Text 1
People often complain that plastics are too durable. Water bottles, shopping bags, and other trash litter the planet, from Mount Everest to the Mariana Trench, because plastics are everywhere and don't break down easily. But some plastic materials change over time. They crack and frizzle. They "weep" out additives. They melt into sludge. All of which creates huge headaches for institutions, such as museums, trying to preserve culturally important objects. The variety of plastic objects at risk is dizzying: early radios, avant-garde sculptures, celluloid animation stills from Disney films, the first artificial heart.
Certain artifacts are especially vulnerable because some pioneers in plastic art didn't always know how to mix ingredients properly, says Thea van Oosten, a polymer chemist who, until retiring a few years ago, worked for decades at the Cultural Heritage Agency of the Netherlands. "It's like baking a cake: If you don't have exact amounts, it goes wrong;' she says. "The object you make is already a time bomb."
And sometimes, it's not the artist's fault. In the 1960s, the Italian artist Picro Gilardi began to create hundreds of bright, colorful foam pieces. Those pieces included small beds of roses and other items as well as a few dozen "nature carpets" - large rectangles decorated with foam pumpkins, cabbages, and watermelons. He wanted viewers to walk around on the carpets - which meant they had to be durable.
So van Oosten and her colleagues worked to preserve Gilardfs sculptures. They infused some with stabilizing and consolidating chemicals. Van Oosten calls those chemicals "sunscreens" because their goal was to prevent further light damage and rebuild worn polymer fibers. She is proud that several sculptures have even gone on display again, albeit sometimes beneath protective cases.
Despite success stories like van Oosten's, preservation of plastics will likely get harder. Old objects continue to deteriorate. Worse, biodegradable plastics designed to disintegrate, are increasingly common.
And more is at stake here than individual objects. Joana Lia Ferreira, an assistant professor of conservation and restoration at the NOVA School of Science and Technology, notes that archaeologists first defined the great material ages of human history - Stone Age, Iron Age, and so on - after examining artifacts in museums. We now live in an age of plastic, she says, "and what we decide to collect today, what we decide to preserve ... will have a strong impact on how in the future we'll be seen.
1、According to Paragraph 1, museums are faced with difficulties in________.
2、Van Oosten believes that certain plastic objects are________.
3、Museums stopped exhibiting some of Gilardi's artworks to________.
4、The author thinks that preservation of plastics is________.
5、In Ferreira's opinion, preservation of plastic artifacts________.
问题1选项
A.maintaining their plastic items.
B.obtaining durable plastic artifacts.
C.handling outdated plastic exhibits.
D.classifying their plastic collections.
问题2选项
A.immune to decay.
B.improperly shaped.
C.inherently flawed.
D.complex in structure.
问题3选项
A.keep them from hurting visitors.
B.duplicate them for future display.
C.have their ingredients analyzed.
D.prevent them from further damage.
问题4选项
A.costly.
B.unworthy
C.unpopular.
D.challenging.
问题5选项
A.will inspire future scientific research.
B.has profound historical significance.
C.will help us separate the material ages.
D.has an impact on today's cultural life
第1题:A
第2题:C
第3题:D
第4题:D
第5题:B
第1题:
首先,根据题干关键词museum, faced with, difficulties定位到第一段第七句“All of which creates huge headaches for institutions, such as museums, trying to preserve culturally important objects”。huge headaches,是题干difficulties的同义替换,再根据all of which得知,答案就是which的指代内容,即:第一段三句至六句But some plastic materials change over time. They crack and frizzle. They "weep" out additives. They melt into sludge.“some plastic materials change over time”(一些塑料材料会随着时间发生改变),这是博物馆的所遇到的困难,因此选择A。
B项是利用段落中的原词设置了干扰,比如durable, plastics;C项无中生有;D项无中生有。
第2题:
首先,根据题干关键词Van Oosten believes和certain plastic objects定位到第二段第一句“Certain artifacts are especially vulnerable because some pioneers in plastic art didn’t always know how to mix ingredients properly, says Thea van Oosten”。 “says Thea van Oosten”对应了题干的 “Van Oosten”,“Certain artifacts”对应了题干的 “certain plastic objects”,所以,能够对应 “vulnerable”的信息就是正确选项。因此选择C项(inherently flawed)就是正确答案。
A、D 项在段落中找不到根据,属于无中生有。B项则是利用段落中的原词properly设置了干扰improperly shaped,但是对文中的mix(混合)进行了概念的偷换,换成了shape(塑形),故也是错误的。
第3题:
首先,根据题干关键词Museums stopped exhibiting some of Gilardi's artworks定位到第四段最后一句 “Museums locked some of them away in the dark.”其中locked some of them away in the dark被改写成了stopped exhibiting some of Gilardi’s artworks。再通过语义的理解,找到这种做法的目的为第五段的第三句:Van Oosten calls those chemicals "sunscreens" because their goal was to prevent further light damage and rebuild worn polymer fibers. 说明了这些措施的目的,是防止这些艺术品受到更大的光破坏。因此选择D。
A、C 项的内容在定位段落中找不到根据,属于无中生有;B选项利用段落中的原词further设置干扰,语义信息在文中则没有根据。
第4题:
首先,根据题干关键词preservation of plastics定位到第六段第一句话“Despite success stories like van Oosten's, preservation of plastics will likely get harder.”这句话为作者的观点,且是关于塑料物品保存。作者认为要保存塑料物品可能会变得越来越难(will likely get harder),因此选择D。
A、B、C 项在文中均没有根据,属于无中生有。
第5题:
根据题干信息 Ferreira和preservation of plastic artifacts定位到最后一段第二句至第三句。其中题干中的plastic artifacts对应what we decide to collect;题干中的preservation对应what we decide to prserve;will have a strong impact on how in the future we’ll be seen(对于后代如何看待我们产生重要影响),能够对应这一信息的是B项,也就是具有深远的历史意义,因此选择B。
A项利用段落中出现的原词future设置干扰,但是该选项的信息在段落中没有根据,属于无中生有;C项:将有助于我们区分物品年代,但是段落中说的是确定(define),而非区分(separate),属于偷梁换柱;D项利用段落中出现的原词today设置了干扰,但是该选项的信息则在段落中找不到依据。