剑桥雅思10阅读：Test2雅思阅读PASSAGE3真题+答案+解析

　 　Museums of Fine Art and Their Public

　　艺术博物馆及其观众

　　The fact that people go to the Louvre museum in Paris to see the original painting Mona Lisa when they can see a reproduction anywhere leads us to question some assumptions about the role of museums of fine art in today’s world.

　　当在世界各地都可以看到仿制品的时候，人们还是会去罗浮宫欣赏原版的“蒙娜丽莎”画作，这一事实让我们对关于当今艺术博物馆角色的一些设想存疑。

　　One of the most famous works of art in the world is Leonardo da Vinci's Mona Lisa. Nearly everyone who goes to see the original will already be familiar with it from reproductions, but they accept that fine art is more rewardingly viewed in its original form.

　　达·芬奇的蒙娜丽莎是世界上最为的画作之一 。几乎每个去观看原作的人都已通过仿制品熟知这幅作品，但他们承认，欣赏原版的艺术作品是更有价值的。

　　However, if Mona Lisa was a famous novel, few people would bother to go to a museum to read the writer's actualmanuscript rather than a printed reproduction. This might be explained by the fact that the novel has evolved precisely because of technological developments that made it possible to print out huge numbers of texts,whereas oil paintings have always been produced as unique objects.In addition, it could be argued that the practice of interpreting or 'reading' each medium follows different conventions. With novels, the reader attends mainly to the meaning of words rather than the way they are printed on the page, whereas the ‘reader’ of a painting must attend just as closely to the material form of marks and shapes in the picture as to any ideas they may signify.

　　然而，如果“蒙娜丽莎”是本小说，少有人会费心去博物馆阅读作者的原版手稿，而会选择阅读打印好的副本。或许这可以解释为：小说的演化恰好是因为技术的进步，从而可以印制出大量的文本，但是油画一直是作为的物件被制作的。另外，有人会辩驳道，解读或“阅读”不同的媒介应该遵循不同的惯例。对于小说，人们主要关注词句的意思而不是它们被印刷在纸上的方式，然而艺术作品的“读者”必须密切关注图画中所有标记、形状的材质形式和这些形式所象征表达的内容。

　　Yet it has always been possible to make very accurate facsimiles of pretty well any fine art work. The seven surviving versions of Mona Lisa bear witness to the fact that in the 16th century, artists seemed perfectly content to assign the reproduction of their creations to their workshop apprentices as regular "bread and butter7 work.And today the task of reproducing pictures isincomparably more simple and reliable, withreprographic techniques that allow the production of high-quality prints made exactly to the original scale, with faithful colour values, and even with duplication of the surface relief of the painting.

　　不过，精美地制作出任何美术作品的高仿品一直都是可能的。现存的七件蒙娜丽莎的作品佐证了一个事实，即在16世纪，艺术家们很乐意把仿制他们作品的工作分配给他们工作室的学徒们，作为他们常规的谋生手段。如今复制画作的工作变得无比简单可靠，因为复印技术能够让我们获得，与原作尺寸一致、色值相同的印刷品，甚至还可以复制作品表面的浮雕效果。

　　But despite an implicit recognition that the spread of good reproductions can be culturally valuable, museums continue to promote the special status of original work.

　　然而，尽管人们默认传播的复制品有宝贵的文化价值，但是艺术博物馆依然宣传真迹的特殊地位。

　　Unfortunately, this seems to place severe limitations on the kind of experience offered to visitors.

　　不幸的是，这严重限制了博物馆参观者的体验。

　　One limitation is related to the way the museum presents its exhibits. As repositories of unique historical objects, art museums are often called 'treasure houses'. We are reminded of this even before we view a collection by the presence of security guards, attendants, ropes and display cases to keep us away from the exhibits. In many cases, the architectural style of the building further reinforces that notion. In addition, a major collection like that of London's National Gallery is housed in numerous rooms, each with dozens of works, any one of which is likely to be worth more than all the average visitor possesses. In a society that judges the personal status of the individual so much by their material worth, it is therefore difficult not to be impressed by one's own relative ‘worthlessness’ in such an environment.

　　其中一个限制是关于博物馆呈现其展品的方式。作为的历史物品的储藏地，艺术博物馆常常被称为“宝库”。这一点在我们参观展览时，有保安、服务人员、绳索和展示柜将我们与展览系列隔离之前，就早已得到提醒。情况下，相关建筑的风格强化了这个感受。另外，就像英国伦敦美术馆的一个主要的收藏系列，会被存放在无数个房间里，每个房间存放几十件作品，其中任何一件作品的价值可能都要超过普通游客的所有财富。在一个个人地位很大程度上取决于其物质财富的社会，很难让人不因在这个环境中相比而产生的卑微而感到印象深刻。

　　Furthermore, consideration of the ‘Value’ of the original work in its treasure house setting impresses upon the viewer that, since these works were originally produced, they have been assigned a huge monetary value by some person or institution more powerful than themselves.Evidently, nothing the viewer thinks about the work is going to alter that value, and so today’s viewer is deterred from trying to extend that spontaneous, immediate, self-reliant kind of reading which would originally have met the work.

　　进一步而言，考虑到原版作品能被放在这样的“宝库”所意味着的价值，观众内心是震撼的，因为正是由于它们是原版的，它们才能被某个比他们权威的个人或机构赋予巨大的金钱价值。显然无论现众怎么看待美术作品，也改变不了其价值，因此，现在的参观者拘泥于表达自己直接、即时、自我的作品解读，那种原本一见到作品就产生的原始解读。

　　The visitor may then be struck by the strangeness of seeing such diverse paintings, drawings and sculptures brought together in an environment for which they were not originally created. This ‘displacement effect’ is further heightened by the sheer volume of exhibits. In the case of a major collection, there are probably more works on display than we could realistically view in weeks or even months.

　　游客们可能被一种陌生感所震撼，这种震撼感是源于看到多样的油画、绘画作品和雕塑集中置于一个并不是它们被创造的环境里。这种“错位”的效果会被展品的大量数量进一步加强。以一个主要的收藏系列为例，一次展示的作品可能会比我们数星期或者数月所能够看完的还要多。

　　This is particularly distressing because time seems to be a vital factor in the appreciation of all art forms. A fundamental difference between paintings and other art forms is that there is no prescribed time over which a painting is viewed. By contrast, the audience encounters an opera or a play over a specific time, which is theduration of the performance. Similarly, novels and poems are read in a prescribed temporal sequence, whereas a picture has no clear place at which to start viewings or at which to finish. Thus art works themselves encourage us to view them superficially, without appreciating the richness of detail and labour that is involved.Consequently, the dominant critical approach becomes that of the art historian, a specialised academic approach devoted to ‘discovering the meaning’ of art within the cultural context of its time. This is in perfect harmony with the museum's function, since the approach is dedicated to seeking out and conserving ‘authentic’, ‘original’ readings of the exhibits. Again, this seems to put paid to thatspontaneous, participatory criticism which can be found in abundance in criticism of classic works of literature, but is absent from most art history.

　　这样的情况特别让人苦恼，因为时间似乎是欣赏所有艺术形式的一个重要因素。在欣赏画作和其他艺术品之间一个最根本的区别就是欣赏画作并没有被赋予具体的欣赏时间。相反的，现众可以有一段具体的时间欣赏话剧或者戏剧，这段时间就是表演的持续时间。类似的是，小说和诗歌也可以在一段有顺序的时间内被读完，然而一幅画没有一个明确开始欣赏和结束的点。因此，艺术画作本身就鼓励人们进行肤浅的欣赏，而人们并不会细细欣赏作品细节的丰富性和背后的辛劳。因此，主导性的方式是艺术历史学家的方法，一种专门致力于结合作品时代的文化背景去“寻找艺术品的意义”的专门的学术方法。这种方法与博物馆的功能地结合了，因为它是被用于寻找和保护对展品的“可信的”与“原创的” 解读。再次，这看上去终结了那些在经典文学作品中大量常见的自发和分享的批判，这类批判在大多数的艺术史中是不存在的。

　　The displays of art museums serve as a warning of what critical practices can emerge when spontaneous criticism is suppressed. The museum public, like any other audience, experience art more rewardingly when given the confidence to express their views. If appropriate works of fine art could be rendered permanently accessible to the public by means of high-fidelity reproductions, as literature and music already are, the public may feel somewhat less in awe of them. Unfortunately, that may be too much to ask from those who seek to maintain and control the art establishment.

　　当自发的批评行为被遏制的时候，一旦出现什么批评类的行为，艺术博物馆的展览可以作为一种警示。那些去艺术博物馆参观的人，像其他任何的观众一样，当他们被给予自信去表达他们的观点时，那么他们会觉得鉴赏艺术是更有价值的。如果合适的艺术作品可以地通过高仿真的复制品呈现给大众，就像学术文献和音乐一样们也许对这艺术作品会产生更少的敬畏。不幸的是，这也许对那些寻求保持和控制艺术机构的人是太高的要求。

　　Question 31

　　答案：achievement / achievements

　　定位：判断题目中的关键词为 promotional goals、focus on。

　　解析：录音当中明确指出“Promotional goals... emphasise achievement”，考生只需要辨析出题目中的关键词 focus on 与录音当中的 emphasised 同义替换，即可正确填写此空，因此本题较容易。

　　Question 32

　　答案：personality / character

　　定位：判断题目中的关键词为 chronic factor、come from，而 come from 通常表示因果关系。

　　解析： 录音中明确提及 “this factor is connected to a person’s personality”，而 “be connected to”也常常表达因果关系，因此本题亦较容易。

　　Question 33

　　答案：Situational

　　定位：题目中的关键词是 factor。通过此题笔记的结构，判断此空与前面的 chronic 是并列关系。

　　解析：录音中提到“first... chronic factor”，后面又说道“second...”。这时考生就应该注意，答案马上就应该出现了。此题要求我们对题目当中给出的文章笔记结构框架做出判断。注意首字母大写，和 Factor 中的 F 对应。

　　Question 34

　　答案：friend

　　定位：判断题目当中的关键词 more likely、promotion goals、when。

　　解析：录音当中提到 when we are spending time with a friend”，此句表达的意思与题目相同，另外这个句子当中和题目当中都使用了介词 with,也能帮助考生解题。本题也较为容易。

　　Question 35

　　答案：aspirations / ambitions

　　定位：判断题目当中的关键词为 themselves、gains。

　　解析： 题目当中 themselves 与要填的词以及 their gains 是明显的并列关系，题目当中的 think about 与录音当中的 consider 是同意替换。因此本空填但是要注意该词的正确拼写，并且答 案的并列成分是 gains,答案要求也是复数形式。

　　Question 36

　　答案：style

　　定位: 判断题目当中关键词为 behaviour 和 affect。

　　解析：录音中提到“the way leaders behave”，其中 behave 与题目当中的 behaviour 是同义转换，录音中与其并列的成分是“their style of leading”，因此本空填写 style。

　　Question 37

　　答案：development

　　定位：判断题目当中的关键词为 special attention 与 followers。

　　解析：录音当中提及“…when interacting with their followers, focus on their development” 正好对应此题题目中的 pay special attention to。与其中 focus on 是同义替换。因此此空填写 development, 为简单。

　　Question 38

　　答案：vision

　　定位：判断题目当中的关键词为 passionately、communicate 和 clear。

　　解析：录音当中的passionate与题目当中的passionately是对应关系，convey与communicate 是同义替换，definitive 与 clear 也是同义替换。因此本题要求考生清楚地识邀种对应关系，难度一般。

　　Question39

　　答案：structures

　　定位：判断题目中关键词为 create 与 expectation。

　　解析：录音当中提到 developing clear structures that tell…exactly what is expected of them”，其中 develop 与题目当中的 create 是对应关系，tell... exactly what is expected of them 指的就是 make expectation dear，所以 structures 是正确答案。但是对于部分考生来说，辨识这种同义关系比较困难。因此本题较难。

　　Question 40

　　答案：innovation / innovations

　　定位：判断题目当中的关键词为 Promotion Focus 和 require。

　　解析：录音当中提到 “...innovation is needed, a promotion focus is... better，其中 be needed 与题目当中的 require 是同义转换。本题需要注意主语在后面出现的情况，难度中等。