發(fā)布時(shí)間: 2025年05月24日 08:11
很多的學(xué)生在備考托福的時(shí)候，都會去看之前的考試真題，這對于自己的備考是很有用處的?，F(xiàn)在3月14號的考試已經(jīng)結(jié)束，如果需要在近期去完成托?？荚嚨膶W(xué)生，就來看看這次考試的聽力與口語部分的真題解析吧。
聽力部分：
Conversation：
1. 找暑假實(shí)習(xí)
2. ceramic形狀
3.學(xué)生renew book，過了due需要交費(fèi)
4. 做五分鐘film作業(yè)的選題，但來不及還了
Lecture：
1. 沙漠生物攝入水。
2.? 音樂會stimulate腦子的哪部分，然后在農(nóng)業(yè)發(fā)展前音樂就有作用了在hunting的時(shí)候，還用來communication媽媽還會唱lullaby
3. 考古，山洞里發(fā)現(xiàn)人定居
4. 化學(xué)
口語部分：
獨(dú)立口語
Task1：
教授應(yīng)不應(yīng)該讓學(xué)生參加課堂discussion regularly
綜合口語
Task 2：
閱讀中說了一個(gè)interminational mentor program，好處1是可以幫學(xué)生更好的解決一些daily stuff，例如開銀行賬戶這種；好處2是培養(yǎng)relationships。聽力中的男生表示贊同，他之前去Italy交流，遇到了一些daily stuff很麻煩，就認(rèn)為好處1很好；然后他交換回來后，一個(gè)學(xué)期都沒怎么見過意大利人，有這個(gè)program可以幫他了解文化和提升語言之類的
Task 3：
心理學(xué)/商業(yè)主題，operational transparency，就是讓消費(fèi)者了解一下details，例子是廚房做飯如果cooking area被隔開 separate rooms，消費(fèi)者看不到做飯過程就只是吃食物了，但如果有個(gè)monitor消費(fèi)者可以看到他們做飯過程，像切菜這類的，當(dāng)菜放到他們面前他們會很驚喜而且吃起來更開心，所以這是個(gè)好的方法
Task 4：
acid 影響海洋環(huán)境
訓(xùn)練托福聽力的方法：
1.概括聽力練習(xí)
這個(gè)練習(xí)方法不需要考生聽懂聽力材料的每一個(gè)細(xì)節(jié)，但要抓住說話人的思路和框架?？梢杂猛懈Ｂ犃χ械膌ecture為材料，一邊聽一邊記筆記，錄音結(jié)束后，根據(jù)大腦記憶和筆記，對全文重點(diǎn)內(nèi)容用英文進(jìn)行復(fù)述，這樣反復(fù)練習(xí)，直到可以將一篇lecture文章完全復(fù)述出來為止。
2.聽寫練習(xí)
這是一種比較常見的練習(xí)方法也是大家比較熟悉的練習(xí)方法，也是相對來說對所有考生都行之有效的一種方法。它就是將一篇托福聽力錄音中的原文全部聽錄下來，一句一句絲毫不落，它是提高聽力最有效的方法。對于準(zhǔn)備托?？荚嚨目忌?，最好的聽寫材料是老托福的lecture。推薦part 3 的93篇文章，對于基礎(chǔ)不同的同學(xué)，可以選擇其他的適合自己水平的材料進(jìn)行練習(xí)，再用老托福聽力，同時(shí)輔助一些長篇的段落聽寫練習(xí)。
3.精聽練習(xí)
還有一種練習(xí)方式是精聽練習(xí)，其步驟如下：一邊聽一邊看聽力材料原文，劃出自己不認(rèn)識或似曾相識但反應(yīng)不過來的詞；錄音結(jié)束，開始查生詞，寫在原文的旁邊，只要寫出這個(gè)單詞在這篇文章中的意思即可；然后將這篇材料當(dāng)閱讀文章快速精讀一遍，徹底看懂；再一邊看原文，一邊放錄音，嘴上要跟讀，反復(fù)幾遍，一直聽到可以不看原文徹底聽懂為止。如大家比較常用的SSS（Scientific American’s Sixty-second Science），非常短，但信息量很大，是很好的練習(xí)材料。
4.其它的練習(xí)方式
有時(shí)考生備考時(shí)會一些具有挑點(diǎn)性的資料進(jìn)行練習(xí)來提高自己的聽力能力。這些資料有：一是美國大學(xué)上課的課堂錄像或錄音，現(xiàn)在很多美國大學(xué)已經(jīng)將許多公開課的課堂錄像放在了互聯(lián)網(wǎng)上，這是一個(gè)極佳的挑戰(zhàn)聽力難度的材料。二是巴朗和Kaplan上的試題可以選用來做，這樣就會超越考試難度。雖然過程痛苦，而且容易打擊信心，但是用更難的材料練習(xí)，再去聽容易的就會比較容易聽出來，心理上也有很大的自信心。
要培養(yǎng)時(shí)時(shí)在考試的感覺，時(shí)時(shí)聽英語的感覺。也就是要為自己創(chuàng)造一個(gè)英文的環(huán)境，比如早晨一起床，我們就打開音箱播放英語，可以是托福的聽力材料，可以是英文廣播，也可以是一部英文電影等，這樣做的好處是隨時(shí)都可以聽到英語，在潛移默化中不知不覺地加深對英語的敏感度，培養(yǎng)語感。這是一個(gè)比較長期的任務(wù)，對于備考時(shí)間較長的同學(xué)，是和可以選用的方法。
TPO?？脊ぞ呤俏覜]復(fù)習(xí)托福非常好的幫手，屬于我們一定要好好利用，下面我給大家?guī)硗懈ｉ喿x真題:TPO11原文及答案，歡迎閱讀參考！
托福閱讀真題: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.
托福閱讀真題:TPO11題目
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.
托福閱讀真題: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
托福閱讀真題:TPO11原文及答案相關(guān) 文章 ：
★ 11.26托?？荚嚱馕鲋?獨(dú)立口語和寫作
2019年的最后一場托福考試，已經(jīng)順利結(jié)束了，大家考得怎么樣呢？來跟著的我一起看一看2019年12月21日托福閱讀考試真題答案。
真題文章
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日考題）
道路交通的發(fā)展是有考到2篇么？求實(shí)錘
疑似：美國道路交通的發(fā)展（18年9月9日考題，水路運(yùn)輸有局限性，討論了道路發(fā)展的歷史，優(yōu)缺點(diǎn)，最后講到了turnpike）
疑似：Transportation and the RomanEmpire（重復(fù)16年7月2日和18年4月15日考題；羅馬帝國交通運(yùn)輸發(fā)展，設(shè)計(jì)路上牛馬運(yùn)輸和海上運(yùn)輸；交通運(yùn)輸對于羅馬帝國的影響。文章內(nèi)容不難理解）
Guam tree snake and native species（生物入侵的影響，舉例二戰(zhàn)之后關(guān)島上Brown tree snake與鳥）
寄居蟹（19年5月19日題）
完全群居性昆蟲 eusocial insect（可以參考18年5月6日考題，Job specialization in social insects。社會性sociality，有分工角色即有社會性；社會型昆蟲的分工是由body shape和age決定的；切葉蟻leaf-cutter ants是按照大小進(jìn)行分工的。小螞蟻負(fù)責(zé)喂幼蟲，大螞蟻負(fù)責(zé)覓食；但是，其實(shí)80%的昆蟲是按照年齡進(jìn)行分工的。比如蜜蜂honeybee一出生負(fù)責(zé)喂寶寶（larva feeder），長大了建房子 （builder），再大點(diǎn)去覓食（forager）；雖然黃蜂wasp沒有天生分工，但是也遵循蜜蜂的規(guī)律。最后一段講了科學(xué)家往蜂巢里增加了年輕蜜蜂的數(shù)量，剩下來的年輕蜜蜂主動出去覓食了，說明昆蟲分工是非常靈活的。）
Surviving as a conifer（18年11月10題；conifer針葉林這個(gè)話題上周剛考過；conifer是裸子植物gymnosperm；相較于被子植物angiosperm的生存優(yōu)勢，比如能夠存活于貧瘠土壤；deciduous落葉的）
estuary species，生活在河海交匯處的生物如何平衡體內(nèi)的鹽和水，marsh plants的adaptation，鹽沼salt marsh植物的生存，具備什么樣的特點(diǎn)，比如怎么樣把沼澤中的鹽分排到體外（19年6月15日題）
Two Kinds of Magmata（兩種不同的巖漿，19年1月12日題）
從采獵文明-農(nóng)耕文明-現(xiàn)代文明，人類營養(yǎng)攝入和身體健康（可以參考18年3月11日題，food production的歷史進(jìn)程，冰川時(shí)代，動物遷移，人類被迫做出選擇。有的人也選擇遷移，有的人選擇留下。土耳其等地區(qū)環(huán)境溫暖潮濕，適合野生谷物生長，有的人選擇留下來，通過野生谷物維持生活。并逐漸建立了半永久甚至是永久居住地。人口不斷增長，使得人們不得不開始進(jìn)行種植，從而滿足更多的食物需求。食物儲存方式的進(jìn)步。人類開始通過挖地坑埋藏食物去應(yīng)對食物短缺，無意間發(fā)現(xiàn)了儲存的食物會發(fā)芽生長，可以用作種子。食物儲存方法對農(nóng)業(yè)的影響，人們不僅可以儲存食物，也開始能夠培育種子，并且更多的食物儲存能夠讓人們詞養(yǎng)家畜。）
Disturbed and fragment forest（18年5月6日考題，主要講的是熱帶雨林由于氣溫升高，濕度降低，土壤的變化對很多的物種的生存和棲息地的破壞以及影響，其中有一種植物Vine能在此種環(huán)境下生存。雨林遭到了破壞，風(fēng)在此過程中加劇了棲息地的變壞，無所顧及的進(jìn)入雨林，導(dǎo)致土壤更加干燥，甚至直接吧樹木吹倒。枯死的樹木，人類的焚燒，以及氣溫的升高，也加劇了大火的潛在發(fā)生。
地中海的形成（可以參考TPO7-1 The GeologicHistory of the Mediterranean）
歐洲工業(yè)革命后，城市變化，人口遷徙，農(nóng)業(yè)和鐵路關(guān)系，還有工業(yè)革命對人們居住地的影響
恐龍滅絕
Sudan 的經(jīng)濟(jì)和文化
河流分流（有圖）
書寫材料的發(fā)展，羊皮紙，紙
Grass seeds
米蟲，講moth 的caterpillar stage
Map of the Mediterranean Sea withsubdivisions，straits，islands and countries
真考詞匯題回顧
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?？荚?，如今也都已經(jīng)結(jié)束，有很多學(xué)生是比較想要了解這一次都考了什么題目，如何解答。那么就到來看看3月06日這一次的托福的閱讀真題以及答案解析吧。
閱讀部分真題：
1、城市熱島效應(yīng)
2、大陸漂移說
The Idea of Continental Drift
大陸漂移學(xué)說
2019.08.24上午場，2018.11.04，2018.10.13，2016.11.13
關(guān)于大陸漂移的猜想，有很多理論，但共同的前提是最早的時(shí)候地球上的大陸只有一塊。第一位奧地利科學(xué)家認(rèn)為大陸是靠大陸橋來連接在一起的；第二位科學(xué)家認(rèn)為大陸以前都集中在在地球的某一極，收到月球引力的影響，潮汐將大陸逐漸往赤道推。
雖然這種觀點(diǎn)后來被證明是錯(cuò)誤的，但是能夠說明大西洋的誕生。第三位科學(xué)家是課本上那個(gè)在病床上把南美洲和非洲拼在一起的人，有很多證據(jù)都可以證明他的猜想。第四位科學(xué)家通過生物的角度來分析，最終證明支持了第三位科學(xué)家的結(jié)論。
3、父母怎么分配小鳥的求食
4、ecology蟲子的斑點(diǎn)等與環(huán)境有關(guān)
5、The Advent of Printing
印刷的出現(xiàn)
2017.09.09，2016.09.24
首段引入介紹打印技術(shù)的發(fā)明和在整個(gè)歐洲的迅猛發(fā)展，然后分段論述打印帶來的影響：
（1）打印使整個(gè)歐洲社會從底層到頂層都發(fā)生了轉(zhuǎn)變——底層人民能夠獲得打印書籍，并且是以自己的地區(qū)方言（vernacular） 寫成的書，而不是以宗教語言（拉丁語） 寫成的書，這激起了講相同方言的人們的國家意識（national consciousness），有助于人們對國家忠誠而不再是對宗教統(tǒng)治者忠誠，對教會產(chǎn)生重大沖擊；
（2） 打印滲透（permeate考詞匯題） 到人們的公共生活和私人生活的每個(gè)角落——打印書籍內(nèi)容不再局限于宗教而是包羅萬象，甚至包括指導(dǎo)人們?nèi)绾巫鲆粋€(gè)合格妻子等日常生活的書籍；文化傳播模式從原來的聽說轉(zhuǎn)變?yōu)樽x寫，并且文化傳播中心從原來的教會和宮廷轉(zhuǎn)變?yōu)榇蛴S；
（3） 打印改變了知識本身的理解和傳播，使得書籍容易復(fù)制，并且可以使用頁碼標(biāo)注（pagination） 、索引（index） 、字母順序編排和參考目錄（bibliographies） 等方法編制書籍內(nèi)容，這樣便于知識的傳播和積累，使得學(xué)者們能夠索引到很多相關(guān)書目進(jìn)行比較研究，發(fā)現(xiàn)問題進(jìn)行校正，出現(xiàn)了新型修正版書籍。
6、NASA一種學(xué)說，微生物能否從一個(gè)星球到另一個(gè)星球
Is Panspermia Possible？
胚種論可能是對的嗎？
第1段胚種論的引入介紹
（1） 地球上的一塊來自火星的隕石中包含火星的微生物（microbial life），這重新引發(fā)了科學(xué)家對胚種論的關(guān)注，即生命可從一個(gè)星體向另一個(gè)星體傳遞；
（2）胚種論如果被接受需要滿足三個(gè)條件：首先是將一個(gè)星體的石塊爆炸出去的過程不會殺死該石塊中的微生物；其次是石塊中的微生物能夠忍受太空飛行的惡劣條件和時(shí)長；第三是石塊中的微生物能夠忍受墜入另一星體大氣層時(shí)的高溫。
第2段第一和第三條件的解決
針對如何滿足炸飛脫離一個(gè)星體時(shí)微生物不被殺死，以及如何進(jìn)入另一個(gè)星體時(shí)微生物不被過度加熱殺死的問題，科學(xué)家通過研究隕石的磁性得以解決（the nature of the meteorite＇s magnetism） ：隕石的外殼磁性很強(qiáng)，但往內(nèi)部幾毫米磁性就急劇減弱，內(nèi)部磁場很弱，這種弱磁場來自該隕石尚是火星一部分的時(shí)候的火星的磁場，弱磁場不能忍受高溫，否則就不存在，這表明隕石內(nèi)部的溫度從沒有過熱，因此允許微生物存活。
第3段第二條件的解決之一
忍受超長的星際飛行時(shí)長針對微生物能否忍受空際飛行的巨大時(shí)長，科學(xué)家從研究1.5億年前的鹽體沉淀物發(fā)現(xiàn)，53個(gè)鹽體中有2個(gè)鹽體內(nèi)包含仍然活著的微生物，因此表明微生物長時(shí)間的存活雖然少見但仍然是一個(gè)可行的事件（viable event） 。
第4段第二條件的解決之二
忍受太空飛行的惡劣條件
太空飛行處于寒冷的真空中（cold vacuum），并且受到宇宙射線的致命輻射（deadly radiation），生命很難忍受，但通過試驗(yàn)，將微生物的孢子（bacterial spores） 放于繞地球運(yùn)行的衛(wèi)星中，五年后，這些孢子又復(fù)活了（resurrect），因此證明休眠中的微生物足以抵抗太空飛行的惡劣條件，待再次墜入另一星體時(shí)復(fù)活。
7、某種fish
托福閱讀的準(zhǔn)備技巧：
1、關(guān)于詞匯
在閱讀這個(gè)部分詞匯是第一大攔路虎，的確，如果一個(gè)句子一共十幾個(gè)詞但4個(gè)壓根兒沒見過，5個(gè)意思模糊，怎么可能真正理解它的意思呢？和另一門必考的SSAT相比，兩門考試的詞匯重點(diǎn)截然不同。SSAT可以上升到SAT，GRE的級別，偏向使用復(fù)雜的詞匯，我們稱之為大詞，analogy部分的話出現(xiàn)了很多日常生活中的單詞，而這些詞往往是我們國內(nèi)考生平時(shí)根本無法接觸到的，市面上大多數(shù)詞匯書又都只專注于學(xué)術(shù)方面的單詞所以難度較大。
而托福單詞其實(shí)都比較偏學(xué)術(shù)，涉及的非常廣泛，包括一些學(xué)科的名稱等等，但總體來講詞匯量的要求并不高，個(gè)人認(rèn)為大概在5000～7000徘徊。PDF格式固然方便，但Harvard的一個(gè)研究認(rèn)為人們長時(shí)間的盯著電腦屏幕會導(dǎo)致學(xué)習(xí)能力和專注力的下降，所以還是推薦各位去圖書館借讀或者網(wǎng)上訂購。這里更希望大家能頻繁地復(fù)習(xí)曾經(jīng)背過的單詞，從而加深記憶，對昨天背過的一個(gè)list盡量在第二天能達(dá)到5到6次的復(fù)習(xí)和測試，從而加強(qiáng)記憶力。
2、閱讀
托福閱讀的有兩個(gè)難點(diǎn)：一是上面所說的詞匯，第二便是長難句了。很多句子的長度和語法結(jié)構(gòu)都大大超出我們平時(shí)課文甚至課外讀物的范疇。
每篇passage的句子結(jié)構(gòu)非常的復(fù)雜，信息量很大又以一種很婉轉(zhuǎn)的方式表達(dá)出來，沒有一些技巧往往會被繞暈，讀完最后一個(gè)單詞卻忘了前面是講什么的。針對這個(gè)難點(diǎn)，我覺得最好的辦法是拆分一長句，找出各個(gè)部分逐一擊破。ETS為了迷惑考生，分散我們的注意力，添加了很多額外的修飾，實(shí)際上對我們來理解某一句話并沒有什么幫助，反倒起到了副作用。
很多考生（這里羞愧地再次舉一下手）感覺句子中每個(gè)詞都認(rèn)識，但是這句話的意思卻怎么也說不清楚，也一直搞不明白動詞A是名詞B還是名詞C發(fā)出的，很多附加描述的部分也沒有辨別清楚，導(dǎo)致最后產(chǎn)生很多誤解。
溫馨提示：
