasionally,NewYorkschool—themostrepresentativeschoolofAmericanartinanygenre—hadby1890becomefirmlyestablishedinthemindsofcriticsandpublicalikeastheHudsonRiverschool.Thesobriquetwasfirstappliedaround1879.Whileitwasnotintendedasflattering,itwashardlyinappropriate.TheAcademiciansatwhomitwasaimedhadworkedandsocializedinNewYork,theHudson'sportcity,andhadpaintedtheriveranditsshoreswithvaryingfrequency.Mostimpor