剑桥雅思阅读翻译及答案解析11(test4)
剑桥雅思阅读部分的题目可以进行一些分类总结，因为考试的常见内容一般都会在下次考试中出现的。下面就是今天小编给大家带来的剑桥雅思阅读11原文(test4)的内容，希望能够帮助同学们备考雅思考试。
剑桥雅思阅读11原文(test4)
READING PASSAGE 1
You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below.
Research using twins
To biomedical researchers all over the world, twins offer a precious opportunity to untangle the influence of genes and the environment — of nature and nurture. Because identical twins come from a single fertilized egg that splits into two, they share virtually the same genetic code. Any differences between them — one twin having younger looking skin, for example — must be due to environmental factors such as less time spent in the sun.
Alternatively, by comparing the experiences of identical twins with those of fraternal twins, who come from separate eggs and share on average half their DNA, researchers can quantify the extent to which our genes affect our lives. If identical twins are more similar to each other with respect to an ailment than fraternal twins are, then vulnerability to the disease must be rooted at least in part in heredity.
These two lines of research — studying the differences between identical twins to pinpoint the influence of environment, and comparing identical twins with fraternal ones to measure the role of inheritance — have been crucial to understanding the interplay of nature and nurture in determining our personalities, behavior, and vulnerability to disease.
The idea of using twins to measure the influence of heredity dates back to 1875, when the English scientist Francis Galton first suggested the approach (and coined the phrase ‘nature and nurture’). But twin studies took a surprising twist in the 1980s, with the arrival of studies into identical twins who had been separated at birth and reunited as adults. Over two decades 137 sets of twins eventually visited Thomas Bouchard’s lab in what became known as the Minnesota Study of Twins Reared Apart. Numerous tests were carried out on the twins, and they were each asked more than 15,000 questions.
Bouchard and his colleagues used this mountain of data to identify how far twins were affected by their genetic makeup. The key to their approach was a statistical concept called heritability. In broad terms, the heritability of a trait measures the extent to which differences among members of a population can be explained by differences in their genetics. And wherever Bouchard and other scientists looked, it seemed, they found the invisible hand of genetic influence helping to shape our lives.
Lately, however, twin studies have helped lead scientists to a radical new conclusion: that nature and nurture are not the only elemental forces at work. According to a recent field called epigenetics, there is a third factor also in play, one that in some cases serves as a bridge between the environment and our genes, and in others operates on its own to shape who we are.
Epigenetic processes are chemical reactions tied to neither nature nor nurture but representing what researchers have called a ‘third component’. These reactions influence how our genetic code is expressed: how each gene is strengthened or weakened, even turned on or off, to build our bones, brains and all the other parts of our bodies.
If you think of our DNA as an immense piano keyboard and our genes as the keys — each key symbolizing a segment of DNA responsible for a particular note, or trait, and all the keys combining to make us who we are — then epigenetic processes determine when and how each key can be struck, changing the tune being played.
One way the study of epigenetics is revolutionizing our understanding of biology is by revealing a mechanism by which the environment directly impacts on genes. Studies of animals, for example, have shown that when a rat experiences stress during pregnancy, it can cause epigenetic changes in a fetus that lead to behavioral problems as the rodent grows up. Other epigenetic processes appear to occur randomly, while others are normal, such as those that guide embryonic cells as they become heart, brain, or liver cells, for example.
Geneticist Danielle Reed has worked with many twins over the years and thought deeply about what twin studies have taught us. ‘It’s very clear when you look at twins that much of what they share is hardwired,’ she says. ‘Many things about them are absolutely the same and unalterable. But it’s also clear, when you get to know them, that other things about them are different. Epigenetics is the origin of a lot of those differences, in my view.’
Reed credits Thomas Bouchard’s work for today’s surge in twin studies. ‘He was the trailblazer,’ she says. ‘We forget that 50 years ago things like heart disease were thought to be caused entirely by lifestyle. Schizophrenia was thought to be due to poor mothering. Twin studies have allowed us to be more reflective about what people are actually born with and what’s caused by experience.’
Having said that, Reed adds, the latest work in epigenetics promises to take our understanding even further. ‘What I like to say is that nature writes some things in pencil and some things in pen,’ she says. Things written in pen you can’t change. That’s DNA. But things written in pencil you can. That’s epigenetics. Now that we’re actually able to look at the DNA and see where the pencil writings are, it’s sort of a whole new world.’
Questions 1-4
Do the following statements agree with the information given in Reading Passage 1?
In boxes 1-4 on your answer sheet, write
TRUE if the statement agrees with the information
FALSE if the statement contradicts the information
NOT GIVEN if there is no information on this
1 There may be genetic causes for the differences in how young the skin of identical twins looks.
2 Twins are at greater risk of developing certain illnesses than non-twins.
3 Bouchard advertised in newspapers for twins who had been separated at birth.
4 Epigenetic processes are different from both genetic and environmental processes.
Questions 5-9
Look at the following statements (Questions 5-9) and the list of researchers below.
Match each statement with the correct researcher, A, B or C.
Write the correct letter, A, B or C, in boxes 5-9 on your answer sheet.
NB You may use any letter more than once.
List of Researchers
A Francis Galton
B Thomas Bouchard
C Danielle Reed
5 invented a term used to distinguish two factors affecting human characteristics
6 expressed the view that the study of epigenetics will increase our knowledge
7 developed a mathematical method of measuring genetic influences
8 pioneered research into genetics using twins
9 carried out research into twins who had lived apart
Questions 10-13
Complete the summary using the list of words, A-F, below.
Write the correct letter, A-F, in boxes 10-13 on your answer sheet.
Epigenetic processes
In epigenetic processes, 10 __________ influence the activity of our genes, for example in creating our internal 11 __________ The study of epigenetic processes is uncovering a way in which our genes can be affected by our 12 __________ One example is that if a pregnant rat suffers stress, the new-born rat may later show problems in its 13 __________.
A nurture B organs C code
D chemicals E environment F behaviour/behavior
READING PASSAGE 2
You should spend about 20 minutes on Questions 14-26, which are based on Reading Passage 2 below.
An Introduction to Film Sound
Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music.
Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer’s voice supplies an element of character.
When voice textures fit the performer’s physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the ‘inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe’.
The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism — largely due to its frenetic dialogue.
Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the ‘click’ of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the ‘click’ of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the ‘click’ with an increase in volume; this helps to engage the audience in a moment of suspense.
Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance’s siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film’s city setting.
We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.
Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century — the modern film.
Questions 14-18
Choose the correct letter, A, B, C or D.
Write the correct letter in boxes 14-18 on your answer sheet.
14 In the first paragraph, the writer makes a point that
A the director should plan the sound track at an early stage in filming.
B it would be wrong to overlook the contribution of sound to the artistry of films.
C the music industry can have a beneficial influence on sound in film.
D it is important for those working on the sound in a film to have sole responsibility for it.
15 One reason that the writer refers to Humphrey Bogart is to exemplify
A the importance of the actor and the character appearing to have similar personalities.
B the audience’s wish that actors are visually appropriate for their roles.
C the value of the actor having had similar feelings to the character.
D the audience’s preference for dialogue to be as authentic as possible.
16 In the third paragraph, the writer suggests that
A audiences are likely to be critical of film dialogue that does not reflect their own experience.
B film dialogue that appears to be dull may have a specific purpose.
C filmmakers vary considerably in the skill with which they handle dialogue.
D the most successful films are those with dialogue of a high quality.
17 What does the writer suggest about Bringing Up Baby?
A The plot suffers from the filmmaker’s wish to focus on humorous dialogue.
B The dialogue helps to make it one of the best comedy films ever produced.
C There is a mismatch between the speed of the dialogue and the speed of actions.
D The nature of the dialogue emphasises key elements of the film.
18 The writer refers to the ‘click’ of a door to make the point that realistic sounds
A are often used to give the audience a false impression of events in the film.
B may be interpreted in different ways by different members of the audience.
C may be modified in order to manipulate the audience’s response to the film.
D tend to be more significant in films presenting realistic situations.
Questions 19-23
Do the following statements agree with the information given in Reading Passage 2?
In boxes 19-23 on your answer sheet, write
TRUE if the statement agrees with the information
FALSE if the statement contradicts the information
NOT GIVEN if there is no information on this
19 Audiences are likely to be surprised if a film lacks background music.
20 Background music may anticipate a development in a film.
21 Background music has more effect on some people than on others.
22 Background music may help the audience to make certain connections within the film.
23 Audiences tend to be aware of how the background music is affecting them.
Questions 24-26
Complete each sentence with the correct ending, A-E, below.
Write the correct letter, A-E, in boxes 24-26 on your answer sheet.
24 The audience’s response to different parts of a film can be controlled
25 The feelings and motivations of characters become clear
26 A character seems to be a real person rather than an actor
A when the audience listens to the dialogue.
B if the film reflects the audience’s own concerns.
C if voice, sound and music are combined appropriately.
D when the director is aware of how the audience will respond.
E when the actor’s appearance, voice and moves are consistent with each other.
READING PASSAGE 3
You should spend about 20 minutes on Questions 27-40, which are based on Reading Passage 3 on the following pages.
Questions 27-32
Reading Passage 3 has six paragraphs, A-F.
Choose the correct heading for paragraphs A-F from the list of headings below. Write the correct number, i-vii, in boxes 27-32 on your answer sheet.
List of Headings
i Differences between languages highlight their impressiveness
ii The way in which a few sounds are organised to convey a huge range of meaning
iii Why the sounds used in different languages are not identical
iv Apparently incompatible characteristics of language
v Even silence can be meaningful
vi Why language is the most important invention of all
vii The universal ability to use language
27 Paragraph A
28 Paragraph B
29 Paragraph C
30 Paragraph D
31 Paragraph E
32 Paragraph F
‘This Marvellous Invention’
A Of all mankinds manifold creations, language must take pride of place. Other inventions — the wheel, agriculture, sliced bread — may have transformed our material existence, but the advent of language is what made us human. Compared to language, all other inventions pale in significance, since everything we have ever achieved depends on language and originates from it. Without language, we could never have embarked on our ascent to unparalleled power over all other animals, and even over nature itself.
B But language is foremost not just because it came first. In its own right it is a tool of extraordinary sophistication, yet based on an idea of ingenious simplicity: ‘this marvellous invention of composing out of twenty-five or thirty sounds that infinite variety of expressions which, whilst having in themselves no likeness to what is in our mind, allow us to disclose to others its whole secret, and to make known to those who cannot penetrate it all that we imagine, and all the various stirrings of our soul’. This was how, in 1660, the renowned French grammarians of the Port-Royal abbey near Versailles distilled the essence of language, and no one since has celebrated more eloquently the magnitude of its achievement. Even so, there is just one flaw in all these hymns of praise, for the homage to languages unique accomplishment conceals a simple yet critical incongruity. Language is mankind’s greatest invention — except, of course, that it was never invented. This apparent paradox is at the core of our fascination with language, and it holds many of its secrets.
C Language often seems so skillfully drafted that one can hardly imagine it as anything other than the perfected handiwork of a master craftsman. How else could this instrument make so much out of barely three dozen measly morsels of sound? In themselves, these configurations of mouth — p,f,b,v,t,d,k,g,sh,a,e and so on — amount to nothing more than a few haphazard spits and splutters, random noises with no meaning, no ability to express, no power to explain. But run them through the cogs and wheels of the language machine, let it arrange them in some very special orders, and there is nothing that these meaningless streams of air cannot do: from sighing the interminable boredom of existence to unravelling the fundamental order of the universe.
D The most extraordinary thing about language, however, is that one doesn’t have to be a genius to set its wheels in motion. The language machine allows just about everybody — from pre-modern foragers in the subtropical savannah, to post-modern philosophers in the suburban sprawl — to tie these meaningless sounds together into an infinite variety of subtle senses, and all apparently without the slightest exertion. Yet it is precisely this deceptive ease which makes language a victim of its own success, since in everyday life its triumphs are usually taken for granted. The wheels of language run so smoothly that one rarely bothers to stop and think about all the resourcefulness and expertise that must have gone into making it tick. Language conceals art.
E Often, it is only the estrangement of foreign tongues, with their many exotic and outlandish features, that brings home the wonder of languages design. One of the showiest stunts that some languages can pull off is an ability to build up words of breath-breaking length, and thus express in one word what English takes a whole sentence to say. The Turkish word ?ehirlili?tiremediklerimizdensiniz, to take one example, means nothing less than ‘you are one of those whom we cant turn into a town-dweller’. (In case you were wondering, this monstrosity really is one word, not merely many different words squashed together — most of its components cannot even stand up on their own.)
F And if that sounds like some one-off freak, then consider Sumerian, the language spoken on the banks of the Euphrates some 5,000 years ago by the people who invented writing and thus enabled the documentation of history. A Sumerian word like munintuma’a (‘when he had made it suitable for her’) might seem rather trim compared to the Turkish colossus above. What is so impressive about it, however, is not its lengthiness but rather the reverse — the thrifty compactness of its construction. The word is made up of different slots, each corresponding to a particular portion of meaning. This sleek design allows single sounds to convey useful information, and in fact even the absence of a sound has been enlisted to express something specific. If you were to ask which bit in the Sumerian word corresponds to the pronoun ‘it’ in the English translation when he had made it suitable for her, then the answer would have to be nothing. Mind you, a very particular kind of nothing: the nothing that stands in the empty slot in the middle. The technology is so fine-tuned then that even a non-sound, when carefully placed in a particular position, has been invested with a specific function. Who could possibly have come up with such a nifty contraption?
Questions 33-36
Complete the summary using the list of words, A-G, below.
Write the correct letter, A-G, in boxes 33-36 on your answer sheet.
The importance of language
The wheel is one invention that has had a major impact on 33 __________ aspects of life, but no impact has been as 34 __________ as that of language. Language is very 35 __________, yet composed of just a small number of sounds. Language appears to be 36 __________ to use. However, its sophistication is often overlooked.
A difficult B complex C original
D admired E material F easy
G fundamental
Questions 37-40
Do the following statements agree with the views of the writer in Reading Passage 3?
In boxes 37-40 on your answer sheet, write
YES if the statement agrees with the views of the writer
NO if the statement contradicts the views of the writer
NOT GIVEN if it is impossible to say what the writer thinks about this
37 Human beings might have achieved their present position without language.
38 The Port-Royal grammarians did justice to the nature of language.
39 A complex idea can be explained more clearly in a sentence than in a single word.
40 The Sumerians were responsible for starting the recording of events.
剑桥雅思阅读11原文参考译文(test4)
PASSAGE 1 参考译文：
双胞胎研究
对于全世界的生物医药学研究者来说，双胞胎提供了一个宝贵的机会以供他们探究基因和环境——也就是先天和后天一所产生的影响。因为同卵双胞胎来自于分裂为二的同一个受精卵，所以他们实际上享有着完全相同的基因代码。二人之间的任何差异一例如双胞胎中的某个有着看起来更为年轻的肌肤——都必定是环境因素造成的，比如日晒时间更少。
另一方面，通过比较同卵双胞胎与异卵双胞胎(后者来自两个不同的受精卵而拥有平均来说约为一半的相同基因)的经历，研究人员就可以量化地得出我们的基因到底在何种程度上影响着我们的生活。如果对于某种疾病同卵双胞胎二人之间的反应比起异卵双胞胎来更为相似，那么容易得上这种疾病的特征就至少有一部分原因是来自遗传因素。
这样两条研究线索——研究同卵双胞胎之间的不同以确认环境的影响，以及比较同卵双胞胎与异卵双胞胎之间的异同以衡量遗传因素所扮演的角色——一直以来都是至关重要的，我们需要借此来理解先天因素与后天因素是如何综合作用起来決定我们的个性、行为和易感染某些疾病的程度。
研究双胞胎以衡量遗传因素的影响这个理念可以追溯到1875年，当时英国科学家Francis Gallon第一次提出了这样一种方法(并且创造了“先天和后天”这样一种说法)。但是双胞胎研究在20世纪80年代迎来了一个令人意想不到的转折，当时出现了这样一种思路，其研究对象为那些出生时即被分开而各自长大成人后才重新聚首的同卵双胞胎们。在二十年的时间里，前后共有137对双胞胎走进了Thomas Bouchard的实验室，这次研究后来成为了广为人知的“被异地养大双胞胎的明尼苏达研究”。在这些双胞胎身上开展了不计其数的测试，他们中的每个人都回答了15,000多个问题。
Bouchard和他的同事们利用了这批数目惊人的海量数据来辨识双胞胎到底在何种程度上受到其基因组成的影响。他们所采用的研究方法的关键在于一种称之为“可遗传性”的统计学数理概念。从广义概念上来说，任何某种特质的可遗传性所衡量的是人口群体中各个成员之间的个体差异可以在何种程度上由他们彼此之间基因方面的差异来解释。而似乎无论Bouchard和其他科学家们如何看待这个问题，他们都能发现基因影响力的这只无形之手在参与塑造我们的人生。
然而，近年来，对于双胞胎的研究已帮助引导科学家们得出了一个不同于以往的新结论：并非只有先天和后天这两个基础原因在发生作用。根据一个近期出现的被称为“表观遗传性”(epigenetics)的研究新领域的看法，还有第三个因素在起作用，它有时候作为一道连接桥梁，贯通于环境与我们自身基因的二者之间;而另一些时候则直接着手塑造我们每一个人。
表观遗传的过程是这样一些化学反应，它们既不与先天也不与后天相关，而是代表着研究人员所称之为的“第三组成因素”。这些反应影响着我们基因代码的表现方式：每一项基因是如何得到加强或削弱，甚至是被激活或关闭，从而构建起我们的骨骼、大脑和身体的所有其他组成部分。
如果你把我们的DNA设想成一组巨大的钢琴键盘而我们的基因就是其中的琴键——每个琴键象征着DNA的一个片段，负责某个音调或者说特质，而所有的琴键组合起来就构成了每一个独特的我们，那么表观遗传的过程就决定着每一个琴键可以什么时候、以何种方式被弹响，从而改变着演奏曲目的旋律。
表观遗传学研究之所以彻底改变了我们对于生物学的理解，方式之一就在于它揭示出这样一种机制，外在环境正是通过这样一种机制直接作用于内在基因。举例来说，动物研究已经证实了：当一只老鼠在怀孕期间有过紧张压力的体验，就可能在其胎儿中引发表观遗传性的改变，进而随着这只啮齿动物的成长导致其行为方面的各种问题。有一些表观遗传过程似乎是随机发生的，而另一些则为常规现象，例如那些指导胚胎细胞如何分化成为心脏、大脑或肝脏细胞的过程。
基因学家Danielle Reed多年来研究过许多对双胞胎，深入思考过双胞胎研究到底可以教会我们哪些知识。“当观察一对双胞胎时，你能够清楚地看出他们之间所共有的许多东西都是基因硬件所決定的，”她这样说道。“关于他们的许多东西都是绝对一模一样和不可改变的。但是当你深入了解了他们以后，同样清楚显现的则是他们身上还有很多其他东西都是不一样的。在我看来，表观遗传学正是大部分这些差异之所以产生的根源所在。”
Reed认为今天关于双胞胎研究的蓬勃发展都要归功于Thomas Bouchard的工作。“他是这个领域的先驱，”她说到。“我们忘记了，就在50年前，例如心脏疾病这样的事情还被认为完全是由个人生活方式引起的。精神分裂症过去曾被视为原因在于母亲养育得不好。双胞胎研究使得我们去进一步深思人们到底生而具有哪些特征，又有哪些情況是由个人经历所造成的。”
说完这些，Reed还补充说，最近在表观遗传学领域中的研究工作还很有可能带领我们的理解更进一步。“我想要说的是，我们的先天用铅笔写好了一些内容，又用墨笔写好了另一些内容，”她这样说。“用墨笔写下的内容是无法改变的，那是我们的DNA。但是用铅笔写下的内容却可以修改，那就是表观遗传学。现在既然我们己经有能力探査DNA并看出哪些是铅笔写出来的内容了，这便进入了一个全新的世界。”
TEST 4 PASSAGE 2 参考译文：
电影声音简介
虽然我们也许会将电影视为在本质上以视觉为核心的体验，但我们着实不能低估了电影声音的重要作用。一套内涵丰富的电影原声常常和银幕上的画面同样复杂深刻，并且最终也是影片导演需要肩负的重要职责。完整的原声包括三个核心组成元素：演员说话声、音效和音乐。这三个声道必须融合在一起并彼此平衡调和，这样才能产生必要的侧重点，进而实现影片所想达到的效果。针对以上提到的三种声道所展开的话题将在后文中一一进行讨论。这些话题包括对话、同步和不同步音效，以及音乐。
让我们从“对话”开始。与舞台戏剧相同，对话的作用是讲述故事并表达角色的感想和动机。随着电影的角色化，观众常常区分不出角色与演员之间会存在什么差別。于是，举个例子来说，演员Humphrey Bogart 就是片中人物Sam Spade;角色特征与真人特征似乎融合在了一起，难分彼此。这也许是因为表演者本人的音质提供了角色构成的一个基本元素。
当声音特质配合了表演者的容貌和手势，一个完整而非常真实的人物就出现了。观众看到的不是一个演员在展示自己的技艺，而是另一个普通人在与他的人生进行着挣扎搏斗。这样一点颇为有趣：如何使用对话以及到底使用多少数量的对话在不同的电影中差别极大。比方说，在《2001》这部非常成功的科幻电影中，并没有使用很多对话，出现的少量对话也大部分都是平淡无味的，几乎没有什么内在意趣。通过这种方式，电影拍摄者得以描绘出Thomas Sobochack和Vivian Sobochack在《电影简介》中所说到的那种效果：“相比于人类创造出来的宏伟科技和大千宇宙的视觉美感，个人的反应是多么的渺小不足”。
而另一方面，喜剧电影《育婴奇谭》则给出了几乎没有停歇、飞快得惊人的对话。这种对话的使用不但突出了Katherine Hepburn所扮演角色的滑稽荒谬，而且也强调了电影本身的荒诞和由此产生的幽默诙谐。观影者被从一个噱头抛向另一个噱头，从一场对话拉入另一场对话，根本来不及做出任何反应。观众们置身于一场各种行为快速切換的旋风之中，仅仅是努力跟上情节发展就已很不容易了。这部电影代表着纯粹的逃避现实主义风格——一大原因就在于其中凌乱癫狂的对话。
同步音效指的是那些与银幕上正在出现的画面同步或相匹配的声音。比方说，如果影片中的某个角色正在弹钢琴，那么钢琴的声音就会播放出来。同步的各种声音増加了影片的真实感并且有助于营造出某种特定的氛围。例如，一扇门被打开时发出的“咔嗒”声也许仅仅是为了向观众证明此处展示的场景是真实的，而观众可能也仅仅只是在潜意识中注意到了这个意料之中的声响。然而，如果开门的“咔嗒”声是一个即将到来的恶性事件——例如一场入室盗窃——之中的组成部分，影片混音师则有可能会刻意放大音量来引起观众的注意，这能有助于将观众卷入悬念时刻。
另一方面，不同步音效并不匹配于银幕上任何可见的声音来源。之所以运用这样的音效，是为了提供某种恰当的微妙情绪氛围，同时也有可能増加影片的真实感。比如，在影片前景的声音和画面正在描述两个人进行争吵的时候，影片拍摄者有可能会选择救护车的汽笛声作为背景声音。这种不同步的救护车汽笛声突出了争吵所带来的精神伤害;而与此同时，汽笛的声音还增加了影片的真实感，因为它提示了影片的城市背景设定。
我们大概都已对电影中的背景音乐相当熟悉了，它们在影片中如此无处不在，以至于只在没有出现的时候我们才能注意到。我们知道它被用来渲染情绪和韵律。它一般不会喧宾夺主引人关注，而是为影片中所刻画的故事和/或人物提供了某种基调或情绪态度。此外，背景音乐还常常能够预示一种氛围上的变化。比方说，凌乱失调的音乐可以在电影中用来暗示一场正在到来(但目前还并不明显可见)的危险或灾难。
背景音乐可以通过在不同场景之间建立联系来帮助观众理解剧情。例如，与某个角色或场景有关的某个特定的乐曲主题可以在影片中不同的部位反复出现，由此来提醒观众注意到其核心主旨或主题思想。
电影声音同时包含传统和创新。我们已经逐渐学会了预期在飞速追车的场景中音乐一定会加速，而在恐怖电影中则必定会有嘎吱作响的门声。然而，注意到这样一点也是极其重要的：声音往往是以一种十分精妙出色的方式被人们所感知。音效的作用通常在很大程度上是微妙难察的，常常只有我们的潜意识思维才会注意到它们。除了关注影片的空间效果之外，我们需要刻意培养自己注意电影音效的能力，这样才能真正欣赏到这种在20世纪里如此鲜活而富有生机的艺术形式——现代电影。
TEST 4 PASSAGE 3 参考译文：
“这项美妙的发明”
A 在人类所有各种各样的创造品中，语言必定占有最重要的地位。其他发明——车轮、农耕、切片面包——也许彻底改变了我们的物质生活，但语言的进步才是真正使得我们称其为人的关键所在。与语言相比，所有其他发明在重要性上都会黯然失色，因为我们所取得的一切成就都有赖于语言并且源自于它。如果没有语言，我们人类永远不可能登上凌驾所有其他动物、甚至驾驭大自然本身的高高位置。
B 但是语言之所以地位至高无上，并不仅仅因为它的先来先到。就其本身而言它是一种极其精密复杂的工具，然而其基础理念却又简单纯粹得令人称奇：“这项奇妙的发明利用二十五或三十种发音组合出了那样无穷无尽的表达方式，这些发音自身虽然与我们心中所想并无相似之处，却使得我们可以借此向其他人展露出心中的全部秘密，令那些原本无法透视我们心灵的他人知晓我们全部的想象意念，以及我们灵魂中所有的震颤悸动。”这就是在：1660年，位于凡尔赛附近Port-Royal修道院中那些著名的法语语法大师们所用来精炼地阐释语言精髓的措辞，自那以来再也没有其他人能用更加雄辩的方式来高度赞颂语言所取得成就的辉煌灿烂、举足轻重了。即便如此，在所有这些赞颂之词中还是存在着一个问题，因为对于语言之独一无二成就的敬辞掩盖了一个简单却又至关重要的不一致性。语言是人类最伟大的发明——只除了，当然了，它根本不是被发明的。这种显而易见的悖论正是我们惊叹着迷于语言的核心原因，它包含着语言自身的许多秘密。
C 语言通常看起来如此匠心机巧、精密完善，除了将它视作某个天才大师的完美设计之外简直无法再做他想。如若不然，这个工具是如何能用捉襟见肘的二三十个细碎音素拼凑出如此丰富意义的?如果单凭它们自己，这些不同口部形状所发出来的声音——p, f, b, v, t, d, k, g, sh, a, e等等——只不过是些随意的吞吐之声，没有任何含义的偶然声响，没有能力表达思想，没有力量解释说明。但是把它们送进语言机器的齿轮转动之中，让它用一些非常特殊的顺序将它们排列组合一番，就没有什么是这些原本毫无意义的气流所不能做到的了：从叹息生活那看似没完没了的无聊平淡，到破解宇宙的基本秩序。
D 然而，语言的最为非比寻常之处，在于任何人都不需要天赋异禀才能让它的齿轮开始运转。语言机器允许每个人——无论是亚热带稀树草原上过着原始生活的狩猎采集者，还是城郊杂户区里的后现代哲学家——都能将这些无意义的声音联系起来，进行无穷无尽的组合以表达各种微妙的感受，并且全程显然不费吹灰之力。然而正是这种具有欺骗性的看似轻而易举性使得语言成了其自身成功的受害者，因为在日常生活中它的种.种辉煌成就通常被人们视作了理所应当。语言的机轮转动得如此平顺，以至于我们很少会费心去停下来思考一下：要让它顺利运转，其背后必定是动用了多少随机应变与精密技巧。语言掩盖住了艺术。
E 通常，只有当遭遇了陌生的外来语言，体会了它们的许多稀奇古怪和不同之处，我们才开始意识到语言的设计精妙之处。有一些语言能够展示出来的最今人叹为观止的特色之一，是能够搭建起某些长得无法一口气读完的单词，由此用一个单词就能表达英语需要用一整个句子才能说出来的意思。举一个例子来说明，土耳其词汇sehirmisriremediklerirnizdensiniz表示的意思是“你就是这样一个我们怎么都没法改造成乡镇人的家伙。”(请不要疑惑，这个看着吓人的字眼真的只是一个单词，而并非是许多不同的词汇被强行挤压在了一起——这个单词中的许多组成部分甚至不能独立构成某一个词。)。
F 如果上面那个例子听起来像是某个例外性的怪胎，那么请考虑一下苏美尔语，讲这种语言的人们在大约5000年前住在幼发拉底河两岸，他们发明了书写并由此开创了书面的历史记载。像munintuma’a(当他为她把它准备合适了以后)这样的一个苏美尔词汇若是与上面那个庞然大物的土耳其字眼相比，可能会显得相当简洁。然而，它之所以如此令人惊叹，并非它的冗长而是恰恰相反——正是其语义构建的紧凑简约。这个单词由不同的片段组成，每个片段对应一部分语义。这种先进流畅的设计使得单个发音也可以传达出有用信息，而且实际上即使某个没有发出来的音都可以用以表达某些特定含义。如果你要问，在一个可以翻译成英语句子“当他为她把它准备合适了以后”的苏美尔单词中，哪一个部分对应于“它”这个意思，那么答案只能是“没有”。不过你要注意了，这是一种非常特定性的没有：是位于单词片段之间的空白之处的没有。也就是说，这门语言技术己经如此精编细制，甚至是一个没有发出来的声音，当它被仔细放置在某个特定位置的时候，都被赋予了一个具体的功能。究竟是什么人发明了这样一项奇妙的装置呢?
剑桥雅思阅读11原文解析(test4)
Passage 1
Question 1
答案： FALSE
关键词： genetic causes, skin
定位原文: 第1段第2、3句“Because identical twins come from…”同卵双胞胎享有同样的基因密码，两人出现不同只可能是环境因素造成的差异。
解题思路: 本题出题位置符合顺序原则，作为文后第一个题型中的第一道题，考生可以轻松在正文第一段中定位到一模一样的skin一词。从理解上来看本题也并不困难：原文明确说到同卵双胞胎来自同一颗受精卵，基因完全相同，一切不同都是后天环境因素造成的。这与题干信息“同卵双胞胎的皮肤看起来有多年轻，其背后有可能存在着基因方面的原因”相悖，因此答案为FALSE。
Question 2
答案： NOT GIVEN
关键词： greater risk, developing certain illnesses, non-twins
定位原文： 第2段第2句“If identical twins are…”
解题思路： 题干中的illness 一词回到原文中有两个对应的同义替换词，分别为ailment 和disease。即使对前者不甚熟悉但必定应当认识后者，所以定位并不算难。仔细阅读文章内容可知，本句只是提及同卵双胞胎与异卵双胞胎在对某种疾病产生反应的方面有何异同，比较的对象只涉及“双胞胎”这个范围，并未将之与“非双胞胎”比较，没有明确提及题干的信息“双胞胎比非双胞胎更有风险得上某些疾病”，通读后文后，也没有其他的答题定位区域，因此答案为NOT GIVEN。
Question 3
答案： NOT GIVEN
关键词： Bouchard, advertised, newspapers
定位原文： 第4段第2句“Over two decades 137 sets of …”
解题思路： 本题可以凭借Bouchard这个专有名词而轻松在文中定位，但仔细阅读文章内容就会发现，确实有许多双胞胎参与了此人所进行的研究，但并没有明确提及那些双胞胎们是通过什么途径来到Bouchard实验室的，没有“报纸”和“广告”这些信息，因此答案是NOT GIVEN。
Question 4
答案： TRUE
关键词： epigenetic processes
对应原文： 第6段最后一句“According to a recent field called …”
解题思路： Epigenetic这个词作为学科名称，一模一样地出现在文中第6段，可以被轻松定位。阅读定位句则可以知道，这一作用过程确实既不同于环境因素，也不同于基因因素，与题干表述相一致，因此答案为TRUE。
Question 5
答案： A
关键词： invented a term, two factors
定位原文： 第4段第1句“The idea of using twins…”
解题思路： 题目：invented a term used to distinguish two factors affecting human characteristics; 译文：发明了一个术语用来区分影响个人特质的两种因素。本题基本上就是考査考生对coin这个单词作为动词表示“创造”;这个单词作为名词还可表示“术语——这个词汇知识点，而coin a term这样的用法在此前的剑桥真题里已经出现过，此题答案为A。
Question 6
答案: C
关键词: study of epigenetics, increase, knowledge
定位原文: 第12段最后1句“Having said that, Reed … ”
解题思路： 题目：expressed the view that the study of epigenetics will increase our knowledge;译文：表达了这样一个观点：对于表观遗传学的研究将会增加我们的知识。本题的定位稍有麻烦，因为Reed这个人名在文章的后三段中都有所提及，对比这几段文章中的相关内容，待读到最后一段时理解原文应该不难，increase our knowledge 与 take our understanding further 是简单的同义表述关系，本题答案为C。
Question 7
答案： B
关键词： mathematical method
定位原文： 第5段第1、2句“Bouchard and his colleagues …”
解题思路： 题目：developed a mathematical method of measuring genetic influences;译文：开创了一种数学方法来衡量基因的影响。本题出题点距离人名定位处并不远，statistical concept 与 mathematical method 为同义替换关系，此题答案为B。
Question 8
答案: A
关键词: pioneered
定位原文: 第4段第1句“The idea of using twins to measure…”
解题思路: 题目：pioneered research into genetics using twins; 译文：开创了通过双胞胎来研究基因学的做法。本题与第五题的定位完全相同，都是原文中的同一句，且从考查单词的难度上来看，比第5题更容易理解。无论date back (追溯到)这个词组还是first这个单词都不会造成理解困难，正是Francis Galton开创了研究双胞胎的先河，本题答案为A。
Question 9
答案: B
关键词: lived apart
定位原文: 第4段第2、3句“But twin studies took a surprising twist in…”
解题思路： 题目：carried out research into twins who had lived apart; 译文：对那些各自生活在不同地方的双胞胎进行了研究。无论是原文中第二句里的separated at birth and reunited as adults 还是第三句里的 Reared apart, 都明确对应题干中的lived apart这个信息，只需明确这个研究对象到底是Francis Galton还是Thomas Bouchard所研究的即可。经过仔细阅读可知为后者，因此本题答案为B。
Question 10
答案: D
关键词： epigenetic processes
定位原文： 第7段第1、2句“Epigenetic processes…”
解题思路: 题干说“在表观遗传过程中，_____会影响我们的基因活动行为”。用epigenetic processes可以轻松在原文中定位到出题位置，但需要耐心读完相邻的两句，才可根据后句里的these reactions这个指代更加确定答案应为前一句中的chemical reactions, 根据意思选择最接近的选项，由此可得答案为D。
Question 11
答案: B
关键词: create, internal
定位原文: 第7段第2句“These reactions …”
解题思路: 题干说“在表观遗传过程中，化学反应会影响我们的基因活动行为，例如在创造我们内部_____的时候”。本题的出题位置与上一题来自同一句话，看出原文中的 parts of our bodies 正是对应 internal organs 这一表述，因此答案为B选项：organs。
Question 12
答案： E
关键词： uncover, genes, affected
定位原文： 第9段第1句“One way the study of …”
解题思路： 题干说“表观遗传学的研究正在探索我们的基因会以怎样的方式受到我们的_____的影响”。考生应该不难找到原文中impact与题干中be affected by的同义替换，对比可知答案为E选项：environment。
Question 13
答案： behaviour/behavior
关键词： pregnant rat, stress, problems
定位原文： 第9段第2句“Studies of animals, for example, have shown…”
解题思路： 题干说“有一个例证：如果一只怀孕的老鼠经历过紧张压力体验，新生的幼鼠日后就有可能展现出_______方面的问题”。“怀孕的老鼠”这个信息在文中容易定位，考生只需认真阅读定位句即可得出答案为F选项。
Test 4 Passage 2
Question 14
答案: B
关键词: first paragraph
定位原文: 第1段整体内容
解题思路: 本题考査考生是否能够读懂作者在第一段里表达的主要看法，很难使用此段中的某一句话来确定答案，需要考生读懂本段大意并对比四个选项内容，从而做出恰当选择。
A项说“导演应该在拍摄的早期阶段就计划好电影原声”，而原文中只是提及“规划音效也应该是导演的职责所在”,并未提及是否该早早动手规划;C项说“音乐产业可以对电影中的声音产生有益影响”，这个信息完全不曾被提及;D项说“负责电影中声音的工作人员应该对音效担负起完全的责任来，这很重要”，更是故意曲解了文中的“统筹音效和关注画面质量同样都是导演的应有之责”，混淆视听。对比可得正确答案为B项。
Question 15
答案: A
关键词: Humphrey Bogart
定位原文: 第2段的第3、4句“Often with film characterization the audience perceives little…”
解题思路: 题目问作者提到Humphrey Bogart的一个原因是为了证明什么。人名可以帮助考生轻松定位。只看包含Humphrey Bogart的一句，缺失了此段的上下文，也不易得出答案。B项说“观众希望演员在视觉上适合他们所扮演的角色”，也就是说希望演员的外貌特征符合角色描述，但本段反复提及的着眼点在于“性格特征”而非外貌;C项属于完全未被提及的信息;D项说“观众更倾向于对话要尽可能显得真实”，虽然本段确实意在解释“对话”在电影中所扮演的角色，但是并有明确说到它必须像真的，所以也不对。
Question 16
答案： B
关键词： third paragraph
定位原文： 第3段内容
解题思路: A项说“如果电影对话不能反映观众自身经历，他们就有可能会持批评性态度”，未被提及的;C项说“电影制作者在如何处话的技巧上彼此有着极大的差別”，这个选项与原文中how dialogue is used and the very amount of dialogue used vanes widely among films有一定相似之处，可能会给部分考生造成一定干扰。但仔细分辨之下不难看出，原文只说了“不同电影中对话的用法和用量有很大差別”，并未明确说是电影制作者使用技巧的差別，是干扰选项;D项说“最成功的电影是那些有着高质量对话的电影”，也是无中生有的信息。
Question 17
答案： D
关键词： Bringing Up Baby
定位原文： 第4段内容
解题思路： 问的是关于Bringing Up Baby 这部电影说了什么，根据本段内容，作者说这部电影故意使用了又快又滑稽的对话形式来突出影片的荒诞风格。因此正确答案为选项D“对话的性质强化了影片中的关键元素。”A项说“由于电影制作人想要关注幽默对话而使情节受到了损害”;B项说“对话帮助这部电影成为了有史以来最好的喜剧电影之一”;C项说“对话的速度与动作的速度之间不匹配”。这三项内容在本段中都不曾被提及。
Question 18
答案: C
关键词： ‘click’ of a door
定位原文： 第5段第4句“For example, the 'click' of a door being opened…”
解题思路: 题目问：作者提到了推门的“咔嗒”声来说明，模拟真实情况的声音_____。A项说“经常被用来让观众对影片中的事件产生错误印象”;B项说“可能会被观众中的不同成员按照不同的方式进行理解”;D项说“往往在那些展示现实场景的电影中显得更为重要”。这三项内容在本段不曾被提及。而C中“也有可能加以改变用来控制观众对电影的反应”是定位处的同义表达。
Question 19
答案: TRUE
关键词： surprised, lacks, background music
定位原文： 第7段的第1句“We are probably all familiar with…”
解题思路： 定位处的so… as to 表示 “如此…以至于”，背景音乐无处不在，以至于观众必须注意到它的存在，和题目的“如果一部电影缺了背景音乐，观众有可能会感到奇怪。”是同义表达。
Question 20
答案： TRUE
关键词： background music, anticipate, development
定位原文：第7段倒数第2句“In addition, background music…”
解题思路： 定位处说背景音乐通常预示着氛围变化，foreshadow 与may anticipate 是同义表达，题目中说“背景音乐有可能预示出一部电影中的情节发展”与定位原文是同义表达，因此答案为TRUE。
Question 21
答案： NOT GIVEN
关键词： background music, more effect than
定位原文：第7段第3、4、5句“Usually not meant to be noticeable …”
解题思路： 文中与题目有关的定位区域在第7段，文中说到，通常可能不是故意让人注意的，只是说背景音乐通常奠定了故事的基调，或者人物的感情态度，再者，预示氛围变化。而题目中却说背景音乐对一些人产生的效果比对另一些人所产生的效果更大。这样的信息在文中完全没有提及。所以答案只能是NG。
Question 22
答案： True
关键词： background music, make certain connections
定位原文： 第8段内容
解题思路: 题目说背景音乐可以帮助观众在影片中(不同场景之间)找到某些关联，在阅读第8段第1句后，即可大致判断这个表述是True，如果觉得不够确信，再往后阅读，可以确定答案。
Question 23
答案： FALSE
关键词： aware, background music, affecting
定位原文： 第9段第4句“The effects of sound are often largely…”
解题思路： 定位处已经明确说明声音的效果通常来说是非常微妙的，只是潜意识才能注意到。而题目说的是“观众往往会注意到背景音乐如何对他们产生影响。” 题目中用background music，原文中用了sound这个简单词，正文中所使用的effects一词与题干中affect的同义替换，对比内容，可知答案为FALSE。
Question 24
答案: C
关键词: audience's response, can be controlled
定位原文: 第1段第3、4句“The entire sound track consists of…”
解题思路： 题目问的是观众对于影片中不同部分的反应可以在何种情况下被控制。难点在与理解原文的create desired effects，即是指“创造出(电影制作者)所想要达到的效果”，也就是希望去掌控或操控观众观影之后会产生什么样的反应。题目中的“must be mixed and balanced so as to produce the necessary emphases”就是C选项的“如果人的声音、其他声响和音乐进行了恰当混合的话”。
Question 25
答案： A
关键词： feelings and motivations
定位原文： 第2段第2句“As is the case with stage drama…”
解题思路： 原文中“dialogue serves to tell the story and expresses feelings and motivations of characters as well”，可见是dialogue完成两个目标，一是讲述故事，二是表达人物感情和动机，很容易选到A:当观众听着对话的时候。
Question 26
答案： E
关键词： character, real person, actor
定位原文： 第3段第1句“When voice textures fit the performer's physiognomy…”
解题思路： 定位原文处说到音质符合人物的外表，姿势，一个非常真实的人物形象就出来了。题目问的是“一个角色看似更像一个真实的人而非一位演员”，所以选项E“当演员的外貌、声音和动作彼此协调一致时”是正确选项。
Test 4 Passage 3
Question 27
答案： vi
关键词： most important invention
定位原文：A段内容
解题思路：实际上，本段第一句话就点明此段主要谈及“语言在人类的所有发明中占据最重要的地位”，take pride of place意为“有最重要的地位”;接下来的每一句话都是在以不同的方式反复阐述原因所在和表现形式。第二句话说“其他发明改变的是人类的物质生活，而语言则是使人真正称其为人的原因”;第三句话说“一切发明跟语言比起来都会相形失色”;第四句话还说“要是没有语言，人类不可能发展到今天这样的状态”。无论正确理解其中哪句话的大意都不难看出正确选项为vi。
Question 28：
答案：iv
关键词：incompatible characteristics
定位原文：B段内容
解题思路：本段的解题难度比较高，原因是本段整段都是典型的承上启下，答案的定位主要集中在后三句话所表达的意思里。前三句话先是继续对语言的重要地位进行了进一步描述和赞美。从倒数第三句开始话锋一转，指出虽然语言如此伟大，但还是存在着不一致、相矛盾之处，conceal，隐藏;incongruity，不一致;倒数第二句提出：“语言是最伟大的发明，然而它却并不是被发明出来的”，进一步点出这其中存在逻辑上的矛盾;最后一句再次以paradox 一词来确证。后三句共同表达了类似的意思，即语言虽然伟大但却存在矛盾、悖论之处，正确答案为iv。
Question 29：
答案：ii
关键词：a few sounds, huge range of meaning
定位原文：C段内容
解题思路：本段的第一句话其实就是在委婉地夸奖赞美语言的设计精巧。第二句话则是以“设问”形式提出，语言用“three dozen”这么一点儿的发音元素是怎么组合成了“so much”意义表达呢?本句即是在表达“用一点点发音元素弄出许多许多表达”这个意思。之后的两句也是在进一歩展开说明这个论点，本段采用的是“总一分”结构，主旨句在第二句中，正确答案为ii。
Question 30：
答案：vii
关键词：universal ability
定位原文：D段内容
解题思路：本段是个“总-分-总”结构，第一句话即点明“每个人都能让语言这部机器运转起来”，接下来的几句话分别指出：“无论什么人都能使用语言”、“但是正因如此人们才对它过于想当然了”、“也就没有刻意去重视它研究它”，结尾句则做出总结：“语言遮掩了其艺术性”。但每句话都避开了“使用”这个词汇，而是比喻性地反复提及“让机轮运转”、“串联起意义”和“使机器运行”，増加了理解难度。正确答案为vii。
Question 31：
答案：i
关键词：differences, highlight, impressiveness
定位原文：E段内容
解题思路：第一句先指出“往往只有遭遇我们不熟悉的外语时我们才会注意到语言设计结构的精巧”;之后举出一个特长的土耳其词汇来对比与英语表达方式的不同;然后再进一步进行细节解释说明。无论是“difference差异”还是“impressiveness令人惊叹”的含义都没有明确的同义替换词在文中出现，需考生在读懂句子后自行体会，正确答案为i。
Question 32：
答案：v
关键词：silence, meaningful
定位原文：F段内容
解题思路：本段的结构与B段有类似之处：前半段进一步列举例证来说明不同语言之间存在着令人惊叹的差异之处，后半段才开始说到“即使the absence of a sound也可以具有某些意义”。不过文章读到了此处，备选答案只剩下iii和v两项，也可利用排除法来找出相对更加合宜的选项，正确答案为v。
Question 33：
答案：E: material
关键词：wheel, major impact
定位原文：A段第2句“Other inventions…”
解题思路：题干说 “车轮这个发明对生活的______方面有着重大的影响”，要定位wheel一词不难，通过对比原文也可以比较轻松地看出 existence与题干中的life互为同义替换关系，可得答案为选项E: material。
Question 34：
答案：G：fundamental
关键词：no impact
定位原文：A段第3句“Compared to language…”
解题思路：题干说“但是没有任何影响能像语言产生的影响那样_____”，原文中并未直接出现impact这样的单词，也没有as...as的句型结构，而是用 Compared to表达了语言与其他发明的比较关系，需要认真阅读理解原文。好在此空与上一题同处在一个句子之中，依序阅读文章句子可得答案为选项G：fundamental。
Question 35：
答案： B: complex
关键词： yet, small number of sounds
定位原文：B段第2句“In its own right…”
解题思路：题干说“语言非常_____，然而却由仅仅非常少量的声音组成”。根据本句中的yet转折关系可知空格中的答案应当与a small number of sounds所表达的“少量、简单”形成对比、转折的关系。找到“少量声音”所对应的twenty-five or thirty sounds，对比可知此处用来形容语言另一属性的词汇为sophistication，对应答案为选项B: complex。
Question 36：
答案： F: easy
关键词：to use, overlooked
定位原文：D段全段内容
解题思路：题干说“语言看似用起来是_____ ”，考生如果感觉此句给出的信息不够，可以再看下一句题干，得知“语言的复杂精密性常被忽略”这个补充定位信息。此题位置出在D段，如前文List of Headings中关于D段的讲解所言，本段的句子其实并不很难理解，但却用了大量比喻性用法拐弯抹角地表达语义，可以得出答案为选项F: easy。
Question 37：
答案： NO
关键词：achieved, present position, without language
定位原文：A段第3、4句“Compared to language…”
解题思路：题干说“人类即使没有语言也有可能发展到今天这样的状态”，achieved和without language的题干关键词都是原词重现地出现在文中，容易定位，阅读对应的两句原文可知，作者明确指出如果没有语言人类不可能达到今天这样凌驾其他动物甚至驾驭自然的成就，题干与此相矛盾，答案为NO。
Question 38：
答案： YES
关键词：Port-Royal grammarians
定位原文：B段第3句“This was how…”
解题思路：题干说“Port-Royal的语法学家们正确地评价了语言的本质”，根据Port- Royal 定位，do justice to是“公平对待、公正评价”的意思，以及原文中celebrated eloquently the magnitude是“以极具表现力的方式赞美了其重要地位”的意思，可得答案为YES。
Question 39：
答案： NOT GIVEN
关键词：complex idea, sentence, single word
定位原文：E自然段
解题思路： 题干说“一个复杂的概念用一个句子来解释比用一个单词来解释会更清楚”，E段内容中第一句先指出“往往只有遭遇我们不熟悉的外语时我们才会注意到语言设计结构的精巧”;之后举出一个特长的土耳其词汇来对比与英语表达方式的不同，这是跟题干内容可能仅有联系的定位区域，但是这个例子只是为了说明语言的奇妙性，是个特例，而且说的是一个单词表达了一个句子的意思，并不是题目所表达的通用概念，这个观点没有出现过。所以答案是NG。
Question 40：
答案： YES
关键词：Sumerians, recording of events
定位原文：F段第1句“And if that sounds like…”
解题思路： 题干说“是苏美尔人开始了记录事件的做法”，Sumerians找到文中相应位置，看懂题干中recorcunff of events 与原文 documentation of history 的对应也应该没有太大问题，答案为YES。
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剑桥雅思阅读翻译及答案解析11(test4)
