| TOEFL ライティング Integrated パッセージ・レクチャー 関連付け(2)
Integrated Writingの問題は、「レクチャーの内容を要約することと、それがどのように
リーディングの内容と関連しているかを述べること」です。
あくまでもレクチャーで主張されていたポイントを中心にエッセイを展開することが重要です。
そしてそれらがどのようにリーディング（パッセージ）と矛盾するかを
示すことができれば、問題が要求している点について明確に答えることができ高評価となります。
それでは、前回とは問題を変えた解答例の中でどのようにレクチャーの要点とリーディングの要点からエッセイを構成しているかを色分けして検証してみます。
レクチャー及びリーディングの要点を引用する際は、そのまま写すのではなく、パラフレーズすることも高評価につながりますので、注意して解答例をご覧ください。
| リーディング （パッセージ）
（青） ： 解答例の構成に使われている要点。
Jane Austen (1775-1817) is one of the most famous of all English novelists, and today her novels are more popular than ever, with several recently adapted as Hollywood movies. But we do not have many records of what she looked like. For a long time, the only accepted image of Austen was an amateur sketch of an adult Austen made by her sister Cassandra. However, recently a professionally painted, full-length portrait of a teenage girl owned by a member of the Austen family has come up for sale. Although the professional painting is not titled Jane Austen, there are good reasons to believe she is the subject.
First, in 1882, several decades after Austen’s death, Austen’s family gave permission to use the portrait as an illustration in an edition of her letters. Austen’s family clearly recognized it as a portrait of the author. So, for over a century now, the Austen family itself has endorsed the claim that the girl in the portrait is Jane Austen.
Second, the face in the portrait clearly resembles the one in Cassandra’s sketch, which we know depicts Austen. Though somewhat amateurish, the sketch communicates definite details about Austen’s face. Even though the Cassandra sketch is of an adult Jane Austen, the features are still similar to those of the teenage girl in the painting. The eyebrows, nose, mouth, and overall shape of the face are very much like those in the full-length portrait.
Third, although the painting is unsigned and undated, there is evidence that it was painted when Austen was a teenager. The style links it to Ozias Humphrey, a society portrait painter who was the kind of professional the wealthy Austen family would hire. Humphrey was active in the late 1780s and early 1790s, exactly the period when Jane Austen was the age of the girl in the painting.
| リスニング レクチャー
レクチャー （スクリプト）
（赤） ： 解答例の構成に使われている要点。
The evidence linking this portrait to Jane Austen is not at all convincing. Sure, the painting has long been somewhat loosely connected to Austen’s extended family and their descendants, but this hardly proves it’s a portrait of Jane Austen as a teenager. The reading’s arguments that the portrait is of Austen are questionable at best.
First, when the portrait was authorized for use in the 1882 publication of her letters, Jane Austen had been dead for almost 70 years. So the family members who asserted that the painting was Jane had never actually seen her themselves. They couldn’t have known for certain if the portrait was of Austen or not.
Second, the portrait could very well be that of a relative of Austen’s, a fact that would explain the resemblance between its subject and that of Cassandra’s sketch. The extended Austen family was very large, and many of Jane Austen’s female cousins were teenagers in the relevant period, or had children who were teenagers. And some of these teenage girls could have resembled Jane Austen. In fact, many experts believe that the true subject of the portrait was one of those relatives, Mary Ann Campion, who was a distant niece of Austen’s.
Third, the painting has been attributed to Humphrey only because of the style, but other evidence points to a later date. A stamp on the back of the picture indicates that the blank canvas, you know, the actual piece of cloth on which the picture was painted, was sold by a man named William Legg. Records show that William Legg did not sell canvasses in London when Jane Austen was a teenager. He only started selling canvasses when she was 27 years old. So, it looks like the canvas was used for the painting at a time when Austen was clearly older than the girl in the portrait.
▮ Question
Summarize the points made in the lecture, being sure to explain how they respond to the specific arguments made in the reading passage.
| 解答例
（青）： リーディングの要点。
（赤）： レクチャーの要点。
★ レクチャーの要点が中心に構成されているのがわかります
The lecture casts doubt and questions the evidence presented in the reading passage regarding a painting allegedly of Jane Austen.
First, about the family’s recognition of the painting as that of Jane’s as a teenager. The lecturer points out that in 1882, when the Austen family authorized the use of the painting as a portrait of Jane in the publication of her letters, Jane had been dead for 70 years. Hence, the family members who claimed this portrait to be of Jane’s probably have never seen her, and don’t necessarily know how she looked.
While the reading passage presents the resemblance of the face features to prove that the teenager in the portrait is indeed Jane, the lecturer sees otherwise: the teenager in the portrait could have been any cousin or niece of Jane. The lecturer claims that there was much to the date of the portrait based on the stamp on the canvas itself. According to the stamp it was sold by William Legg, who didn’t sell canvas in London when Jane was a teenager. He only began selling canvas in London when Jane was 27 years old.
