發(fā)布時間: 2025年04月20日 00:46
9月25日的托福考試完成，有許多的學生對于這次考試的真題是很想要知道的，因為能夠幫助他們的托福備考。那么下面就由來給大家?guī)?月25日托?？谡Z考試的真題內(nèi)容吧。
2021年9月25日托?？谡Z真題：
T1
Do you agree or disagree with the following statement？Athletes?do not deserve the high salarie they＇re paid？
T2
閱讀中學生建議business department給學生機會出國參加實習，聽力中女不贊同，說雖然我們這里是個小城市，但是也有很多公司，她舍友就參加了實習跟國外的人交流了；并且business department沒什么錢，資助少部分學生出國可能會導致其他大部分學生的利益受損，比如不能去實地考察。
T3
false-cause error，因為一件事情發(fā)生在另一件事情之前，所以人們就會錯誤的覺得是第一件事導致了第二件事。舉例：教授說他朋友借了他的車，還回來之后車開始發(fā)出怪聲，他就錯誤地覺得是他朋友導致的，但其實他那車本來就很舊了
T4
植物會吸引一些protective insects來保護它們不被harmful insects吃掉。
托福口語考試丟分因素：
1、發(fā)音
ETS強調(diào)了很多次，托?？谡Z并不把打分的重點放在口音上，但是很多小伙伴還是致力于學習怎么發(fā)出最正宗的美音。
事實上，托?？谡Z對于發(fā)音的要求只有一個：makes one’s ideas / meaning ?understandable?讓別人理解。也就是說只要你發(fā)音盡可能的準確，帶有中國口音并不會影響你的成績（不然印度考生口語平均分怎么高出我們那么多...）。
想想托福聽力在講話時，還時不時出現(xiàn)英音印度音，小伙伴們就該懂ETS的大概意思了。因此，大家不用把口音當成提分的首要練習關(guān)鍵。
2、語法問題
不管是在之前的文章，還是在別的地方，相信小伙伴們都看到過一句話：只要表述清晰有邏輯，說的話能夠被考官理解，那么出現(xiàn)語法問題也可以被原諒或者忽略。
看到這句話后，是不是覺得口語可以隨意說？如果覺得語法不重要就大錯特錯了！不要忽略這句話的限定條件：清晰、邏輯、能被理解。但凡能達到這三點，內(nèi)容不算格外出彩也一定是完整正確的。也就是說，只有在輸出優(yōu)質(zhì)內(nèi)容答案的時候，語法上的小錯才會被忽略，否則語法不過是考官扣你分的另一個理由罷了。
所以，如果大家在講述的內(nèi)容是否打動考官這件事上沒有把握的話，還是不要放松對自己語法上的要求了。
3、流利度與停頓
流利常常是我們評價口語的第一反應(yīng)?！傲骼辈皇强焖僬f完45秒，而是指沒有出現(xiàn)長時間的停頓，沒有無話可說的狀態(tài)，沒有重復敘述。
口語敘述過程中出現(xiàn)停頓往往是思路“斷片”的表現(xiàn)，但小伙伴們作答也不能無縫銜接每一句話每一個段落，不然會很憋氣，必要的停頓能幫助考官理解講話內(nèi)容。在回答完一個例子或者一部分之后，小伙伴們可以稍稍做一個停頓，相當于“句號”的作用。提示考官這部分結(jié)束了，下一部分要開始了。
托?？谡Z考試的練習：
具體體現(xiàn)在新托?？谡Z考試中，就是讓考生閱讀文字信息，聽一段課堂演講或發(fā)生在校園里的對話之后，針對內(nèi)容綜合復述，回答問題，實現(xiàn)語言輸入和輸出的相對關(guān)聯(lián)，從而判斷出考生的實際語言應(yīng)用能力。
新托?？谡Z考試的設(shè)計是建立在語言技能綜合循環(huán)，培養(yǎng)“交際能力”的概念上的。因此，它要求考生進行語言交際訓練時，不僅要注重語言的合理口頭表達，還要注意口語表達的內(nèi)容是必須通過聽讀的輸入技能獲得并循環(huán)于意識中，通過意識加工創(chuàng)造表達出來的。
顯然，這類以語言內(nèi)容為重點的考試要求考生不僅具有一定的語言知識（知道怎樣說），同時更重要的是還須具備語言以外的社會、文化、科學等方面的知識 （知道說什么）。新托?？谡Z考試完全模擬真實的校園生活與學術(shù)交流環(huán)境，話題將會涉及眾多領(lǐng)域：社會、文化、科學、歷史、宗教等等。因此，它要求考生對于知識的掌握不一定要“很淵”，但一定要“較博”，也即要有內(nèi)容可講，要知道“說什么”并且能夠說出來。
9月25日的托福考試完成，有許多的學生對于這次考試的真題內(nèi)容比較感興趣。為了能夠幫助同學們的備考，下面就給大家?guī)?月25日托福寫作考試的真題內(nèi)容，來看看這些真題吧。
2021年9月25日托福寫作真題：
獨立寫作：
Do you agree or disagree with the following statement：
Nowadays，children rely too much on the technology，like computers，smartphone，video games，for fun and entertainment.?Playing simpler toys or playing outside with friends would be?better?for the children＇s development.
綜合寫作：
閱讀：要求學生做志愿活動的3個壞處
1. 他們可能會cheat，學校沒辦法監(jiān)督
2.?使學生以后不愿意提供志愿服務(wù)
3. 強制要求是一種侵權(quán)行為
聽力反駁：
1. 學校要求的社區(qū)服務(wù)是有專門機構(gòu)組織進行的，這些機構(gòu)會給學校反饋document
2. 志愿服務(wù)之后很多高中生有了很好的體驗，會覺得參加志愿服務(wù)是一個很好的體驗，以后會有更強的motivation；
3. 要求參加志愿活動，和學校要求學生參加課程一樣，沒有侵權(quán)還能讓學生學到更多
獨立寫作范文：
Well，I disagree.
First off，they work really hard. Unlike other occupations，athletes start at an early age and keep training for years or even dosens of years before they can have?some decent accomplishments. What＇s especially noteworthy is，they do not enjoy any holidays like us，meaning they have to do the training while others are having family get-togethers. So the sacrifices they make deserve high salaries.
Second，they win glory for the country. Nowadays，the competition among countries is not restricted to economy，technology and education. People believe that performances in the arena also show the power of the country. When athletes stand on the podium，they represent the country.?In this sense，athletes could do something meaningful for the nation.
托福寫作的備考技巧：
1.審題時間的控制
如果說獨立寫作是閉卷考試，那么你花上3～5分鐘的時間去審題，去構(gòu)思，是很必要的。但是，實際情況是，獨立寫作是開卷考試，首先題庫公開，它的題型和題材都不會超出題庫的范圍，你總會在題庫中找到類似的題目，加之機經(jīng)的強大力量，使得TOEFL獨立寫作真的成了開卷考試。既然是開卷考試，大家就應(yīng)該把審題的工作放到考試之前做，爭取在1分鐘之內(nèi)完成，不要浪費時間，把時間用來打字，而不是思考上面。那些思維風暴、切題思路之類的，應(yīng)該是事先已經(jīng)準備過，訓練過的。如果考到了你從來沒接觸過的題，只能說明你沒有準備到位，如果你的審題時間超過了2分鐘，那么你的準備也沒有到位，這就是開卷考試的備考思維，滿分不是臨場發(fā)揮出來的，而是準備出來的。
2.保質(zhì)保量
如果不能保證文章的質(zhì)量，可以從數(shù)量入手，有位同學獨立寫作30分鐘寫了600字，拿了滿分。當然他肯定有一些不足和錯誤，可是仍然不影響滿分。可見如果不能把文章寫得很漂亮，不能寫出亮點，那就多寫點吧，字數(shù)多也是亮點。
TPO?？脊ぞ呤俏覜]復習托福非常好的幫手，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?獨立口語和寫作
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