Bernice 6月机经总结解析与7月预测文章具题目：Fishbourne Roman Palace6.19本次考试出现了两旧一新，属于中等难度。

第一篇文章的题材是文明发展史，是旧题，类似的剑桥真题是C9T4P1。

第二篇文章是新题，题材是心理学，剑桥真题的C8T3P2题材和题型都与其相似，可供参考。

第三篇论述艺术的评判标准，是2012年12月出现过的旧题。

本次考试没有出现较难的自然科普类文章，因此阅读难度不大。

另外，本次考试涉及的题型有：简答，判断(是非及对错)，填空(图表)，配对(人名理论配对及句子配对)，单选和多选。

其中，具有顺序性且偏简单的判断和填空占了大比重，多选和配对都出现了两次，因此题型难度偏中等。

建议烤鸭们平时要多练习高频题型，对于6月底的烤鸭，建议多看些自然科普类文章，并多练习List of headings和段落信息配对题。

to revolve and it gave Hargreaves the idea that a whole line ofspindles could be worked off one wheel.In 1764 Hargreaves built what became known as the Spinning-Jenny.The machine used eight spindles onto which the thread was spunfrom a corresponding set of rovings. By turning a single wheel, theoperator could now spin eight threads at once. Later, improvementswere made that enabled the number to be increased to eighty. Thethread that the machine produced was coarse and lacked strength,making it suitable only for the filling of weft, the threads wovenacross the warp.Hargreaves did not apply for a patent for his Spinning Jenny until1770 and therefore others copied his ideas without paying him anymoney. It is estimated that by the time James Hargreaves died in1778, over 20,000 Spinning-Jenny machines were being used inBritain.James Hargreaves was born near Blackburn in about 1720.Hargreaves received no formal education and was unable to read orwrite. He worked as a carpenter and weaver but had a strong interestin engineering.By the 1760s Hargreaves was living in the village of Stanhill and wasone of the many weavers who owned his own spinning wheel andloom. It is claimed that one day his daughter Jenny accidentallyknocked over over the family spinning wheel. The spindle continuedto revolve and it gave Hargreaves the idea that a whole line ofspindles could be worked off one wheel.In 1764 Hargreaves built what became known as the Spinning-Jenny.The machine used eight spindles onto which the thread was spunfrom a corresponding set of rovings. By turning a single wheel, theoperator could now spin eight threads at once. The thread that themachine produced was coarse and lacked strength, making it suitableonly for the filling of weft, the threads woven across the warp.Originally Hargreaves produced the machine for family use but whenhe began to sell the machines, spinners from Lancashire, fearing thepossibility of cheaper competition, marched on his house anddestroyed his equipment. Hargreaves did not apply for a patent for hisSpinning Jenny until 1770 and therefore others copied his ideaswithout paying him any money.Hargreaves moved to Nottingham where he erected a smallspinning-mill. Others began to make improvements to theSpinning-Jenny and the number of threads was increased from eightto eighty. By the time James Hargreaves died in 1778, over 20,000Spinning-Jenny machines were being used in Britain.Passage 2:with such terms as 'highbrow', 'egghead', 'blue-stocking', 'wiseacre', 'know-all', 'boffin' and, for many, 'intellectual' is a term of denigration.The nineteenth century saw considerable interest in the nature of genius, and produced not a few studies of famous prodigies. Perhaps for us today, two of the most significant aspects of most of these studies of genius are the frequency with which early encouragement and teaching by parents and tutors had beneficial effects on the intellectual, artistic or musical development of the children but caused great difficulties of adjustment later in their lives, and the frequency with which abilities went unrecognised by teachers and schools. However, the difficulty with the evidence produced by these studies, fascinating as they are in collecting together anecdotes and apparent similarities and exceptions, is that they are not what we would today call norm-referenced. In other words, when, for instance, information is collated about early illnesses, methods of upbringing, schooling, etc., we must also take into account information from other historical sources about how common or exceptional these were at the time. For instance, infant mortality was high and life expectancy much shorter than today, home tutoring was common in the families of the nobility and wealthy, bullying and corporal punishment were common at the best independent schools and, for the most part, the cases studied were members of the privileged classes. It was only with the growth of paediatrics and psychology in the twentieth century that studies could be carried out on a more objective, if still not always very scientific, basis.Geniuses, however they are defined, are but the peaks which stand out through the mist of history and are visible to the particular observer from his or her particular vantage point. Change the observers and the vantage points, clear away some of the mist, and a different lot of peaks appear. Genius is a term we apply to those whom we recognise for their outstanding achievements and who stand near the end of the continuum of human abilities which reaches back through the mundane and mediocre to the incapable. There is still much truth in Dr Samuel Johnson's observation, 'The true genius is a mind of large general powers, accidentally determined to some particular direction'. We may disagree with the 'general', for we doubt if all musicians of genius could have become scientists of genius or vice versa, but there is no doubting the accidental determination which nurtured or triggered their gifts into those channels into which they have poured their powers so successfully. Along the continuum of abilities are hundreds of thousands of gifted men and women, boys and girls.What we appreciate, enjoy or marvel at in the works of genius or the achievements of prodigies are the manifestations of skills or abilities which are similar to, but so much superior to, our own. But that their minds are not different from our own is demonstrated by the fact that the hard-won discoveries of scientists like Kepler or Einstein become the commonplace knowledge of schoolchildren and the once outrageous shapes and colours of an artist like Paul Klee so soon appear on the fabrics we wear. This does not minimise the supremacy of their achievements, which outstrip our own as the sub-four-minute milers outstrip our jogging.To think of geniuses and the gifted as having uniquely different brains is only reasonable if we accept that each human brain is uniquely different. The purpose of instruction is to make us even more different from one another, and in the process of being educated we can learn from the achievements of those more gifted than ourselves. But before we try to emulate geniuses or encourage our children to do so we should note that some of the things we learn from them may prove unpalatable. We may envy their achievements and fame, but we should also recognise the price they may have paid in terms of perseverance, single-mindedness, dedication, restrictions on their personal lives, the demands upon their energies and time, and how often they had to display great courage to preserve their integrity or to make their way to the top.Genius and giftedness are relative descriptive terms of no real substance. We may, at best, give them some precision by defining them and placing them in a context but, whatever we do, we should never delude ourselves into believing that gifted children or geniuses are different from the rest of humanity, save in the degree to which they have developed the performance of their abilities.Questions 14-18Choose FIVE letters, A-K.Write the correct letters in boxes 14-18 on your answer sheet.NB Your answers may be given in any order.Below are listed some popular beliefs about genius and giftedness. Which FIVE of these beliefs are reported by the writer of the text?A Truly gifted people are talented in all areas.B The talents of geniuses are soon exhausted.C Gifted people should use their gifts.D A genius appears once in every generation.E Genius can be easily destroyed by discouragement.F Genius is inherited.According to Tolstoy, art must create a specific emotional linkbetween artist and audience, one that "affects" the viewer. Thus, realart requires the capacity to unite people via communication (clearnessand genuineness are therefore crucial values). This aestheticconception led Tolstoy to widen the criteria of what exactly a work ofart is. He believed that the concept of art embraces any humanactivity in which one emitter, by means of external signs, transmitspreviously experienced feelings. Tolstoy offers an example of this: aboy that has experienced fear after an encounter with a wolf laterrelates that experience, infecting the hearers and compelling them tofeel the same fear that he had experienced-that is a perfect example ofa work of art. As communication, this is good art, because it is clear,it is sincere, and it is singular (focused on one emotion).However, genuine "infection" is not the only criterion for good art.The good art vs. bad art issue unfolds into two directions. One is theconception that the stronger the infection, the better is the art. Theother concerns the subject matter that accompanies this infection,which leads Tolstoy to examine whether the emotional link is afeeling that is worth creating. Good art, he claims, fosters feelings ofuniversal brotherhood. Bad art inhibits such feelings. All good art hasa Christian message, because only Christianity teaches an absolutebrotherhood of all men. However, this is "Christian" only in a limitedmeaning of the word. Art produced by artistic elites is almost nevergood, because the upper class has entirely lost the true core ofChristianity.Furthermore, Tolstoy also believed that art that appeals to the upperclass will feature emotions that are peculiar to the concerns of thatclass. Another problem with a great deal of art is that it reproducespast models, and so it is not properly rooted in a contemporary andsincere expression of the most enlightened cultural ideals of theartist's time and place. To cite one example, ancient Greek art extolledvirtues of strength, masculinity, and heroism according to the valuesderived from its mythology. However, since Christianity does notembrace these values (and in some sense values the opposite, themeek and humble), Tolstoy believes that it is unfitting for people inhis society to continue to embrace the Greek tradition of art.Among other artists, he specifically condemns Wagner and Beethovenas examples of overly cerebral artists, who lack real emotion.Furthermore, Beethoven's Symphony No. 9 cannot claim to be able to"infect" its audience, as it pretends at the feeling of unity andtherefore cannot be considered good art.6.21此次考试阅读三篇分别考了新西兰木材产业，相貌重建(旧题)和保持大脑活性防止大脑退化。