2008年6月美国托福英语考试（TOEFL）阅读真题精选
数学思维方法(总分：120.00，做题时间：150分钟)
一、READING
(总题数：5，分数：120.00)
Loie Fuller
The United States dancer Loie Fuller (1862–1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herlf an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists.
Fuller devid a type of dance that focud on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps becau her formal dance training was minim
al. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects.
鸡肉营养价值
Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became “La Loie,” the darling of Parisian audiences. Many of her dances reprented elements or natural objects—Fire, the Lily, the Butterfly, and so on—and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art’s sake, a nineteenth-century idea that art is valuable in itlf rather than becau it may have some moral or educational benefit, and their efforts to synthesize form and content.
Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage techno
logy. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the rearch of veral artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a n of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller’s major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner’s “Ride of the Valkyries.” The dance caught the eye of artist Henri de Toulou-Lautrec, who depicted it in a lithograph.
As her technological experti grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later ud scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, compors who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expan of silk, played upon by color素炒山药
ed lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films—then in an early stage of development—and made them herlf; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director.
At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she prented pantomimes by the Japane actress Sada Yocco. She asmbled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan’s first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller’s work and fresh sources for her art in Sada Yocco’s plays. In 1924 St. Denis paid tribute to Fuller with the duet Val
中职语文试卷
à la Loie.（分数：24）
(1).What can be inferred from paragraph 1 about theatrical dance in the late nineteenth century?（分数：2）
A.It influenced many artists outside of the field of dance
B.It was very similar to theatrical dance of the early nineteenth century.
读书格言 C.It was more a form of entertainment than a form of rious art. √
D.It was a relatively new art form in the United States
电气工程及其自动化解析：
参考译文：
Loie Fuller
Loie Fuller(1862-1928)作为一位美国的舞者，认为 19 世纪末的舞台式舞蹈缺乏艺术性。
她把她自己定义为一位艺术家而不仅仅演艺人员，随之下来，她也得到了其他艺术家 的关注。
危岩体Fuller 设计了一种注重灯光变换和她所穿的大体积的裙子或布料的颜色的舞蹈，所 以她的舞姿则主要体现在上肢动作，而有些时候她的服装的体积是需要用隐藏在下面的棍状 物体来填充实现的。她没有采用在当时的舞台式舞蹈上声望很高的高技术含量的芭蕾动作， 原因可能是她所接受的正式舞蹈培训太少了。虽然在她早期的舞台事业里体现了作为一名艺 术家的一些约束，她的主要精力并没有放在通过舞蹈来传递故事或感情上，而是通过视觉效 应散发出她舞蹈的戏剧性。
尽管她是在美国找到并呈现了她的艺术，她最大的成就在巴黎，在 1892 年她被 Folies Bergere（一个巴黎剧院）所雇佣,而不久变成“La Loie”----巴黎观众的宠儿。因为她的 很多舞蹈作品例如火，百合花，蝴蝶等等代表的都是一些元素或自然物体，所以它们与注重 自然风景和流畅弯曲线条的时尚 Art Nouveau 的风格是一致的。她的舞蹈还吸引了当时法国 的诗人和画家的注意，因为它符合他们对神秘色彩的喜好，他们对于艺术只为艺术产生的信 仰----19 世纪艺术被认为它的本身比它所带来的道德或教育利益更有价值，和他们对外形 和内容的合成所做的研究努力。
水环境治理
