『新东方在线托福阅读』为托福考生准备了ETS托福TPO/Official 47 Passage 1阅读练习：Paragraph 1 suggests that one benefit for British natives in buying such items as red-gloss pottery made in Gaul was真题题目及答案解析，TPO/Official 47 Passage 1阅读原文范文音频翻译

托福TPO/Official 47 Passage 1阅读原文Paragraph 1 suggests that one benefit for British natives in buying such items as red-gloss pottery made in Gaul was题目答案及解析-新东方托福官方网校手机版

在公元一世纪罗马帝国征服英国之后，在英国领土上的行政官员、商人和军队，以及来自帝国其他地区的思想和商品的自然流通，对不列颠群岛的生活产生了巨大的影响。

After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles.

文化影响主要有三种类型：物品的引入、工匠的迁移和大规模民用建筑的引进。

Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture.

即使从最广泛的意义上讲，许多物品也不是艺术品，它们包括衣服、器物和设备这些实用物品。

Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment.

我们不应低估与这种过去没有的世俗财产有关的社会地位。

We should not underestimate the social status associated with such mundane possessions which had not previously been available.

来自高卢（现在的法国）的红釉陶器大量涌入英国，这些陶器上雕刻着古典神话中的场景，这可能使许多人第一次接触到希腊罗马世界的风格和艺术概念，不管他们是否理解其中的象征意义。

The flooding of Britain with red-gloss pottery from Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood.

批量生产的商品很少能像雕像那样更有美感，令人印象深刻。

Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes.

这些作品最初可能是官员们为自己的宗教崇拜而创作的；其他的则被当地领导人作为外交礼物或通过购买获得。

Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase.

一旦被当地人看到，这种物品就创造了一种时尚，并迅速在全省传播。

Once seen by the natives, such objects created a fashion which rapidly spread through the province.

在最极端的情况下，当地人实际上接受了整个罗马文化。

In the most extreme instances, natives literally bought the whole package of Roman culture.

菲什伯恩别墅，建于公元1世纪第三季度，或许对于本土客户国王科基杜布努斯来说，这充分说明了他在罗马的自命不凡。

The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions.

它根据最新的意大利风格建造，配有进口大理石和时尚的马赛克。

It was constructed in the latest Italian style with imported marbles and stylish mosaics.

它装饰有进口雕塑和其他古典物品。

It was lavishly furnished with imported sculptures and other Classical objects.

一个来自罗马的访客会认为它的主人是帝国当代文化的参与者，而不是品味粗俗的人。

A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste.

即使来自传统家庭的人看不起他，他们也无法将他视为没有文化的人。

Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured.

尽管很特殊，但这表明了新的文化符号是如何将地方人与罗马世界的身份联系在一起的。

Although exceptional, this demonstrates how new cultural symbols bound provincials to the identity of the Roman world.

这样的例子建立了一个可以复制的标准。

Such examples established a standard to be copied.

结果之一就是大量的手工艺人涌入，特别是那些精通艺术媒体比如石雕的人，这些在征服前是不存在的。

One result was an influx of craft workers, particularly those skilled in artistic media like stone-carving which had not existed before the conquest.

Civilian workers came mostly from Gaul and Germany.

在巴斯圣泉旁建造的宏伟的庙宇是在征服后大约二十年才建成的。

The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest.

它的细节表明它是由来自高卢东北部的艺术家雕刻的。

Its detail shows that it was carved by artists from northeast Gaul.

如果没有古典石雕和建筑的传统，开发罗马设施的愿望将很难实现。

In the absence of a tradition of Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill.

因此，行政人员利用他们的私人关系让英国人与建筑师和泥瓦匠取得联系。

Administrators thus used their personal contacts to put the Britons in touch with architects and masons.

由于英国的许多官员与高卢有着密切的联系，所以早期罗马统治下的英国在很大程度上要归功于那个地区的手工艺人，这一点也不奇怪。

As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area.

当地工作坊确实得以发展，并且从风格上看，相似的雕塑群显示了这种新媒介中的技巧是如何普及的。

Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widespread.

同样，整个省内也发展了使用马赛克，壁画，陶瓷装饰和金属加工的技能，最终出现了具有特色的罗马英式风格。

Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.

这种艺术对当地人产生了重大影响，其中最重要的因素之一就是建筑规模的变化。

This art had a major impact on the native peoples, and one of the most important factors was a change in the scale of buildings.

罗马前的英国高度本地化，人们很少在自己的区域外出行。

Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region.

偶尔会有大批人聚集起来参加战争或宗教节日，但社会仍然集中在小社区上。

On occasion large groups amassed for war or religious festivals, but society remained centered on small communities.

这个时代的建筑反映了这一点，即使是最大的设防城镇和山堡也不过是一簇簇中等大小的建筑物。

Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures.

即使是最大的圆屋内部空间也很适中，圆形的形状和有机建筑材料的使用赋予了建筑人性化的尺度。

The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale.

但是罗马民用建筑的影响却是巨大的。

But the effect of Roman civil architecture was significant.

像伦敦大教堂这样的建筑物内部的巨大空间一定令人惊讶。

The sheer size of space enclosed within buildings like the basilica of London must have been astonishing.

这是一个显示支配地位的建筑，在这个体系中，代表帝国力量的建筑物实际上使臣民感到自身的渺小。

This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power.

各建筑物和计划定居点建筑物的挺拔直线突出了至高无上的地位，因为它们也与在当地占主导地位的自然曲线形状形成鲜明的对比。

Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.

The word “mundane” in the passage is closest in meaning to

Paragraph 1 suggests that one benefit for British natives in buying such items as red-gloss pottery made in Gaul was

Paragraph 1 supports which of the following ideas about contacts that existed between Britain and the Roman Empire before the Roman conquest of Britain?

The word “lavishly” in the passage is closest in meaning to

According to paragraph 2, the style and furnishings of the Fishbourne villa suggest that the person for whom it was built was

The word “sacred” in the passage is closest in meaning to

According to paragraph 3, one factor contributing to the success of the earliest Roman-style construction projects in Britain was

In paragraph 4, why does the author mention that “Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region”?

The word “modest” in the passage is closest in meaning to

According to paragraph 4, people in pre-Roman Britain lived, for the most part, in

According to paragraph 4, why did straight lines in buildings and settlements emphasize the dominance of those who introduced them?

According to paragraph 4, buildings from the pre-Roman period differed sharply from buildings reflecting Roman civil architecture in each of the following respects EXCEPT

Look at the four squares  that indicate where the following sentence could be added to the passage. Practical and unimpressive, most were barely taller than the average adult.  Where would the sentence best fit? Click on a square  to add the sentence to the passage.

Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.

Roman Cultural Influence on Britain After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been available. The flooding of Britain with red-gloss pottery from Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province. In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identity of the Roman world. Such examples established a standard to be copied. One result was an influx of craft workers, particularly those skilled in artistic media like stone-carving which had not existed before the conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widespread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles. This art had a major impact on the native peoples, and one of the most important factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region.On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale.  But the effect of Roman civil architecture was significant. The sheer size of space enclosed within buildings like the basilica of London must have been astonishing.  This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power.  Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm.