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By Dorothy Spears (The New York Times)
Question 16-20: (郑玲华)
How much museumgoers know about art makes little difference in how they engage with exhibits, according to a study by a German cultural scholar who electronically measured which items caught visitors' attention and how they were emotionally affected. The scholar, Martin Trondle, also found that solitary visitors typically spent more time looking at art and that they experienced more emotions.
开篇第一句点题并总领全文，为艺术人文类话题，指出参观者对艺术的了解程度与他们在展览上欣赏的能力几无关系，according后内容为人物介绍，可略读。
Mr. Trondle and his team outfitted 576 volunteers with a glove equipped with GPS function to track their movement through the galleries of Kunstmuseum St. Gallen in Switzerland for two months beginning in June 2009. Sensors in the gloves measured physical evidence of emotional reactions, like heartbeat rates and sweat on their palms. Afterward, the volunteers were asked questions about where they had spent the most time, and about the feelings that particular works evoked.
第二段为例子段，通过Mr. Trondle与其团队所作的实验，以测得参观者游览时的反应，可略读节省时间。
Mr. Trondle found that there appeared to be little difference in engagement between visitors with a proficient knowledge of art and "people who are engineers and dentists." He said artists, critics and museum directors often focus on perhaps one work in a room, while visitors with moderate curiosity and interest tend to move from work to work and read text panels.
第三段为第二段实验的结果，证明了首段观点即参观者个人素养的高低对游览展品并没有影响。“proficient”一词在中口阅读中屡次出现，表示为熟悉、熟练，此处强调哪怕艺术修养极高，也无影响，加强说服力。
Mr. Trondle said his study, supported by the Swiss National Science Foundation, established for the first time that "there is a very strong correlation between aesthetic experience and bodily functions." He defined the art-affected state as a sense of immersion in a work, or of feeling addressed by it, concluding that museum-going is best done alone. Visitors tended to feel more stimulated by sculptures that impeded their progress through the galleries. "People want to trip over the art," he said.
第一句的后半句引号内文字为主旨句，即Mr. Trondle的实验得出的最终结论，因此第四段是文章的升华部分起始处。看到“concluding”之类的总结关键词需特别关注，一般含有核心内容。
Some experts are skeptical. "This technology is so new and so young," said Paul C. Ha, director of the List Visual Arts Center at the Massachusetts Institute of Technology. "We don't know what we have yet."
第五段为专家对这类新观点提出反对意见与挑战，首句为主题句。
Bonnie Pitman, distinguished scholar in residence at the School of Arts and Humanities, University of Texas, Dallas, an expert on the subject of visitor responses to art, said: "I'm not sure that just because you have more data, that gives you a better understanding of the very complicated set of issues involved in experiencing works of art." Referring to Mr. Trondle's belief that an elevated heart rate signals a more profound art experience, she said: "Those transcendent moments when you're just completely awash in the color and beauty of a great Pissarro or Sisley or Monet - those moments aren't necessarily going to raise your heart rate. They're going to slow you down."
第六段为第五段的例子段落，详细介绍了一名学者的反对意见，在此可以略读。
Given all of the recent attention on blockbuster exhibitions at vast museums, "you might assume that our future is not very rosy," said Roland Waspe, director of the Kunstmuseum St. Gallen, a smaller museum with a range of paintings and sculptures dating from the Middle Ages to the present. He said the research suggested "we now have an advantage, because we see that, for an optimal art experience, museums have to be small, they have to be more empty, and they have to be, in the most positive sense, a place of contemplation."
最后一段为总结段，段落最后一句总结全文，表明最新实验对现在动辄豪华规模的大型展会提出反对与质疑，并提倡小型展览、小型博物馆等等，这种“缩小化”模式才能真正令参观者有所启迪。“blockbuster”一词曾在高口阅读中考过，今年出现在众口阅读中，值得引起大家的注意，该词原指“大片”，现在更对引申为大制作。最后一词“contemplation”一词也属高频词，为沉思之意。
