雅思英語閱讀短文精選

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雅思英語閱讀短文精選1

案例研究：新西蘭旅遊網站

Case Study: Tourism New Zealand website

New Zealand is a small country of four million inhabitants, a long-haul flight from all the major tourist-generating markets of the world. Tourism currently makes up 9% of the country’s gross domestic product, and is the country’s largest export sector. Unlike other export sectors, which make products and then sell them overseas, tourism brings its customers to New Zealand. The product is the country itself - the people, the places and the experiences. In 1999, Tourism New Zealand launched a campaign to communicate a new brand position to the world. The campaign focused on New Zealand’s scenic beauty, exhilarating outdoor activities and authentic Maori culture, and it made New Zealand one of the strongest national brands in the world.

新西蘭是一個有着400萬居民的小國家，離世界上所有的大型遊客聚集市場都需要經歷一場長途航班。旅遊業目前佔這個國家國民生產總值的百分之九，是其最大的出口行業。與其他行業不同的是，其他行業是要製作產品再將其銷售到海外，而旅遊業會將顧客帶到新西蘭來。產品就是這個國家本身——其人民、地點和身處其中的體驗。在1999年，新西蘭旅遊局向全世界推出了一場大型宣傳活動，營造出一個全新的品牌地位。這場宣傳集中展示了新西蘭優美的風景、激動人心的戶外項目和本土真正的的毛利文化，它將新西蘭塑造成世界上最強有力的國家品牌之一。

A key feature of the campaign was the website , which provided potential visitors to New Zealand with a single gateway to everything the destination had to offer. The heart of the website was a database of tourism services operators, both those based in New Zealand and those based abroad which offered tourism services to the country. Any tourism-related business could be listed by filling in a simple form. This meant that even the smallest bed and breakfast address or specialist activity provider could gain a web presence with access to an audience of long-haul visitors. In addition, because participating businesses were able to update the details they gave on a regular basis, the information provided remained accurate. And to maintain and improve standards, Tourism New Zealand organised a scheme whereby organisations appearing on the website underwent an independent evaluation against a set of agreed national standards of quality. As part of this, the effect of each business on the environment was considered.

這場宣傳活動中的一個關鍵特色就是“新西蘭旅遊”這個網站，它爲未來有可能前往新西蘭的遊客提供了一個入口，在這裏可以找到新西蘭所能提供的一切。此網站的核心內容在於一個由各路旅遊服務經營者信息所組成的數據庫，其中既有位於新西蘭本土的商家，也有駐紮海外的提供前往此國旅遊服務的公司。任何與旅遊相關的經營者都可以通過填寫一張簡單的表格而獲准加入。這就意味着：即使是最小型的住宿地和早餐店或特色活動的提供者都能在此網站上獲得一席之地，從而接觸到所有打算遠道而來的遊客。此外，由於參與的商家可以定期更新自己放上去的各種信息，網站的信息就能始終保持準確。並且爲了維持並提高水準，新西蘭旅遊局還安排了一個這樣的方案：展示在網站上的所有商家都要按照一套通過決議的國家質量標準來接受一場獨立評估。其中，每個企業對於環境產生的影響都要受到考量。

To communicate the New Zealand experience, the site also carried features relating to famous people and places. One of the most popular was an interview with former New Zealand All Blacks rugby captain Tana Umaga. Another feature that attracted a lot of attention was an interactive journey through a number of the locations chosen for blockbuster films which had made use of New Zealand’s stunning scenery as a backdrop. As the site developed, additional features were added to help independent travellers devise their own customised itineraries. To make it easier to plan motoring holidays, the site catalogued the most popular driving routes in the country, highlighting different routes according to the season and indicating distances and times.

爲了充分傳播這場經歷，該網站還有一些與名人和知名地點有關的特色介紹。其中最受歡迎的內容之一是對新西蘭全黑橄欖球隊前隊長Tana Umaga的採訪。另外一個吸引了大量關注的特色是一場互動式旅程，穿過一些將新西蘭令人目瞪口呆的風景選做背景的電影大片中曾經出現過的地點。隨着網站的發展，又有一些額外特色被加進來來幫助自助型遊客通過這個規劃屬於自己的特色行程。爲了幫助用戶更簡單規劃自駕行假期，網站還根據季節變化分類整理出了這個國家最受歡迎的多條駕車路線，並且標註了距離和時間。

Later, a Travel Planner feature was added, which allowed visitors to click and ‘bookmark’ places or attractions they were interested in, and then view the results on a map. The Travel Planner offered suggested routes and public transport options between the chosen locations. There were also links to accommodation in the area. By registering with the website, users could save their Travel Plan and return to it later, or print it out to take on the visit. The website also had a ‘Your Words’ section where anyone could submit a blog of their New Zealand travels for possible inclusion on the website.

後來，又增加了一項“旅行規劃者”特色，網站訪問者可以點擊他們感興趣的地點或景點，並標註書籤，然後在地圖上查看結果。“旅行規劃者”會提供往來於各個選定地點之間的推薦路線和公共交通方式選擇。同時還有查看當地住宿信息的鏈接。通過網站註冊，用戶就可以保存他們的旅行計劃，之後返回查看，或者把計劃打印出來隨身攜帶。網站上還有一個“你的語言”的版塊，任何人都可以提交自己有關新西蘭旅遊的博客記錄，這些遊記內容將有可能展示在網站頁面上。

The Tourism New Zealand website won two Webby awards for online achievement and innovation. More importantly perhaps, the growth of tourism to New Zealand was impressive. Overall tourism expenditure increased by an average of 6.9% per year between 1999 and 2004. From Britain, visits to New Zealand grew at an average annual rate of 13% between 2002 and 2006, compared to a rate of 4% overall for British visits abroad.

新西蘭旅遊局的這個網站因其線上成就和創新贏得了兩次威比獎。也許更重要的是：新西蘭旅遊業的增長是令人印象深刻的。總體旅遊支出在1999到2004年期間平均每年增長6.9%，在2002年到2006年之間，從英國前往新西蘭的旅客增長率是13%，而英國的總體海外旅遊增長率只有百分之四。

The website was set up to allow both individuals and travel organisations to create itineraries and travel packages to suit their own needs and interests. On the website, visitors can search for activities not solely by geographical location, but also by the particular nature of the activity. This is important as research shows that activities are the key driver of visitor satisfaction, contributing 74% to visitor satisfaction, while transport and accommodation account for the remaining 26%. The more activities that visitors undertake, the more satisfied they will be. It has also been found that visitors enjoy cultural activities most when they are interactive, such as visiting a marae (meeting ground) to learn about traditional Maori life. Many long-haul travellers enjoy such learning experiences, which provide them with stories to take home to their friends and family. In addition, it appears that visitors to New Zealand don’t want to be ‘one of the crowd’ and find activities that involve only a few people more special and meaningful.

這個網站成立的目的是爲了讓個人和旅遊機構都能根據這個創建出適合他們自身需求和興趣的行程以及旅遊套餐。在網站，訪問者並非僅僅能夠根據地理位置爲線索來搜尋各個活動，還可以通過活動的特定屬性來查找。這一點是很重要的，因爲研究顯示：活動項目是遊客滿意度的關鍵驅動因素，爲總體遊客滿意度貢獻了百分之七十四的比例，而交通和住宿一起才佔了餘下的百分之二十六。遊客參與的活動越多，他們就會越對自己的旅行感到滿意。同時研究發現：遊客最享受的文化活動是那些有互動性質的，例如參觀一處毛利會堂來了解傳統的毛利人生活。許多遠道而來的遊客都非常享受這樣的學習經歷，這樣他們就有故事可以帶回去與朋友和家人分享。此外，來到新西蘭的遊客們好像都不想成爲大衆中人羣中的一個，而是覺得那些只有少數幾個人參與的活動更爲特別和有意義。

It could be argued that New Zealand is not a typical destination. New Zealand is a small country with a visitor economy composed mainly of small businesses. It is generally perceived as a safe English-speaking country with a reliable transport infrastructure. Because of the long-haul flight, most visitors stay for longer (average 20 days) and want to see as much of the country as possible on what is often seen as a once-in-a-lifetime visit. However, the underlying lessons apply anywhere - the effectiveness of a strong brand, a strategy based on unique experiences and a comprehensive and user-friendly website.

可能有爭議說新西蘭並不算一個典型的旅遊目的地。它是一個小國家，遊客經濟主要由小型商家組成。它被大衆普遍視爲一個安全的講英語的國家，有着可靠的交通基礎設施。由於要進行長途飛行，大部分遊客都會在此地待比較久(平均爲20天)並想要儘可能地到處多看看這個國家，因爲他們通常將此看作是“一生只來一次的旅行”。然而，新西蘭的旅遊業興旺發展背後的經驗卻可以應用到任何地方——一個強大的品牌效應，基於獨有經歷的策略，和一個全面而並且關注用戶的網站。

雅思英語閱讀短文精選2

人工智能藝術家

電腦真的能創造藝術作品嗎?

The Painting Fool is one of a growing number of computer programs which, so their makers claim, possess creative talents. Classical music by an artificial composer has had audiences enraptured, and even tricked them into believing a human was behind the score. Artworks painted by a robot have sold for thousands of dollars and been hung in prestigious galleries. And software has been built which creates art that could not have been imagined by the programmer.

“繪畫愚人”是數目正在逐漸增加的——按照它們的創造者所宣稱的——擁有創作才華的電腦程序之一。由人工智能作曲家所創作的古典音樂曾經令觀衆聽得入神，甚至讓他們誤以爲這首樂曲是人類的傑作。由機器人繪畫的藝術作品曾經賣出過數千美元的價格並掛在聲明卓著的畫廊中展覽。還有一些這樣的軟件，它們創作出來的藝術品是其編程者事先根本不曾想象過的。

Human beings are the only species to perform sophisticated creative acts regularly. If we can break this process down into computer code, where does that leave human creativity? ‘This is a question at the very core of humanity,’ says Geraint Wiggins, a computational creativity researcher at Goldsmiths, University of London. ‘It scares a lot of people. They are worried that it is taking something special away from what it means to be human.’

人類是唯一能夠常規性地完成複雜藝術創作行爲的物種。如果我們可以將這個過程分解成爲電腦編碼，那把人類創造力置於何地呢?“這是一個關乎人性最核心的問題”，倫敦大學金史密斯學院的一位計算機創造力研究學者Geraint Wiggins 這樣說。“它讓許多人感到恐懼，他們擔憂這會從人類中剝奪某些特殊的本屬於人類的東西。”

To some extent, we are all familiar with computerised art. The question is: where does the work of the artist stop and the creativity of the computer begin? Consider one of the oldest machine artists, Aaron, a robot that has had paintings exhibited in London’s Tate Modern and the San Francisco Museum of Modern Art. Aaron can pick up a paintbrush and paint on canvas on its own. Impressive perhaps, but it is still little more than a tool to realise the programmer’s own creative ideas.

在某種程度上，我們對電腦創作的藝術都很熟悉。問題在於：藝術家的工作是在何處停止，而電腦的創造力又是從哪裏開始的呢?想想最老的機器藝術家之一：Aaron，這個機器人創作的繪畫作品展覽在倫敦泰特現代美術館和舊金山現代藝術博物館裏。Aaron可以拿起一支畫筆，自己在畫布上作畫。也許確實令人驚歎，但它也仍然無非就是一臺用來實現編程者自己創意理念的機器罷了。

Simon Colton, the designer of the Painting Fool, is keen to make sure his creation doesn’t attract the same criticism. Unlike earlier ‘artists’ such as Aaron, the Painting Fool only needs minimal direction and can come up with its own concepts by going online for material. The software runs its own web searches and trawls through social media sites. It is now beginning to display a kind of imagination too, creating pictures from scratch. One of its original works is a series of fuzzy landscapes, depicting trees and sky. While some might say they have a mechanical look, Colton argues that such reactions arise from people’s double standards towards software-produced and human-produced art. After all, he says, consider that the Painting Fool painted the landscapes without referring to a photo. ‘If a child painted a new scene from its head, you’d say it has a certain level of imagination,’ he points out. The same should be true of a machine.’ Software bugs can also lead to unexpected results. Some of the Painting Fool’s paintings of a chair came out in black and white, thanks to a technical glitch. This gives the work an eerie, ghostlike quality. Human artists like the renowned Ellsworth Kelly are lauded for limiting their colour palette - so why should computers be any different?

“繪畫愚人”的設計者Simon Colton 非常熱切地想要確保他的產品不會引來同樣的批評。不像Aaron這樣的早期藝術家，“繪畫愚人”只需要極少量的指令，就能通過上網搜索材料而產生自己的創作理念。這個軟件啓動其自身的網頁搜索功能，瀏覽各個社交媒體頁面。它現在也開始展示出了某種想象力，能從草稿中創造出完整的畫作。它的原創作品之一是一系列朦朧風景畫，描繪的是樹木與天空。雖然有些人也許會說這些畫作有一種機械感，Colton卻反駁說，這樣的反應是出於人們對待軟件創作和人類創作的藝術的雙重標準。畢竟，他這樣說，要考慮到“繪畫愚人”是在沒有參照一張照片的情況下畫出了這些風景。“如果一個孩子從自己的頭腦中描繪出一副新的景象，你就會說這個孩子有一定的想象力水平的”，他說，“放在一臺機器上也應當一樣。”軟件漏洞也有可能會造成意想不到的效果。“繪畫愚人”描繪一把椅子的一些由於技術故障作品成了黑白色。這賦予了畫作一種怪誕、詭異的感覺。有一些如Ellsworth Kelly般著名的人類藝術家因爲非常剋制地運用自己調色板上的色彩而廣受傳頌——那麼放在電腦身上爲什麼就應當有所不同呢?

Researchers like Colton don’t believe it is right to measure machine creativity directly to that of humans who ‘have had millennia to develop our skills’. Others, though, are fascinated by the prospect that a computer might create something as original and subtle as our best artists. So far, only one has come close. Composer David Cope invented a program called Experiments in Musical Intelligence, or EMI. Not only did EMI create compositions in Cope’s style, but also that of the most revered classical composers, including Bach, Chopin and Mozart. Audiences were moved to tears, and EMI even fooled classical music experts into thinking they were hearing genuine Bach. Not everyone was impressed however. Some, such as Wiggins, have blasted Cope’s work as pseudoscience, and condemned him for his deliberately vague explanation of how the software worked. Meanwhile, Douglas Hofstadter of Indiana University said EMI created replicas which still rely completely on the original artist’s creative impulses. When audiences found out the truth they were often outraged with Cope, and one music lover even tried to punch him. Amid such controversy, Cope destroyed EMI’s vital databases.

像Colton這樣的研究者們並不贊成將機器創造力直接與人類創造力相提並論互相比較，因爲“人類已經有幾千年的時光來發展我們的技巧了”。另一些人則着迷於這樣的前景：一臺電腦也許能跟我們最好的藝術家相媲美，創作出同樣富有創意而精巧的作品。到目前爲止，只有一個接近了這個目標。作曲家David Cope發明了一個程序，稱作“音樂智能實驗”，簡稱EMI。EMI不僅創作出了Cope風格的樂曲，而且還仿製出了最受尊崇的古典音樂作曲家們的作品，包括巴赫、肖邦和莫扎特。觀衆感動得淚流滿面，EMI甚至還騙過了古典音樂方面的專家，讓他們以爲自己聽到的是真正的巴赫作品。然而並非所有人都對此表示了驚歎。有一些人，例如Wiggins，就猛烈抨擊Cope 的這項創造爲僞科學，還譴責他對這個程序到底如何運行的解釋刻意含糊不清。與此同時，印第安納大學的Douglas Hofstadter認爲，EMI創作的這些複製品仍然要完全依賴於原創藝術家的創作靈感。在觀衆們發現了真相以後，他們對Cope 感到異常憤怒，有一位樂迷甚至想要打他。在這樣的一片爭議聲中，Cope銷燬了EMI的關鍵數據庫。

But why did so many people love the music, yet recoil when they discovered how it was composed? A study by computer scientist David Moffat of Glasgow Caledonian University provides a clue. He asked both expert musicians and non-experts to assess six compositions. The participants weren’t told beforehand whether the tunes were composed by humans or computers, but were asked to guess, and then rate how much they liked each one. People who thought the composer was a computer tended to dislike the piece more than those who believed it was human. This was true even among the experts, who might have been expected to be more objective in their analyses.

但是爲什麼會有這麼多人熱愛那些音樂本身，在發現了它是如何被創作出來之後卻退縮了呢?格拉斯哥卡利多尼亞大學的計算機科學家David Moffat進行的一項研究提供了一條線索。他讓專業音樂家和非專業人士同時去評估六首樂曲。這些參與者並沒有被事先告知這些樂曲究竟是由人類還是電腦所創作的，但是被要求去進行猜測，然後給出自己對每一首曲子喜好程度的評價。那些認爲創作者是電腦的人們通常會比那些認爲其創作者是人類的聽衆更不喜歡這支樂曲。即使是在專家們之中情況也是如此，但人們其實最開始是認爲專家的分析評估會更加客觀的。

Where does this prejudice come from? Paul Bloom of Yale University has a suggestion: he reckons part of the pleasure we get from art stems from the creative process behind the work. This can give it an ‘irresistible essence’, says Bloom. Meanwhile, experiments by Justin Kruger of New York University have shown that people’s enjoyment of an artwork increases if they think more time and effort was needed to create it. Similarly, Colton thinks that when people experience art, they wonder what the artist might have been thinking or what the artist is trying to tell them. It seems obvious, therefore, that with computers producing art, this speculation is cut short - there’s nothing to explore. But as technology becomes increasingly complex, finding those greater depths in computer art could become possible. This is precisely why Colton asks the Painting Fool to tap into online social networks for its inspiration: hopefully this way it will choose themes that will already be meaningful to us.

這種偏見到底來自哪兒?耶魯大學的Paul Bloom提出了一個見解：他認爲我們從藝術中得到的愉悅有一部分來自於作品背後的創作過程。這能爲它賦予一種“不可抗拒的精髓感”，Bloom說。與此同時，紐約大學的Justin Kruger 所進行的實驗也顯示：人們如果認爲創作某件藝術品需要更多的時間和精力，就會更加欣賞它。類似地，Colton 認爲當人們去體驗藝術時，他們會不禁去好奇藝術家當時正在想什麼，或者藝術家正在試圖向他們表達什麼。因此，這一點似乎就很明顯了：當創作藝術的是電腦時，這種遐思就被打斷了——因爲沒有什麼可探索的。但是隨着技術變得越來越複雜，在電腦的藝術創作中找到那些意義深邃之處可以逐漸成爲可能。正是因此，Colton纔會指示“繪畫愚人”去搜索各社交媒體網頁來獲取靈感：希望通過這種方式，它將會選取那些對我們來說已經具有意義的主題。

　雅思英語閱讀短文精選3

Talc Powder

A Peter Brigg discovers how talc from Luzenac's Trimouns in France find its way into food and agricultural products - from chewing gum to olive oil. High in the French Pyrenees, some 1,700m above sea level, lies Trimouns, a huge deposit of hydrated magnesium silicate - talc to you and me. Talc from Trimouns, and from ten other Luzenac mines across the globe, is used in the manufacture of a vast array of everyday products extending from paper, paint and plaster to cosmetics, plastics and car tyres. And of course there is always talc's best known end use: talcum powder for babies1 bottoms. But the true versat ility of this remarkable mineral is nowhere better displayed than in its sometimes surprising use in certain niche markets in the food and agriculture industries.

B Take, for example, the chewing gum business. Every year, Talc de Luzenac France - which owns and operates the Trimouns mine and is a member of the international Luzenac Group ( art of Rio Tinto minerals ) supplies about 6,000 tones of talc to chewing gum manufacturers in Europe. "We've been selling to this sector of the market since the 1960s," says Laurent Fournier, sales manager in Luzenac's Specialties business unit in Toulouse. "Admittedly, in terms of our total annual sales of talc, the amount we supply to chewing gum manufacturers is relatively small, but we see it as a valuable niche market: one where customers place a premium on securing supplies from a reliable, high quality source. Because of this, long term allegiance to a proven suppler is very much a feature of this sector of die talc market." Switching sources - in the way that you might choose to buy, say, paperclips from Supplier A rather than from Supplier B - is not an easy option for chewing gum manufacturers." Fournier says. "The cost of reformulating is high, so when customers are using a talc grade that works, even if it's expensive, they are understandably reluctant to switch."

C But how is talc actually used in the manufacture of chewing gum? Patrick Delord, an engineer with a degre e in agronomics, who has been with Luzenac for 22 years and is now senior market development manager, Agriculture and Food, in Europe, explains that chewing gums has four main components. "The most important of them is the gum base," he says. "It's the gum base that puts the chew into chewing gum. It binds all the ingredients together, creating a soft, smooth texture. To this the manufacturer then adds sweeteners, softeners and flavourings. Our talc is used as a filler in the gum base. The amount vanes between, say, ten and 35 per cent, depending on the type of gum. Fruit flavoured chewing gum, for example, is slightly acidic and would react with the calcium carbonate that the manufacturer might otherwise use as a filler. Talc, on the other hand, makes an ideal filler because it's non-reactive chemically. In the factory, talc is also used to dust the gum base pellets and to stop the chewing gum sticking during the lamination and packing process," Delord adds.

D The chewing gum business is, however, just one example of talc's use in the food sector. For the past 20 years or so, olive oil processors in Spain have been taking advantage of talc's unique characteristics to help them boost the amount of oil they extract from crushed olives According to Patrick Delord, talc is especially useful for treating what he calls "difficult" olives. After the olives are harvested - preferably early in the morning because their taste is better if they are gathered in the cool of the day they are taken to the processing plant. There they arc crushed and then stirred for 30-45 minutes. In the old days, the resulting paste was passed through an olive press but nowadays it's more common to add water and ( K-6IH ) the mixture to separate the water and oil from the solid matter The oil and water are then allowed to settle so that the olive oil layer can be ) and bottled. "Difficult" olives are those that are more reluctant than the norm to yield up their full oil content. This may be attributable to the particular species of olive, or to its water content and the time of year the olives arc collected - at the beginning and the end of the season their water content is often either too high or too low. These olives are easy to recognize because they produce a lot of extra foam during the stirring process, a consequence of an excess of a fine solid that acts as a natural emulsifier. The oil in this emulsion is lost when the water is disposed of. Not only that, if the waste water is disposed of directly into local fields - often the case in many smaller processing operations - the emulsified oil may take some time to biodegrade and so be harmful to the environment.

E "If you add between a half and two percent of talc by weight during the stirring process, it absorbs the natural emulsifier in the olives and so boosts the amount of oil you can extract," says Delord. "In addition, talc's flat, 'platey' structure helps increase the size of the oil droplets liberated during stirring, which again improves the yield. However, because talc is chemically inert, it doesn't affect the color, taste, appearance or composition of the resulting olive oil."

F If the use of talc in olive oil processing and in chewing gum is long established, new applications in the food and agriculture industries arc also constantly being sought by Luzenac. One such promising new market is fruit crop protection, being pioneered in the US. Just like people, fruit can get sunburned. In fact, in very sunny regions up to 45 per cent of a typical crop can be affected by heat stress and sunburn However, in the case of fruit, it's not so much the ultra violet rays which harm the crop as the high surface temperature that the sun's rays create.

G To combat this, farmers normally use either chemicals or spray a continuous fine canopy of mist above the fruit frees or bushes. The trouble is, this uses a lot of water - normally a precious commodity in hot, sunny areas - and it is therefore expensive. What's more, the ground can quickly become waterlogged. "So our idea was to coat the fruit with talc to protect it from the sun," says Greg Hunter, a marketing specialist who has been with Luzenac for ten years. "But to do this, several technical challenges had first to be overcome. Talc is very hydrophobic: it doesn't like water. So in order to have a viable product we needed a wettable powder - something that would go readily into suspension so that it could be sprayed onto the fruit. It also had to break the surface tension of the cutin ( the natural waxy, waterproof layer on the fruit ) and of course it had to wash off easily when the fruit was harvested. No-one's going to want an apple that's covered in talc."

H Initial trials in the state of Washington in 2003 showed that when the product was sprayed onto Granny Smith apples, it reduced their surface temperature and lowered the incidence of sunburn by up to 60 per cent. Today the new product, known as Invelop Maximum SPF, is in its second commercial year on the US market. Apple growers are the primary target although Hunter believes grape growers represent another sector with long term potential. He is also hopeful of extending sales to overseas markets such as Australia, South America and southern Europe.

Question 27-32

Use the information in the passage to match each use of tale power with correct application from A. B or C. Write the appropriate letters A-C in boxes 27-32 on your answer sheet.

NB you may use any letter more than once.

A. Fruit protection

B. Chewing gum business

C. Olive oil extraction

27 Talc is used to increase the size of drops.

28 Talc is applied to reduce foaming.

29 Talc is employed as a filler of base.

30 Talc is modified and prevented sunburn.

31 Talc is added to stop stickiness.

32 Talc is used to increase production.

Questions 33-38

Complete the following summary of the paragraphs of Reading Passage, using no more than two words from the Reading Passage for each answer. Write your answers in boxes 33-38 on your answer sheet.

Spanish olive oil industry has been using talc in oil extraction process for about____33____years. It is useful in dealing with difficult olives which often produce high amount of____34____because of the high content of solid materials. When smaller factories release____35____, it could be____36____to the environment because it is hard to____37____and usually lakes lime as it contains emulsified oil. However, talc power added in the process is able to absorb the emulsifier oil. It improves the oil extraction production, because with aid of talc powder, size of oil____38____increased.

Question 39-40

Answer the questions below.

Choose NO MORE THAN THREE WORDS from the passage for each answer.

Write your answers in boxes 39-40 on your answer sheet.

39 In which process is talc used to dear the stickiness of chewing gum?

40 Which group of farmers does Invelop intend to target in a long view?

文章題目：滑石粉

篇章結構

體裁論說文

題目滑石粉

結構(一句話概括每段大意) A 段：滑石粉的主要用途 B 段：滑石粉在口香糖市場中的用途 C 段： 滑石粉在口香糖製作中的原理 D 段： 滑石粉在其他食品中的應用 E 段：滑石粉在食品中的應用原理 F 段：滑石粉在水果保護中的應用 G 段：滑石粉對水果的保護作用原理 H 段： 水果保護作用的市場拓展

試題分析

Question 27-32

題目類型：搭配題

解題思路：可以先去定位A,B,C三個選項中內容所對應的文段，然後從27-32中的題幹去搜尋相符合的，而不是一個一個題目去找，這樣會比較節省時間

題號定位詞文中對應點題目解析

27 Increase，size， E 段第三句話 根據文章大意將 C 選項個橄欖油提取的內容定位到 E 段，第三句話，提到滑石粉的結構有助於增加揮發油滴的體積，故可以判斷 27 題與 C 相連

28 Foam D 段倒數第四句話 根據關鍵詞定位到 D 段，原文中提到攪拌過程中會產生很多泡沫，後面提出因此要加上滑石粉來減少泡沫。

29 Base，fill C 段倒數第 8 行 根據關鍵詞定位到 C 段原文 "our talc is used as a filler in the gum base"。故是關於口香糖行業的內容，選 B

30 Sun，fruit G 段第四句話 根據 sunburn 這個詞可以定位到 G 段，第四句表明滑石粉可以起到保護水果免受日曬的作用，故選 A

31 Sticking C 段最後一句話 根據 statement 中的 "stickness" 這個詞可以定位到 C 段結尾部分，原文說滑石粉可以防止口香糖在擠壓過程中與包裝粘在一起，所以跟 statement 表述的意思是一致的

32 boost，amount E 段第一句話 文章中提到可以 "boosts the amount of oil you can extract" 跟題幹上表述一直

Question 33-38

題目類型：總結題

33 spanish olive oil D 段第二句話 根據 spanish olive oil 定位到 D 段，文章提到橄欖油製造利用滑石粉已經二十年。

34 High amount of 根據關鍵詞定位到 D 段，原文中提到攪拌過程中會產生很多泡沫，後面提出因此要加上滑石粉來減少泡沫。所以填 "foam"

35 Factory D 段倒數第二句話 根據關鍵詞定位到 D 段結尾，原文提到 "waste water"

36 Environment D 段最後一句話 根據關鍵詞定位到 D 段結尾，文中提到這種乳化油分解對環境的影響是 "harmful" 的

37 同上 問 harmful 的原因。原文有明確提出，是由於 "hard to biodegrade"，難以生物降解

38 Size，increase 文章說到在橄欖油提取過程中，揮發的油滴體積會增加，"increase the size of the oil droplets"

Question 39-40

題目類型：問答題

39 Stickiness，chewing gun 題目中問到在哪一個過程中滑石粉是用於來減少口香糖粘度的，這個跟上面第 31 題比較近似，可以先定位到 C 段結尾，可看到文章中明確給出是 "during the lamination and packing process"

40 Invelop，long-term potential H 段倒數第二句 S 首先根據 "invelop" 定位到 H 段，題目問哪個組織的種植者是 invelop 打算長期去關注投資的，倒數第二句給出答案是 "grape grower"

參考答案：

Version 24109 主題 滑石粉

27 C 28 29 B

30 A 31 32

33 20 34 foam 35 waste water

36 harmful 37 biodegrade 38 droplets

39 Lamination and packing 40 Grape growers