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You should spend about 20 minutes on Questions 27-40, which are based on Reading Passage 3 on the following pages.
Questions 27-30
Reading Passage 3 has six paragraphs, A—F.
Choose the correct heading for paragraphs B—E from the list of headings below.
Write the correct number, i—vii, in boxes 27—30 on your answer sheet.
List of Headings
i Commercial pressures on people in charge
ii Mixed views on current changes to museums
iii Interpreting the facts to meet visitor expectations
iv The international dimension
v Collections of factual evidence
vi Fewer differences between public attractions
vii Current reviews and suggestions
Example Answer
Paragraph A v
27 Paragraph B
28 Paragraph C
29 Paragraph D
30 Paragraph E
The Development of Museums
A. The conviction that historical relics provide infallible testimony about the past is rooted in the nineteenth and early twentieth centuries, when science was regarded as objective and value free. As one writer observes: ‘Although it is now evident that artefacts are as easily altered as chronicles, public faith in their veracity endures: a tangible relic seems ipso facto real’. Such conviction was, until recently, reflected in museum displays. Museums used to look — and some still do — much like storage rooms of objects packed together in showcases: good for scholars who wanted to study the subtle differences in design, but not for the ordinary visitor, to whom it all looked alike. Similarly, the information accompanying the objects often made little sense to the lay visitor. The content and format of explanations dated back to a time when the museum was the exclusive domain of the scientific researcher.
B. Recently, however, attitudes towards history and the way it should be presented have altered. The key word in heritage display is now ‘experience’, the more exciting the better and, if possible, involving all the senses. Good examples of this approach in the UK are the Jorvik Centre in York; the National Museum of Photography, Film and Television in Bradford; and the Imperial War Museum in London. In the US the trend emerged much earlier: Williamsburg has been a prototype for many heritage developments in other parts of the world. No one can predict where the process will end. On so-called heritage sites the re-enactment of historical events is increasingly popular, and computers will soon provide virtual reality experiences, which will present visitors with a vivid image of the period of their choice, in which they themselves can act as if part of the historical environment. Such developments have been criticized as an intolerable vulgarization, but the success of many historical theme parks and similar locations suggests that the majority of the public does not share this opinion.
C. In a related development, the sharp distinction between museum and heritage sites on the one hand, and theme parks on the other, is gradually evaporating. They already borrow ideas and concepts from one another. For example, museums have adopted story lines for exhibitions, sites have accepted ‘theming’ as a relevant tool, and theme parks are moving towards more authenticity and research-based presentations. In zoos, animals are no longer kept in cages, but in great spaces, either in the open air or in enormous greenhouses, such as the jungle and desert environments in Burgers’ Zoo in Holland. This particular trend is regarded as one of the major developments in the presentation of natural history in the twentieth century.
D. Theme parks are undergoing other changes, too, as they try to present more serious social and cultural issues, and move away from fantasy. This development is a response to market forces and, although museums and heritage sites have a special, rather distinct, role to fulfil, they are also operating in a very competitive environment, where visitors make choices on how and where to spend their free time. Heritage and museum experts do not have to invent stories and recreate historical environments to attract their visitors: their assets are already in place. However, exhibits must be both based on artefacts and facts as we know them, and attractively presented. Those who are professionally engaged in the art of interpreting history are thus in difficult position, as they must steer a narrow course between the demands of ‘evidence’ and ‘attractiveness’, especially given the increasing need in the heritage industry for income-generating activities.
E. It could be claimed that in order to make everything in heritage more ‘real’, historical accuracy must be increasingly altered. For example, Pithecanthropus erectus is depicted in an Indonesian museum with Malay facial features, because this corresponds to public perceptions. Similarly, in the Museum of Natural History in Washington, Neanderthal man is shown making a dominant gesture to his wife. Such presentations tell us more about contemporary perceptions of the world than about our ancestors. There is one compensation, however, for the professionals who make these interpretations: if they did not provide the interpretation, visitors would do it for themselves, based on their own ideas, misconceptions and prejudices. And no matter how exciting the result, it would contain a lot more bias than the presentations provided by experts.
F. Human bias is inevitable, but another source of bias in the representation of history has to do with the transitory nature of the materials themselves. The simple fact is that not everything from history survives the historical process. Castles, palaces and cathedrals have a longer lifespan than the dwellings of ordinary people. The same applies to the furnishing and other contents of the premises. In a town like Leyden in Holland, which in the seventeenth century was occupied by approximately the same number of inhabitants as today, people lived within the walled town, an area more than five times smaller than modern Leyden. In most of the houses several families lived together in circumstances beyond our imagination. Yet in museums, fine period rooms give only an image of the lifestyle of the upper class of that era. No wonder that people who stroll around exhibitions are filled with nostalgia; the evidence in museums indicates that life was so much better in past. This notion is induced by the bias in its representation in museums and heritage centres.
Questions 31—36
Choose the correct letter, A, B, C or D.
Write the correct letter in boxes 31-36 on your answer sheet.
31 Compared with today’s museums, those of the past.
A did not present history in a detailed way.
B were not primarily intended for the public.
C were more clearly organised.
D preserved items with greater care.
32 According to the writer, current trends in the heritage industry
A emphasise personal involvement.
B have their origins in York and London.
C rely on computer images.
D reflect minority tastes.
33 The writer says that museums, heritage sites and theme parks
A often work in close partnership.
B try to preserve separate identities.
C have similar exhibits.
D are less easy to distinguish than before.
34 The writer says that in preparing exhibits for museums, experts
A should pursue a single objective.
B have to do a certain amount of language translation.
C should be free from commercial constraints.
D have to balance conflicting priorities.
35 In paragraph E, the writer suggests that some museum exhibits
A fail to match visitor expectations.
B are based on the false assumptions of professionals.
C reveal more about present beliefs than about the past.
D allow visitors to make more use of their imagination.
36 The passage ends by noting that our view of history is biased because
A we fail to use our imagination.
B only very durable objects remain from the past.
C we tend to ignore things that displease us.
D museum exhibits focus too much on the local area.
Questions 37—40
Do the following statements agree with the information given in Reading Passage 3?
In boxes 37—40 on your answer sheet, write
TRUE if the statement agrees with the information
FALSE if the statement contradicts the information
NOT GIVEN if there is no information on this
37 Consumers prefer theme parks which avoid serious issues.
38 More people visit museums than theme parks.
39 The boundaries of Leyden have changed little since the seventeenth century.
40 Museums can give a false impression of how life used to be.
答案解析：
Question 27
答案： ii
關鍵詞： Mixed views, current museums
定位原文：B段1、2句和B段最後一句
解題思路： B段從第三行開始就呈現例子，所以很容易確定這個段落是總分結構，因此前兩 句就變得尤其重要了。題幹中的current changes對應於原文中的ented have altered。題幹中的mixed views對應原文中的ests that the majority of the public does not share this opinion。因此正確答案爲ii。
Question 28：
答案： vi
關鍵詞： Fewer differences, public attractions
定位原文：C段1、2句
解題思路：首先在C段第三行看到For example就可以確定這個段落是總分段落，主題句就 在前兩句。題幹中的few differences, public attractions分別對應原文中的the sharp gradually evaporating (顯著差異正在漸漸消失)和een museum and heritage theme parks (博物館、名勝古蹟與主題公園之間)。因此正確答案爲vi。
Question 29：
答案： i
關鍵詞： commercial pressures, people in charge
定位原文：D段最後一句
解題思路：題幹中的 commercial pressures 對應原文中的 especially given the increasing need in the heritage industry for income-generating activities, 含義爲“特別是考慮到歷史遺 產產業對於創收活動不斷增長的需求”。 題幹中的people in charge對應原文中的 Those who are professionally engaged in the art of interpreting history，含義爲“那 些專業從事詮釋歷史這門藝術的人”。因此正確答案爲i。
Question 30：
答案： iii
關鍵詞： Interpreting the facts, meet visitor expectations
定位原文：E段第1、2句
解題思路：首先在E段第二行看到For example就可以確定這個段落也是總分段落，主題句就在首句。但是這個段落主題句光讀首句信息並不明顯，需要結合例子。題幹中的interpreting the facts對應原文中的例子 For example, Pithecanthropus erectus is depicted in an Indonesian museum with Malay facial features, 含義爲“比如，印度 尼西亞的一家博物館根據馬來人的面部 特徵來描繪直立猿人”。題幹中的meet visitor expectations (滿足參觀者的期待)， 對應原文中 because this corresponds to public perceptions (因爲這更符合公衆的 認知)。因此正確答案爲iii。
Question 31：
答案： B
關鍵詞： museums, past
定位原文：A段第3句“Such conviction was, until…”
解題思路：這句話中的but not for the ordinary visitor對應選項B中的were not primarily intended for the public 。故正確答案爲B。
Question 32：
答案： A
關鍵詞： current trends, heritage industry
定位原文： B段1、2句“Recently，however, attitudes…”
解題思路： 其中第二句話對應選項A中的emphasise personal involvement。選項B和D都涉及細節問 題，但選項B本身就是錯誤的，選項D根本沒提及。故正確答案爲A。
Question 33：
答案： D
關鍵詞： museums, heritage sites, theme parks
定位原文：C段1、2句“In a related development, the sharp distinction…”
解題思路：這句話中的the sharp gradually evaporating就相當於選項D中的are less easy to distinguish than before。其餘三個選項在原文都沒提及。故正確答案爲D。
Question 34：
答案： D
關鍵詞： preparing exhibits for museums, experts
定位原文：D段倒數第1句“Those who are professionally…”
解題思路：這句話中的as they must steer a narrow course ...對應選項D中的have to balance conflicting priorities。選項A和B原文沒提及，選項C提到了commercial, 但沒有提到should be free from。故正確答案爲D。
Question 35：
答案： C
關鍵詞： In paragraph E, writer suggests
定位原文：E段第4句“Such presentations…”
解題思路：這句話中的 tell us more about contemporary perceptions of the world than about our ancestors對應選項C中的reveal more about present beliefs than about the past。一般遇到選項中帶比較關係的都不是正確答案，但選項C正是這道題的答案，因爲原文中也明確了這樣的比較關係。
Question 36：
答案： B
關鍵詞： our view, is biased, because
定位原文：F段前三句
解題思路：這句話中的but another source of bias in the representation of history has to do with the transitory nature of the materials themselves對應選項B中的only very durable objects remain from the past。其餘三個選項原文中都沒有提及，即可以用排除法篩選出正確選項;選項B中出現了only, 又可以從原文中提到的not everything from history中看出其 包含了 only的意思。故正確答案爲B。
Question 37：
答案： FALSE
關鍵詞：theme parks, Consumers prefer
定位原文：D段內容
解題思路：可根據定位詞定位至D段段首。原文中說，主題公園也經歷着轉變，擺脫輕鬆的夢幻風 格，嘗試着去呈現嚴肅的社會問題，而且這種發展是市場推動力的反應。說明這是消費者認可且接受的。而題幹中說消費者更喜歡氛圍輕鬆的主題公園，與原文陳述不一致。
Question 38：
答案： NOT GIVEN
關鍵詞： museums, theme parks
定位原文：無
解題思路：根據TRUE/FALSE/NOT GIVEN題型的順序出題原則，此題考點應在37題考點之後、39 題考點之前，順着上一題找下去，並未發現有提到參觀博物館的人要比參觀主題公園的人多的地方。
Question 39：
答案： FALSE
關鍵詞： Leyden, the seventeenth century
定位原文：F段第5句“In a town like Leyden…”
解題思路：本題根據定位詞很容易定位至F段第5句，像荷蘭的萊頓這樣的小鎮，17世紀的居民數量和現在大致相同。人們將小鎮用城牆圍起來，居住其中，該區域的面積比現代的萊頓要小5倍。可以明顯看出原文中提到的an area more than five times smaller than modem Leyden與題幹中的have changed little陳述不一致。
Question 40
答案： TRUE
關鍵詞： Museums, impression
定位原文：F段第6句“In most of the houses…”
解題思路：大多數房間中都住着好幾戶人家，其生活環境超出我們的想象。但在博物館中，上好的老房子僅展現了那個時代上流社會的生活。難怪參觀展覽的人會充滿懷舊情緒;博物館中的證據表明過去的生活比現在的好得多。這種理解正是由博物館和歷史遺產中心重現歷史過程中的偏見所引起的。根據定位段落可以看出，明明當時生活艱苦，在博物館裏卻只展現了上流社會的好房子，給人錯誤印象。與題幹表述一致。