托福考试修辞目的题要怎么解答呢？

最近经常有小伙伴私信询问托福考试修辞目的题要怎么解答呢？相关的问题，今天，蜕变培训网小编整理了以下内容，希望可以对大家有所帮助。

本文目录一览：

• 1、2020年1月5日托福阅读考试真题答案
• 2、托福考试修辞目的题要怎么解答呢？
• 3、托福阅读真题:TPO11原文及答案

2020年1月5日托福阅读考试真题答案

2020年的第二次托福考试已经圆满结束了，真题和答案也已经新鲜出炉，大家考得怎么样呢？为大家准备了2020年1月5日托福阅读考试真题答案。

阅读篇章

Pueblo Pintado， an outlyingChacoan great house

The Chaco Phenomenon（15年2月1日题）

Distribution of Seaweeds（14年4月19日题）

Temperature Regulation in MarineOrganisms（14年8月16日题；海洋生物中的恒温动物和变温动物，各自的优势）

Essentials of Chinese Art（17年2月25日和18年1月27日题；中国古代艺术，手工业，瓷器和玉器雕刻为例）

El-Nino厄尔尼诺（18年9月15日和19年11月2日题，文章内容类似TPO43-3 El Niño，厄尔尼诺和拉尼娜现象对气候的影响，极端干湿气候）

Industry during the Rome Empire（2018年5月6日和18年9月9日题，讲述了罗马的工业，没有革新revolution，只有规模上的expansion）

The Controversy over the CosmicHypothesis（16年11月12日和17年9月17日题，大爆炸学说和恒定学说。一种说宇宙是爆炸形成的，一种说宇宙整体的组成是恒定不变的）

Nile Floods（18年9月9日和19年10月27日题；尼罗河泛滥） 蜕变培训网

The Extinction of the Dinosaurs（15年11月15日考题，骨灰级话题了，讨论恐龙灭绝的理论学说，涉及气候改变、火山喷发以及地层中的iridium引出陨石撞击论。文章内容也可以参考TPO8-2 Extinction of the Dinosaurs）

Farming New England in ColonialTimes（15年8月30日，16年3月13日和17年7月15日题，北美早期农业发展）

某种独特的编舞

环境问题并非一定源于明显的原因，比如过度放牧

艺术家与艺术沙龙

臭氧层

Normal Pacific pattern： Warm poolin the west drives deep atmospheric convection. Local winds cause nutrient-richcold water to upwell along the South American coast.

El Niño conditions： warm water and atmosphericconvection move eastwards. In strong El Niños deeper thermocline off S. Americameans upwelled water is warm and nutrient poor.

真考词汇题回顾

incidence=occurrence

eclectic=diverse

freestanding

freestanding

catastrophic

particular

respectively

mainstay

remnant

constantly

meager

reinforced

rival

rare

mere

托福考试修辞目的题要怎么解答呢？

首先我们要知道托福文章结构有一个规律，就是claim(观点)+detail(s)，换句话说就是给出一个观点，然后用一个或者若干个细节或者例子来支撑前面的观点。

不论是从文章整体架构，段落结构，还是更微观的行文结构来看，一般来说这个规律都成立。而修辞目的题实质上就是出题人把一个detail拎出来问你，作者为什么要提到这个detail。到这里，问题的关键就变成了找到这个detail对应的claim究竟在哪里。

最简单的模型就是，claim后面就一个detail支撑，这种情况下，自然detail前面紧挨着的那句话就是作者的观点，即提到这个detail的目的是为了说明前面的这个观点。

然而有时候，作者会用不止一个detail来支撑最前面的claim，模型视图如下

Claim+ detail 1 + detail 2 + detail 3

这种时候，如果出题人把detail 3拎出来问你它的目的，显然答案就不是为了支持紧挨着它的前面那句话了，而应该是遥相支持前面的前面的前面的那个claim。

根据以上原理，我们总结出了一个做题步骤，帮助大家高效地找到这个claim。

简言之，

1. 找出题目中的关键词

2. 用关键词定位原文

3. 按照原句 -- 前面1~2句 -- 段落第一句的顺序找到claim

4. 根据原文claim找到对应选项

可以看出，步骤1和2是在文章中找到题目里提到的detail的位置，当然，如果文中已经给你highligh出来了的话这两个步骤就省掉了

而步骤3才是在找claim

下面，我们来进行一个实操应用：

In paragraph 1, what is the author's purpose in providing examples of how organisms are destroyed?

○To emphasize how surprising it is that so many fossils exist

○To introduce a new geologic theory of fossil preservation

○To explain why the fossil record until now has remained incomplete

○To compare how fossils form on land and in water

很明显，这道题需要我们自己去找到detail的位置，所以我们要从第1个步骤开始做起：找出题目中的关键词

examples of how organisms are destroyed(生物被摧毁的例子)

第2步，我们要拿着关键词到段落里面去找detail对应的原句，即哪里有提到生物被摧毁的例子

Paragraph 1: When one considers the many ways by which organisms are completely destroyed after death, it is remarkable that fossils are as common as they are. Attack by scavengers and bacteria, chemical decay, and destruction by erosion and other geologic agencies make the odds against preservation very high. However, the chances of escaping complete destruction are vastly improved if the organism happens to have a mineralized skeleton and dies in a place where it can be quickly buried by sediment. Both of these conditions are often found on the ocean floors, where shelled invertebrates (organisms without spines) flourish and are covered by the continuous rain of sedimentary particles. Although most fossils are found in marine sedimentary rocks, they also are found in terrestrial deposits left by streams and lakes. On occasion, animals and plants have been preserved after becoming immersed in tar or quicksand, trapped in ice or lava flows, or engulfed by rapid falls of volcanic ash.

我们看下来后会发现有且仅有红色部分是一些摧毁生物的具体例子，清道夫、细菌、化学侵蚀等等，至此我们完成了第2步，定位出了detail对应的原句。

第3步，到这句话的前面找它对应的claim，这道题里，它前面只有一句话，那让我们来验证一下这是不是这个detail所支撑的观点呢?

When one considers the many ways by which organisms are completely destroyed after death, it is remarkable that fossils are as common as they are.

(当一个人知道生物死后会被如此多的方式所完全分解毁灭，那他就会感叹世界上化石如此普遍有多不可思议)

看起来逻辑上可以成为生物被摧毁的例子所支撑的对象吧

那我们现在来做第4步，根据找出来的claim去选出最接近的选项

In paragraph 1, what is the author's purpose in providing examples of how organisms are destroyed?

○To emphasize how surprising it is that so many fossils exist

○To introduce a new geologic theory of fossil preservation

○To explain why the fossil record until now has remained incomplete

○To compare how fossils form on land and in water

选项1是不是就是我们找出来的claim的同义复述呀?答案就是它了!

All in all，只要把握好题型背后的原理，妈妈再也不用担心你做不好修辞目的题了!

托福阅读真题:TPO11原文及答案

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

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