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剑桥雅思9阅读test4passage3
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.
27B 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 criticised as an intolerable vulgarisation, but the success of many historical theme parks and similar locations suggests that the majority of the public does not share this opinion.
28C 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. Thisparticular trend is regarded as one of the major developments in the presentation of natural history in the twentieth century.
29D 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 verycompetitive 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 a 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.
30E 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 thetransitory 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 furnishings 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 the past. This notion is induced by the bias in its representation in museums and heritage centres.
Question 27-30
Reading Passage 3 has six paragraphs,A-F.
Choose the correct heading for paragraphs B-E from the list of headings below.
Drag the correct number, i-vii, into 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
正确答案：27. Ⅱ28. Ⅵ29. Ⅰ30. Ⅲ阅读解析：27.本段落中，从首句一开始就说明博物馆的变化，出现定位词 alter, 与选项 ii 中的 changes 同义替换。然后段落中间给出举例，进行扩展。最后一句是主旨句，对这些变化进行了评价。有人提出了批评， 但是大多数公众却不赞同这样的批评。这就对应了选项 ii 的 mixed views。
28.本段的主旨句显然是第一句， distinction 与选项 vi 中的 differences 为同义替换，gradually evaporating 指逐渐消失，这就对应了选项 vi 中的 fewer 一词。另外，主题句中的 museums and heritage sites 和 theme parks 都是 public attractions。
29.本段 theme parks， heritage sites 和 museums 顺应市场需求而产生其他变化，提到 This development is a response to market forces...they are also operating in a very competitive environment，最后一句表明，这种变化使得这方面的专业人士很难在“证据”和“吸引力”之间平衡。i 选项的 people in charge 对应主旨句中的 those who are professionally engaged，commercial pressure 对应 increasing need in the heritage industry for income-generating activities
30.本段在主旨句中说明，为了使文物的一切看起来更加真实，历史精确性都会受到影响。这句话比较抽象、概括性强，不易选出选项。但是后面的两个举例和扩展可以有效地帮助考生清晰理解什么是 meet visitor expectations。本段中第一个举例后面说明了原因 this corresponds to public perceptions，第二个举例提到 such presentations tell us more about contemporary perceptions of the world than about our ancestors.
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