阅读理解专项训练1 2026-2027学年人教版英语九年级上册

英语阅读理解专项训练1 第一部分 阅读题目区 Passage A A Lifetime of Weaving Baskets with Olive Twigs In the medieval Italian hill town of Verbicaro, in the province of Cosenza, Calabria, a maze of cobblestone paths leads past a large, grey, metal door. Behind it is the workshop of Antonio, a local artisan who weaves baskets by hand. The workshop doubles as a treasure trove of baskets, gnocchi boards, and cutting boards fashioned from olive trees. Born in Grisolia, Antonio has been weaving baskets since he was eight years old, a trade passed down from his father. For decades, he has fashioned baskets of all shapes and sizes: for keeping bread, carrying groceries, collecting grapes, and many more purposes. “For me, the most beautiful thing is making a basket. There’s a real sense of satisfaction when you finish it,” Antonio says. There is no plastic in Antonio’s basket-weaving process. The work is simply about bending twigs and clearing his mind. He sits outside his shop, weaving wet olive twigs bundled at his feet. Twig by twig, he creates the pattern, with the most difficult part being “finishing off the weave and making the handle.” Watching the careful steps he takes to create these baskets feels like stepping back in time. As he tells bits and pieces of his story, his passion for basket weaving and the importance of continuing the tradition shine through. “It’s an art that I don’t want to let disappear. With basket weaving, there’s always something new to learn.” Antonio finds great comfort in creating in his homeland, and he hopes to pass on the lessons of the craft to others, especially young people. At the very heart of his work is appreciation. Appreciation for his father, who passed down the skills needed to make such marvelous baskets; appreciation for life and its slow, quiet moments that make it worth living; and appreciation for others, because he knows the craft is all the more special when shared with thoughtful, curious people. Antonio and other craftspeople like him know something the world is seemingly losing: the connection of hand, heart, and mind. Machines now control many trades, and the clock never stops ticking. But the secret is to sit down and create with your hands, letting your mind slow down. Outside his shop in Verbicaro, Antonio keeps doing just that, keeping his father’s craft alive one olive twig at a time. 1. What is Antonio’s main job according to the passage? A. Selling olive trees. B. Weaving baskets by hand. C. Repairing old machines. D. Teaching young people in school. 2. How did Antonio learn the skill of basket weaving? A. He taught himself when he was eight. B. He learned it from his father. C. He learned it at an art school. D. He learned it from his friends. 3. What does Antonio consider the most difficult part of making a basket? A. Collecting wet olive twigs. B. Clearing his mind while working. C. Finishing off the weave and making the handle. D. Finding a good place to sit outside the shop. 4. What does Antonio hope to do with his craft? A. Stop using olive twigs. B. Pass on the lessons to others, especially young people. C. Sell all his baskets to museums. D. Use machines to make baskets faster. 5. What is the main idea of the last paragraph? A. Machines are better than hand-made baskets. B. Antonio wants to move to a big city. C. Creating by hand helps slow down the mind and keep traditions alive. D. The clock never stops ticking in Verbicaro. Passage B Fashion Clues Hidden in the Bayeux Tapestry The Bayeux Tapestry is famous for telling a dramatic story from nearly 1,000 years ago. But look past the horses and ships, and another story appears: one told through crowns, cloaks, hairstyles and even birds. The 70-meter-long work went on display at the British Museum in September 2026 and is scheduled to remain there until July 2027. Despite its name, it is technically an embroidery, made by stitching colored wool onto linen. Its clothes are not a perfect record of what people wore in the 11th century. Instead, medieval experts say they work like visual clues. They tell viewers who matters, who has money and who may be the object of a joke. King Edward appears in the opening scene wearing a crown and holding a scepter. His richly decorated clothing is among the most elaborate in the entire work. He also sits on an impressive lion-headed bench inside a grand building. Together, these details introduce not only a king, but also the wealth and importance of his kingdom. Harold Godwinson carries an especially eye-catching accessory: a hawk. Hunting with hawks was an aristocratic activity, so the bird works much like an expensive watch or handbag today. His stallion and fine saddle add to the message. Before viewers know what role he will play, his possessions have already marked him as powerful. Duke William’s status is shown more subtly. Ribbons hang from his cloak, which has a gold border, and he wears a double gold belt and spurs. Each detail helps separate him from the other figures. Bishop Odo stands out in unusually decorative armor. Since the embroidery may have been commissioned by Odo or someone close to him, experts believe his impressive appearance may have been designed to flatter him. Clothing could also communicate wealth through sheer quantity. A woman named Aelfgyva wears long, loose sleeves that would have been impractical for physical work. The extra fabric was the medieval version of conspicuous consumption: using more material than necessary simply because you could afford it. The Bayeux Tapestry does more than record names and events. Like a film costume department, it tells us how to read its characters before they say a word. Nearly 1,000 years later, their clothes are still doing the talking. 6. The Bayeux Tapestry is actually made by ______. A. painting on wood B. stitching colored wool onto linen C. weaving olive twigs D. printing on paper 7. According to the passage, the clothes in the Bayeux Tapestry serve as ______. A. a perfect record of 11th-century fashion B. visual clues to show people’s status and wealth C. a joke to make people laugh D. a film costume department 8. Why does Harold Godwinson carry a hawk in the embroidery? A. Because hawks were cheap and easy to find. B. Because hunting with hawks showed he was powerful and aristocratic. C. Because he wanted to feed the hawk. D. Because the artist liked birds. 9. What can we infer about Bishop Odo from the passage? A. He was a poor man. B. He wore simple clothes. C. His impressive appearance might be designed to flatter him. D. He didn’t like armor. 10. What does the underlined word “conspicuous” in Paragraph 8 most probably mean? A. Hidden. B. Noticeable. C. Practical. D. Old-fashioned. Passage C The Epic Migration of the Monarch Butterfly When contemplating epic animal migrations, the first journeys that spring to mind will invariably be the massed movement of wildebeest across the African plains, the globetrotting adventures of Arctic terns, or the oceanic odysseys of gray whales. But let’s not forget the annual cycle of the monarch butterfly, which is surely as impressive as anything an antelope, bird or whale can muster. In possession of two pairs of brilliant, large orange-red wings, etched with black veins and decorated with white spots along dark margins, the monarch is the most recognised and best-loved of all North American butterflies. Rarely lasting for longer than a month on the wing, the monarchs nonetheless provide an important service pollinating countless wildflowers over the summer. However, with the arrival of autumn, a special “super generation” of monarch butterflies, which can live eight times longer than their predecessors, emerges from summer breeding grounds across Canada and northeastern USA. Forced south by decreasing day length, lower temperatures and fewer nectar sources, these butterflies head for a final winter destination of just a few hectares of high-altitude forest in south-west Mexico, up to 4,800km away from where they started life as an egg. Migrating only during daylight hours, the butterflies will travel anywhere between 148km and 185km per day, with their speed dependent on wind direction and uplifting thermals. Gliding and flapping their way steadily south, coalescing into super-flocks en route, they’ll cross into Mexico before making a “butterfly-line” for the forests of oyamel fir trees situated west of Mexico City. How monarch butterflies know where to go is the source of considerable debate. Each migration is undertaken by a new generation, meaning they’re unable to learn the route from others, so it must be genetically hardwired. It’s also believed their antennae have circadian “clocks” that tell them when to migrate, while navigation may well be accomplished by using their compound eyes to calculate the sun’s position above the horizon. Upon arrival at their wintering grounds, any time from mid-November, the butterflies begin clustering together, with each tree’s trunk, branches and needles often blanketed in tens of thousands of roosting butterflies. Situated at elevations between 2,400m and 3,600m above sea level, these forested hillsides provide the ideal microclimate for the butterflies, with temperatures varying between 0 and 15 degrees Celsius, and the humidity level in the understory ensuring that they don’t become desiccated. The butterflies hang almost motionless in a semi-dormant fashion, eking out the winter on their fat reserves. Come February, when the warmer temperatures and longer days arrive, the forest airspace turns thick with fluttering butterflies. From March, this super generation heads part of the way back north to warmer climates, landing in states such as Texas. After mating, the females’ final act is to lay their eggs on the nearest patch of milkweed, the larvae’s foodplant. The caterpillars hatch, feed and pupate, and the freshly emerging imagoes (adults) then move several hundred kilometres further north before repeating the entire life-cycle again. Each successive wave of monarchs is capable of metamorphosing from egg to imago in just five to seven weeks. Working steadily north via this step migration, the monarchs could take as many as five generations to ultimately repopulate Canada, from British Columbia in the west to Newfoundland in the north-east. This means that, in some cases, the monarchs returning in the spring will be the “great-great-grandchildren” of those that left the previous autumn. Pretty impressive for an animal weighing no more than a paperclip! 11. What makes the “super generation” of monarch butterflies special? A. They are much smaller than other butterflies. B. They can live eight times longer than their predecessors. C. They only live for one month. D. They don’t need nectar. 12. How far can the monarch butterflies travel per day during migration? A. Up to 100km. B. Between 148km and 185km. C. Exactly 4,800km. D. Less than 50km. 13. How do monarch butterflies know where to go during migration? A. They learn the route from older butterflies. B. They follow the wind direction only. C. The route is genetically hardwired and they use the sun’s position. D. They ask other animals for directions. 14. What is the ideal microclimate for the butterflies in their wintering grounds? A. Hot and dry. B. Cold and windy. C. Temperatures between 0 and 15 degrees Celsius with proper humidity. D. Temperatures above 30 degrees Celsius. 15. What happens when the warmer temperatures arrive in February? A. The butterflies die immediately. B. The butterflies begin clustering together. C. The super generation heads part of the way back north. D. The caterpillars hatch and eat the milkweed. Passage D How an Old Photo Uncovered Temple Newsam’s Past Mike Turpin had a photograph and a lunch. The image, taken during the hot summer of 1995, showed odd patch marks on the lawns of Temple Newsam, a stately home in Leeds, England. To Turpin and his fellow archaeology enthusiasts, those marks suggested the foundations of a building might still be there, buried beneath the grass. Months of fieldwork later, members of South Leeds Archaeology uncovered foundations of an outbuilding dating back more than 280 years. Their discovery raised a question about a painting from around 1750. It shows what may be the same building, matching an existing stable block, in a scene previously thought to depict renovations that were only planned. Had the artist painted something that was actually built? “Our primary project objective from there was to confirm this and, if possible, understand more about the history of the building and how it might relate to the house and other buildings in the park,” Turpin, the group’s chair, said in a press release. Excavating Temple Newsam’s Lost Building Jim Jackson and Phil Jones led the fieldwork for the group, which meets monthly in nearby Rothwell. Working with fellow members, they dug several trenches and uncovered the suspected building’s foundations. The team hasn’t determined what the building was used for or how much of it was ever completed. Although the structure in the painting resembles an existing stable block, the excavated remains have yet to settle whether this building served the same purpose. From a Prehistoric Arrowhead to Festival Leftovers North of the main house, the team also uncovered a lost road or carriageway. Other discoveries were small enough to pick up, including pieces of a fruit bowl from the 1500s and window glass dating to the 1700s. The house’s former kitchens had left animal bones and oyster shells behind. Those household remains belong to only part of the site’s past. An arrowhead found during the excavation could be up to 5,000 years old, potentially predating the house by thousands of years. And some objects were recent enough that visitors might remember the event they came from. The team recovered leftovers from a music festival held on the grounds in the 1990s. “Everywhere that we’ve dug, we’ve had a few surprises. The grounds of the house have been re-modeled and landscaped many times over history,” Jones said in the press release. Temple Newsam House has stood for more than 500 years. Today, people come to explore the gardens, walk beside the lake, and visit the rare-breed animals at Home Farm. During the excavation, some also stopped to find out what the archaeologists were doing. Plenty of Questions, but No Buried Treasure Visitors had their own ideas about what might turn up. According to Jones, the questions they asked most often concerned dinosaur bones, Roman remains, and gold or treasure. The team hadn’t found any of those. Jones enjoyed talking with people about the work, though, and thought a few might end up joining South Leeds Archaeology. He also credited staff at the house and estate with helping the group feel welcome. For the archaeologists, the foundations were what they had come looking for. Finding them answered the question raised by the marks in the photograph, while leaving plenty to investigate about the building itself. Jones hopes the group can return next year. Another season of digging could help them figure out what the building was for and how much of the structure shown in the painting ever stood on the grounds. 16-20. Read Passage D and answer the following questions. 16. What did the odd patch marks on the lawns suggest to Mike Turpin? 17. What question did the discovery of the foundations raise about the painting from around 1750? 18. How old could the arrowhead found during the excavation be? 19. What kind of questions did visitors ask most often during the excavation? 20. What does Jones hope the group can do next year? 第二部分 词汇与长难句汇总区 Passage A 重点单词与短语 单词/短语 音标 词性 中文释义 artisan /ɑːˈtɪzn/ n. 工匠；手艺人 treasure trove /ˈtreʒə trəʊv/ n. 宝库；宝藏 fashion /ˈfæʃn/ v. 塑造；制作 twig /twɪɡ/ n. 小树枝；嫩枝 passion /ˈpæʃn/ n. 热情；激情 disappear /ˌdɪsəˈpɪə(r)/ v. 消失 appreciation /əˌpriːʃiˈeɪʃn/ n. 欣赏；感激 craft /krɑːft/ n. 手艺；工艺 satisfaction /ˌsætɪsˈfækʃn/ n. 满足感 tradition /trəˈdɪʃn/ n. 传统 Passage A 长难句分析 句1： Behind it is the workshop of Antonio, a local artisan who weaves baskets by hand. · 主干：Behind it is the workshop of Antonio（倒装句，正常语序为 The workshop of Antonio is behind it） · 修饰成分：a local artisan 是 Antonio 的同位语；who weaves baskets by hand 是定语从句，修饰 artisan · 译文：门后是安东尼奥的作坊，他是一位当地的手工编织篮筐的工匠。 句2： Appreciation for his father, who passed down the skills needed to make such marvelous baskets; appreciation for life and its slow, quiet moments that make it worth living; and appreciation for others, because he knows the craft is all the more special when shared with thoughtful, curious people. · 主干：Appreciation for his father; appreciation for life…; and appreciation for others（三个并列的名词短语作核心成分） · 修饰成分：who passed down… 是定语从句修饰 father；needed to make… 是过去分词短语作后置定语修饰 skills；that make it worth living 是定语从句修饰 moments；because he knows… 是原因状语从句 · 译文：感激他的父亲，是父亲传下了制作这些奇妙篮子所需的手艺；感激生活以及那些让生活值得过下去的缓慢而宁静的时刻；感激他人，因为他知道，当与细心、好奇的人们分享时，这门手艺会显得格外特别。 Passage B 重点单词与短语 单词/短语 音标 词性 中文释义 embroidery /ɪmˈbrɔɪdəri/ n. 刺绣 stitch /stɪtʃ/ v. 缝；绣 linen /ˈlɪnɪn/ n. 亚麻布 scepter /ˈseptə(r)/ n. 王权宝杖 elaborate /ɪˈlæbərət/ adj. 精心制作的；复杂的 aristocratic /ˌærɪstəˈkrætɪk/ adj. 贵族的 accessory /əkˈsesəri/ n. 配饰 flatter /ˈflætə(r)/ v. 奉承；使显得更漂亮 conspicuous /kənˈspɪkjuəs/ adj. 显眼的；引人注目的 quantity /ˈkwɒntəti/ n. 数量 Passage B 长难句分析 句1： Despite its name, it is technically an embroidery, made by stitching colored wool onto linen. · 主干：it is technically an embroidery · 修饰成分：Despite its name 是介词短语作让步状语；made by stitching colored wool onto linen 是过去分词短语作后置定语，修饰 embroidery · 译文：尽管它的名字里有”挂毯（Tapestry）“，但严格来说它是一件刺绣作品，是通过将彩色羊毛缝在亚麻布上制成的。 句2： The extra fabric was the medieval version of conspicuous consumption: using more material than necessary simply because you could afford it. · 主干：The extra fabric was the medieval version of conspicuous consumption · 修饰成分：using more material than necessary simply because you could afford it 是动名词短语作同位语，解释说明 conspicuous consumption · 译文：多余的布料是中世纪”炫耀性消费”的体现：仅仅因为买得起，就使用比实际需要更多的材料。 Passage C 重点单词与短语 单词/短语 音标 词性 中文释义 migration /maɪˈɡreɪʃn/ n. 迁徙 invariably /ɪnˈveəriəbli/ adv. 总是；无一例外地 pollinate /ˈpɒlɪneɪt/ v. 授粉 predecessor /ˈpriːdɪsesə(r)/ n. 前身；前辈 thermal /ˈθɜːml/ n. 热气流 hardwired /ˈhɑːdwaɪəd/ adj. 天生固有的；硬连线的 circadian /sɜːˈkeɪdiən/ adj. 生理节奏的 cluster /ˈklʌstə(r)/ v. 聚集 desiccated /ˈdesɪkeɪtɪd/ adj. 干燥脱水的 metamorphose /ˌmetəˈmɔːfəʊz/ v. 蜕变；变形 Passage C 长难句分析 句1： Forced south by decreasing day length, lower temperatures and fewer nectar sources, these butterflies head for a final winter destination of just a few hectares of high-altitude forest in south-west Mexico, up to 4,800km away from where they started life as an egg. · 主干：these butterflies head for a final winter destination · 修饰成分：Forced south by… 是过去分词短语作原因状语；of just a few hectares… 是介词短语作后置定语修饰 destination；up to 4,800km away… 是补充说明距离的状语；where they started life as an egg 是宾语从句，作 from 的宾语 · 译文：由于日照时间缩短、气温降低以及花蜜来源减少，这些蝴蝶被迫向南迁徙，前往位于墨西哥西南部的最终越冬地——仅几公顷的高海拔森林，那里距离它们作为卵开始生命的地方最远可达4800公里。 句2： This means that, in some cases, the monarchs returning in the spring will be the “great-great-grandchildren” of those that left the previous autumn. · 主干：This means that… · 修饰成分：that 引导宾语从句；in some cases 是插入语；returning in the spring 是现在分词短语作后置定语修饰 monarchs；that left the previous autumn 是定语从句修饰 those · 译文：这意味着，在某些情况下，春天返回的帝王蝶其实是前一年秋天离开的那些帝王蝶的”曾曾孙”。 Passage D 重点单词与短语 单词/短语 音标 词性 中文释义 archaeology /ˌɑːkiˈɒlədʒi/ n. 考古学 enthusiast /ɪnˈθjuːziæst/ n. 爱好者 foundation /faʊnˈdeɪʃn/ n. 地基；基础 excavate /ˈekskəveɪt/ v. 挖掘；发掘 trench /trentʃ/ n. 沟渠；战壕 carriageway /ˈkærɪdʒweɪ/ n. 车道 predate /ˈpriːdeɪt/ v. 早于 landscape /ˈlændskeɪp/ v. 对…进行景观美化 estate /ɪˈsteɪt/ n. 庄园；地产 resemble /rɪˈzembl/ v. 类似 Passage D 长难句分析 句1： Their discovery raised a question about a painting from around 1750, which shows what may be the same building, matching an existing stable block, in a scene previously thought to depict renovations that were only planned. · 主干：Their discovery raised a question about a painting · 修饰成分：from around 1750 是介词短语作后置定语；which shows… 是非限制性定语从句修饰 painting；what may be the same building 是宾语从句作 shows 的宾语；matching an existing stable block 是现在分词短语作伴随状语；previously thought to depict renovations 是过去分词短语作后置定语修饰 scene；that were only planned 是定语从句修饰 renovations · 译文：他们的发现引发了关于一幅约1750年画作的疑问：该画作描绘的场景中可能展示了同一座建筑，与现存的马厩区相符，而此前人们认为该场景描绘的仅仅是计划中的翻新工程。 句2： Finding them answered the question raised by the marks in the photograph, while leaving plenty to investigate about the building itself. · 主干：Finding them answered the question · 修饰成分：raised by the marks in the photograph 是过去分词短语作后置定语修饰 question；while leaving plenty to investigate… 是连词加现在分词短语作伴随/转折状语 · 译文：找到地基回答了照片上那些痕迹所引发的疑问，但关于这座建筑本身仍有许多问题有待调查。 第三部分 参考答案与解析 参考译文 Passage A 一生以橄榄枝编篮 在意大利卡拉布里亚大区科森扎省的中世纪山城韦尔比卡罗，鹅卵石小径纵横交错，穿过一扇巨大的灰色金属门。门后是当地手工编篮匠人安东尼奥的作坊。这间作坊如同宝库，摆满了篮子、意式面疙瘩案板，还有用橄榄木制成的切菜板。 安东尼奥出生在格里索利亚，从八岁起就开始编篮子，这门手艺是父亲传给他的。几十年来，他制作各式各样的篮子：用来存放面包、采购杂货、采摘葡萄，还有许许多多其他用途。 安东尼奥说：“于我而言，最美的事就是编篮子。当你完成作品时，会有一种真切的满足感。” 安东尼奥的编篮全程不使用塑料。这份手艺，不过是弯折细枝，让内心沉静。他坐在店铺外，编织脚边成捆的湿橄榄细枝。他一根枝条一根枝条地编织出纹样，最难的环节是 “收尾编织，再做出提手”。 看着他精心一步步制作篮子，仿佛时光倒流。当他零碎讲述自己的故事时，那份对编篮手艺的热爱，以及传承这项传统的使命感，展露无遗。 “这门手艺，我不想让它消失。编篮这门技艺，永远有新东西可以学习。” 安东尼奥在家乡创作，内心倍感安宁。他希望把这门手艺传授给其他人，尤其是年轻人。 他这份工作的内核，是感恩。感恩父亲，传给了他制作精美篮子所需的技艺；感恩生活，那些缓慢宁静的瞬间，让生命值得奔赴；感恩他人，因为他知道，当这份手艺和善于思考、充满好奇的人们共享时，才愈发珍贵。 安东尼奥和其他像他一样的手工艺人，懂得一个世界似乎正在丢失的东西：手、心、思想三者之间的联结。 如今很多行业都被机器掌控，时光不停流逝。但秘诀就在于，坐下来亲手创造，让思绪慢下来。在韦尔比卡罗的作坊外，安东尼奥始终坚持如此，一根橄榄细枝，接续着父亲的手艺，让它代代延续。 Passage B 贝叶挂毯中藏着的服饰线索 贝叶挂毯因讲述一段近千年前惊心动魄的故事闻名。但如果越过画面里的马匹与船只，另一段故事就浮现出来：故事借由王冠、斗篷、发型，甚至飞鸟来诉说。 这件长达 70 米的作品，于 2026 年 9 月在大英博物馆展出，展期计划持续至 2027 年 7 月。虽然名字叫挂毯，但严格来说它属于刺绣：将彩色羊毛线缝在亚麻布料上。 上面描绘的服饰，并非 11 世纪人们着装的完整实录。中世纪专家表示，这些服饰更像是视觉线索。它们告诉观者谁地位显赫、谁家财万贯，谁又是被戏谑的对象。 开篇场景中的爱德华国王头戴王冠、手持权杖。他华丽繁复的衣装，是整幅作品里最精致的。他坐在宏伟建筑内一把气派的狮头长凳上。这些细节共同塑造出国王形象，同时展现出王国的财富与权势。 哈罗德・戈德温森佩戴一件格外引人注目的配饰：一只鹰。放鹰狩猎是贵族活动，所以这只鹰就如同如今名贵的手表或手提包。他的种马与精致马鞍，进一步烘托人物身份。观者还不知道他的角色，他身上的物品就已经彰显他手握强权。 威廉公爵的身份表达更为含蓄。斗篷垂挂饰带，镶着金边；他佩戴双层金腰带与马刺。每一处细节，都把他和其他人物区分开来。 奥多主教身披装饰华丽的铠甲，十分醒目。这幅刺绣作品有可能是奥多本人，或是亲近他的人委托制作。专家认为，他这身亮眼形象，是为了赞美烘托他。 服饰也能依靠用料的体量来彰显财富。一位名叫埃尔夫吉瓦的女子，穿着宽松的长袖长裙，这种衣服并不适合体力劳作。多余的面料，就是中世纪版的**炫耀性消费**：仅仅因为财力充足，就使用远超实际需要的布料。 贝叶挂毯不只是记录人名与事件。就像电影服装部门，人物开口说话前，服饰就已经帮我们读懂人物。近千年之后，画中衣衫依旧在诉说故事。 Passage C 帝王蝶史诗般的迁徙 提起史诗般的动物迁徙，人们首先想到的往往是非洲平原奔腾的角马、环游世界的北极燕鸥，或是横跨大洋的灰鲸。但别忘了帝王蝶一年一度的迁徙循环，其壮观程度，丝毫不逊色羚羊、飞鸟与巨鲸。 帝王蝶长着两对艳丽巨大的橙红色翅膀，布有黑色脉络，深色翅缘点缀白色斑点，是北美辨识度最高、最受人喜爱的蝴蝶。帝王蝶在空中的寿命大多不超过一个月，但整个夏季，它们为无数野花授粉，意义重大。 然而秋季到来，一代特殊的 “超级世代” 帝王蝶，从加拿大与美国东北部的夏季繁殖地破茧而出，它们寿命是前代蝴蝶的八倍。 白昼变短、气温下降、花蜜变少，驱使这些蝴蝶向南飞行，最终目的地是墨西哥西南部高海拔森林，这片林地仅有几公顷大小，距离它们虫卵诞生之地最远可达 4800 公里。 帝王蝶只在白天迁徙，每天可以飞行 148 至 185 公里，速度取决于风向与上升热气流。它们一边滑翔振翅稳步向南，沿途汇聚成巨大蝶群，进入墨西哥境内，最终飞向墨西哥城西侧的冷杉林。 帝王蝶如何确定前进方向，至今仍有不少争议。每一轮迁徙的都是新一代蝴蝶，它们无法向长辈学习路线，所以导航能力一定写在基因之中。研究者认为，它们的触角拥有昼夜 “生物钟”，决定迁徙时机；同时依靠复眼计算太阳在地平线上的位置，完成导航。 每年 11 月中旬起，帝王蝶陆续抵达越冬地，聚集在一起，成千上万的蝴蝶停满树干、树枝与针叶。 这片山林海拔在 2400 米至 3600 米之间，形成适合蝴蝶的微气候，气温维持在 0 到 15 摄氏度，林下的湿度避免蝴蝶脱水。蝴蝶几乎静止，半休眠状态，依靠体内脂肪储备熬过冬天。 到二月，气温回升、白昼变长，林间漫天飞舞的蝴蝶。三月起，这一代超级蝶群向北折返一段路程，抵达德克萨斯等温暖地区。 交配之后，雌蝶最后的任务，是把卵产在就近的马利筋上 —— 这是幼虫的食物。毛毛虫孵化、进食、化蛹；新羽化的成蝶继续向北飞行数百公里，再次开启完整生命周期。一代帝王蝶从卵到成虫，只需要 5 至 7 周。 依靠这样分段迁徙，帝王蝶历经多达五代，最终重新遍布加拿大，西起不列颠哥伦比亚，东至纽芬兰。 也就是说，春天归来的帝王蝶，有些是前一年秋季出发蝴蝶的重重孙。对于体重不及一枚回形针的生物来说，这实在震撼！ Passage D 一张老照片，揭开纽瑟姆庄园的尘封往事 迈克・特平手里拿着一张照片，心中还有一个猜想。这张照片拍摄于 1995 年酷热的夏天，照片里英格兰利兹的纽瑟姆庄园草坪上，出现奇怪斑块。在特平和考古爱好者同伴看来，这些痕迹说明，建筑地基或许还埋在草地之下。 数月实地发掘之后，南利兹考古小组挖出一处附属建筑的地基，距今已有 280 多年。这次发现引出了一幅大约 1750 年的古画：画里的建筑很可能就是这一处，和现存马厩建筑吻合；此前大家认为这幅画描绘的只是规划中、并未修建的翻新工程。难道画家画下的，是真实建成的建筑？ 小组主席特平在新闻发布会上说：“从那之后，我们项目首要目标就是证实猜想，如果可以，进一步了解这座建筑的历史，以及它和主楼、庄园里其他建筑之间的关联。” 发掘纽瑟姆庄园消失的建筑 吉姆・杰克逊与菲尔・琼斯带领团队开展野外发掘，小组成员每月在附近的罗思韦尔聚会。二人和同伴挖掘多条探沟，找到了这座疑似建筑的地基。团队还没有确定建筑用途，也无法确认当初工程完工了多少。虽然画作里的建筑外形和现存马厩相似，但出土遗迹还不能证实二者用途一致。 从史前石箭头到音乐节残迹 主楼北侧，团队还发掘出一条消失已久的古道 / 马车路。其他出土物品体量小巧，包括 16 世纪果盘碎片、18 世纪窗玻璃。庄园昔日厨房遗迹中，找到了动物骨头与牡蛎壳。 这些居家遗存，只是这片土地历史的一部分。发掘中找到一枚石箭头，距今最多有 5000 年，比庄园主楼还要早数千年。也出土了年代很近的物品，是游客能有印象的物件：90 年代庄园举办音乐节留下的废弃物。 琼斯在新闻稿中提到：“凡是我们挖掘过的地方，总能收获惊喜。这片庄园在漫长历史里，经过多次改建、景观修整。” 纽瑟姆庄园已经矗立五百余年。如今人们来这里游览花园，漫步湖畔，参观家庭农场里的珍稀品种动物。发掘期间，不少游客驻足，好奇考古队员的工作。 疑问众多，但没有埋藏宝藏 游客们对地下可能出土什么有着自己的想象。琼斯说，大家问得最多的，是恐龙骨骼、古罗马遗物，还有黄金宝藏。团队并没有找到这些东西。不过琼斯很乐意和大众交流考古工作，其中一部分人或许会加入南利兹考古小组。他也感谢庄园工作人员，给考古队提供便利。 对考古学者来说，地基才是本次发掘的目标。这次发现解答了照片斑块带来的疑问，而关于这座建筑本身，仍有大量待探索的谜团。琼斯希望团队明年可以重返现场，新一轮发掘，帮助大家弄清建筑用途，以及画中描绘的建筑，当年究竟建成了多少。 Passage A 1. B 解析：细节理解题。根据第一段”Behind it is the workshop of Antonio, a local artisan who weaves baskets by hand.”可知，安东尼奥的工作是手工编织篮子。A项”卖橄榄树”无中生有；C项”修理旧机器”与文意相反（文中提到machines控制许多行业，但Antonio不用机器）；D项”在学校教年轻人”偷换概念，文中说的是他希望把手艺传授给年轻人，不是在学校教。故选B。 2. B 解析：细节理解题。根据第二段”a trade passed down from his father”可知，这门手艺是从他父亲那里传下来的。A项”自学”无中生有；C项”艺术学校”无中生有；D项”从朋友那里学”无中生有。故选B。 3. C 解析：细节理解题。根据第四段”with the most difficult part being ‘finishing off the weave and making the handle.’“可知，最难的部分是完成编织和制作把手。A项”收集湿树枝”是准备工作，不是最难的部分；B项”清空思绪”是工作状态描述，非最难点；D项”找地方坐下”文中未提及。故选C。 4. B 解析：细节理解题。根据第七段”he hopes to pass on the lessons of the craft to others, especially young people.”可知，他希望把这门手艺传授给别人，尤其是年轻人。A项”停止使用橄榄枝”与文意相反；C项”卖给博物馆”无中生有；D项”用机器制作”与文中Antonio坚持手工的理念相反。故选B。 5. C 解析：主旨大意题。最后一段提到”But the secret is to sit down and create with your hands, letting your mind slow down… keeping his father’s craft alive…“，强调了手工创作能让心慢下来，并让传统技艺得以延续。A项”机器比手工好”与文意相反；B项”想搬到大城市”无中生有；D项”钟表不停滴答”是细节非主旨。故选C。 Passage B 6. B 解析：细节理解题。根据第二段”Despite its name, it is technically an embroidery, made by stitching colored wool onto linen.”可知，它是通过将彩色羊毛缝在亚麻布上制成的。A项”在木头上画画”无中生有；C项”编织橄榄枝”混淆了Passage A的内容；D项”在纸上印刷”无中生有。故选B。 7. B 解析：细节理解题。根据第三段”Instead, medieval experts say they work like visual clues. They tell viewers who matters, who has money…“可知，衣服起到了视觉线索的作用，展示了人们的地位和财富。A项”完美的11世纪服装记录”与文中”not a perfect record”矛盾；C项”让人发笑的玩笑”曲解文意（文中说衣服能告诉谁是玩笑对象，但衣服本身不是玩笑）；D项”电影服装部门”是比喻用法非字面意思。故选B。 8. B 解析：推理判断题。根据第五段”Hunting with hawks was an aristocratic activity, so the bird works much like an expensive watch or handbag today… his possessions have already marked him as powerful.”可知，带猎鹰是因为这是贵族活动，彰显了他的权力和地位。A项”猎鹰便宜易得”与文意相反（贵族活动说明昂贵）；C项”想喂猎鹰”无中生有；D项”艺术家喜欢鸟”偷换概念。故选B。 9. C 解析：推理判断题。根据第七段”Since the embroidery may have been commissioned by Odo or someone close to him, experts believe his impressive appearance may have been designed to flatter him.”可知，他令人印象深刻的外表可能是为了讨好他而设计的。A项”他是穷人”与文中”decorative armor”矛盾；B项”穿简单衣服”与”unusually decorative”矛盾；D项”不喜欢盔甲”无中生有。故选C。 10. B 解析：词义猜测题。根据第八段”using more material than necessary simply because you could afford it”可知，使用比需要更多的布料仅仅是因为买得起，这是一种”显眼的、引人注目的”消费，因此 conspicuous 意为”显眼的，引人注目的”。A项”隐藏的”与文意相反；C项”实用的”与”impractical”（前文形容长袖不实用）矛盾；D项”老式的”无依据。故选B。 Passage C 11. B 解析：细节理解题。根据第三段”a special ‘super generation’ of monarch butterflies, which can live eight times longer than their predecessors”可知，超级世代的寿命是前代的八倍。A项”比其他蝴蝶小”无中生有；C项”只活一个月”与文中”Rarely lasting for longer than a month”描述的是普通世代而非超级世代；D项”不需要花蜜”无中生有。故选B。 12. B 解析：细节理解题。根据第五段”the butterflies will travel anywhere between 148km and 185km per day”可知，每天飞行距离在148到185公里之间。A项”最多100公里”与文中数据矛盾；C项”正好4800公里”是总距离而非每日距离；D项”少于50公里”与文中数据矛盾。故选B。 13. C 解析：细节理解题。根据第六段”meaning they’re unable to learn the route from others, so it must be genetically hardwired. It’s also believed… navigation may well be accomplished by using their compound eyes to calculate the sun’s position”可知，路线是基因里硬连线的，并且通过复眼计算太阳位置来导航。A项”从年长蝴蝶学习路线”与文中”unable to learn the route from others”矛盾；B项”只跟随风向”以偏概全（风向只是影响速度因素之一）；D项”问其他动物指路”荒谬无依据。故选C。 14. C 解析：细节理解题。根据第九段”with temperatures varying between 0 and 15 degrees Celsius, and the humidity level in the understory ensuring that they don’t become desiccated”可知，理想的微气候是0到15摄氏度，并且林下湿度能防止它们脱水。A项”炎热干燥”与文中温度范围矛盾；B项”寒冷有风”不准确；D项”30度以上”远超文中温度范围。故选C。 15. C 解析：细节理解题。根据第十段”From March, this super generation heads part of the way back north to warmer climates”可知，当气温回升时，超级世代会向北飞回一段路。A项”蝴蝶立即死亡”与文意相反；B项”开始聚集”发生在十一月到达越冬地时而非二月；D项”毛毛虫孵化吃牛奶草”是交配后的事情，发生在向北飞行之后。故选C。 Passage D 16. They suggested the foundations of a building might still be there, buried beneath the grass. 解析：根据第一段”To Turpin and his fellow archaeology enthusiasts, those marks suggested the foundations of a building might still be there, buried beneath the grass.”可知，那些痕迹表明地下可能还有建筑的地基。 17. It raised the question of whether the artist had painted something that was actually built (or: Had the artist painted something that was actually built?). 解析：根据第二段”It shows what may be the same building… Had the artist painted something that was actually built?“可知，发现地基引发了一个问题：艺术家是否画了实际建造出来的东西。 18. Up to 5,000 years old. 解析：根据第六段”An arrowhead found during the excavation could be up to 5,000 years old”可知，箭头可能有5000年历史。 19. The questions they asked most often concerned dinosaur bones, Roman remains, and gold or treasure. 解析：根据第七段”According to Jones, the questions they asked most often concerned dinosaur bones, Roman remains, and gold or treasure.”可知，游客最常问的是关于恐龙骨头、罗马遗迹和金银财宝的问题。 20. He hopes the group can return next year for another season of digging to figure out what the building was for and how much of the structure shown in the painting ever stood on the grounds. 解析：根据最后一段”Jones hopes the group can return next year. Another season of digging could help them figure out what the building was for and how much of the structure shown in the painting ever stood on the grounds.”可知，他希望明年能回来继续挖掘，弄清楚建筑的用途以及画中有多少结构真正矗立过。 ( 第 1 页 共 14 页 ) 学科网（北京）股份有限公司 $