托福阅读修辞目的题是阅读考试中比较常见的一种题型，tpo则是托福阅读备考最权威的材料，所以托福小编综合二者，为大家集中整理了tpo阅读中考察的修辞目的题及其对应的解析，供大家参考使用。本文带来的是TPO23-3的修辞目的题，一起来看看吧。
TPO23-3 Rock Art of the Australia Aborigines
Paragraph 4
Although the remarkable antiquity of Australia’s rock art is now established, the sequences and meanings of its images have been widely debated. Since the mid-1970s, a reasonably stable picture has formed of the organization of Australian rock art. In order to create a sense of structure to this picture, researchers have relied on a distinction that still underlies the forms of much indigenous visual culture—a distinction between geometric and figurative elements. Simple geometric repeated patterns—circles, concentric circles, and lines—constitute the iconography (characteristic images) of the earliest rock-art sites found across Australia. The frequency with which certain simple motifs appear in these oldest sites has led rock-art researchers to adopt a descriptive term—the Panaramitee style—a label which takes its name from the extensive rock pavements at Panaramitee North in desert South Australia, which are covered with motifs pecked into the surface. Certain features of these engravings lead to the conclusion that they are of great age—geological changes had clearly happened after the designs had been made and local Aboriginal informants, when first questioned about them, seemed to know nothing of their origins. Furthermore, the designs were covered with “desert varnish,” a glaze that develops on rock surfaces over thousands of years of exposure to the elements. The simple motifs found at Panaramitee are common to many rock-art sites across Australia. Indeed, sites with engravings of geometric shapes are also to be found on the island of Tasmania, which was separated from the mainland of the continent some 10,000 years ago.
9. Why does the author include information about Tasmania in paragraph 4?
A. To provide evidence that the Panaramitee style is widespread and of great age
B. To prove that Aboriginal Australians could not have made the carvings in Tasmania
C. To indicate how researchers have determined how long ago Tasmania separated from the mainland
D. To illustrate the importance of geometric rock art to tourism in Tasmania
解析：先以Tasmania做关键词定位至最后一句，但整个句子都是例子，因此往前看，前一句说在P处出现的motif在整个澳洲都很普遍，紧接着就说了塔斯马尼亚的例子，也就是说塔斯曼尼亚无非就是说普遍，所以答案是A，其他都没说
[4] 尽管澳大利亚岩石艺术的非凡古迹现在已经被确立，它们的年代顺序和图案的意义却有着广泛的争论。1970年代中期以来，澳大利亚岩画艺术组织已经形成一个相当稳定的图像。为了给这幅画创造一种结构感，研究者们依赖仍然根基于本土视觉文化形式的不同——这种不同是几何元素和修饰元素的不同。最早在澳大利亚岩石艺术地区的发现的简单的几何重复图案——圆，同心圆，以及线条——组成了肖像学(人物图案)。一些简单图案在这些最古老的遗址上出现的频率使得岩石艺术研究人员采用了一种描述性的术语——Panaramitee风格——取名自澳大利亚南部沙漠Panaramitee North广袤的岩石丘，这些岩石丘表面都刻有这些图案。这些图案的特点让人们得出一个结论即它们是来自于一个久远的时代——地质变化明显发生在这些图案的设计之后，当那些土著中的信息提供者第一次被问到这个问题时，好像并不知道它们的来源。此外，这些设计被“沙漠漆” 所覆盖，这种沙漠漆是岩石表面上的颜料经过数千年的暴露形成的。在Panaramitee发现的简单图案在澳大利亚境内很多岩石画中都很常见。确实，那些拥有几何形图案的遗址在塔斯马尼亚岛也发现了，这个岛在1万年前就从澳大利亚大陆分离了出去。
Paragraph 5
In the 1970s when the study of Australian archaeology was in an exciting phase of development, with the great antiquity of rock art becoming clear. Lesley Maynard, the archaeologist who coined the phrase “Panaramitee style,” suggested that a sequence could be determined for Australian rock art, in which a geometric style gave way to a simple figurative style (outlines of figures and animals), followed by a range of complex figurative styles that, unlike the pan-Australian geometric tradition tended to much greater regional diversity. While accepting that this sequence fits the archaeological profile of those sites, which were occupied continuously over many thousands of years a number of writers have warned that the underlying assumption of such a sequence—a development from the simple and the geometric to the complex and naturalistic—obscures the cultural continuities in Aboriginal Australia, in which geometric symbolism remains fundamentally important. In this context the simplicity of a geometric motif may be more apparent than real. Motifs of seeming simplicity can encode complex meanings in Aboriginal Australia. And has not twentieth-century art shown that naturalism does not necessarily follow abstraction in some kind of predetermine sequence?
12. In paragraph 5, the author indicates that twentieth century art has shown that naturalism does not necessarily follow abstraction in some kind of predetermined sequence in order to
A. emphasize that it may not be possible to determine what the figures in ancient rock art represent
B. suggest a reply to those who have questioned Maynard’s interpretation of the sequence of Australian rock art
C. provide a counterexample to Maynard’s interpretation of the sequence of Australian rock art
D. indicate that twentieth century art is more advanced than ancient rock art
解析：这个修辞目的题比较特殊，作者提到的修辞点在最后一句，往前看，前一句也不是中心，按常理应该看段首，但由于这段段首也不是中心，所以也不对。无奈只有往回找，找到倒数第四句，说这个从简单到复杂的顺序模糊了cultural continuity，也就是说作者说naturalism不一定跟着abstraction是为了说明这个顺序不对，之前M说有这个顺序，所以答案是C，提供一个反例给M的interpretation。A和D没说，B说反
[5] 二十世纪七十年代，澳大利亚考古正处在蓬勃发展阶段，随之古老的岩石艺术画变得日益清晰。考古学家莱斯利•梅纳德杜撰了新词“Panaramitee 风格”，认为可以为澳大利亚岩石画确定一个顺序，在这个顺序中一种几何风格让步于简单图画风格(人物和动物的轮廓)，之后是一系列的复杂象征风格，这种风格与泛澳大利亚的几何传统不一样，它们有更大的区域多样性。尽管赞同该顺序适合这些地区的考古图案，这些地区几千年来一直不断出现考古图案，然而许多作家警告说这种顺序的潜在结论——从简单图案到几何图案再到复杂和自然主义的图案，模糊了仍然非常重要的几何象征主义在澳大利亚土著的文化连续性。在这种背景下简单的几何图案可能比真实的东西更明显。对于澳大利亚土著来说简单图案也能包含复杂的含义。20世纪的艺术难道没有表明自然主义并不需要遵循某种抽象的预先设定的顺序吗?
以上就是托福阅读TPO23-3中的修辞目的题及其解析，大家可以在备考的时候参考复习，希望能够帮助大家的考前准备。最后前程百利祝大家都能取得理想的托福考试成绩。
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