劍橋雅思真題閱讀解析：Could urban engineers learn from dance?

劍橋雅思真題閱讀解析：Could urban engineers learn from dance?

You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below.

Could urban engineers learn from dance?

AThe way we travel around cities has a major impact on whether they are sustainable. Transportation is estimated to account for 30% of energy consumption in most of the world's most developed nations, so lowering the need for energy-using vehicles is essential for decreasing the environmental impact of mobility. But as more and more people move to cities, it is important to think about other kinds of sustainable travel too. The ways we travel affect our physical and mental health, our social lives, our access to work and culture, and the air we breathe. Engineers are tasked with changing how we travel round cities through urban design, but the engineering industry still works on the assumptions that led to the creation of the energy-consuming transport systems we have now: the emphasis placed solely on efficiency, speed, and quantitative data. We need radical changes, to make it healthier, more enjoyable, and less environmentally damaging to travel around cities.

BDance might hold some of the answers. That is not to suggest everyone should dance their way to work, however healthy and happy it might make us, but rather that the techniques used by choreographers to experiment with and design movement in dance could provide engineers with tools to stimulate new ideas in city-making. Richard Sennett, an influential urbanist and sociologist who has transformed ideas about the way cities are made, argues that urban design has suffered from a separation between mind and body since the introduction of the architectural blueprint.

CWhereas medieval builders improvised and adapted construction through their intimate knowledge of materials and personal experience of the conditions on a site, building designs are now conceived and stored in media technologies that detach the designer from the physical and social realities they are creating. While the design practices created by these new technologies are essential for managing the technical complexity of the modern city, they have the drawback of simplifying reality in the process.

DTo illustrate, Sennett discusses the Peachtree Center in Atlanta, USA, a development typical of the modernist approach to urban planning prevalent in the 1970s. Peachtree created a grid of streets and towers intended as a new pedestrian-friendly downtown for Atlanta. According to Sennett, this failed because its designers had invested too much faith in computer-aided design to tell them how it would operate. They failed to take into account that purpose-built street cafes could not operate in the hot sun without the protective awnings common in older buildings, and would need energy-consuming air conditioning instead, or that its giant car park would feel so unwelcoming that it would put people off getting out of their cars. What seems entirely predictable and controllable on screen has unexpected results when translated into reality.

EThe same is true in transport engineering, which uses models to predict and shape the way people move through the city. Again, these models are necessary, but they are built on specific world views in which certain forms of efficiency and safety are considered and other experiences of the city ignored. Designs that seem logical in models appear counter-intuitive in the actual experience of their users. The guard rails that will be familiar to anyone who has attempted to cross a British road, for example, were an engineering solution to pedestrian safety based on models that prioritise the smooth flow of traffic. On wide major roads, they often guide pedestrians to specific crossing points and slow down their progress across the road by using staggered access points to divide the crossing into two - one for each carriageway. In doing so they make crossings feel longer, introducing psychological barriers greatly impacting those that are the least mobile, and encouraging others to make dangerous crossings to get around the guard rails. These barriers don't just make it harder to cross the road: they divide communities and decrease opportunities for healthy transport. As a result, many are now being removed, causing disruption, cost, and waste.

FIf their designers had had the tools to think with their bodies - like dancers - and imagine how these barriers would feel, there might have been a better solution. In order to bring about fundamental changes to the ways we use our cities, engineering will need to develop a richer understanding of why people move in certain ways, and how this movement affects them. Choreography may not seem an obvious choice for tackling this problem. Yet it shares with engineering the aim of designing patterns of movement within limitations of space. It is an art form developed almost entirely by trying out ideas with the body, and gaining instant feedback on how the results feel. Choreographers have deep understanding of the psychological, aesthetic, and physical implications of different ways of moving.

GObserving the choreographer Wayne McGregor, cognitive scientist David Kirsh described how he 'thinks with the body5. Kirsh argues that by using the body to simulate outcomes, McGregor is able to imagine solutions that would not be possible using purely abstract thought. This kind of physical knowledge is valued in many areas of expertise, but currently has no place in formal engineering design processes. A suggested method for transport engineers is to improvise design solutions and get instant feedback about how they would work from their own experience of them, or model designs at full scale in the way choreographers experiment with groups of dancers. Above all, perhaps, they might learn to design for emotional as well as functional effects.

Questions 1-6

Reading Passage 1 has seven paragraphs, A-G.

Which paragraph contains the following information?

Write the correct letter, A-G, in boxes 1-6 on your answer sheet.

1 reference to an appealing way of using dance that the writer is not proposing

2 an example of a contrast between past and present approaches to building

3 mention of an objective of both dance and engineering

4 reference to an unforeseen problem arising from ignoring the climate

5 why some measures intended to help people are being reversed

6 reference to how transport has an impact on human lives

Questions 7-13

Complete the summary below.

Choose ONE WORD ONLY from the passage for each answer.

Write your answers in boxes 7-13 on your answer sheet.

Guard rails

Guard rails were introduced on British roads to improve the 7………….. of pedestrians, while ensuring that the movement of 8………….. is not disrupted. Pedestrians are led to access points, and encouraged to cross one 9………….. at a time.

An unintended effect is to create psychological difficulties in crossing the road, particularly for less 10………….. people. Another result is that some people cross the road in a 11………….. way. The guard rails separate 12…………..,and make it more difficult to introduce forms of transport that are 13………….. .

02

譯文

都市工程師們能從舞蹈中學(xué)到什么嗎?

AThe way we travel around cities has a major impact on whether they are sustainable. Transportation is estimated to account for 30% of energy consumption in most of the world's most developed nations, so lowering the need for energy-using vehicles is essential for decreasing the environmental impact of mobility. But as more and more people move to cities, it is important to think about other kinds of sustainable travel too. The ways we travel affect our physical and mental health, our social lives, our access to work and culture, and the air we breathe. Engineers are tasked with changing how we travel round cities through urban design, but the engineering industry still works on the assumptions that led to the creation of the energy-consuming transport systems we have now: the emphasis placed solely on efficiency, speed, and quantitative data. We need radical changes, to make it healthier, more enjoyable, and less environmentally damaging to travel around cities.

我們在城市中的出行方式對于這些城市是否可持續(xù)發(fā)展有著重大的影響。據(jù)估計(jì)交通占到了世界上大多數(shù)最發(fā)達(dá)國家中能量消耗的30%，因此降低對耗能交通工具的需求對于減少移動(dòng)出行給環(huán)境帶來的影響是至關(guān)重要的。然而隨著越來越多的人們遷往城市，思考其他種類的可持續(xù)發(fā)展出行方式也是很重要的。我們出行的方式會影響我們的身體和心理健康、我們的社交生活、我們進(jìn)行工作和感受文化的方式，以及我們呼吸的空氣。工程師們的任務(wù)是通過都市設(shè)計(jì)來改變我們在城市中的流動(dòng)方式，然而工程建筑業(yè)仍然在這樣的一些理念下運(yùn)轉(zhuǎn)，最終形成了我們目前所擁有的這些消耗能量的交通系統(tǒng)：重點(diǎn)全盤放在了效率、速度和量化數(shù)據(jù)上。我們需要一些翻天覆地的變化，來讓城市交通這件事更健康、更令人享受，也不會對環(huán)境造成那么大的破壞。

BDance might hold some of the answers. That is not to suggest everyone should dance their way to work, however healthy and happy it might make us, but rather that the techniques used by choreographers to experiment with and design movement in dance could provide engineers with tools to stimulate new ideas in city-making. Richard Sennett, an influential urbanist and sociologist who has transformed ideas about the way cities are made, argues that urban design has suffered from a separation between mind and body since the introduction of the architectural blueprint.

舞蹈中也許包含著一部分答案。這倒不是要建議每個(gè)人都應(yīng)當(dāng)跳著舞去上班——為論這樣能令我們多么健康和快樂，而是舞蹈設(shè)計(jì)師在嘗試和設(shè)計(jì)舞蹈動(dòng)作時(shí)所使用的技巧可以為工程師們提供一些工具，以刺激他們在城市建設(shè)中產(chǎn)生新的創(chuàng)意。Richard Sennett是一位頗具影響力的都市學(xué)家和社會學(xué)家，曾改變了人們關(guān)于城市建造方式的觀念，他認(rèn)為自打引入了建筑設(shè)計(jì)藍(lán)圖以來，都市設(shè)計(jì)就一直飽受著心靈與身體的分離之苦。

CWhereas medieval builders improvised and adapted construction through their intimate knowledge of materials and personal experience of the conditions on a site, building designs are now conceived and stored in media technologies that detach the designer from the physical and social realities they are creating. While the design practices created by these new technologies are essential for managing the technical complexity of the modern city, they have the drawback of simplifying reality in the process.

中世紀(jì)的建筑師們會通過他們對建筑材料的深厚知識和某個(gè)建筑地點(diǎn)各方面條件的個(gè)人體驗(yàn)來即興創(chuàng)作和修改建筑設(shè)計(jì)，然而現(xiàn)如今的建筑設(shè)計(jì)卻是用媒體技術(shù)來構(gòu)想和存儲的，這使得建筑師與他們正在創(chuàng)作中的物質(zhì)和社會現(xiàn)實(shí)相割裂分離。雖然這些新技術(shù)所創(chuàng)造出來的設(shè)計(jì)方法對于處理現(xiàn)代城市在技術(shù)上的復(fù)雜性來說，確實(shí)是至關(guān)重要的，但是它們卻有這樣一個(gè)缺陷：會在這個(gè)過程中簡化現(xiàn)實(shí)情況。

DTo illustrate, Sennett discusses the Peachtree Center in Atlanta, USA, a development typical of the modernist approach to urban planning prevalent in the 1970s. Peachtree created a grid of streets and towers intended as a new pedestrian-friendly downtown for Atlanta. According to Sennett, this failed because its designers had invested too much faith in computer-aided design to tell them how it would operate. They failed to take into account that purpose-built street cafes could not operate in the hot sun without the protective awnings common in older buildings, and would need energy-consuming air conditioning instead, or that its giant car park would feel so unwelcoming that it would put people off getting out of their cars. What seems entirely predictable and controllable on screen has unexpected results when translated into reality.

舉個(gè)例子來說，Sennett探討了美國亞特蘭大市的桃樹中心，這是20世紀(jì)70年代城市規(guī)劃中盛行的現(xiàn)代主義手法所催生的典型作品。桃樹中心創(chuàng)造出了一張由街道和高樓組成的網(wǎng)絡(luò)，旨在為亞特蘭大提供一個(gè)對步行者友好的新城市中心地帶。在Sennett看來，這是個(gè)失敗之舉，因?yàn)槠湓O(shè)計(jì)者太過相信電腦輔助的設(shè)計(jì)來告訴他們這個(gè)中心將會如何運(yùn)轉(zhuǎn)。他們沒能考慮到那些專門建起來的街邊咖啡館如果沒有了老式建筑中常見的遮陽篷的保護(hù)，是沒法在似火驕陽下正常運(yùn)作的，而是將會需要頗為耗能的空調(diào)系統(tǒng);也沒考慮到中心這個(gè)巨大的停車場會令人感到如此之不友好，以至于人們會很不情愿從自己的車?yán)锵聛?。在屏幕上看起來完全可預(yù)測和可控制的一切，一旦轉(zhuǎn)化為現(xiàn)實(shí)就有了出乎意料的結(jié)果。

EThe same is true in transport engineering, which uses models to predict and shape the way people move through the city. Again, these models are necessary, but they are built on specific world views in which certain forms of efficiency and safety are considered and other experiences of the city ignored. Designs that seem logical in models appear counter-intuitive in the actual experience of their users. The guard rails that will be familiar to anyone who has attempted to cross a British road, for example, were an engineering solution to pedestrian safety based on models that prioritise the smooth flow of traffic. On wide major roads, they often guide pedestrians to specific crossing points and slow down their progress across the road by using staggered access points to divide the crossing into two - one for each carriageway. In doing so they make crossings feel longer, introducing psychological barriers greatly impacting those that are the least mobile, and encouraging others to make dangerous crossings to get around the guard rails. These barriers don't just make it harder to cross the road: they divide communities and decrease opportunities for healthy transport. As a result, many are now being removed, causing disruption, cost, and waste.

交通工程中的情況也是如此，這個(gè)領(lǐng)域會使用模擬的方法來預(yù)測和塑造人們在城市里四下移動(dòng)的方式。重申一下，這些模擬是有必要的，但它們所賴以建立的那些特定的世界觀只考慮了某些形式的效率和安全而忽視了城市生活中的其他體驗(yàn)。在模擬場景中看似符合邏輯的設(shè)計(jì)在其使用者的真實(shí)體驗(yàn)中會顯得反常識。舉個(gè)例子，任何嘗試著穿過一條英國公路的人都會對安全護(hù)欄相當(dāng)熟悉，這是對行人安全問題的一種解決之道，其基于的模型將交通的順暢流動(dòng)放在了 首位。在寬闊的主路上，它們常常會引導(dǎo)著行人去到特定的穿越點(diǎn)并將行人穿越馬路的過程減緩下來，方法就是用曲折的穿越點(diǎn)來將橫穿(雙向)公路的過程分為兩段——一次只過一個(gè)方向的路。這樣的設(shè)計(jì)使得整個(gè)穿越馬路的過程顯得更長了，會引起一些心理上的障礙，極大地影響到那些行動(dòng)最不自如的人群，還誘使其他人為了繞開這些安全護(hù)欄而進(jìn)行危險(xiǎn)的穿越。這些路障并不僅僅是令過馬路這件事本身更困難：它們還將不同人群劃分開來，并降低了健康交通出行的機(jī)會。其結(jié)果就是，有很多這樣的護(hù)欄目前正在被移除，造成了干擾、支出和浪費(fèi)。

FIf their designers had had the tools to think with their bodies - like dancers - and imagine how these barriers would feel, there might have been a better solution. In order to bring about fundamental changes to the ways we use our cities, engineering will need to develop a richer understanding of why people move in certain ways, and how this movement affects them. Choreography may not seem an obvious choice for tackling this problem. Yet it shares with engineering the aim of designing patterns of movement within limitations of space. It is an art form developed almost entirely by trying out ideas with the body, and gaining instant feedback on how the results feel. Choreographers have deep understanding of the psychological, aesthetic, and physical implications of different ways of moving.

如果它們的設(shè)計(jì)者釆取用自己的身體去思考的方式——就像舞者那樣——并去想象一下這些路障會給人帶來什么樣的感受，也許就能得出一個(gè)更好的解決方案。為了給我們使用自己城市的方式帶來一些根本性的變化，工程設(shè)計(jì)將需要發(fā)展出更豐富的認(rèn)知，明確人們?yōu)槭裁匆阅承┓绞絹硪苿?dòng)，以及這種移動(dòng)會如何影響他們。舞蹈動(dòng)作設(shè)計(jì)也許看似并非解決這一問題的明顯選擇。然而它與工程學(xué)有著一個(gè)共同的目標(biāo)：在有限的空間內(nèi)設(shè)計(jì)移動(dòng)的模式。這種藝術(shù)形式幾乎完全是依靠用身體來嘗試各種理念、并從由此帶來的結(jié)果感受中獲取即刻的反饋而發(fā)展起來的。舞蹈設(shè)計(jì)師對于不同的移動(dòng)方式在心理、審美和物理層面上的含義有著深刻的理解。

GObserving the choreographer Wayne McGregor, cognitive scientist David Kirsh described how he 'thinks with the body5. Kirsh argues that by using the body to simulate outcomes, McGregor is able to imagine solutions that would not be possible using purely abstract thought. This kind of physical knowledge is valued in many areas of expertise, but currently has no place in formal engineering design processes. A suggested method for transport engineers is to improvise design solutions and get instant feedback about how they would work from their own experience of them, or model designs at full scale in the way choreographers experiment with groups of dancers. Above all, perhaps, they might learn to design for emotional as well as functional effects.

在觀察舞蹈設(shè)計(jì)師Wayne McGregor時(shí)，認(rèn)知科學(xué)家David Kirsh描述了前者是如何“用身體去思考”的。Kirsh認(rèn)為，通過運(yùn)用身體去模擬各種結(jié)果，McGregor能想象出來的方案是運(yùn)用純抽象的思維無論如何也不可能得出來的。這種物理性的知識在很多專業(yè)領(lǐng)域中都很受重視，但目前在正式的工程設(shè)計(jì)過程中還沒有一席之地。向交通工程師們建議一個(gè)方法：即興給出一些設(shè)計(jì)方案，然后自己親身去進(jìn)行體驗(yàn)以獲得即時(shí)的反饋，或者像舞蹈設(shè)計(jì)師用一群舞者來實(shí)驗(yàn)動(dòng)作效果那樣全方面地模擬設(shè)計(jì)方案。也許最重要的是，他們有可能學(xué)著去做這樣的設(shè)計(jì)：不但照顧功能性效果，也能照顧到情緒性感受。

答案解析

Question 1

答案：B

關(guān)鍵詞：appealing, not proposing

定位原文：B段第二句：That is not to suggest everyone should dance their way to work, however healthy and happy it might make us, but rather that the techniques used by choreographers to experiment with and design movement in dance could provide engineers with tools to stimulate new ideas in city-making.

解題思路：如前文中若干次提到的那樣：在“段落匹配信息”這種類型的題目中，大概率會有諸如reference、account、mention這類詞匯出現(xiàn)，它們表達(dá)的意思都是“提到、說到”，考生切勿將此處的reference理解為此詞的其他意義，如“參考”等，徒增理解難度。本題定位非常簡單，考生只需要認(rèn)識 appealing這個(gè)雅思閱讀文章中的高頻詞匯，應(yīng)該就能在看懂原文對應(yīng)句healthy and happy的基礎(chǔ)上看出題干和原文表述方面的對應(yīng)；而題干not proposing與原文not to suggest的對應(yīng)其實(shí)也非常明顯。這兩處都可以幫助考生順利鎖定答案為對應(yīng)的B段。

Question 2

答案：C 關(guān)鍵詞：contrast, past and present

定位原文：C段第一句：Whereas medieval builders improvised and adapted construction through their intimate knowledge of materials and personal experience of the conditions on a site, building designs are now conceived and stored in media technologies that detach the designer from the physical and social realities they are creating.

解題思路：本題的難度比較高。第一個(gè)原因來自于詞匯認(rèn)知，medieval這個(gè)詞表示“中世紀(jì)的”，原本是可以直接對應(yīng)于past 一詞的同義替換表述，且早在“劍8”第二套第二篇文章《小冰期》中就曾經(jīng)在題目里出現(xiàn)過，不過確實(shí)不如另外一些高頻詞那么常見，所以在一定程度上會影響考生的閱讀理解。但是，如果對整個(gè)句子的結(jié)構(gòu)把握得比較好，其實(shí)也能通過句首的whereas這個(gè)表示前后轉(zhuǎn)折關(guān)系的詞，推斷出whereas從句中的medieval應(yīng)當(dāng)與主句中的now形成對比轉(zhuǎn)折的關(guān)系，其實(shí)對于理解整句意思的對比關(guān)系也是有提示作用的。 本題不大容易的第二個(gè)原因，在于考生如果不能肯定C段中的這個(gè)表達(dá)是對過去和現(xiàn)在的對比描述的話，則有可能在接下來讀到D段時(shí)，在一定程度上受到段中in older buildings這個(gè)信息的干擾而舉棋不定。實(shí)則，如果對包含這幾個(gè)詞的原文句仔細(xì)分析一下就不難發(fā)現(xiàn)，這個(gè)句子在主體上其實(shí)還是在描述現(xiàn)代化建筑的問題，只是簡單提到了一下老建筑有而新建筑所缺失的一個(gè)建筑特點(diǎn)，并非聚焦在對二者作出比較這個(gè)方面。

Question 3

答案：F 關(guān)鍵詞：objective, both...and...

定位原文：F段倒數(shù)第三句：Yet it shares with engineering the aim of designing patterns of movement within limitations of space.

解題思路：如果是運(yùn)用平行閱讀的方法，本題的定位和理解就都不困難，因?yàn)樵贔段前文若干句對于舞蹈動(dòng)作功能的描述這個(gè)背景下，考生在讀到了答案直接對應(yīng)句時(shí)，就能非常明確地判定：本句中的it就是指dance，而所share的aim，正是對題干的同義表述;如果單純是去尋找objective或both and這些題干詞在原文中的對應(yīng)，反而可能會耗費(fèi)了時(shí)間而無所得。

Question 4

答案：D

關(guān)鍵詞：unforeseen, ignoring the climate

定位原文：D段第四句：They failed to take into account that purpose-built street cafes could not operate in the hot sun without the protective awnings common in older buildings, and would need energy-consuming air conditioning instead, or that its giant car park would feel so unwelcoming that it would put people off getting out of their cars.

解題思路：考生只要能抱定平行閱讀的方法和宗旨、按部就班地逐句讀懂每段每句大意，其實(shí)就能非常順利地對應(yīng)到此段此句，看出原文中failed to take into account 就是對unforeseen的同義表述;原文中hot sun就是對題干中climate的上義、下義詞同義替換關(guān)系，從而得出正確選擇。

Question 5

答案：E 關(guān)鍵詞：intended to help, reversed

定位原文：E段，特別是最后一句：As a result, many are now being removed, causing disruption, cost, and waste.

解題思路：此題最直接的對應(yīng)定位就是E段最后一句話：有許多現(xiàn)在正在拆除中。但是，“許多”是指什么？“被拆除”為什么就是被 reversed了？這些問題的答案無法直接通過最后這句話來直接得出，而是需要考生結(jié)合本段前文所說到的信息來綜合理解。 所以，最為保險(xiǎn)的理解和做題方法，其實(shí)還是以平行閱讀的方式，通讀本段的每一句話，在段落完整語境的背景下能更好地理解到“原本設(shè)置安全欄桿是為了行人安全，結(jié)果卻增加了麻煩并反而讓一些人釆用了更不安全的過馬路方式”這個(gè)結(jié)論。 并且，由于本段中還包含了后文摘要填空題中的所有選項(xiàng)答案，所以如果考生釆用了平行閱讀的方式，同時(shí)對比兩個(gè)題型中的|相應(yīng)題目，就可以在讀到這里的時(shí)候收獲滿滿，一次性掌握所有遇到的信息、更充分答題。

Question 6

答案：A 關(guān)鍵詞：impact, human lives

定位原文：A段第四句：The ways we travel affect our physical and mental health, our social lives, our access to work and culture, and the air we breathe.

解題思路：本題無論是題干的理解難度，還是對應(yīng)原文的理解難度，其實(shí)都不高；但是如若考生只想憑借某個(gè)關(guān)鍵詞、忽略整句意思而直接用掃描的方式去對應(yīng)原文中的某個(gè)同義表述詞，恐怕會很失望。相反地，若是心平氣和地逐句通讀段落中的每一句話，則可以在不糾結(jié)所有細(xì)節(jié)表述的情況下，依然順利得出正確答案。

Question 7

答案：safety

關(guān)鍵詞：British, improve

定位原文：E段第四句：The guard rails that will be familiar to anyone who has attempted to cross a British road, for example, were an engineering solution to pedestrian safety based on models that prioritise the smooth flow of traffic.

解題思路：本題的定位難度極低，無論是大寫信息British，還是一模一樣出現(xiàn)在原文中的guard rails這個(gè)詞組，都能幫考生輕松找到答案句出處。通讀本句意思并對比尋找improve所對應(yīng)的信息，可以得出答案為：safety。

Question 8

答案：traffic

關(guān)鍵詞：not disrupted

定位原文：E段第四句：The guard rails that will be familiar to anyone who has attempted to cross a British road, for example, were an engineering solution to pedestrian safety based on models that prioritise the smooth flow of traffic.

解題思路：本題的定位與上一道題完全一樣，要說有什么難度，大概就是來自于詞匯認(rèn)知這個(gè)方面?？忌灰J(rèn)識prioritise這個(gè)單詞，明白原文中prioritise the smooth flow表達(dá)的就是題干中not disrupted這個(gè)意思，即可順利對應(yīng)出答案為：traffic。

Question 9

答案：carriageway

關(guān)鍵詞：Pedestrians, one, at a time

定位原文：E段第五句：On wide major roads, they often guide pedestrians to specific crossing points and slow down their progress across the road by using staggered access points to divide the crossing into two - one for each carriageway.

解題思路：本題可以說是這部分摘要填空題中相當(dāng)簡單的一個(gè)，考生可直接利用pedestrians一詞定位到答案出處句，繼而再憑借題干中one與原文中each這兩個(gè)簡單詞匯的對應(yīng)，輕松得出答案為：carriageway。

Question 10

答案：mobile

關(guān)鍵詞：psychological difficulties, particularly, less

定位原文：E段第六句：In doing so they make crossings feel longer, introducing psychological barriers greatly impacting those that are the least mobile, and encouraging others to make dangerous crossings to get around the guard rails.

解題思路：本題的同義替換表達(dá)比較委婉，但是由于詞匯本身的難度并不高，所以只需看懂句子大意，便不難對應(yīng)：原文中的make crossings feel longer就是在表達(dá)題干中的psychological difficulties;原文中的the least就是在表達(dá)題干中的less，從而可得答案為：mobile。

Question 11

答案：dangerous

關(guān)鍵詞：another, cross the road

定位原文：E段第六句：In doing so they make crossings feel longer, introducing psychological barriers greatly impacting those that are the least mobile, and encouraging others to make dangerous crossings to get around the guard rails.

解題思路：由于答案出處位置集中，所以其實(shí)考生在定位尋找上一題的同時(shí)，就已經(jīng)能在同一個(gè)句子里遇到本題的相關(guān)信息，從而在對比閱讀中順利得出答案為：dangerous。

Question 12

答案：communities

關(guān)鍵詞：separate

定位原文：E段第七句：These barriers don't just make it harder to cross the road: they divide communities and decrease opportunities for healthy transport.

解題思路：本題的定位緊鄰著上兩道題的位置，就在接下來的一個(gè)句子里，且無論是題干中的separate還是對應(yīng)原文中的divide，都是難度中等的認(rèn)知詞匯，也是以往雅思閱讀文章中的?？?，考生不難順利得出答案為：communities。

Question 13

答案：healthy

關(guān)鍵詞：more difficult

定位原文：E段第七句：These barriers don't just make it harder to cross the road: they divide communities and decrease opportunities for healthy transport.

解題思路：本題與上一道題也是位于同一個(gè)句子之中，且分析空格處在題干句中的位置可知，應(yīng)當(dāng)填一個(gè)形容詞，于是根據(jù)題干中的“使得更困難”這個(gè)意思表述，考生不難在原文中看出decrease opportunities就是在同義表述類似的意思，從而可得答案為：healthy。

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