3月3日托福阅读机经 10月12日托福阅读考试真题及答案

今天蜕变培训网小编整理了3月3日托福阅读机经 10月12日托福阅读考试真题及答案相关信息，希望在这方面能够更好的大家。

本文目录一览：

• 1、托福阅读真题:TPO11原文及答案
• 2、2018年3月3日托福阅读机经
• 3、2019年10月12日托福阅读考试真题及答案

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 蜕变培训网

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

2018年3月3日托福阅读机经

3月份的托福考试就快来了，那么3月3日的考试机经有哪些呢?这是不少出国人士比较关心的问题，和一起来看看2018年3月3日托福阅读机经!欢迎阅读。

2018年3月3日托福阅读机经

类别：农业类 真题140316CN-P3

Title：Agricultural Society in Eighteenth-Century British America

In the northern American colonies, especially New England, tight-knit farming families, organized in communities of several thousand people, dotted the landscape by the mid-eighteenth century. New Englanders staked their future on a mixed economy. They cleared forests for timber used in barrels,ships, houses, and barns. They plumbed the offshore waters for fish to feed local populations. And they cultivated and grazed as much of the thin-soiled, rocky hills and bottomlands as they could recover from the forest.The farmers of the middle colonies-Pennsylvania, Delaware, New Jersey, and New York-set their wooden plows to much richer soils than New Englanders did. They enjoyed the additional advantage of setting an area already partly cleared by Native Americans who had relied more on agriculture than had New England tribes. Thus favored, mid-Atlantic farm families produced modest surpluses of corn, wheat, beef, and pork. By the mid-eighteenth century, ships from New York and Philadelphia were carrying these foodstuffs not only to the West Indies, always a primary market, but also to areas that could no longer feed themselves-England, Spain, Portugal, and even New

England.In the North, the broad ownership of land distinguished farming society from every other agricultural

region of the Western world. Although differences in circumstances and ability led gradually toward greater social stratification, in most communities, the truly rich and terribly poor were few and the gap between them small compared with European society. Most men other than indentured servants (servants contracted to work for a specific number of years) lived to purchase or inherit a farm of at least 50 acres. With their family’s labor, they earned a decent existence and

provided a small inheritance for each of their children. Settlers valued land highly, for owning land ordinarily guaranteed both economic independence and political rights.

By the eighteenth century, amid widespread property ownership, a rising population pressed against a limited land supply, especially in New England. Family farms could not be divided and subdivided indefinitely, for it took at least fifty acres(of which only a quarter could usually be cropped) to support a single family. In Concurd, Massachusetts, for example, the founders had worked farms averaging about 250 acres. A century later, in the 1730s, the average farm had shrunk by two thirds, as farm owners struggled to provide an inheritance for the three or four sons that the average

marriage produced.

The decreasing fertility of the soil compounded the problem of dwindling farm size in New England. When land had been plentiful, farmers planted crops in the same field for three years and then let it lie fallow (unplanted) in pasture seven years or more until it regained its fertility. But on the smaller farms of the eighteenth century, farmers had reduced fallow time to only a year or two. Such intense use of the soil reduced crop yields, forcing farmers to plow marginal land or shift to

livestock production.

The diminishing size and productivity of family farms forced many New Englanders to move to the frontier or out of the area altogether in the eighteen century. "Many of our old towns are too full of inhabitants for husbandry, many of them living on small shares of land, " complained one writer. In Concurd, one of every four adult males migrated from town every decade from the 1740s on, and in many towns migration out was even greater. Some drifted south to New York and

Pennsylvania. Others sought opportunities as artisans in the coastal towns or took to the sea. More headed for the colonies, western frontier or north into New Hampshire and the eastern frontier of Maine. Several thousand New England families migrated even farther north to the Annapolis Valley of Nova Scotia. Throughout New England after the early eighteenth century, most farmers' sons knew that their destiny lay elsewhere.

Wherever they took up farming, northern cultivators engaged in agricultural work routines that were far less intense than in the south. The growing season was much shorter, and the cultivation of cereal crops required incessant labor only during spring planting and autumn harvesting. This less burdensome work rhythm let many northern cultivators to fill out their calendars with intermittent work as clockmakers, shoemakers, carpenters, and weavers.

2019年10月12日托福阅读考试真题及答案

刚过去的托福考试相信大家都很感兴趣，题目有多难？答案是怎样的？就跟着的我来一起看一看2019年10月12日托福阅读考试真题及答案。

概述

Distribution of Seaweeds（重复14年4月19日考题）

Early life-forms and Earth’satmosphere（重复14年6月15日考题）

Colonial America and the NavigationActs（重复15年3月7日考题）

Historical Trends in European UrbanDesign（重复15年4月18日考题）

Artisans in Sixteenth-CenturyEurope（重复15年1月10日考题）

Wool Industry in Fifteenth-CenturyEurope（重复16年2月28日和18年3月10日考题）

Insect Wings（重复16年5月22日和17年10月29日考题，昆虫翅膀。P1引入话题，翅膀化石，引发很多猜测speculation；P2讲了原始翅膀protowings，提出了一个theory，讲了翅膀的作用；P3指出上一段理论问题，说protowing需要和身体连接hinged，并且需要有肌肉控制翅膀的拍动，所以提出了另外一个理论解释翅膀的起源。）

Dynastic Egypt and the Nile River（重复17年5月20日考题）

The Origin and Development ofEgyptian Agriculture（重复18年9月9日考题）

The Dawn of Life（重复18年9月16日考题）

The Heavy Bombardment and Life onEarth（重复18年1月6日下午考题）

Nile Floods（重复18年9月9日考题）

Text in Dutch Painting（重复19年1月12日考题；艺术绘画中文字的演变）

The Dawn ofLife（重复18年9月16日考题）

最早的有生命痕迹的证据在澳大利亚southwesternGreenland的岩石上被发现，距今有35亿年。关于生命起源有很多理论：达尔文的观点是：生命起源于a ＂warm little pond， with all sorts of chemicalreactions.＂ 另一些科学家的观点是：生命起源于海洋里；还有的认为生命起源于靠近海底火山的hotvents里面；另一些人认为生命可能来自于外太空，比如火星。

生命来自外太空的想法有一些可行性。一些微生物可能埋在太空中的行星中，通过行星撞击和陨石的方式来到地球上。因为埋在行星深处，所以他们可以避免外太空的伤害。然后可以得以保存最后到达地球上。最可能的一个假说是生命来自火星。

为什么是火星呢？因为火星比地球小，而且大概比地球形成的时间要早。火星刚形成的时候温度比现在高，地表大气比现在要更thicker， 而且火星上有少量的水。在最初形成的时候，火星和地球上都经历了很多行星撞击，而且很多时候有些行星撞击到地球上后的喷溅物可能又回到火星上。两个星球接受到的撞击物大概是类似的。但是地球上的水比较多，撞击到海洋里会形成很大的热量，海水温度会过高杀死一些微生物。但是火星上水比较少，就避免了这种问题。所以最初的生命可能在火星上形成然后通过行星撞击的方式来到地球。但是这些都是假说，现在也没有发现证据表明这些理论。但是火星上因为撞击比较多，现在表层都是撞击的痕迹。所以如果有生命，可能在 surface下面的深处

真题回顾

Artisans in Sixteenth-CenturyEurope（重复15年1月10日考题）

Paragraph 3

Raw materials， not equipment， constituted artisans’major expense in most traders， however.  ■Whereas in 1583 an Antwerp silkweaver paid 12 guilders for a loom

（and made small payments over many years to pay offthe debt for purchasing the loom）， every six weeks he or she had to lay out 24guilders for the 2 pounds of raw silk required to make a piece of cloth. ■Thus access to cheap and plentiful primary materials was a constantpreoccupation for independent producers. ■Using local materials might alloweven the poorest among them to avoid reliance on merchant suppliers. ■Theloss of nearby sources could therefore be devastating. As silk cultivation wanedaround the Spanish cities of Cordoba and Toledo， weavers in these cities wereforced to become employees of merchants who put out raw silk from Valencia andMurcia provinces. In the Dutch Republic， merchants who imported unprocessedsalt from France， Portugal， and Spain gained control of the salt-refiningindustry once exploitation of local salt marshes was halted for fear that dikes（which held back the sea from the low-lying Dutch land） would be undermined.

Look at the four squares [■] that indicate where thefollowing sentence can be added to the passage.

This was possible because when transportation costs werelow， the price of  raw materials was generally also low.

答案：D

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