托福tpo47閱讀第一篇答案及原文題目
托福閱讀 是托?？荚囍泻苤匾囊徊糠郑忌鷤兿胍岣咄懈ｉ喿x 的分?jǐn)?shù)離不開平時(shí)的練習(xí)，其中托福 tpo系列便是很好的復(fù)習(xí)資料。今天小編 給大家?guī)砹送懈po47閱讀第一篇答案 及原文題目，希望大家可以認(rèn)真練習(xí)，這樣才能在托?？荚囍腥〉美硐氲某煽?jī)。
托福tpo47閱讀第一篇答案及原文題目
Roman Cultural Influence on Britain
After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been available. The flooding of Britain with red-gloss pottery form Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province.
In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identify of the Roman world.
Such examples established a standard to be copied. One result was an influx of craft worker, particularly those skilled in artistic media like stone-carving which had not existed before the conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of
Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widerspread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.
This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.
Passage1
After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been
available. The flooding of Britain with red-gloss pottery form Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province.
1. The word “mundane” in the passage is closest in meaning to
A. material
B. ordinary
C. valued
D. useful
2. Paragraph 1 suggests that one benefit for British natives in buying such items as red-gloss pottery made in Gaul was
A. improved quality of utilitarian items
B. Understanding the symbolism of Classical mythology
C. higher social standing
D. Learning to mass-produce pottery for a profit
3. Paragraph 1 supports which of the following ideas about contacts that existed between Britain and the Roman Empire before the Roman conquest of Britain?
A. They were sufficient for native Britons to become familiar with everyday Roman objects.
B. They were not sufficient for even very basic aspects of the culture of the Roman Empire to find their way into British life.
C. They were not sufficient for British to have heard of the power of the Roman Empire.
D. They were sufficient for individual Britons to become very interested in trying to participate in the culture of the Roman Empire.
Passage 2
In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identify of the Roman world.
4. The word “l(fā)avishly” in the passage is closest in meaning to
A. exclusively
B. additionally
C. appropriately
D. richly
5. According to paragraph 2, the style and furnishings of the Fishbourne villa suggest that the person for whom it was built was
A. cultured according to the contemporary standards of the empire
B. caught between native and Roman traditions
C. originally a visitor from Rome
D. a member of a socially inferior family
Passage 3
Such examples established a standard to be copied. One result was an influx of craft worker, particularly those skilled in artistic media like stone-carving which had not existed before the
conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widerspread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.
6. The word “sacred” in the passage is closet in meaning to
A. holy
B. ancient
C. natural
D. Secret
7. According to paragraph 3, one factor contributing to success of the earliest Roman-style construction projects in Britain was
A. the fact that long before the conquest many civilian workers from Gaul and Germany had settled in Britain
B. the rapid development of characteristically Romano-British styles
C. the availability, in northeast Gaul, of structures that could serve as standards to be copied
D. the use, by administrators, of personal connections to bring craft workers form Gaul into contact with Britons
Passage 4
This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.
8. In paragraph 4, why does the author mention that “Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region”?
A. To suggest that the Roman conquest of Britain increased the standard of living for natives
B. To indicate that pre-Roman Britain was more interested in festivals and community life than conquering other regions
C. To explain why architecture during this period was not built to be particularly large
D. To illustrate how the traditional roundhouse evolved under the influence of Roman civil architecture
9. The word “modest” in the passage in closet in meaning to
A. comfortable
B. limited in number
C. poorly lit
D. not large
10. According to paragraph 4, people in pre-Roman Britain lived, for the most part, in
A. architecture that seemed imperial in size
B. small communities
C. large roundhouses
D. fortified towns
11. According to paragraph 4, why did straight lines in buildings and settlements emphasize the dominance of those who introduced them ?
A. Because straight lines were in contrast to the shapes found in pre-Roman architecture
B. Because unlike curved lines, which are shaped in all sorts of different ways, straight lines do no differ
C. Because the dominant lines in entire settlements were the same as those in individual buildings
D. Because building and settlements were easier to construct when the dominant lines were straight lines
12. According to paragraph 4, buildings from the pre-Roman period differed sharply from buildings reflection Roman civil architecture in each of the following respects EXCEPT
A. their outside and inside dimensions
B. the impact they had on people
C. the geometric shapes in which they were built
D. the positioning of buildings in clusters
13. Look at the four squares [■] that indicate where the following sentence could be added to the passage.
Practical and unimpressive, most were barely taller than the average adult.
Where would the sentence best fit? Click on a square [■] to add the sentence to the passage.
This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals,
but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. [■] But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. [■] This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. [■] Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.[■]
14. Directions: An introductory sentence for a brief summary of the passage is provided below.Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 3 points.
Drag your answer choices to the spaces where they belong. To remove an answer choice, click on it.
To review the passage, click VIEW TEXT.
The conquest of Britain by the Roman Empire resulted in significant cultural change.
Answer Choices
A. New objects entering Britain ranged from mass-produced articles for everyday use to works of art, and they were widely-and enthusiastically-accepted by native Britons.
B. Constructing and furnishing buildings in the Roman style required skills that native workers did not at first have, so workers were brought in from other parts of the empire.
C. Native Britons traveled to Gaul to learn Classical stone-carving and building techniques.
D. The conquest was followed by a building boom, and enough villas and temples in the Italian style were built that a visitor from Rome would have felt quite at home in post-conquest Britain.
E. An important symbol of Roman supremacy was Roman architecture, whose enormous size, emphasized by the use of straight lines, made the natives feel insignificant.
F. Characteristically Romano-British concepts took hold in architecture; roundhouses were built much larger than before, and straight lines began to be used in interior spaces.是托?？荚囍泻苤匾囊徊糠?，考生們想要提高托福閱讀的分?jǐn)?shù)離不開平時(shí)的練習(xí)，其中托福tpo系列便是很好的復(fù)習(xí)資料。今天智課網(wǎng)給大家?guī)砹送懈po47閱讀第一篇答案及原文題目，希望大家可以認(rèn)真練習(xí)，這樣才能在托福考試中取得理想的成績(jī)。
Roman Cultural Influence on Britain
After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been available. The flooding of Britain with red-gloss pottery form Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province.
In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identify of the Roman world.
Such examples established a standard to be copied. One result was an influx of craft worker, particularly those skilled in artistic media like stone-carving which had not existed before the conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of
Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widerspread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.
This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.
Passage1
After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been
available. The flooding of Britain with red-gloss pottery form Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province.
1. The word “mundane” in the passage is closest in meaning to
A. material
B. ordinary
C. valued
D. useful
2. Paragraph 1 suggests that one benefit for British natives in buying such items as red-gloss pottery made in Gaul was
A. improved quality of utilitarian items
B. Understanding the symbolism of Classical mythology
C. higher social standing
D. Learning to mass-produce pottery for a profit
3. Paragraph 1 supports which of the following ideas about contacts that existed between Britain and the Roman Empire before the Roman conquest of Britain?
A. They were sufficient for native Britons to become familiar with everyday Roman objects.
B. They were not sufficient for even very basic aspects of the culture of the Roman Empire to find their way into British life.
C. They were not sufficient for British to have heard of the power of the Roman Empire.
D. They were sufficient for individual Britons to become very interested in trying to participate in the culture of the Roman Empire.
Passage 2
In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identify of the Roman world.
4. The word “l(fā)avishly” in the passage is closest in meaning to
A. exclusively
B. additionally
C. appropriately
D. richly
5. According to paragraph 2, the style and furnishings of the Fishbourne villa suggest that the person for whom it was built was
A. cultured according to the contemporary standards of the empire
B. caught between native and Roman traditions
C. originally a visitor from Rome
D. a member of a socially inferior family
Passage 3
Such examples established a standard to be copied. One result was an influx of craft worker, particularly those skilled in artistic media like stone-carving which had not existed before the
conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widerspread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.
6. The word “sacred” in the passage is closet in meaning to
A. holy
B. ancient
C. natural
D. Secret
7. According to paragraph 3, one factor contributing to success of the earliest Roman-style construction projects in Britain was
A. the fact that long before the conquest many civilian workers from Gaul and Germany had settled in Britain
B. the rapid development of characteristically Romano-British styles
C. the availability, in northeast Gaul, of structures that could serve as standards to be copied
D. the use, by administrators, of personal connections to bring craft workers form Gaul into contact with Britons
Passage 4
This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.
8. In paragraph 4, why does the author mention that “Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region”?
A. To suggest that the Roman conquest of Britain increased the standard of living for natives
B. To indicate that pre-Roman Britain was more interested in festivals and community life than conquering other regions
C. To explain why architecture during this period was not built to be particularly large
D. To illustrate how the traditional roundhouse evolved under the influence of Roman civil architecture
9. The word “modest” in the passage in closet in meaning to
A. comfortable
B. limited in number
C. poorly lit
D. not large
10. According to paragraph 4, people in pre-Roman Britain lived, for the most part, in
A. architecture that seemed imperial in size
B. small communities
C. large roundhouses
D. fortified towns
11. According to paragraph 4, why did straight lines in buildings and settlements emphasize the dominance of those who introduced them ?
A. Because straight lines were in contrast to the shapes found in pre-Roman architecture
B. Because unlike curved lines, which are shaped in all sorts of different ways, straight lines do no differ
C. Because the dominant lines in entire settlements were the same as those in individual buildings
D. Because building and settlements were easier to construct when the dominant lines were straight lines
12. According to paragraph 4, buildings from the pre-Roman period differed sharply from buildings reflection Roman civil architecture in each of the following respects EXCEPT
A. their outside and inside dimensions
B. the impact they had on people
C. the geometric shapes in which they were built
D. the positioning of buildings in clusters
13. Look at the four squares [■] that indicate where the following sentence could be added to the passage.
Practical and unimpressive, most were barely taller than the average adult.
Where would the sentence best fit? Click on a square [■] to add the sentence to the passage.
This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals,
but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. [■] But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing. [■] This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. [■] Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.[■]
14. Directions: An introductory sentence for a brief summary of the passage is provided below.Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 3 points.
Drag your answer choices to the spaces where they belong. To remove an answer choice, click on it.
To review the passage, click VIEW TEXT.
The conquest of Britain by the Roman Empire resulted in significant cultural change.
Answer Choices
A. New objects entering Britain ranged from mass-produced articles for everyday use to works of art, and they were widely-and enthusiastically-accepted by native Britons.
B. Constructing and furnishing buildings in the Roman style required skills that native workers did not at first have, so workers were brought in from other parts of the empire.
C. Native Britons traveled to Gaul to learn Classical stone-carving and building techniques.
D. The conquest was followed by a building boom, and enough villas and temples in the Italian style were built that a visitor from Rome would have felt quite at home in post-conquest Britain.
E. An important symbol of Roman supremacy was Roman architecture, whose enormous size, emphasized by the use of straight lines, made the natives feel insignificant.
F. Characteristically Romano-British concepts took hold in architecture; roundhouses were built much larger than before, and straight lines began to be used in interior spaces.
1-5.BCBDA 6-10.ADCDB 11-13.ADA 14.ABE
新托福閱讀背景知識(shí)：垮掉的一代
“垮掉的一代”
50年代沉悶的政治空氣使許多青年感到窒息，他們吸毒、群居，以頹唐、放縱的生活方式來表示自己的抗議。其中有些人把這種生活與情緒寫入文學(xué)作品，這便是“垮掉的一代”文學(xué)。這種文學(xué)發(fā)展到60年代后，在國(guó)內(nèi)民主運(yùn)動(dòng)高漲的背景下，增加了一些政治色彩。但是對(duì)他們中許多人來說，東方宗教與東方哲學(xué)更具有吸引力?！翱宓舻囊淮痹谠?shī)歌創(chuàng)作方面較有生氣，并恢復(fù)了美國(guó)詩(shī)歌朗誦的傳統(tǒng)。
新托福閱讀背景知識(shí)：黑色幽默
“黑色幽默”
進(jìn)入60年代之后，人們對(duì)生活中的“非理性”和“異化”現(xiàn)象，有了更深切的體會(huì)。有些作家在作品中，用夸張、超現(xiàn)實(shí)的手法，將歡樂與痛苦、可笑與可怖、柔情與殘酷、荒.唐古怪與一本正經(jīng)揉和在一起，使讀者哭笑不得，感到不安，從而對(duì)生活能有更深一層的認(rèn)識(shí)。作者對(duì)世界前景的看法往往是悲觀的。這就是“黑色幽默”文學(xué)，代表作有海勒的《第二十二條軍規(guī)》(1961)等。有人將阿爾比的作品也列入“黑色幽默”派中。阿爾比是美國(guó)荒誕派戲劇的代表人物。他的喜劇并沒有什么滑稽、幽默的成分，但是在使讀者感到不安這一點(diǎn)上與“黑色幽默”一致。這說明荒誕派戲 劇與“黑色幽默”小說之間存在著血緣關(guān)系。
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