托福復習半年，連這道閱讀題都不會做

　　例題：

　　Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects.It is often taken for granted that this is also true for the maker of fine-art objects.This assumption misses a significant difference between the two disciplines.Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are.Because their primary purpose is not functional, they are only limited in terms of the materials used to make them.Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress.Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor.These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work.For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof.This was done because the cannonball was needed to support the weight of the leg.In other words, the demands of the laws of physics, not the sculptor's aesthetic intentions, placed the ball there.That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze). (OG Example: Applied Arts and Fine Arts)

　　Why does the author discuss the bronze statues of horses created by artists in the early Italian Renaissance?

　　A.To provide an example of a problem related to the laws of physics that a fine artist must overcome

　　B.To argue that fine artists are unconcerned with the laws of physics

　　C.To contrast the relative sophistication of modern artists in solving problems related to the laws of physics

　　D.To note an exceptional piece of art constructed without the aid of technology

　　講解：

　　通過分析題干(為什么作者討論藝術家在早期意大利文藝復興時期創(chuàng)作的青銅馬雕塑?)，我們知道這道題目屬于修辭目的題。

　　首先，根據(jù)題干所給細節(jié)(例子)，即早期文藝復興時期的青銅馬雕塑，去原文段落中定位(見標紅部分)，并將細節(jié)所在的那句話讀懂(見黃色部分)。黃色部分是在早期意大利文藝復興時期，青銅馬雕塑有一條抬起來的前腿，在前腿的蹄子下面有一枚炮彈(cannonball)，在馬蹄子下面放置炮彈是用于支撐馬腿的重量。作者為什么要用這個例子?作者想用這個例子闡明什么觀點?

　　接下來，我們?nèi)ダ忧懊婵匆豢?見藍色部分)，作者究竟想用這個例子闡明什么。我們通過藍色部分發(fā)現(xiàn)，作者想表達由于一些問題打亂了藝術家對于藝術品的創(chuàng)作理念，所以必須克服或解決這些問題。根據(jù)作者所表達的觀點，肯定會選擇答案A;但對于A選項，同學們肯定會產(chǎn)生如下疑惑：“文章中藍色部分僅說明藝術家必須克服影響藝術品創(chuàng)作的問題，卻沒有提到克服關于物理學原理的問題”。

　　此時，同學們不能僅關注“例子前面的一句話”，也要關注“例子所在段的段落大意”(見綠色部分)。通過文章綠色部分可以發(fā)現(xiàn)，這段主要講解物理學原理對于藝術品的影響，所以藝術家需要解決關于物理學原理對于藝術品影響的問題。

　　答案：A

　　本文作者：考情報告(微信公眾號：純青教育)

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