2021年3月12日雅思阅读机经

更新：2022年01月23日 03:29 雅思无忧

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2021年3月12日雅思考笔已经结束，名师为大带来 2021 年 3 月 12 日回忆, 希望能对考生们未来的考有帮助。

Passage One
新旧情况：旧2021.5.17
题材：传记类/历史类
题目：The Extraordinary Watkin Tench
题型：T/F/NG 6 个简单题 7 个

文章大意： Waltkin Tench 的人物传记。此人为英人，在历史上非常有名，他
曾经因参加英的“舰队”（first fleet）——殖民澳大利亚的舰队，并出版两本书描述这一经历而著名。具体信息可参见http://en.*.org/wiki/Watkin_Tench 文中讲述了他对原住民非常的友好，关注人性，是一个很伟大的人。

参考文章：
During the late 18th and 19th centuries, large numbers of convicts were
transported to the various Australian penal colonies by the British government.
One of the primary reasons for the British settlement of Australia was the
establishment of a penal colony to alleviate pressure on their overburdened
correctional facilities. Over the 80 years more than 165,000 convicts were
transported to Australia.
Poverty, social injustice, child labor, harsh and dirty living conditions and long
working hours were prevalent in 19th-century Britain. Dickens' novels perhaps
best illustrate this; even some government officials were horrified by what they
saw. Only in 1833 and 1844 were the first general laws against child labor (the
Factory Acts) passed in the United Kingdom.
William Hogarth's Gin Lane, 1751
According to Robert Hughes in The Fatal Shore, the population of England and
Wales, which had remained steady at 6 million from 1700 to 1740, began rising
considerably after 1740. By the time of the American Revolution, London was
overcrowded, filled with the unemployed, and flooded with cheap gin.Crime had
become a major problem. In 1784 a French observer noted that "from sunset to
dawn the environs of London became the patrimony of brigands for twenty miles
around."
Each parish had a watchman, but British cities did not have police forces in the
modern sense. Jeremy Bentham avidly promoted the idea of a circular prison,
but the penitentiary was seen by many government officials as a peculiarly
American concept. Virtually all malefactors were caught by informers or
denounced to the local court by their victims.
Pursuant to the so-called "Bloody Code", by the 1770s there were 222 crimes
in Britain which carried the death penalty, almost all of which were crimes
against property. These included such offences as the stealing of goods worth
over 5 shillings, the cutting down of a tree, the theft of an animal, even the theft
of a rabbit from a rabbit warren.
The Industrial Revolution led to an increase in petty crime due to the economic
displacement of much of the population, building pressure on the government
to find an alternative to confinement in overcrowded gaols. The situation was
so dire that hulks left over from the Seven Years' War were used as makeshift
floating prisons.Eight of every 10 prisoners were in jail for theft. The Bloody
Code was gradually rescinded in the 1800s because judges and juries
considered its punishments too harsh. Since lawmakers still wanted
punishments to deter potential criminals, they increasingly applied
transportation as a more humane alternative to execution.
Transportation had been applied as a punishment for both major and petty
crimes since the seventeenth century. Around 60,000 convicts were transported
to the British colonies in North America in the seventeenth and eighteenth
centuries. When the American Revolutionary War brought an end to that means
of disposal, the British Government looked elsewhere. After James Cook's
famous voyage to the South Pacific in which he visited and claimed the east
coast of Australia in the name of the British Empire, he described Botany Bay,
the bay on which present-day Sydney sits, as an ideal place to establish a
settlement. In 1788 the First Fleet arrived and the first British colony in Australia
was established.

部分答案：
Q1-Q6 True/False/Not Given
1. A great deal was known about Tech before arriving to
Australia. False
2. Tench drew pictures of what he saw during his journey. NG
3. Generally treat convicts well. False
4. Tench’s opinion towards Aboriginal remained unchanged. False
5. An Aboriginals gave Tench food as a gift when they first met. NG
6. Tench held unusual opinion in his time. True
Q7-Q13 Short-answer questions
7. Diaries
8. 3 years
9. Chains
10. Governor Phillip
11. Hunting birds
12. China
13. Botany Bay

Passage Two
新旧情况：新
题材：心理类
题目：Are artists liars?
题型：Heading 6 个 TRUE OR FALSE 5个填空 3 个

文章大意
主要通过马龙白兰度的例子讲诉表演者都是很好的谎言。
类似原文：
Are artists liars?
Humans are natural-born storytellers, so lying is in our blood. Ian Leslie
considers how this comes out in our art ...
Special to MORE INTELLIGENT LIFE
Shortly before his death, Marlon Brando was working on a series of instructional
videos about acting, to be called “Lying for a Living”. On the surviving footage,
Brando can be seen dispensing gnomic advice on his craft to a group of enthusiastic,
if somewhat bemused, Hollywood stars, including Leonardo Di Caprio and Sean Penn.
Brando also recruited random people from the Los Angeles street and persuaded
them to improvise (the footage is said to include a memorable scene featuring two
dwarves and a giant Samoan). “If you can lie, you can act,” Brando
told Jod Kaftan, a writer for Rolling Stone and one of the few people to have viewed
the footage. “Are you good at lying?” asked Kaftan. “Jesus,” said Brando, “I’m
fabulous at it.”
Brando was not the first person to note that the line between an artist and a liar is a
fine one. If art is a kind of lying, then lying is a form of art, albeit of a lower order—
as Oscar Wilde and Mark Twain have observed. Both liars and artists refuse to
accept the tyranny of reality. Both carefully craft stories that are worthy of belief—a
skill requiring intellectual sophistication, emotional sensitivity and physical self-
control (liars are writers and performers of their own work). Such parallels are hardly
coincidental, as I discovered while researching my book on lying. Indeed, lying and
artistic storytelling spring from a common neurological root—one that is exposed in
the cases of psychiatric patients who suffer from a particular kind of impairment.
A case study published in 1985 by Antonio Damasio, a neurologist, tells the story of
a middle-aged woman with brain damage caused by a series of strokes. She
retained cognitive abilities, including coherent speech, but what she actually said
was rather unpredictable. Checking her knowledge of contemporary events,
Damasio asked her about the Falklands War. This patient spontaneously described
a blissful holiday she had taken in the islands, involving long strolls with her hu*and
and the purchase of local trinkets from a shop. Asked what language was spoken
there, she replied, “Falklandese. What else?”
In the language of psychiatry, this woman was ‘confabulating’. Chronic
confabulation is a rare type of memory problem that affects a *all proportion of
brain-damaged people. In the literature it is defined as “the production of fabricated,
distorted or misinterpreted memories about oneself or the world, without the
conscious intention to deceive”. Whereas amnesiacs make errors of omission—
there are gaps in their recollections they find impossible to fill—confabulators make
errors of commission: they make things up. Rather than forgetting, they are
inventing.
Confabulating patients are nearly always oblivious to their own condition, and will
earnestly give absurdly implausible explanations of why they’re in hospital, or talking
to a doctor. One patient, asked about his surgical scar, explained that during the
second world war he surprised a teenage girl who shot him three times in the head,
killing him, only for surgery to bring him back to life. The same patient, when asked
about his family, described how at various times they had died in his arms, or had
been killed before his eyes. Others tell yet more fantastical tales, about trips to the
moon, fighting alongside Alexander in India or seeing Jesus on the Cross.
Confabulators aren’t out to deceive. They engage in what Morris Moscovitch, a
neuropsychologist, calls “honest lying”. Uncertain, and obscurely distressed by their
uncertainty, they are seized by a “compulsion to narrate”: a deep-seated need to
shape, order and explain what they do not understand.
As with the woman who told of her holiday in the Falklands, the stories spun by
chronic confabulators are conjured up instantaneously—an interlocutor only has to
ask a question, or say a particular word, and they’re off, like a jazz saxophonist
using a phrase thrown out by his pianist as the start of his solo. A patient might
explain to her visiting friend that she’s in hospital because she now works as a
psychiatrist, that the man standing next to her (the real doctor) is her assistant, and
they are about to visit a patient. Chronic confabulators are often highly inventive at
the verbal level, jamming together words in nonsensical but suggestive ways: one
patient, when asked what happened to Queen Marie Antoinette of France,
answered that she had been “*d” by her family. In a sense, these patients are
like novelists, as described by Henry James: people on whom “nothing is wasted”.
Unlike writers, however, they have little or no control over their own material.
Chronic confabulation is usually associated with damage to the brain’s frontal lobes,
particularly the region responsible for self-regulation and self-censoring. Of course
we all are sensitive to associations—hear the word “scar” and you too might think
about war wounds, old movies or tales of near-death experiences. But rarely do we
let these random thoughts reach consciousness, and fewer still would ever
articulate them. We self-censor for the sake of truth, sense and social
appropriateness. Chronic confabulators can’t do this. They randomly combine real
memories with stray thoughts, wishes and hopes, and summon up a story from the
confusion.
The wider significance of this condition is what it tells us about ourselves. Evidently
there is a gushing river of verbal creativity in the normal human mind, from which
both artistic invention and lying are drawn. We are born storytellers, spinning
narrative out of our experience and imagination, straining against the leash that
keeps us tethered to reality. This is a wonderful thing; it is what gives us our ability
to conceive of alternative futures and different worlds. And it helps us to understand
our own lives through the entertaining stories of others. But it can lead us into
trouble, particularly when we try to persuade others that our inventions are real.
Most of the time, as our stories bubble up to consciousness, we exercise our
cerebral censors, controlling which stories we tell, and to whom. Yet people lie for
all sorts of reasons, including the fact that confabulating can be dangerously fun.
During a now-famous libel case in 1996, Jonathan Aitken, a former cabinet
minister, recounted a tale to illustrate the horrors he endured after a national
newspaper tainted his name. He told of how, on leaving his home in Westminster
one morning with his teenage daughter, he found himself ‘stampeded’ by a
documentary crew. Upset and scared by the crew’s
aggressive behaviour, his daughter burst into tears, he said, and Aitken bundled her
into his ministerial car. But as they drove away he realised that they were being
followed by the journalists in their van. A hair-raising chase across central London
ensued. The journalists were only shaken off when Aitken executed a cunning
deception: he stopped at the Spanish embassy and swapped vehicles.
The case, which stretched on for more than two years, involved a series of claims
made by the Guardian about Aitken’s relationships with Saudi arms dealers,
including meetings he allegedly held with them on a trip to Paris while he was a
government minister. What amazed many in hindsight was the sheer superfluity of
the lies Aitken told during his testimony. Some were necessary to maintain his
original lie, but others were told, it appeared, for the sheer thrill of invention. As
Aitken stood at the witness stand and piled lie upon lie—apparently carried away
by the improvisatory act of creativity—it’s possible that he felt similar to Brando
during one of his performances. Aitken’s case collapsed in June 1997, when the
defence finally found indisputable evidence about his Paris trip. Until then, Aitken’s
charm, fluency and flair for theatrical displays of sincerity looked as if they might
bring him victory. The first big dent in his façade came just days before, when a
documentary crew submitted the unedited rushes of their “stampede” encounter
with Aitken outside his home. They revealed that not only was Aitken’s daughter not
with him that day (when he was indeed doorstepped), but also that the minister had
simply got into his car and drove off, with no vehicle in pursuit.
Of course, unlike Aitken, actors, playwrights and novelists are not literally attempting
to deceive us, because the rules are laid out in advance: come to the theatre, or
open this book, and we’ll lie to you. Perhaps this is why we felt it necessary to invent
art in the first place: as a safe space into which our lies can be corralled, and
channelled into something socially useful. Given the universal compulsion to tell
stories, art is the best way to refine and enjoy the particularly outlandish or insightful
ones. But that is not the whole story. The key way in which artistic “lies” differ from
normal lies, and from the “honest lying” of chronic confabulators, is that they have
a meaning and resonance beyond their creator. The liar lies on behalf of himself;
the artist tell lies on behalf of everyone. If writers have a compulsion to narrate, they
compel themselves to find insights about the human condition. Mario Vargas Llosa
has written that novels “express a curious truth that can only be expressed in a
furtive and veiled fashion, masquerading as what it is not”. Art is a lie whose secret
ingredient is truth.
Ian Leslie is the author of "Born Liars: Why We Can’t Live Without Deceit",
published by Quercus and out now in Britain. He can be followed on Twitter at
@mrianleslie. Picture credit: procsilas and jesus_leon (both via Flickr)
部分答案
待补充

Passage Three
新旧情况：新
题材：教育类
文章大意：关于 theory-based research 的话题，管理类院校的科研成果。
部分答案待补充

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