雅思阅读判断题，是难点和陷井比较多的题型，对考生的逻辑思维判断和分析能力也是考验。今天要教给大家T/F/NG or Y/N/NG，即是非判断题型的解题技巧，我们以剑桥雅思10阅读test2passage3为例，为大家作详细解读，供大家参考和学习。接下来请看雅思内容：雅思阅读判断题真题解析
剑桥雅思10阅读test2passage3
Museums of Fine Art and Their Public
One of the most famous works of art in the world is Leonardo da Vinci's Mona Lisa. Nearly everyone who goes to see the original will already be familiar with it from reproductions, but they accept that fine art is more rewardingly viewed in its original form.
However, if Mona Lisa was a famous novel, few people would bother to go to a museum to read the writer's actual manuscript rather than a printed reproduction. This might be explained by the fact that the novel has evolved precisely because of technological developments that made it possible to print out huge numbers of texts, whereas oil paintings have always been produced as unique objects.In addition, it could be argued that the practice of interpreting or 'reading' each medium follows different conventions. With novels, the reader attends mainly to the meaning of words rather than the way they are printed on the page, whereas the ‘reader’ of a painting must attend just as closely to the material form of marks and shapes in the picture as to any ideas they may signify.
Yet it has always been possible to make very accurate facsimiles of pretty well any fine art work. The seven surviving versions of Mona Lisa bear witness to the fact that in the 16th century, artists seemed perfectly content to assign the reproduction of their creations to their workshop apprentices as regular "bread and butter7 work. And today the task of reproducing pictures is incomparably more simple andreliable, with reprographic techniques that allow the production of high-quality prints made exactly to the original scale, with faithful colour values, and even with duplication of the surface relief of the painting.
But despite an implicit recognition that the spread of good reproductions can be culturally valuable, museums continue to promote the special status of original work.
Unfortunately, this seems to place severe limitations on the kind of experience offered to visitors.
One limitation is related to the way the museum presents its exhibits. As repositories of unique historical objects, art museums are often called 'treasure houses'. We are reminded of this even before we view a collection by the presence of security guards, attendants, ropes and display cases to keep us away from the exhibits. In many cases, the architectural style of the building further reinforces that notion. In addition, a major collection like that of London's National Gallery is housed in numerous rooms, each with dozens of works, any one of which is likely to be worth more than all the average visitor possesses. In a society that judges the personal status of the individual so much by their material worth, it is therefore difficult not to be impressed by one's own relative ‘worthlessness’ in such an environment.
Furthermore, consideration of the ‘Value’ of the original work in its treasure house setting impresses upon the viewer that, since these works were originally produced, they have been assigned a huge monetaryvalue by some person or institution more powerful than themselves. Evidently, nothing the viewer thinks about the work is going to alter that value, and so today’s viewer is deterred from trying to extend thatspontaneous, immediate, self-reliant kind of reading which would originally have met the work.
The visitor may then be struck by the strangeness of seeing such diverse paintings, drawings and sculptures brought together in an environment for which they were not originally created. This ‘displacement effect’ is further heightened by the sheer volume of exhibits. In the case of a major collection, there are probably more works on display than we could realistically view in weeks or even months.
This is particularly distressing because time seems to be a vital factor in the appreciation of all art forms. A fundamental difference between paintings and other art forms is that there is no prescribed time over which a painting is viewed. By contrast, the audience encounters an opera or a play over a specific time, which is the duration of the performance. Similarly, novels and poems are read in a prescribed temporalsequence, whereas a picture has no clear place at which to start viewings or at which to finish. Thus art works themselves encourage us to view them superficially, without appreciating the richness of detail and labour that is involved.
Consequently, the dominant critical approach becomes that of the art historian, a specialised academic approach devoted to ‘discovering the meaning’ of art within the cultural context of its time. This is in perfect harmony with the museum's function, since the approach is dedicated to seeking out and conserving ‘authentic’, ‘original’ readings of the exhibits. Again, this seems to put paid to thatspontaneous, participatory criticism which can be found in abundance in criticism of classic works of literature, but is absent from most art history.
The displays of art museums serve as a warning of what critical practices can emerge when spontaneouscriticism is suppressed. The museum public, like any other audience, experience art more rewardingly when given the confidence to express their views. If appropriate works of fine art could be renderedpermanently accessible to the public by means of high-fidelity reproductions, as literature and music already are, the public may feel somewhat less in awe of them. Unfortunately, that may be too much to ask from those who seek to maintain and control the art establishment.
Do the following statements agree with the views of the writer in Reading Passage 3?
In boxes 36-40 on your answer sheet, write
YES if the statement agrees with the views of the miter
NO if the statement contradicts the views of the writer
NOT GIVEN if it is impossible to say what the writer thinks about this
36.Art history should focus on discovering the meaning of art using a range of media.
37.The approach of art historians conflicts with that of art museums.
38.People should be encouraged to give their opinions openly on works of art.
39.Reproductions of fine art should only be sold to the public if they are of high quality.
40.In the future, those with power are likely to encourage more people to enjoy art.
正确答案：36. NOT GIVEN37. FALSE38. TRUE39. NOT GIVEN40. FALSE
阅读解析：36.第十段第一句中的 art historian 可对应题干中的 art history;meaning 是原文重现;但在原文定位句中并未提及媒体(media)的作用，故答案为 NOT GIVEN。 37.approach 是原文重现，art historians 在此段段首已经出现。原文中的 in harmony 与题干中的 conflict 互为矛盾词。 38.题干中的 be encouraged to 对应原文第二句中的 given the confidence,opinions 对应原文中的 views。原文大意为：当博物馆的参观者能有自信去发表自己的观点和想法时，才 能更好地感受到艺术价值。因而原文的观点与题干一致。 39.本题中的 fine art 和 reproduction 均为原词重现，high-fidelity 对应题干中的 high quality。原文大意为：如果美术作品也能像文学和音乐作品一样允许高保真的仿品一直流行，公 众就不会对它们敬而远之了。但并没有提及是否只能向公众售卖高质量的仿品。 40.根据顺序原则，本题的定位只能到达最后一句了。原文中 those who seek to maintain and control the art establishment 可对应题干中的 those with power;may 可对应题干中的 in the future。too much to ask 为否定结构，意为那些掌权者是不愿意尝试这样做的，这一点与题干中的 likely to 中的肯定含义相冲突。
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