新托福真题(热门18篇）

baidianfeng365 2023-09-11 141 0条评论

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摘要： 新托福真题（1）热带雨林生物多样性20XX年4月23日托福阅读内容回顾：讲热带雨林生物多样性的，就说这里为什么会有这么多样的植物，因为经历过物种隔离所以这些植物就各长各的，而且这里...

新托福真题（1）

热带雨林生物多样性

20XX年4月23日托福阅读内容回顾：

讲热带雨林生物多样性的，就说这里为什么会有这么多样的植物，因为经历过物种隔离所以这些植物就各长各的，而且这里不存在某一个物种的dominant或是 suppress其他物种，因为有一些吃幼苗的虫子会把离它们最近的同一类植物的幼苗吃掉，所以没有出现某类植物数量明显多于其他类的现象，再有就是因为植物多啊之类的原因所以生物也多。

热带雨林生物多样性原因，经历过物种隔离，不存在某一个物种占主导或者压制另一个物种的生长;又一些吃幼苗的虫子会把理它们最近的同一类植物的幼苗吃掉，没有出现植物数量明显多于其他种类的情况。雨林中植物种类本身也多。

参考练习：

官方真题Official 03：The Long-Term Stability of Ecosystems

官方真题Official 17：Animal Signals In The Rain Forest

官方真题Official 19：Succession, Climax, and Ecosystems

官方真题Official 26：Survival of Plants and Animals in Desert Conditions

新托福真题（2）

Topic：Media and celebrities

Do you agree or disagree with the following statement? Television, newspapers, magazines, and other media pay too much attention to the personal lives of famous people such as public figures and Use specific reasons and details to explain your

新托福真题（3）

参考分析：

不能同意这个观点——因为这样的说法过于片面。有些媒体(大众传媒mass media)表现得过于关注名人。但是真正的起因(the real cause)却是大众(the public; the broad masses of the people)本身——大众过于关注名人以及名人的私生活。媒体不过是在迎合大众(cater to the needs of customers;过去几年里,电视一直迎合大众的口味。In the past several years, television has been playing to the )，因为媒体也是商业机构(commercial organization)，也要盈利(profit-driving)。不是所有媒体都在一味迎合大众，也不是所有的television program, newspaper column都在关注名人。

新托福真题（4）

范文：

同意电视等媒体过分注重公众人物的报道：

(1)媒体为了满足大众的好奇心(SATISFY THE CURIOSITY)，所以过分注重公众人物的报道。比如说，名人的食品和生活方式等等。

(2)媒体为了赚钱的需要，集中在公共人物的报道。

(3)媒体为了监督公众人物。所以经常报道他们的私生活。

In this global information age where newspapers or magazines are always handy and TV has already turned so many people into couch tomatoes, few people concern about what these mass media has brought to us; we just accept it While I think the current focus on personal lives of famous people by these media requires further

Admittedly, it is reasonable for those media to continuously pay great attention to celebrities, the present fierce competition of the various media, the hard-to-pleased audiences' taste, the bombastic effect of coverage of these shining No surprise sometimes that we feel we just know more than those famous people than

However, the consequence of such intense coverage on public figures' personal lives not only violate those being focused on a certain level, but also do harm to us being informed in some Firstly, the privacy of those celebrities is ineluctably encroached from time to Sometimes the result is sad - do not forget the tragedy of Princess Secondly, our attention is certainly being diverted by such tide of craziness about What about those viewers who want to see something about ordinary people' lives? How can mass media not concern more about those people suffering from pain and poverty?

Furthermore, one of the significant results of the current fad on famous figures is that their behavior is so influential while at the same time the media have little guarantee to ensure what the say and do will not mislead the mass public and even cause more For example, if a famous figure is being asked about his or her point of view in a field he or she is not quite acquainted, the words presented to the audience may be This is especially harmful to those young people who are more likely to watch those programs of their idols, and also are mostly vulnerable to influential but harmful

In a sense, I do not quite appreciate the coverage of people in the center of spotlight; maybe once the mass media turn a little bit from their current focus to other aspects of the society, they may find out that the world is wonderful all the

新托福真题（5）

A Brief History of the Guitar

There is evidence that a four string, guitar-like instrument was played by the Hittites (who occupied a region now known as Asia Minor and Syria) around 1400 It had characteristically soft, curved sides--one of the primary features of anything identifiable as a guitar or The Greeks also produced a similar instrument which was later modified by the Romans, though both versions appear to have lacked the curved What is interesting here is that it seems this Roman cithara appeared in Hispania (now known as Spain) centuries before the Moorish

It had long been assumed that it was only after this invasion and the introduction of the Arabic due in the South that a guitar-like instrument first appeared in But with the Roman cithara arriving centuries prior, we might say that although the due influenced the development of the guitar it is not the true According to this theory, the Spanish guitar derived from the tan bur of the Hittites, kithara with a "k" of the Greeks and then the cithara with a "c" of the

However, following the arrival of the Moors, the Roman cithara and the Arabic due must have mixed and exerted mutual influences on one another for many Although there is no specific documentation, it is likely that makers of us and cithara’s would have seen each other's work, if only through presentation by traveling By 1200 AD, the four string guitar had evolved into two types: the guitars maraca (Moorish guitar) which had a rounded back, wide fingerboard and several sound holes, and the guitars Latina (Latin guitar) which resembled the modern guitar with one sound hole and a narrower

In the late 1400's, the visual was born by adding doubled strings and increasing its It was a large plucked instrument with a long neck (vibrating string length: 72 to 79 cm) with ten or eleven frets and six It was the visual which became the preferred instrument of the Spanish and Portuguese courts and remained so until the late 1600's when orchestral and keyboard instruments became more

Although the guitar existed concurrently during this period, the visual and lute had overshadowed it until the end of the 17th century when the lute had acquired too many strings, was too hard to play and tune, and the visual was slowly replaced by the four and five course guitars (which had seven and nine strings respectively: one single high string, and three or four remaining courses--or pairs--of strings). It was perhaps the addition of the fifth course in the late 16th century that gave the guitar more flexibility and range and thus improved the potential of the repertoire that led to its

By the end of the 18th century and the beginning of the 19th, some guitars already used six single strings and employed fan struts under the These struts were added for structural support to allow thinning of the top for greater resonance and for better distribution of sound across the Other contemporaneous developments included the use of a reinforced, raised neck using ebony or rosewood for the fingerboard, and the appearance of machine tuners in place of the wooden (It is noteworthy that the raised fingerboard had a great impact on the technique of the instrument since the strings were then too far from the soundboard to rest one's finger on the face for ) These guitars would be unmistakably recognized by us as early classical

Beginning with the early 19th century, in the works of Agustin Caro, Manuel Gonzalez, Antonio de Lorca, Manuel Gutierrez from Spain and other European makers including Rene Lakota, and Johann Stauffer, we find the direct predecessors of the modern classical By 1850, the guitar was prepared for its most important breakthrough since its inception, the work of Antonio Torres With the encouragement of Julian Arcos and his own brilliant intuitions, Torres refined the strutting of the guitar to include as many as seven struts spread out like a fan under the He increased the body size and the width of the neck These improvements allowed for greater volume and bass response as well as the development of a left hand technique for richer The guitar was now prepared for the demands of the solo performer and the concert

Although there have been continued developments since the middle 1800's, our modern guitar retains most of what was developed nearly 150 years No one can say if we have reached the end of the evolution of the guitar, but until now, many of the best guitars from the point of view of volume, projection and sheer beauty of tone were made by the great makers, Torres, Ramirez and Arias from the second half of the last century!

新托福真题（6）

吉他的history

根据格罗夫(Grove)音乐辞典记载，古典吉他为鲁特琴族(Lute family)中具有琴格的拨弦乐器。关于吉他起源及其形成之研究，可说是众说纷纭﹔这些理论包括了：

从古希腊齐特琴(Kithara)及吉他之语源学说(Etymology)中研究得来。

部分学者推论认为吉他是从美索不达米亚(Mesopotamia)，及安娜多利亚(Anatolia)发现的长颈鲁特琴(Lute)所演变而来。

另一部分学者研究发现吉他是由阿拉伯传入欧洲，因为在埃及发现平扁琴背之哥普鲁特琴(Coptic Lute)，或可认为是吉他的前身。由于以上大部分均为推论，且早期音乐文献多半失散，以至于在缺乏直接证据的状况下，目前对于吉他真正的起源尚未形成定论，只能从非古典吉他及其他音乐历史文献中寻找可靠而相关的蛛丝马迹。

在中世纪文学中出现和吉他有关的乐器名称，法国称之为Interne，英国则是gesturer。法国诺曼底公爵(Duke of Normandy)所拥有乐师名单中，有赫特马(Jean Haut mar)弹奏Gutierrez Latina及拉贝(Richard Labe)弹奏Gutierrez Porsche等古吉他琴族乐器之记载。马肃(Guillaume de Mac haut)亦列出Moriches et Gutierrez为鲁特琴族之一。由于当时古吉他琴族中的拉丁吉他Guitars Latina，吉他Gutierrez及摩尔吉他uiterreMoresche等音量不能和鲁特琴相抗衡，因此在欧洲大陆吉他无法广为流传，直到文艺复兴时期西班牙出现了比维拉琴(Visual)及四弦吉他(Four-Course Guitar)之后，吉他的地位才开始奠定了雏形。

一般称古典吉他为西班牙吉他，因为从16世纪以后，比维拉琴及四弦吉他首先在伊比利半岛上萌芽发展，随后才发展成巴罗克时期五弦吉他，六弦吉他，最后六弦吉他亦在西班牙境内孕育出吉他第一黄金时期，到了现代古典吉他大师塞戈维亚(Andres Segovia)手中，更进一步将古典吉他艺朮推广到欧洲之外的亚洲及美洲，形成古典吉他史上的第二黄金期。在古典吉他的演变时期中，虽然也正是音乐史上巴罗克、古典、浪漫时期，器乐己成为主流﹔然而当时吉他却因为无法和交响乐团整体音量匹敌，加上其本身之特殊风格，与乐团乐器之配置有所隔阂，因此成为一独奏乐器。

至于六弦吉他的出现，虽然大部分学者均相信是在法国以及义大利所开始，但却没有任何当代文献证明是由谁最早开始制作。反而有一位德国的小提琴与吉他制琴家雅寇﹒奥古斯特。奥图(Jacob Augustus Otto)自称是他在接受了德勒司登的乐团指挥纽曼先生(Herr Neumann)的一张六弦吉他订单之后，特别为他所设计制造的。这似乎表示六弦吉他是在德国首先出现的，但是有件事绝对不能忽略，这位制琴师奥图早年均在义大利学习制琴，很有可能当时他就已经在学习过程中见过这种吉他的雏形了。至于西班牙采用六弦吉他的起源，虽然没有书面的记载，但一般相信大约在1820年左右，因为著名的西班牙吉他作曲家兼演奏家阿瓜多(Dionysius Agued)为六弦吉他所写的教本于1825年在马德里出版，足以证明在此之前，六弦吉他已经有部分人开始使用，所以才会需要这样的教本。在18世纪末至19世纪初，六弦吉他的发展也逐渐产生一些较为常见的特征，例如由于琴身上下较宽部分又加宽了些，使得曲线更为明显﹔琴桥固定琴弦的方式是将弦缠在本制插梢上，再插入琴桥上预先挖好的六个小孔中加以固定，取代了这之前直接缠绕在琴桥上的设计﹔到了19世纪早期，在琴桥又加上了狭长的骨片或象牙片，作为下弦枕。此外，指板也继续延伸到音孔旁。虽然无法查证何时开始采用这种设计，但可以将其归功于一位德籍制琴家乔治﹒史道弗(George Stauffer)，值得注意的是，他也是后来移民至美国纽约，并成为美国制琴工业先驱的著名制琴师马汀(Christian Friedrich Martin)的老师。马汀后来在美国研究发展出本土的钢弦吉他，也就是现在流行音乐界所广为使用的民谣吉他鼻祖，有别于当时在欧洲仍采用的羊肠弦吉他。

19世纪早期，吉他形状渐渐改变发展成接近现代吉他的外观：金属弦纽取代木制纽头﹔挖空的音孔取代玫瑰纹饰的音孔﹔琴桥提高了﹔扁平的背板变成标准形式﹔第十二琴格对准琴颈和音箱联结处，此外，华丽的装饰也几乎完全消失了。在这名家辈出的时代，必须提到这位被称为近代吉他制作之父的著名人物，西班牙制琴师安东尼奥﹒托雷斯(Antonio de Torres Jordon, 1817～1892)。他所设计出的吉他新形式，可说是凌驾于在这之前所有形态的吉他。他将弦长定为65公分，琴身内部构造以响孔为起点，在音箱内部配置有七根扇形力木，并将原本较为窄小的琴身扩大，这种设计大大地提高吉他的音响效果，引起各著名制琴师的仿效，成为现代古典吉他的制作典范。

新托福真题（7）

Topic：Media and celebrities

新托福真题（8）

范文：

同意电视等媒体过分注重公众人物的报道：

(1)媒体为了满足大众的好奇心(SATISFY THE CURIOSITY)，所以过分注重公众人物的报道。比如说，名人的食品和生活方式等等。

(2)媒体为了赚钱的需要，集中在公共人物的报道。

(3)媒体为了监督公众人物。所以经常报道他们的私生活。

新托福真题（9）

托福综合写作原文：

Throughout the Greek islands, archaeologists have found over 200 plate-sized ceramic disks dating to about 20XX to 3000 The disks are typically decorated on one side, while the other side is undecorated and has a raised edge that creates a shallow They usually also have short Archaeologists are still unclear about what the objects were used Three theories about their function have been

Pans for Cooking Food

Some archaeologists believe that the objects were used for cooking These archaeologists believe that food was placed on the undecorated side and that the raised edge on that side prevented the food from falling out of the The handle would have made it easier and safer to remove the pan from a cooking fire or

Drums

Other archaeologists believe that the objects were drums for making These archaeologists point out that animal skins could have been stretched over the side with the raised edge, creating an air chamber that would have amplified sound when the animal skin was According to this theory, the person doing the drumming would hold the drum by the handle with one hand and strike the skin with the other

Mirrors

Yet other archaeologists believe that the objects were a kind of ancient Although the objects are not made of a reflective material, they could have been used to create a reflection by pouring a liquid, such as olive oil, into the shallow basin with the raised Supporters of this theory point out that the decorations found on the ceramic disks are similar to decorations found on hand-held metal mirrors made in ancient

Directions: You have 20 minutes to plan and write your Your response will be judged on the basis of the quality of your writing and on how well your response presents the points in the lecture and their relationship to the reading Typically, an effective response will be 150 to 225

阅读：出土了一种用陶土做的disk，一面有花纹，一面没花纹。没花纹那面周围有一圈凸起刚好形成了一个浅浅的碗。disk下面还有短短的手柄。这种disk有三种可能的用法。

1、用来做饭，disk无花纹面的碗刚好可以盛放食物，而手柄方便烹饪的时候移动disk。

2、用来当鼓，往disk上蒙上兽皮，就可以形成一个腔体。人们可以一手持手柄，一手击鼓。

3、用作镜子。往无花纹面里到些液体，就可以当镜子用了。而且，这种用法很像古希腊的手持镜子。

听力：上用法都不可信

1、不可能用于烹饪的。想一想我们家里用的pans and pots，使用之后会black end or discolored，因为长时间接触高温，炊具势必会发黑。但是出土的200件disk中没有一个出现了这种情况。

2、做鼓使用也不可能发出好听的声音。这中disk使用陶土制作，即使蒙上兽皮敲击的声音也远不如用兽皮和木头制作的鼓好听。此外，陶土制作的鼓非常沉，使用不便。

3、无法当作镜子。倒入液体后，disk就必须被水平放置，这样人们可以弯腰照镜子。但是被水平放置后，有花纹的那一面就看不见了。古希腊的镜子是手持的，垂直拿在手里，这样可以随时看见镜子的花纹。

主题

希腊发现了200多个圆盘状的ceramic disks，一边平面的有装饰，一边是周围有突起的边没装饰的。三种理论推测用途。

R&L对照

Reading:

1、Pans for cooking 因为没装饰那边凹进去，盛菜不会撒，且有把手好握着;

2、把动物皮绑在disks周围突起上面，可以制成鼓等等;

3、古人把水等液体放进去，容器放平，弯腰就能看见自己的figure。

Lecture: 逐一反驳

1、如果用来盛菜，会使ceramic disks变得blacken and discolor,因为高温。同时出土的近200多件，太少了，不会是盛菜用的;

2、这样的做法敲起来不会有好的声音，解释了一般的鼓部分原理。并且为什么古人放着那么多充足的适合做鼓的材料不用而用它呢;

3、如果是为了做镜子用，就要把镜子平放，那么人家干嘛还把背后平的那一面弄上装饰呢，反正又没人看得见嘛。

新托福真题（10）

Do you agree or disagree with the following statement?

Workers would be happier if they are doing different types of tasks during their workday than doing the same

新托福写作思路解析：工人做不同类型的工作

I agree

Workers will get tired easily if they keep doing the same type of task for a long (长时间做同样的工作会导致效率下降，不同的工作可以转化思维)

By doing a variety of tasks a person can develop skills in different (不同的工作会有不同的要求，从而积累工作经验，这对于未来的职业发展有好处)

新托福真题（11）

文章内容小结题

这是托福阅读考试中经常出现的题目。顾名思义，是对全文内容的总结，考察的是对文章主旨和段落主旨的把握。正确选项是一些总结性的选项，错误选项的特点是：与原文不符，原文没有提到，或者是次要信息。次要信息也就是文中提到的某个细节性的信息，次要信息的选项具有极大的干扰，在做题时应注意识别。

句子简化题

这种题型的主要考查目的是：考查理解文章中某一特定复杂句子所传达的基本内容，并不受细枝末节的干扰，用简化的句子表达原句基本内容的能力。因此，语法水平在解题过程中就显得尤为重要。这种题目在托福阅读中的具体表现是题目中有“high sentence”。

修辞目的题

这是托福阅读题型中比较难得分的题目，这种题目注重考察单词，短语或句子在句子之内或句子之间起到的作用，这就要求平时阅读时，在涉猎原文细节信息的基础之上，要有意识地注意句子之间的逻辑关系以及段落的结构。

事实否定题

在解答这种题目的时候首先要注意的是避免惯性思维的影响。平时在做题习惯当中，看到与原文相符或者和原文一样的选项就选，但是到了这个题目，需要选择不属于题干内容或者与原文相反的选项，这是需要注意的一点。

插空题

这些题目中的一些较为复杂的逻辑关系会可能会造成失分。在解答托福阅读插空题，首要任务就是要找到线索词。也就是能够让了解句子之间逻辑或者语法联系的词，线索词亦是解题的关键。

如何快速完成托福阅读插句题：

在段落之前的空，99%错误率!因为每段的中心容易出现在第一句，如果把第一句改变了，也就改变句意了。但同时请注意【两段式的插句题】，第二个段落前面或第一个段落后面的空反而容易是正确的!

空后有代词this, these, that, those, he, she, they, it, such, each, other, one, another, both, each, anybody, none, some, any….的，一般来说是不对的，缘由是【代词不能跨距!】，如果在代词前面加了一句话，就会改变代词的指代对象。但是也是有例外的，比如该段只有一个主语，其他各句出现连续指代前句，就无法排除后有代词的选项。

插入句中存在指代关系this, these, that, those, he, she, they, it, such, each, other, one, another, both, each, anybody, none, some, any….，一般不选择整段最前面的空!这是根据插入句本身无足轻重的地位决定的，一般不会考核段间承接关系，但【两段式插句题除外】!

优先考虑【段落最后的空】，注意!这里说的是段落最后的，而不是最后一个空!(因为有时候最后一个空在段中)。因为放在最末尾，本身对文章没什么影响，所以，优先考虑这个空!

空后有时间点，例如 ■ In 1832, ….，而本句又不强调事件，一般不做选择，时间一般和前句发生的时间承接较为紧密，不可拆分。

空后出现转折however/ 、因果Because, 、递进what's more/ in addition/ first/ second….【90%】高频情况下作为最次要的考虑位置!因为插入句承起不到那么强悍的、连接句间逻辑关系作用的!但经过详细排查位置之后，无奈之下但能对应或前或后的信息，则可放入!

插入句中若出现积极或消极概念，有两种可能，第一、插入句为消极和前句构成转折对立，则前一句存在积极概念;第二、插入句和前句构成递进解释，则前一句为存在消极概念。

解析新托福阅读考试题型：

第一种题型：词汇题与以往的老TOEFL相比这个题型是太多没有发生改变：

The word X in the passage is closet in meaning to

第二种题型：代词指代题同老TOEFL,只不过去掉了行数,用加黑的方式让同学们发现所在.

The word X in the passage refers to托福考试雅思考试托福考试时间雅思考试时间

第三种题型：细节题依然考查我们对于文章细节的把握能力

factual information and negative factual information

第四种题型：推理题文章中明确给出所要推理的内容,如给你结果让你推原因等

which of the following can be inferred about X?

The author of the passage implies that

第五种题型：插入句子题：这种题是新TOEFL新增题型,给出一句话让我们来判断这句话应加入一个段落四个方块的哪个部分用鼠标双击所选的黑色方块即可.这种题目本身不难做,因为需要加入的句子有明确的提示,如This is a question that has puzzled scientists for 要求将这句话插入一段话中.我们只需要找到关健词question就可以直接去找哪句话可能是作者提出的问题,将这句话加在那句话之后即可.

托福阅读答题技巧：

扩大托福词汇量

从某种意义上来讲，词汇量的大小是TOEFL阅读理解高分的基础和关键。如果词汇量没有达到基本要求(五千以上)，纵然你有"葵花宝典"在手，也只能命丧ETS的“毒招”之下。所以，以牺牲词汇量为代价的技巧练习简直是一味巨毒无比的“五毒散”。

通过练习使学生养成高效的阅读方法--即所谓的托福阅读技巧

TOEFL的阅读量非常大，一般的中国考生根本无法把文章全部读完，所谓的“扫读法”、“跳读法”和“略读法”也只能适用于少数类型的文章，根本不能解决本质问题。那么，文章到底应该怎么读法呢?一句话，主动地阅读文章的关键部位。所谓主动是指不能象一般的阅读那样完全被动地接受信息，而应该不断的进行思考和预测;所谓关键部位，主要是每一段的开头和结尾部分。由于TOEFL的阅读理解文章全部选自于正式出版物，文章的逻辑结构非常完整和严谨，而且出现的逻辑模式也是屈指可数。经过系统的训练，考生的预测可以做到非常准确的程度。这样，通过阅读文章的几处关键部位，就能很快地把握整个文章的结构和内在的逻辑关系，也就解决了问题的70%。

解题训练

排除法恐怕是一直以来大多数学生在解阅读理题目时使用最多的方法。事实上，这种方法具有致命的缺点：干扰大、费时间。更有效和迅速的办法是读完题干之后，就在脑子反映出一个模糊的或者是不完整的答案，然后直接在选项中寻找接近的答案进行判断。这种能力必须在平时的训练和讲解中逐渐养成和加强，决非什么技巧之类的东西可以替代。

新托福真题（12）

热带雨林生物多样性

20XX年4月23日托福阅读内容回顾：

参考练习：

官方真题Official 03：The Long-Term Stability of Ecosystems

官方真题Official 17：Animal Signals In The Rain Forest

官方真题Official 19：Succession, Climax, and Ecosystems

官方真题Official 26：Survival of Plants and Animals in Desert Conditions

新托福真题（13）

托福阅读题目考试日期：

20XX年10月21日

新托福阅读题目

Plant and Animal Life of the Pacific Islands

太平洋物种多样性。有关太平洋群岛上的物种, 给了一幅图影响群岛上的物种的因素有land size、经度(越东越isolated species越少)、纬度(纬度高的不易有tropical plants)、wind，wind独立一段讨论。之后又说一些islands虽然isolated，但是形成了周游本岛才能生存的物种。举了一个例子是新西兰。后来讲了这些物种的几个特点，有题问哪个特点是没有提到。

新托福真题（14）

金三角一：对于词汇量的要求较为严格

从某种意义上来讲，你积累的英语词汇量的多少，影响着你在托福阅读考试中取得的成绩。如果说你具备的词汇量达不到最基本的要求，即使你的语言能力再强也过不了托福难关。

金三角二：阅读大量英语文章，增加自己的知识面

当一个人知道的东西多了后，在面临问题时，就会显得更有自信，解决问题也会有自己的路子。这样方式在托福阅读考试能力训练中也同样适用，建议考生利用业余时间丰富自己的知识面，对各国或各地区等相关文化及常识有一定了解后。

金三角三：注意解题要领，无需阅读全篇文章

考生在解答托福阅读试题时往往会存在一定的误区，认为想要解答试题必须要阅读整片文章。提醒各位，这种理念是错误的。阅读文章的做种目的还不就是为了解答试题?只要能够准确的解答试题，不完全阅读文章页是可以的，有没有人会问你，全篇文章的详细内容，所以说，阅读时要秉着做题去阅读，而不是为了阅读而去阅读。

新托福真题（15）

一、列举和并列句

列举指的是： First, Second, Third,.。。等逐条列出。并列句是指：A ，B and C，即逐项列出。它们共同的特征是列出二点或三点以上的条目。该类型语言点常考的题型是“细节性问题”，主要有两种：

Which 题型

该题型只要求从并列的三顶中选一项作为答案，其它条目与题目无关。在这种情况下，往往题目的答案出自最后一个选项。

2 . EXCEPT 题型

该题型俗称“三缺一”题型，即题目 4 个选项中有三个符合文章内容，剩下一个不符合，题目便是要求选出这个不符合文章内容的选项。

例如： All of the following are mentioned as types of evidence concerning handedness EXCEPT 这种题型只适合于考并列、列举句，这是因为它要求其三个选项一定是文章中出现的，也就是并列或列举之处。利用这一特点。我们在读文章的时候就可多留意，如看到并列、列举句，可预想其有可能被考到;如发现题目中有“三缺一”题型，则应到并列、列举处找答案。

二、否定及转折句

否定句是指带有 NO 或 NOT ， NEVER 等否定词的句子，而转折句则指带有 HOWEVER ， BUT 或RATHER 等关联词引导的句子，它们可以用下面的句型说明： A is not B ， as C ， but is D 。对于以上的句型常出“推断性问题”。

三、举例句

句中由 as 或 such as ， for example 等引导的短语或句子为举例句，常考“推断性问题”和“细节性问题”。上面句型中的 as C 为插入的举例句。

四、数字与年代

文中的数字、年代、日期等常常是出题者注意的考题点，如 1996 年 10 月第 48 题。

五、最高级及绝对性词汇

文章中若出现 must ， all ， only ， anyone ， always ， never 等绝对性词汇或 first ， most beautiful 等最高级词汇，往往是考题要点，一般出“细节性题目”。这是因为它们都有一个共同的特点，那就是概念绝对，答案唯一，无论是出题还是做题，不会产出歧义和疑问，因此很容易出题，答案绝对正确。相反地，如果文章中出现相对性的词汇、例如 Some of the people chose red hats,some chose green hats,and others blue 其中 some 为相对性词汇，如果我们出这样一道题： What color hats did some people choose 那么就没有唯一正确的答案，因为有可能为 red,green 或 blue ，给评卷带来困难。

六、比较级及比喻

如果文中含有 more than 或 as as ，like ( a fly )等句型，则为比较级或比喻句结构，往往也是考题点，一般出“推断性题目”。

七、同位语及插入语

文章中带有由 that is ，，or 等词汇引导的名词词组，放在一个名词后面，为同位语;插入语是指副词、不定式、分词、从句等结构故在句首，句中或句尾，不做句子成分，但修饰整个句子、表达作者感情的语法结构。这些用逗号隔开的持殊结构往往也是考查的重点，一般会出“细节性题目”。

八、因果句

句中若有如下结构或词汇的称为因果句：

(1) 因果连词：because，since，for，as，therefore，so，consequently 等,

(2)表示因果的动词：cause ，result in ，originate from 等;

(3) 表示因果的名词： base, basis, result,consequence 等，这些因果句都是指明某两个事件之间因果关系的，尤为出题者所青陈。因为通过出题可以考查文中两个事件内在的因果关系。此种句型一般出“推断性问题”。

九、段落句

文章各段第一句( 段首句 )和末段员后一句( 文尾句 )都是十分重要的地方，往往是文章作者表达中思想，进行总结综述的地方，因此常出。

(1)主题性问题，(2)细节性问题(3)结构性问题。

十、特殊标点

有一些特殊标点的含义也属于考查范围，它们是：

(1) 破折号，表示解释。考细节性问题;

(2) 括号，表示解释。考细节性问题;

(3) 冒号，一股同上，有时冒号也表示列举，则考“ EXCEPT ”题目;

(4) 引号。表示引用，考细节性问题：

(5) 惊叹号，表示作者感情，考态度性问题。

新托福阅读真题解析题目：热带雨林生物多样性相关

新托福真题（16）

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed "art " Art glass was intended for decorative purposes and relied for its effect upon carefully chosen color combinations and innovative

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846-1904). In the United States, Louis Comfort Tiffany (1843-1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid-1920' It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the At first restricted to a small avant-garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World The basic tenet of the movement — that function should determine form — was not a new Soon a distinct aesthetic code evolved: form should be simple, surfaces plain, and any ornament should be based on geometric This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of The new taste demanded dramatic effects of contrast, stark outline and complex textural

题型：

What does paragraph 1 mainly discuss?

(A) Design elements in the Art Nouveau style

(B) The popularity of theArt Nouveau style

(D) Color combinations typical of the Art Nouveau style

The word "one" in line 4 refers to

(A) century

(B) development

(D) coloration

Paragraph 1 mentions that Art Nouveau glass was sometimes similar to which aspect of ancient buried glass?

(A) The distortion of the glass

(B) The appearance of the glass surface

(D) The size of the glass objects

What is the main purpose of paragraph 2?

(A) to compare different Art Nouveau styles

(B) to give examples of famous Art Nouveau artists

(D) to show the impact Art Nouveau had on other cultures around the world

The word "prized" in line 16 is closest in meaning to

(A) valued

(B) universal

(D) preserved

The word "overtaken" in line 20 is closest in meaning to

(A) surpassed

(B) inclined

(D) applied

What does the author mean by stating that "function should determine form" (lines 23-24)?

(A)A useful object should not be

(B) The purpose of an object should influence its

(D) The form of an object should not include decorative

It can be inferred from the passage that one reason Functionalism became popular was that it

(A) clearly distinguished between art and design

(B) appealed to people who liked complex painted designs

(D) was easily interpreted by the general public

Paragraph 3 supports which of the following statements about Functionalism?

(A) Its design concept avoided geometric

(B) It started on a small scale and then spread

(D) It was not attractive to architects and

to the passage , an object made in the Art Nouveau style would most likely include

(A) a flowered design

(B) bright colors

(D) a textured surface

回答：ACBBA ABCBA

新托福真题（17）

A Brief History of the Guitar

新托福真题（18）

吉他的history

从古希腊齐特琴(Kithara)及吉他之语源学说(Etymology)中研究得来。

部分学者推论认为吉他是从美索不达米亚(Mesopotamia)，及安娜多利亚(Anatolia)发现的长颈鲁特琴(Lute)所演变而来。

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