| 托福考试易错题（2019/11/8） |
| 第1题：Questions 11-21 Printmaking is the generic term for a number of processes, of which woodcut and engraving are two prime examples. Prints are made by pressing a sheet of paper (or other material) against an image-bearing surface to which ink has been applieD、When the paper is removed, the image adheres to it, but in reverse. The woodcut had been used inChina from the fifth centuryA、D、for applying patterns to textiles. The process was not introduced intoEurope until the fourteenth century, first for textile decoration and then for printing on paper. Woodcuts are created by a relief process; first, the artist takes a block of wood, which has been sawed parallel to the grain, covers it with a white ground, and then draws the image in ink. The background is carved away, leaving the design area slightly raiseD、The woodblock is inked, and the ink adheres to the raised image. It is then transferred to damp paper either by hand or with a printing press. Engraving, which grew out of the goldsmith’s art, originated in Germany and northern Italy in the middle of the fifteenth century. It is an intaglio process (from Italian intagliare, "to carve"). The image is incised into a highly polished metal plate, usually copper, with a cutting instrument, or burin. The artist inks the plate and wipes it clean so that some ink remains in the incised grooves.An impression is made on damp paper in a printing press, with sufficient pressure being applied so that the paper picks up the ink. Both woodcut and engraving have distinctive characteristics.Engraving lends itself to subtle modeling and shading through the use of fine lines. Hatching and cross-hatching determine the degree of light and shade in a print. Woodcuts tend to be more linear, with sharper contrasts between light and dark. Printmaking is well suited to the production of multiple images.A、set of multiples is called an edition.Both methods can yield several hundred good-quality prints before the original block or plate begins to show signs of wear. Mass production of prints in the sixteenth century made images available, at a lower cost, to a much broader public than before. What does the passage mainly discussA．The origins of textile decoration B．The characteristics of good-quality prints C．Two types of printmaking D．Types of paper used in printmaking |
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| 第2题： In (the early) nineteenth century, the Cherokee nation of American Indians (was adopted) a written constitution (based) on (that) of the United States. A．the early B．was adopted C．based D．that |
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| 第3题： In the (initial planning) for theaters, auditoriums, (but) any room (intended) primarily for listening, acoustics is a (major consideration). A．initial planning B．but C．intended D．major consideration |
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| 第4题：女生丢ID、card / 鸟类迁徙(经典加试) |
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| 第5题：From their inception, most rural neighborhoods in colonial NorthAmerica included at least one carpenter, joiner, sawyer, and cooper in woodworking; a weaver and a tailor for clothing production; a tanner, currier, and cordwainer (shoemaker) for fabricating leather objects; and a blacksmith for metalwork, Where stone was the local building material, a mason was sure to appear on the list of people who paid taxes. With only an apprentice as an assistant, the rural artisan provided the neighborhood with common goods from furniture to shoes to farm equipment in exchange for cash or for "goods in kind" from the customer’s field, pasture, or dairy. Sometimes artisans transformed material provided by the customer wove cloth of yam spun at the farm from the wool of the family sheep; made chairs or tables from wood cut in the customer’s own woodlot; produced shoes or leather breeches from cow, deer, or sheepskin tanned on the farm. Like their farming neighbors, rural artisans were part of an economy seen, by one historian, as "an orchestra conducted by nature." Some tasks could not be done in the winter, other had to be put off during harvest time, and still others waited on raw materials that were only produced seasonally.As the days grew shorter, shop hours kept pace, since few artisans could afford enough artificial light to continue work when the Sun went down. To the best of their ability, colonial artisans tried to keep their shops as efficient as possible and to regularize their schedules and methods of production for the best return on their investment in time, tools, and materials, While it is pleasant to imagine a woodworker, for example, carefully matching lumber, joining a chest together without resort to nails or glue, and applying all thought and energy to carving beautiful designs on the finished piece, the time required was not justified unless the customer was willing to pay extra for the quality— and few in rural areas were,Artisans, therefore, often found it necessary to employ as many shortcuts and economics as possible while still producing satisfactory products. The phrase "resort to" in line 20 is closest in meaning to A、protecting with B、moving toward C、manufacturing D、using |
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