很多考生在考試前夕都會了解雅思預(yù)測相關(guān)信息，下面是小編為大家整理收集的關(guān)于2017年1月14日雅思閱讀大范圍的相關(guān)預(yù)測，歡迎大家的閱讀。

　　閱讀原文：

　　You should spend about 20 minutes on Questions 27-40, which are based on Reading Passage 3 on the following pages.

　　Questions 27-30

　　Reading Passage 3 has six paragraphs, A—F.

　　Choose the correct heading for paragraphs B—E from the list of headings below.

　　Write the correct number, i—vii, in boxes 27—30 on your answer sheet.

　　List of Headings

　　i Commercial pressures on people in charge

　　ii Mixed views on current changes to museums

　　iii Interpreting the facts to meet visitor expectations

　　iv The international dimension

　　v Collections of factual evidence

　　vi Fewer differences between public attractions

　　vii Current reviews and suggestions

　　Example Answer

　　Paragraph A v

　　27 Paragraph B

　　28 Paragraph C

　　29 Paragraph D

　　30 Paragraph E

　　The Development of Museums

　　A. The conviction that historical relics provide infallible testimony about the past is rooted in the nineteenth and early twentieth centuries, when science was regarded as objective and value free. As one writer observes: ‘Although it is now evident that artefacts are as easily altered as chronicles, public faith in their veracity endures: a tangible relic seems ipso facto real’. Such conviction was, until recently, reflected in museum displays. Museums used to look — and some still do — much like storage rooms of objects packed together in showcases: good for scholars who wanted to study the subtle differences in design, but not for the ordinary visitor, to whom it all looked alike. Similarly, the information accompanying the objects often made little sense to the lay visitor. The content and format of explanations dated back to a time when the museum was the exclusive domain of the scientific researcher.

　　B. Recently, however, attitudes towards history and the way it should be presented have altered. The key word in heritage display is now ‘experience’, the more exciting the better and, if possible, involving all the senses. Good examples of this approach in the UK are the Jorvik Centre in York; the National Museum of Photography, Film and Television in Bradford; and the Imperial War Museum in London. In the US the trend emerged much earlier: Williamsburg has been a prototype for many heritage developments in other parts of the world. No one can predict where the process will end. On so-called heritage sites the re-enactment of historical events is increasingly popular, and computers will soon provide virtual reality experiences, which will present visitors with a vivid image of the period of their choice, in which they themselves can act as if part of the historical environment. Such developments have been criticized as an intolerable vulgarization, but the success of many historical theme parks and similar locations suggests that the majority of the public does not share this opinion.

　　C. In a related development, the sharp distinction between museum and heritage sites on the one hand, and theme parks on the other, is gradually evaporating. They already borrow ideas and concepts from one another. For example, museums have adopted story lines for exhibitions, sites have accepted ‘theming’ as a relevant tool, and theme parks are moving towards more authenticity and research-based presentations. In zoos, animals are no longer kept in cages, but in great spaces, either in the open air or in enormous greenhouses, such as the jungle and desert environments in Burgers’ Zoo in Holland. This particular trend is regarded as one of the major developments in the presentation of natural history in the twentieth century.

　　D. Theme parks are undergoing other changes, too, as they try to present more serious social and cultural issues, and move away from fantasy. This development is a response to market forces and, although museums and heritage sites have a special, rather distinct, role to fulfil, they are also operating in a very competitive environment, where visitors make choices on how and where to spend their free time. Heritage and museum experts do not have to invent stories and recreate historical environments to attract their visitors: their assets are already in place. However, exhibits must be both based on artefacts and facts as we know them, and attractively presented. Those who are professionally engaged in the art of interpreting history are thus in difficult position, as they must steer a narrow course between the demands of ‘evidence’ and ‘attractiveness’, especially given the increasing need in the heritage industry for income-generating activities.

　　E. It could be claimed that in order to make everything in heritage more ‘real’, historical accuracy must be increasingly altered. For example, Pithecanthropus erectus is depicted in an Indonesian museum with Malay facial features, because this corresponds to public perceptions. Similarly, in the Museum of Natural History in Washington, Neanderthal man is shown making a dominant gesture to his wife. Such presentations tell us more about contemporary perceptions of the world than about our ancestors. There is one compensation, however, for the professionals who make these interpretations: if they did not provide the interpretation, visitors would do it for themselves, based on their own ideas, misconceptions and prejudices. And no matter how exciting the result, it would contain a lot more bias than the presentations provided by experts.

　　F. Human bias is inevitable, but another source of bias in the representation of history has to do with the transitory nature of the materials themselves. The simple fact is that not everything from history survives the historical process. Castles, palaces and cathedrals have a longer lifespan than the dwellings of ordinary people. The same applies to the furnishing and other contents of the premises. In a town like Leyden in Holland, which in the seventeenth century was occupied by approximately the same number of inhabitants as today, people lived within the walled town, an area more than five times smaller than modern Leyden. In most of the houses several families lived together in circumstances beyond our imagination. Yet in museums, fine period rooms give only an image of the lifestyle of the upper class of that era. No wonder that people who stroll around exhibitions are filled with nostalgia; the evidence in museums indicates that life was so much better in past. This notion is induced by the bias in its representation in museums and heritage centres.

　　Questions 31—36

　　Choose the correct letter, A, B, C or D.

　　Write the correct letter in boxes 31-36 on your answer sheet.

　　31 Compared with today’s museums, those of the past.

　　A did not present history in a detailed way.

　　B were not primarily intended for the public.

　　C were more clearly organised.

　　D preserved items with greater care.

　　32 According to the writer, current trends in the heritage industry

　　A emphasise personal involvement.

　　B have their origins in York and London.

　　C rely on computer images.

　　D reflect minority tastes.

　　33 The writer says that museums, heritage sites and theme parks

　　A often work in close partnership.

　　B try to preserve separate identities.

　　C have similar exhibits.

　　D are less easy to distinguish than before.

　　34 The writer says that in preparing exhibits for museums, experts

　　A should pursue a single objective.

　　B have to do a certain amount of language translation.

　　C should be free from commercial constraints.

　　D have to balance conflicting priorities.

　　35 In paragraph E, the writer suggests that some museum exhibits

　　A fail to match visitor expectations.

　　B are based on the false assumptions of professionals.

　　C reveal more about present beliefs than about the past.

　　D allow visitors to make more use of their imagination.

　　36 The passage ends by noting that our view of history is biased because

　　A we fail to use our imagination.

　　B only very durable objects remain from the past.

　　C we tend to ignore things that displease us.

　　D museum exhibits focus too much on the local area.

　　Questions 37—40

　　Do the following statements agree with the information given in Reading Passage 3?

　　In boxes 37—40 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

　　37 Consumers prefer theme parks which avoid serious issues.

　　38 More people visit museums than theme parks.

　　39 The boundaries of Leyden have changed little since the seventeenth century.

　　40 Museums can give a false impression of how life used to be.

　　答案解析：

　　Question 27

　　答案： ii

　　關(guān)鍵詞： Mixed views, current museums

　　定位原文：B段1、2句和B段最后一句

　　解題思路： B段從第三行開始就呈現(xiàn)例子，所以很容易確定這個段落是總分結(jié)構(gòu)，因此前兩 句就變得尤其重要了。題干中的current changes對應(yīng)于原文中的...presented have altered。題干中的mixed views對應(yīng)原文中的...suggests that the majority of the public does not share this opinion。因此正確答案為ii。

　　Question 28：

　　答案： vi

　　關(guān)鍵詞： Fewer differences, public attractions

　　定位原文：C段1、2句

　　解題思路：首先在C段第三行看到For example就可以確定這個段落是總分段落，主題句就 在前兩句。題干中的few differences, public attractions分別對應(yīng)原文中的the sharp distinction...is gradually evaporating (顯著差異正在漸漸消失)和...between museum and heritage sites...and theme parks (博物館、名勝古跡與主題公園之間)。因此正確答案為vi。

　　Question 29：

　　答案： i

　　關(guān)鍵詞： commercial pressures, people in charge

　　定位原文：D段最后一句

　　解題思路：題干中的 commercial pressures 對應(yīng)原文中的 especially given the increasing need in the heritage industry for income-generating activities, 含義為“特別是考慮到歷史遺 產(chǎn)產(chǎn)業(yè)對于創(chuàng)收活動不斷增長的需求”。 題干中的people in charge對應(yīng)原文中的 Those who are professionally engaged in the art of interpreting history，含義為“那 些專業(yè)從事詮釋歷史這門藝術(shù)的人”。因此正確答案為i。

　　Question 30：

　　答案： iii

　　關(guān)鍵詞： Interpreting the facts, meet visitor expectations

　　定位原文：E段第1、2句

　　解題思路：首先在E段第二行看到For example就可以確定這個段落也是總分段落，主題句就在首句。但是這個段落主題句光讀首句信息并不明顯，需要結(jié)合例子。題干中的interpreting the facts對應(yīng)原文中的例子 For example, Pithecanthropus erectus is depicted in an Indonesian museum with Malay facial features, 含義為“比如，印度 尼西亞的一家博物館根據(jù)馬來人的面部 特征來描繪直立猿人”。題干中的meet visitor expectations (滿足參觀者的期待)， 對應(yīng)原文中 because this corresponds to public perceptions (因?yàn)檫@更符合公眾的 認(rèn)知)。因此正確答案為iii。

　　Question 31：

　　答案： B

　　關(guān)鍵詞： museums, past

　　定位原文：A段第3句“Such conviction was, until…”

　　解題思路：這句話中的but not for the ordinary visitor對應(yīng)選項(xiàng)B中的were not primarily intended for the public 。故正確答案為B。

　　Question 32：

　　答案： A

　　關(guān)鍵詞： current trends, heritage industry

　　定位原文： B段1、2句“Recently，however, attitudes…”

　　解題思路： 其中第二句話對應(yīng)選項(xiàng)A中的emphasise personal involvement。選項(xiàng)B和D都涉及細(xì)節(jié)問 題，但選項(xiàng)B本身就是錯誤的，選項(xiàng)D根本沒提及。故正確答案為A。

　　Question 33：

　　答案： D

　　關(guān)鍵詞： museums, heritage sites, theme parks

　　定位原文：C段1、2句“In a related development, the sharp distinction…”

　　解題思路：這句話中的the sharp distinction...is gradually evaporating就相當(dāng)于選項(xiàng)D中的are less easy to distinguish than before。其余三個選項(xiàng)在原文都沒提及。故正確答案為D。

　　Question 34：

　　答案： D

　　關(guān)鍵詞： preparing exhibits for museums, experts

　　定位原文：D段倒數(shù)第1句“Those who are professionally…”

　　解題思路：這句話中的as they must steer a narrow course between...and...對應(yīng)選項(xiàng)D中的have to balance conflicting priorities。選項(xiàng)A和B原文沒提及，選項(xiàng)C提到了commercial, 但沒有提到should be free from。故正確答案為D。

　　Question 35：

　　答案： C

　　關(guān)鍵詞： In paragraph E, writer suggests

　　定位原文：E段第4句“Such presentations…”

　　解題思路：這句話中的 tell us more about contemporary perceptions of the world than about our ancestors對應(yīng)選項(xiàng)C中的reveal more about present beliefs than about the past。一般遇到選項(xiàng)中帶比較關(guān)系的都不是正確答案，但選項(xiàng)C正是這道題的答案，因?yàn)樵�文中也明確了這樣的比較關(guān)系。

　　Question 36：

　　答案： B

　　關(guān)鍵詞： our view, is biased, because

　　定位原文：F段前三句

　　解題思路：這句話中的but another source of bias in the representation of history has to do with the transitory nature of the materials themselves對應(yīng)選項(xiàng)B中的only very durable objects remain from the past。其余三個選項(xiàng)原文中都沒有提及，即可以用排除法篩選出正確選項(xiàng);選項(xiàng)B中出現(xiàn)了only, 又可以從原文中提到的not everything from history中看出其 包含了 only的意思。故正確答案為B。

　　Question 37：

　　答案： FALSE

　　關(guān)鍵詞：theme parks, Consumers prefer

　　定位原文：D段內(nèi)容

　　解題思路：可根據(jù)定位詞定位至D段段首。原文中說，主題公園也經(jīng)歷著轉(zhuǎn)變，擺脫輕松的夢幻風(fēng) 格，嘗試著去呈現(xiàn)嚴(yán)肅的社會問題，而且這種發(fā)展是市場推動力的反應(yīng)。說明這是消費(fèi)者認(rèn)可且接受的。而題干中說消費(fèi)者更喜歡氛圍輕松的主題公園，與原文陳述不一致。

　　Question 38：

　　答案： NOT GIVEN

　　關(guān)鍵詞： museums, theme parks

　　定位原文：無

　　解題思路：根據(jù)TRUE/FALSE/NOT GIVEN題型的順序出題原則，此題考點(diǎn)應(yīng)在37題考點(diǎn)之后、39 題考點(diǎn)之前，順著上一題找下去，并未發(fā)現(xiàn)有提到參觀博物館的人要比參觀主題公園的人多的地方。

　　Question 39：

　　答案： FALSE

　　關(guān)鍵詞： Leyden, the seventeenth century

　　定位原文：F段第5句“In a town like Leyden…”

　　解題思路：本題根據(jù)定位詞很容易定位至F段第5句，像荷蘭的萊頓這樣的小鎮(zhèn)，17世紀(jì)的居民數(shù)量和現(xiàn)在大致相同。人們將小鎮(zhèn)用城墻圍起來，居住其中，該區(qū)域的面積比現(xiàn)代的萊頓要小5倍。可以明顯看出原文中提到的an area more than five times smaller than modem Leyden與題干中的have changed little陳述不一致。

　　Question 40

　　答案： TRUE

　　關(guān)鍵詞： Museums, impression

　　定位原文：F段第6句“In most of the houses…”

　　解題思路：大多數(shù)房間中都住著好幾戶人家，其生活環(huán)境超出我們的想象。但在博物館中，上好的老房子僅展現(xiàn)了那個時代上流社會的生活。難怪參觀展覽的人會充滿懷舊情緒;博物館中的證據(jù)表明過去的生活比現(xiàn)在的好得多。這種理解正是由博物館和歷史遺產(chǎn)中心重現(xiàn)歷史過程中的偏見所引起的。根據(jù)定位段落可以看出，明明當(dāng)時生活艱苦，在博物館里卻只展現(xiàn)了上流社會的好房子，給人錯誤印象。與題干表述一致。
 

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