发布时间: 2024年11月23日 09:46
很多的学生在备考托福的时候，都会去看之前的考试真题，这对于自己的备考是很有用处的。现在3月14号的考试已经结束，如果需要在近期去完成托福考试的学生，就来看看这次考试的听力与口语部分的真题解析吧。
听力部分：
Conversation：
1. 找暑假实习
2. ceramic形状
3.学生renew book，过了due需要交费
4. 做五分钟film作业的选题，但来不及还了
Lecture：
1. 沙漠生物摄入水。
2. 音乐会stimulate脑子的哪部分，然后在农业发展前音乐就有作用了在hunting的时候，还用来communication妈妈还会唱lullaby
3. 考古，山洞里发现人定居
4. 化学
口语部分：
独立口语
Task1：
教授应不应该让学生参加课堂discussion regularly
综合口语
Task 2：
阅读中说了一个interminational mentor program，好处1是可以帮学生更好的解决一些daily stuff，例如开银行账户这种；好处2是培养relationships。听力中的男生表示赞同，他之前去Italy交流，遇到了一些daily stuff很麻烦，就认为好处1很好；然后他交换回来后，一个学期都没怎么见过意大利人，有这个program可以帮他了解文化和提升语言之类的
Task 3：
心理学/商业主题，operational transparency，就是让消费者了解一下details，例子是厨房做饭如果cooking area被隔开 separate rooms，消费者看不到做饭过程就只是吃食物了，但如果有个monitor消费者可以看到他们做饭过程，像切菜这类的，当菜放到他们面前他们会很惊喜而且吃起来更开心，所以这是个好的方法
Task 4：
acid 影响海洋环境
训练托福听力的方法：
1.概括听力练习
这个练习方法不需要考生听懂听力材料的每一个细节，但要抓住说话人的思路和框架。可以用托福听力中的lecture为材料，一边听一边记笔记，录音结束后，根据大脑记忆和笔记，对全文重点内容用英文进行复述，这样反复练习，直到可以将一篇lecture文章完全复述出来为止。
2.听写练习
这是一种比较常见的练习方法也是大家比较熟悉的练习方法，也是相对来说对所有考生都行之有效的一种方法。它就是将一篇托福听力录音中的原文全部听录下来，一句一句丝毫不落，它是提高听力最有效的方法。对于准备托福考试的考生而言，最好的听写材料是老托福的lecture。推荐part 3 的93篇文章，对于基础不同的同学，可以选择其他的适合自己水平的材料进行练习，再用老托福听力，同时辅助一些长篇的段落听写练习。
3.精听练习
还有一种练习方式是精听练习，其步骤如下：一边听一边看听力材料原文，划出自己不认识或似曾相识但反应不过来的词；录音结束，开始查生词，写在原文的旁边，只要写出这个单词在这篇文章中的意思即可；然后将这篇材料当阅读文章快速精读一遍，彻底看懂；再一边看原文，一边放录音，嘴上要跟读，反复几遍，一直听到可以不看原文彻底听懂为止。如大家比较常用的SSS（Scientific American’s Sixty-second Science），非常短，但信息量很大，是很好的练习材料。
4.其它的练习方式
有时考生备考时会一些具有挑点性的资料进行练习来提高自己的听力能力。这些资料有：一是美国大学上课的课堂录像或录音，现在很多美国大学已经将许多公开课的课堂录像放在了互联网上，这是一个极佳的挑战听力难度的材料。二是巴朗和Kaplan上的试题可以选用来做，这样就会超越考试难度。虽然过程痛苦，而且容易打击信心，但是用更难的材料练习，再去听容易的就会比较容易听出来，心理上也有很大的自信心。
要培养时时在考试的感觉，时时听英语的感觉。也就是要为自己创造一个英文的环境，比如早晨一起床，我们就打开音箱播放英语，可以是托福的听力材料，可以是英文广播，也可以是一部英文电影等，这样做的好处是随时都可以听到英语，在潜移默化中不知不觉地加深对英语的敏感度，培养语感。这是一个比较长期的任务，对于备考时间较长的同学，是和可以选用的方法。
TPO模考工具是我没复习托福非常好的帮手，属于我们一定要好好利用，下面我给大家带来托福阅读真题:TPO11原文及答案，欢迎阅读参考！
托福阅读真题:TPO11原文
Ancient Egyptian Sculpture
In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians' view of the world and the functions and contexts of the art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art.
The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. Other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context.
Statues were normally made of stone, wood, or metal. Stone statues were worked from single rectangular blocks of material and retained the compactness of the original shape. The stone between the arms and the body and between the legs in standing figures or the legs and the seat in seated ones was not normally cut away. From a practical aspect this protected the figures against breakage and psychologically gives the images a sense of strength and power, usually enhanced by a supporting back pillar. By contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finished work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by the lost wax process. The arms could be held away from the body and carry separate items in their hands; there is no back pillar. The effect is altogether lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and metal statues still display frontality.
Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.
Paragraph 1: In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians' view of the world and the functions and contexts of the art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art.
托福阅读真题:TPO11题目
1. The word “vital” in the passage is closest in meaning to
attractive
essential
usual
practical
2. Paragraph 1 suggests that one reason Egyptian art is viewed less favorably than other art is that Egyptian art lacks
a realistic sense of human body proportion
a focus on distinctive forms of varying sizes
the originality of European art
the capacity to show the human body in motion
3. In paragraph 1, the author mentions all of the following as necessary in appreciating Egyptian art EXCEPT an understanding of
the reasons why the art was made
the nature of aristocratic Egyptian beliefs
the influences of Egyptian art on later art such as classical Greek art
how the art was used
Paragraph 2: The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. Other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context.
4. According to paragraph 2, why are Egyptian statues portrayed frontality?
To create a psychological effect of distance and isolation
To allow them to fulfill their important role in ceremonies of Egyptian life
To provide a contrast to statues with a decorative function
To suggest the rigid, unchanging Egyptian philosophical attitudes
5. The word “context” in the passage is closest in meaning to
connection
influence
environment
requirement
6. The author mentions “an architectural setting” in the passage in order to
suggest that architecture was as important as sculpture to Egyptian artists
offer a further explanation for the frontal pose of Egyptian statues
explain how the display of statues replaced other forms of architectural decoration
illustrate the religious function of Egyptian statues
7. The word “they” in the passage refers to
statues
gateways
temples
pillared courts
Paragraph 3: Statues were normally made of stone, wood, or metal. Stone statues were worked from single rectangular blocks of material and retained the compactness of the original shape. The stone between the arms and the body and between the legs in standing figures or the legs and the seat in seated ones was not normally cut away. From a practical aspect this protected the figures against breakage and psychologically gives the images a sense of strength and power, usually enhanced by a supporting back pillar. By contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finished work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by the lost wax process. The arms could be held away from the body and carry separate items in their hands; there is no back pillar. The effect is altogether lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and metal statues still display frontality.
8. According to paragraph 3, why were certain areas of a stone statue left uncarved?
To prevent damage by providing physical stability
To emphasize that the material was as important as the figure itself
To emphasize that the figure was not meant to be a real human being
To provide another artist with the chance to finish the carving
9. The word “core” in the passage is closest in meaning to
material
layer
center
frame
10. According to paragraph 3, which of the following statements about wooden statues is true?
Wooden statues were usually larger than stone statues.
Wooden statues were made from a single piece of wood.
Wooden statues contained pieces of metal or stone attached to the front.
Wooden statues had a different effect on the viewer than stone statues.
Paragraph 4: Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.
11. The word depicts in the passage is closest in meaning to
imagines
classifies
elevates
portrays
12. According to paragraph 4, what is the difference between statues that represent the Egyptian elite and statues that represent the nonelite classes?
Statues of the elite are included in tombs, but statues of the nonelite are not.
Statues of the elite are in motionless poses, while statues of the nonelite are in active poses.
Statues of the elite are shown standing, while statues of the nonelite are shown sitting or kneeling.
Statues of the elite serve an important function, while statues of the nonelite are decorative.
Paragraph 4: Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.
13. Look at the four squares [] that indicate where the following sentence could be added to the passage.
In fact, it is the action and not the figure itself that is important.
Where would the sentence best fit?
14.Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that not presented in the passage or are minor ideas in the passage. This question is worth 2 points.
The distinctive look of ancient Egyptian sculpture was determined largely by its function.
Answer Choices
The twisted forms of Egyptian statues indicate their importance in ritual actions.
The reason Egyptian statues are motionless is linked to their central role in cultural rituals.
Stone, wood, and metal statues all display the feature of frontality.
Statues were more often designed to be viewed in isolation rather than placed within buildings.
The contrasting poses used in statues of elite and nonelite Egyptians reveal their difference in social status.
Although the appearances of formal and generic statues differ, they share the same function.
托福阅读真题:TPO11答案
1. 2
2. 4
3. 3
4. 2
5. 3
6. 2
7. 1
8.1
9. 3
10. 4
11. 4
12. 2
13. 4
14. The reason Egyptian
Stone, wood, and
The contrasting poses
托福阅读真题:TPO11原文及答案相关 文章 ：
★ 11.26托福考试解析之一:独立口语和写作
2019年的最后一场托福考试，已经顺利结束了，大家考得怎么样呢？来跟着的我一起看一看2019年12月21日托福阅读考试真题答案。
真题文章
Spartina alterniflora （SaltmarshCordgrass）. Native to the eastern seaboard of the United States. Considereda noxious weed in the Pacific Northwest
Coral Reef Communities（14年7月6日考题）
道路交通的发展是有考到2篇么？求实锤
疑似：美国道路交通的发展（18年9月9日考题，水路运输有局限性，讨论了道路发展的历史，优缺点，最后讲到了turnpike）
疑似：Transportation and the RomanEmpire（重复16年7月2日和18年4月15日考题；罗马帝国交通运输发展，设计路上牛马运输和海上运输；交通运输对于罗马帝国的影响。文章内容不难理解）
Guam tree snake and native species（生物入侵的影响，举例二战之后关岛上Brown tree snake与鸟）
寄居蟹（19年5月19日题）
完全群居性昆虫 eusocial insect（可以参考18年5月6日考题，Job specialization in social insects。社会性sociality，有分工角色即有社会性；社会型昆虫的分工是由body shape和age决定的；切叶蚁leaf-cutter ants是按照大小进行分工的。小蚂蚁负责喂幼虫，大蚂蚁负责觅食；但是，其实80%的昆虫是按照年龄进行分工的。比如蜜蜂honeybee一出生负责喂宝宝（larva feeder），长大了建房子 （builder），再大点去觅食（forager）；虽然黄蜂wasp没有天生分工，但是也遵循蜜蜂的规律。最后一段讲了科学家往蜂巢里增加了年轻蜜蜂的数量，剩下来的年轻蜜蜂主动出去觅食了，说明昆虫分工是非常灵活的。）
Surviving as a conifer（18年11月10题；conifer针叶林这个话题上周刚考过；conifer是裸子植物gymnosperm；相较于被子植物angiosperm的生存优势，比如能够存活于贫瘠土壤；deciduous落叶的）
estuary species，生活在河海交汇处的生物如何平衡体内的盐和水，marsh plants的adaptation，盐沼salt marsh植物的生存，具备什么样的特点，比如怎么样把沼泽中的盐分排到体外（19年6月15日题）
Two Kinds of Magmata（两种不同的岩浆，19年1月12日题）
从采猎文明-农耕文明-现代文明，人类营养摄入和身体健康（可以参考18年3月11日题，food production的历史进程，冰川时代，动物迁移，人类被迫做出选择。有的人也选择迁移，有的人选择留下。土耳其等地区环境温暖潮湿，适合野生谷物生长，有的人选择留下来，通过野生谷物维持生活。并逐渐建立了半永久甚至是永久居住地。人口不断增长，使得人们不得不开始进行种植，从而满足更多的食物需求。食物储存方式的进步。人类开始通过挖地坑埋藏食物去应对食物短缺，无意间发现了储存的食物会发芽生长，可以用作种子。食物储存方法对农业的影响，人们不仅可以储存食物，也开始能够培育种子，并且更多的食物储存能够让人们词养家畜。）
Disturbed and fragment forest（18年5月6日考题，主要讲的是热带雨林由于气温升高，湿度降低，土壤的变化对很多的物种的生存和栖息地的破坏以及影响，其中有一种植物Vine能在此种环境下生存。雨林遭到了破坏，风在此过程中加剧了栖息地的变坏，无所顾及的进入雨林，导致土壤更加干燥，甚至直接吧树木吹倒。枯死的树木，人类的焚烧，以及气温的升高，也加剧了大火的潜在发生。
地中海的形成（可以参考TPO7-1 The GeologicHistory of the Mediterranean）
欧洲工业革命后，城市变化，人口迁徙，农业和铁路关系，还有工业革命对人们居住地的影响
恐龙灭绝
Sudan 的经济和文化
河流分流（有图）
书写材料的发展，羊皮纸，纸
Grass seeds
米虫，讲moth 的caterpillar stage
Map of the Mediterranean Sea withsubdivisions，straits，islands and countries
真考词汇题回顾
mundane=ordinary
adjacent=nearby
sparse=few
brittle
tactic
strategic
ultimately
eventually
dramatically
detrimental
3月06日是3月的第一次托福考试，如今也都已经结束，有很多学生是比较想要了解这一次都考了什么题目，如何解答。那么就到来看看3月06日这一次的托福的阅读真题以及答案解析吧。
阅读部分真题：
1、城市热岛效应
2、大陆漂移说
The Idea of Continental Drift
大陆漂移学说
2019.08.24上午场，2018.11.04，2018.10.13，2016.11.13
关于大陆漂移的猜想，有很多理论，但共同的前提是最早的时候地球上的大陆只有一块。第一位奥地利科学家认为大陆是靠大陆桥来连接在一起的；第二位科学家认为大陆以前都集中在在地球的某一极，收到月球引力的影响，潮汐将大陆逐渐往赤道推。
虽然这种观点后来被证明是错误的，但是能够说明大西洋的诞生。第三位科学家是课本上那个在病床上把南美洲和非洲拼在一起的人，有很多证据都可以证明他的猜想。第四位科学家通过生物的角度来分析，最终证明支持了第三位科学家的结论。
3、父母怎么分配小鸟的求食
4、ecology虫子的斑点等与环境有关
5、The Advent of Printing
印刷的出现
2017.09.09，2016.09.24
首段引入介绍打印技术的发明和在整个欧洲的迅猛发展，然后分段论述打印带来的影响：
（1）打印使整个欧洲社会从底层到顶层都发生了转变——底层人民能够获得打印书籍，并且是以自己的地区方言（vernacular） 写成的书，而不是以宗教语言（拉丁语） 写成的书，这激起了讲相同方言的人们的国家意识（national consciousness），有助于人们对国家忠诚而不再是对宗教统治者忠诚，对教会产生重大冲击；
（2） 打印渗透（permeate考词汇题） 到人们的公共生活和私人生活的每个角落——打印书籍内容不再局限于宗教而是包罗万象，甚至包括指导人们如何做一个合格妻子等日常生活的书籍；文化传播模式从原来的听说转变为读写，并且文化传播中心从原来的教会和宫廷转变为打印厂；
（3） 打印改变了知识本身的理解和传播，使得书籍容易复制，并且可以使用页码标注（pagination） 、索引（index） 、字母顺序编排和参考目录（bibliographies） 等方法编制书籍内容，这样便于知识的传播和积累，使得学者们能够索引到很多相关书目进行比较研究，发现问题进行校正，出现了新型修正版书籍。
6、NASA一种学说，微生物能否从一个星球到另一个星球
Is Panspermia Possible？
胚种论可能是对的吗？
第1段胚种论的引入介绍
（1） 地球上的一块来自火星的陨石中包含火星的微生物（microbial life），这重新引发了科学家对胚种论的关注，即生命可从一个星体向另一个星体传递；
（2）胚种论如果被接受需要满足三个条件：首先是将一个星体的石块爆炸出去的过程不会杀死该石块中的微生物；其次是石块中的微生物能够忍受太空飞行的恶劣条件和时长；第三是石块中的微生物能够忍受坠入另一星体大气层时的高温。
第2段第一和第三条件的解决
针对如何满足炸飞脱离一个星体时微生物不被杀死，以及如何进入另一个星体时微生物不被过度加热杀死的问题，科学家通过研究陨石的磁性得以解决（the nature of the meteorite＇s magnetism） ：陨石的外壳磁性很强，但往内部几毫米磁性就急剧减弱，内部磁场很弱，这种弱磁场来自该陨石尚是火星一部分的时候的火星的磁场，弱磁场不能忍受高温，否则就不存在，这表明陨石内部的温度从没有过热，因此允许微生物存活。
第3段第二条件的解决之一
忍受超长的星际飞行时长针对微生物能否忍受空际飞行的巨大时长，科学家从研究1.5亿年前的盐体沉淀物发现，53个盐体中有2个盐体内包含仍然活着的微生物，因此表明微生物长时间的存活虽然少见但仍然是一个可行的事件（viable event） 。
第4段第二条件的解决之二
忍受太空飞行的恶劣条件
太空飞行处于寒冷的真空中（cold vacuum），并且受到宇宙射线的致命辐射（deadly radiation），生命很难忍受，但通过试验，将微生物的孢子（bacterial spores） 放于绕地球运行的卫星中，五年后，这些孢子又复活了（resurrect），因此证明休眠中的微生物足以抵抗太空飞行的恶劣条件，待再次坠入另一星体时复活。
7、某种fish
托福阅读的准备技巧：
1、关于词汇
在阅读这个部分词汇是第一大拦路虎，的确，如果一个句子一共十几个词但4个压根儿没见过，5个意思模糊，怎么可能真正理解它的意思呢？和另一门必考的SSAT相比，两门考试的词汇重点截然不同。SSAT可以上升到SAT，GRE的级别，偏向使用复杂的词汇，我们称之为大词，analogy部分的话出现了很多日常生活中的单词，而这些词往往是我们国内考生平时根本无法接触到的，市面上大多数词汇书又都只专注于学术方面的单词所以难度较大。
而托福单词其实都比较偏学术，涉及的非常广泛，包括一些学科的名称等等，但总体来讲词汇量的要求并不高，个人认为大概在5000～7000徘徊。PDF格式固然方便，但Harvard的一个研究认为人们长时间的盯着电脑屏幕会导致学习能力和专注力的下降，所以还是推荐各位去图书馆借读或者网上订购。这里更希望大家能频繁地复习曾经背过的单词，从而加深记忆，对昨天背过的一个list尽量在第二天能达到5到6次的复习和测试，从而加强记忆力。
2、阅读
托福阅读的有两个难点：一是上面所说的词汇，第二便是长难句了。很多句子的长度和语法结构都大大超出我们平时课文甚至课外读物的范畴。
每篇passage的句子结构非常的复杂，信息量很大又以一种很婉转的方式表达出来，没有一些技巧往往会被绕晕，读完最后一个单词却忘了前面是讲什么的。针对这个难点，我觉得最好的办法是拆分一长句，找出各个部分逐一击破。ETS为了迷惑考生，分散我们的注意力，添加了很多额外的修饰，实际上对我们来理解某一句话并没有什么帮助，反倒起到了副作用。
很多考生（这里羞愧地再次举一下手）感觉句子中每个词都认识，但是这句话的意思却怎么也说不清楚，也一直搞不明白动词A是名词B还是名词C发出的，很多附加描述的部分也没有辨别清楚，导致最后产生很多误解。
温馨提示：
