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III. New Zealand Home Textile Crafts: Đề luyện tập IELTS READING (IELTS Reading Practice Test)
You should spend about 20 minutes on Questions 29-40, which are based on Reading Passage 2.
New Zealand Home Textile Crafts
Domestic crafts do not build monuments to their makers, nor do they create wealth, and too often, they have not survived. In consequence, the domestic crafts produced by mothers, grandmothers and great-grandmothers in New Zealand are often overlooked. But needlework should be preserved, for it helps to convey a sense of people’s identity and past lives in the same islands in the Pacific Ocean.
Women of previous generations were expected to sew; they had to dress their families at a time when few people could afford to buy what they were capable of making. For some women, this work may have been unwelcome drudgery, but for others it was an opportunity to explore their identities, beliefs and dreams with the only means readily at hand – a needle, some thread and a piece of fabric.
Textiles are frustrating to collect. They are fragile; they stain; they develop rust marks; they fray and rot. If they are used, they deteriorate. Yet if they are merely stored, the owner does not fully enjoy the pleasure of possession. That is probably why they have not been a popular thing to collect compared, for example, to antique furniture or fine china, which are more durable investments. It is also true that domestic crafts are seldom signed. We like signatures because we can more readily assign value – and high prices – if we can identify the maker. But most women at this time would never have considered signing their work. They were not expecting it to be seen outside their homes, where the creator’s identity was never in doubt. And they probably did not even expect it to last very long. >> 🔥 Form đăng kí giải đề thi thật IELTS 4 kĩ năng kèm bài giải bộ đề 100 đề PART 2 IELTS SPEAKING quý đang thi (update hàng tuần) từ IELTS TUTOR
It does not help that such work falls into the category of crafts rather than fine arts, because crafts are too often looked on as a poor cousin to true creativity. Worse, they are made in a domestic context, so do not belong in the consciously elevated tradition of craft objects which compete with the arts, such as furniture. If things are made to be useful, especially only within the home and by ordinary housewives, we seem to have agreed they cannot be art. Why not?
It might be argued that the collector of textiles is a little like an archaeologist. Archaeology is a combination of history and detective work, and its treasure is often beautiful. Likewise, digging for the past is what textile collectors do in junk shops, and the objects they find are a way of understanding the past through physical evidence.
The domestic crafts of this period, from 1930 to 1960, cannot be separated from the women’s magazines that were so popular at the time. The primary purpose of these publications was to allow women to glimpse how more prosperous people lived by showing them photographs of the interiors of their houses. In these days before television, magazines provided realistic and achievable inducements to social betterment.
In parallel to this, women were provided with much more down-to-earth and useful means of improving their houses in the form of printed patterns, which were readily available from fabric shops at low cost from the 1920s and 1930s onwards. Mostly, such patterns were for everyday items that fulfilled some domestic purpose – aprons, tea cosies, curtains, bed-spreads, chair covers and the like. With the benefit of hindsight, it is possible to distinguish this regulated tradition of needlework, governed by printed patterns, from the more individual work that women dreamed up themselves and whose form and execution were reflections of their own ideals and imagination. Although both schools have their merits, it is surely the latter tradition that will provide the collector with the greatest enjoyment. Most intriguing of all is work which suggests serendipity, even a certain element of chance, the piece having taken on a life of its own, determined perhaps by what resources were available at the time and the skill levels of the item’s maker. When it comes to needlework, flaws can be enjoyable, even allure; mayhem may bring pleasure. In this respect, needlework can be contrasted with other art forms, where successful completion is paramount.
Some people collect out of a sense of nostalgia, a desire to evoke a comforting time that seems gentler than the present. But nostalgia should not always be trusted as it can be a sanitised form of history that blots out harsh reality. However, if a certain degree of nostalgia can be felt for the fabrics of the past, it is because they remind us of the care and attention with which women selected them. The texture of certain abstract patterned fabrics from the 1950s has the power to transport us all back to the dress and fabric shops of that time where women agonised over which choices to make, though they probably loved every minute of it. Old patchwork quilts in particular are evocative, because they represent an unknown family’s compressed history: pyjamas, ball gowns, smart summer frocks and school dresses, all thrown together in a jumble of decorative traditions, past ceremonies and dreams. Women of the past would often keep offcuts from their dressmaking and use them for patchwork, as a means of recording their family’s story for others to appreciate. >> 🔥 Nhắn zalo 0905834420 join group zalo Hóng đề thi máy 4 skills để cập nhật đề thi thật 4 kĩ năng hằng ngày [Kèm giải & đề làm online]
These may sound like nostalgic thoughts, but we should also remember how hard women’s lives were, that family life was not always idyllic, and that having no money was no fun. Such fabrics, then, should be seen as a wish for ideas and imaginations, as well as a way of daydreaming about a life that would turn out well in the end.
Questions 29-33
Choose the correct letter, A, B, C or D.
29. What does the writer say about crafts in the first paragraph?
A They can be sold for high prices
B They were used to recall the past
C They are records of their period
D They have been dug up by archaeologists
30. What is the writer’s main point in the second paragraph?
A Women were obliged to make money
B Women wanted to have careers in design
C Women had no choice but to sew
D Women expressed their creativity through sewing
31. According to the writer, textiles are not frequently collected because
A they age quickly
B they are not attractive
C they are hard to find
D they have little investment value
32. What point does the writer make about signatures?
A Many women at that time couldn’t sign their names
B The signatures have faded over time and cannot be seen
C The style of stitching served as an alternative to a signature
D They were unnecessary since everyone would know the maker
33. What is the writer doing in the fourth paragraph?
A suggesting that domestic work is true art
B challenging the usual classification of crafts
C arguing that functional objects were seldom made in the home
D describing the attitude of women today towards domestic crafts
34. Why does the writer compare textile collecting to archaeology?
A They both require hard work
B They both provide historical evidence
C They can both be done on a low budget
D They are both undervalued in society today >> 🔥 IELTS TUTOR gợi ý tham khảo CẦN VIẾT & THU ÂM BAO NHIÊU BÀI ĐỂ ĐẠT 8.0 SPEAKING & 7.0 WRITING?
Questions 35-37
Complete the summary using the list of words/phrases, A-Q, below.
Write the correct letter, A-Q, in boxes 35-37 on your answer sheet.
Women’s magazines in this period mainly influenced the 35 ______ of domestic items, rather than the skill of the maker. Of the two traditions, work that follows 36 ______ can be contrasted with work that is more 37 ______, and it is this character that is believed to distinguish needlework from other art forms.
A practical
B printed patterns
C individualism
D design
E flaws
F industrious
G function
Questions 38-40
Do the following statements agree with the information given in Reading Passage 2?
Write:
YES if the statement agrees with the claims of the writer
NO if the statement contradicts the claims of the writer
NOT GIVEN if it is impossible to say what the writer thinks about this
38 Nostalgia can promote an unrealistic image of the past.
39 In the 1950s, women chose fabric according to its durability.
40 Patchwork quilts are only of interest to the family concerned.
IV. Dịch bài đọc New Zealand Home Textile Crafts
V. Giải thích từ vựng New Zealand Home Textile Crafts
VI. Giải thích cấu trúc ngữ pháp khó New Zealand Home Textile Crafts
VII. Đáp án New Zealand Home Textile Crafts
29. C
30. D
31. D
32. D
33. B
34. B
35. D
36. B
37. E
38. YES
39. NOT GIVEN
40. NO
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