美國歷史類托福TPO閱讀分析美國歷史類托福TPO閱讀分析歷史背景：美國殖民歷史和西進運動獨立戰爭結束后，美國掀起了長達一個世紀的西遷，出于不同的目的，大批移民從西部原殖民洲遷入東部。西進運動既是適應自由經濟的發展需要，又得益于政策的支持和交通技術的發展。TPO20的這篇閱讀就以農業發展為切入點討論了WestMigration的發展條件。原文A段節選ThestoryofthewestwardmovementofpopulationintheUnitedStatesis,inthemain,thestoryofthee某pansionofAmericanagriculture—ofthedevelopmentofnewareasfortheraisingoflivestockandthecultivationofwheat,corn,tobacco,andcotton.After1815improvedtransportationenabledmoreandmorewesternfarmerstoescapeaself-sufficientwayoflifeandenteranationalmarketeconomy.分析：全文分析第一句話是一個典型的長難句，如果我們抓住主干，可以簡化為：thestoryisthestory.兩個story的定語關鍵詞分別是westmovement和Americanagriculture。句子主體意思就可以概括為：美國西進運動的故事即美國農業的故事。次句提出了一個新的要點：交通。這一點將會在后面的段落展開去講。另外，農業擴張的結果是農民走出自給自足的生活方式，進入全國性市場經濟（運動的結果）。原文B段節選Whywerethesehundredsofthousandsofsettlers—mostofthemfarmers,someofthemartisans—drawnawayfromtheclearedfieldsandestablishedcitiesandvillagesoftheEast?CertaincharacteristicsofAmericansocietyhelptoe某plainthisremarkablemigration.分析：B段設問句承上(farmers;drawnaway)啟下(why).次句交代本段主旨：美國社會因素原文C段節選TheWesthadplentyofattractions:thealluvialriverbottoms,thefecundsoilsoftherollingforestlands,theblackloamsoftheprairiesweretemptingtoNewEnglandfarmers...分析：這一段講西部自身的吸引力原文D段節選：Transportationwasbecominglessofaproblemforthosewhowishedtomovewestandforthosewhohandfarmsurplusestosendtomarket.分析：這一段講農民西遷的技術因素—交通的發展。原文E段節選：Twootherdevelopmentspresagedtheendoftheeraofturnpikesandstartedatransportationrevolutionthatresultedinincreasedregionalspecializationandthegrowthofanationalmarketeconomy.分析：是對上一段的拓展，關鍵詞transportationrevolution。進一步講交通發展促發了全國性農業經濟的出現。全文結構梳理：A西進運動的歷史是農業擴張的歷史B農業擴張的條件一：美國社會因素C農業擴張的條件二：西部吸引力D&E農業擴張的條件三：交通運輸發展(分陸上和水路交通兩方面)我們還可以看到，在DE兩段中出現了關鍵詞marketeconomy，這一點是農業西遷的結果，也是首段中曾經出現過的。所以我們在閱讀首段時，要圈劃關鍵詞，并在后面段落中有意地去注意這些關鍵詞的復現。這對我們把握全文主旨和脈絡是非常有幫助的。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預示regional地區的specialization專業化托福閱讀練習題：文藝復興類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