托福阅读真题第7套
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第
7
套
Photography
and
the
Pictorial
Weeklies
In
the
1840s
a
new
type
of
publication
arose
in
Britain
and
the
United
States:
the
pictorial
weekly.
Early
pictorial
weeklies
were
large-size
news
magazines
that
included
【
plentiful
】
illustrations,
often
based
on
woodblock
engravings.
These
magazines
owed
their
rise
in
part
to
the
development
of
new
and
better
printing
technologies,
such
as
electrotype,
and
electrical
process
that
used
a
wax
mold
of
a
page,
covered
in
graphite,
to
create
a
metal
plate
for
printing.
Other
methods
had
previously
been
used
to
create
plates
for
printing,
but
the
electrotype
process
was
easier,
faster,
and
more
precise.
It
enabled
the
pictorial
weeklies
to
have
a
distinctive
large
format.
1.The
word
“plentiful”
in
the
passage
is
closest
in
the
meaning
to
A.popular
B.wonderful
C.numerous
D.complex
2.According
to
paragraph
1,
the
rise
of
pictorial
weeklies
in
the
1840s
made
possible
in
part
by
A.the
discovery
that
electricity
could
be
used
to
power
printing
presses
B.the
discovery
that
plates
could
be
used
to
magazines
faster
than
before
C.the
development
of
new
printing
technologies
D.the
development
of
new
methods
for
carving
woodblock
designs
3.Paragraph
1
supports
all
of
the
following
statements
about
the
new
weeklies
of
the
1840s
EXCEPT:
A.They
were
larger
than
earlier
magazines
B.They
were
the
most
popular
type
of
mass
publication
C.They
included
a
large
number
of
illustrations
D.They
carried
articles
about
news
events
A
second
development
of
the
early
1840s
also
influenced
the
nature
of
the
illustrations
in
pictorial
weeklies
worldwide.
If
the
arrival
of
the
electrotype
had
made
the
high-volume
printing
of
large,
finely
engraved
illustrations
possible,
the
emergence
of
photography
gave
many
of
these
images
a
distinctive
character.
Soon
after
the
daguerreotype
(the
earliest
photographic
process)
had
swept
the
world
in
the
early
1840s,
artists
for
pictorial
weeklies
began
to
use
these
early
photographs
as
sources
for
their
illustrations.
The
growing
presence
of
woodblock-engraved
portraits
in
the
weeklies
in
the
1840s
and
1850s
arose
directly
from
the
popularity
of
portrait
photographs,
any
of
which
could
easily
be
mailed
or
shipped
anywhere
in
the
world.
【
In
1857
the
artist
Winnslow
Homer
in
Boston
copied
onto
a
woodblock
adaguerreotype
portrait
of
a
sea
captain
who
lived
in
California
thereby
allowing
the
captain’s
likeness
to
reach
publication
in
the
Companion
without
the
subject’s
having
been
within
a
few
thousand
miles
of
the
artist
who
had
drawn
him.
】
Nothing
quite
like
this
had
been
possible
so
routinely
or
with
such
ease
before
the
introduction
of
the
daguerreotype
in
France
in
1839
and
its
rapid
spread
elsewhere.
4.The
word
“emergence”
in
the
passage
is
closest
in
meaning
to
A.improvement
B.prestige
C.influence
D.rise
5.Which
of
the
sentences
below
best
expresses
the
essential
information
in
the
highlighted
sentence
in
the
passage?
Incorrect
choices
change
the
meaning
in
important
ways
or
leave
out
essential
information.
A.By
copying
a
daguerreotype
portrait
onto
a
woodblock,
Winslow
Homer
was
able
to
create
a
portrait
for
publication
even
though
he
had
never
been
near
the
person
depicted
in
the
portrait.
B.In
1857
the
artist
Winslow
Homer
used
a
daguerreotype
portrait,
a
woodblock
likeness
of
a
sea
captain
from
publication
in
a
Boston
weekly.
C.In
1857
the
Boston-based
Companion
published
a
likeness
of
a
sea
captain
even
though
the
sea
captain
lived
far
away
in
California.
D.The
portraits
that
were
published
in
the
Companion
and
other
weeklies
were
produced
by
artists
such
as
Winslow
Homer
who
copied
daguerreotype
portraits
onto
woodblocks
6.The
word
“routinely”
in
the
passage
is
closest
in
meaning
to
A.efficiently
B.regularly
C.quickly
D.cheaply
7.
According
to
paragraph
2,
how
did
the
emergence
of
photography
influence
pictorial
weeklies?
A.Photographs
began
to
replace
other
types
of
illustration.
B.The
use
of
photographs
helped
increase
the
worldwide
popularity
of
weeklies.
C.Photographs
made
it
possible
to
produce
weeklies
faster
and
more
easily.
D.Artists
began
using
photographs
as
sources
for
the
illustrations
they
made
for
weeklies.
Beyond
supplying
them
with
subjects,
photography
also
influenced
what
some
illustrators
drew
and
how
they
drew
it.
As
daguerreotypes
and,
later,
other
photographic
processes
became
increasingly
common
in
the
1850s,
illustrators
began
to
imitate
(as
best
they
could
in
their
linear
medium)
the
distinctive
tonality—the
