托福阅读TPO30原文+答案解析+译文

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以下是小编为大家整理的托福阅读TPO30原文+答案解析+译文，本文共9篇，欢迎阅读与收藏。

托福阅读TPO30原文+答案解析+译文

篇1：托福阅读TPO30原文+答案解析+译文

第一题，B，细节题。根据difficult to define定位到：One of the problems in providing a clear definition of play is that it involves the same behaviors that take place in other circumstance---dominance, predation, competition, and real fighting. 定义玩耍的一个问题就是玩耍包含很多发生在其他环境中的相似的行为——统治、捕食、竞争和真实的搏斗。

句子中的same behavior应该理解为相似的行为，因为后面明显是非play的时候，所以不可能是完全相同的play behavior。那么这句话表明，难于定义其实就是其他行为也会和玩耍的行为一样。所以对应的答案就是B。

第二题，A，细节题。根据challenge to researchers定位到：Exactly why animals play is still a matter debated in the research literature, and the reasons may not be the same for every species that plays. still a matter debated表明这个话题仍旧需要研究，也就是challenge。动物玩耍的准确原因仍旧是在学术文章中被争论的，并且每一个物种玩耍的原因可能都不同。但是没有选项与这句话对应，所以看下一句：Determining the functions of play is difficult because the functions may be long-term, with beneficial effects not showing up until the animal’s adulthood. 决定玩耍的功能很困难，因为这些功能可能是长期的，伴随着的有益效果可能直到动物成年才会展现出来。根据这句话就指出，因为动作发生后很久才能看到增益，所以研究起来比较难，也就对应着A选项。

第三题，D，词汇题。considerable的意思是“相当的，显著的”，所以和D选项相同。

第四题，B，选非题。根据cost定位到段落第一句话：Play is not without considerable costs to the individual animal. 玩耍对于个体来说并不是没有显著的代价。这句话明显是一个段首的主旨句，所以推断本段可能都在论述cost，那么这个时候根据选项来回文章定位会更快。

A选项，根据predator定位到：Another potential cost of this activity is greater exposure to predators since play is attention-getting behavior. 这个活动的另一个潜在代价就是更可能被暴露在天敌之下，因为玩耍是很吸引注意力的一种行为。根据这句话A选项与原文相同，不选;B选项，根据fat stores定位到：Therefore, it results in the loss of fuel or energy that might better be used for growth or for building up fat stores in a young animal. 所以，它导致能量的丢失，这些能量应该更好地被用于生长或积累脂肪储存。这句话明显表明，能量丢失，也就是脂肪积累会减少，所以B选项直接相反，也就作为这道题的答案;C选项，定位句与B选项相同，可以得出能量丢失，所以C与原文相同，不选;D选项，根据injury、slipping、falling定位到：Great activities also increase the risk of injury in slipping or falling. 活动多同样会提高滑倒或摔倒所带来的危险;与D选项完全相同，所以D不选。

第五题，B，修辞目的题。先找到这句话：At the end of the experiments, the results showed that the actual weight of the brains of the impoverished rats was less than that of those raised in the enriched environment (though they were fed the same diets). 在这个实验的最后，结果展示出处于匮乏的环境的老鼠的大脑真实重量要比那些在丰富多彩的环境中的老鼠的大脑要小(虽然两者被喂养了相同的食物)。这句话表明，文章中提到了一个实验，这个实验最后的结论在这句话中表述了出来。句子的最后括号中的内容，也就是题目问的句子，一般是起到补充说明的作用。这个实验得出的结论就是这些老鼠大脑重量不同是因为它们所处的环境不同，而不会是因为食物量的不同，因为它们都被给了同样量的食物。那么给出括号内的内容就是为了说明这些老鼠大脑重量的不同不会是因为食物量的不同，也就是消除了由食物量不同而导致大脑重量不同的可能性。所以，答案就是B。

第六题，A，细节题。本题最快捷的做法就是根据上一题所在的句子得出结论：At the end of the experiments, the results showed that the actual weight of the brains of the impoverished rats was less than that of those raised in the enriched environment (though they were fed the same diets). 在这个实验的最后，结果展示出处于匮乏的环境的老鼠的大脑真实重量要比那些在丰富多彩的环境中的老鼠的大脑要小(虽然两者被喂养了相同的食物)。根据这句话直接可以得出，环境更丰富，大脑更沉。也就对应A选项。

第七题，C，细节题。根据prey species和predator species定位到：Prey species, like young deer or goats, for example, typically play by performing sudden flight movements and turns, whereas predator species, such as cats, practice stalking, pouncing, and biting. 被捕食者，比如小鹿或山羊，很典型的通过突然的飞跃和转弯来玩耍，然而捕食者，比如说猫科动物，会练习潜行、扑和咬。这句话是很具体的例子，并没有明确的指出两者的不同，所以往前看：Play also stimulates the development of the muscle tissues themselves and may provide the opportunity to practice those movements needed for survival. 玩耍同样促进了肌肉组织自身的发育，并且可能提供了机会去练习那些生存所必须的运动方式。两句话连起来，捕食者与被捕食者的不同，其实就是生存方式和技能是不同的，导致玩耍的方式不同。被捕食者需要练习的都是如何逃脱，而捕食者所进行的都是如何能够捕获食物。所以，答案就是C。

第八题，A，词汇题。comparative 相对的，相当的，所以答案是A。

第九题，C，句子简化题。句子主干就是：Learning appropriate social behaviors is especially important in species that live in groups，后面的内容都是举例的次要成分。答案必须包含这部分信息。只有C选项意思与该主干信息一致，主干说“学_x很重要”，C选项说“需要去学_x”，主干说“在群居动物中很重要”，C选项说“群居动物需要去”，所以两句话是完全的同意替换。

第十题，C，推断题。根据adult定位：Play allows a young animal to explore its environment and practice skills in comparative safety since the surrounding adults generally do not expect the young to deal with threats or predators. 玩耍使得小动物去探索它的环境，并且在相对安全下练习技能，因为周围的成年动物通常不希望幼崽面对危险或天敌。根据这句话，成年动物在玩耍中扮演的角色就是提供保护，也就对应的是C选项。

第十一题，B，词汇题。potentially 潜在地，可能地，所以答案是B。

第十二题，D，细节题。根据题目，本段第一句话就开始论述有时候会产生不理解玩耍行为：There is a danger, of course, that play may be misinterpreted or not recognized as play by others, potentially leading to aggression. 当然有一种危险就是玩耍可能被误解或者没有被其他动物识别出来，可能就会导致攻击行为。为了找到确保理解的方法，我们往下寻找：Thus, many species have evolved clear signals to delineate playfulness. 所以，很多动物进化出了明确表述玩耍的信号。所以对应的答案就是D。

第十三题，句子插入题。根据句子中提到的those这个代词，所以前面也要提到某些messages。

所以第三个位置前面提到的signals就是messages的同义改写。但是第三个位置后面具体提到dogs的例子，而插入的句子也在说狗，如果放在第三个位置，先提到插入的句子，之后再for example，前后会比较突兀，所以这个插入句子必须再往后放，才能构成连接关系。

最后一句话：Dogs, for example, will wag their tails, get down on their front legs, and stick their behinds in the air to indicate “what follows is just for play.” 比如说狗，会摇尾巴，前腿跪下，并且撅起屁股来表明“接下来发生的事情仅仅为了玩耍而已”。句子放在第四个位置，those messages指代的就是狗的这些动作信号。插入的句子放在这里就补全了这个例子的信息。

第十四题，AEF，小结题。A选项，第一段中提到：In any case, in animals it consists of leaping, running, climbing, throwing, wrestling, and other movements, either alone, with objects, or with other animals. 在很多情况中，在动物中的玩耍包括跳跃、奔跑、攀爬、扔东西、搏斗、还有其他的动作，可能是动物自己玩耍、与某件物品玩耍、或者与其他动物玩耍。One of the problems in providing a clear definition of play is that it involves the same behaviors that take place in other circumstances – dominance, predation, competition, and real fighting. 定义玩耍的一个问题就是玩耍包含很多发生在其他环境中的相似的行为——统治、捕食、竞争和真实的搏斗。这两个句子的信息与A选项的前半部分对应。第二段提到：Exactly why animals play is still a matter debated in the research literature, and the reasons may not be the same for every species that plays. 动物玩耍的准确原因仍旧在学术领域被争论，并且原因在每个玩耍的动物中可能不相同。这个句子对应A选项的后半部分。所以A正确;B选项，原文第三段提到了玩耍可能会使动物们付出一些代价，其中一项代价就是动物可能会因为玩耍时发出的吵闹声而暴露于天敌前，但这仅是一种可能，没说很多年幼的动物已经受到伤害了，并且这个观点只是一个细节，是第三段提到的很多代价中的一个。所以B错误;C选项，根据第六段：Learning appropriate social behaviors is especially important in species that live in groups, like young monkeys that need to learn to control selfishness and aggression and to understand the give-and-take involved in social groups. They need to learn how to be dominant and submissive because each monkey might have to play either role in the future. 两句话提到猴子需要learn how to be dominant and submissive，但是文章没有提到其他的动物是否需要学习这些东西。所以C是错误的;D选项，原文第二段提到：Exactly why animals play is still a matter debated in the research literature, and the reasons may not be the same for every species that plays. Determining the functions of play is difficult because the functions may be long-term, with beneficial effects not showing up until the animal’s adulthood.这两话表明玩耍的原因和功能被争论，因为每个物种玩耍的原因不同，并且玩耍的功能可能会在很长时间以后才能显现出来，而并不是选项中说的是因为种类太少。所以D不对。E选项，第三段中提到：Therefore, it results in the loss of fuel or energy that might better be used for growth or for building up fat stores in a young animal. Another potential cost of this activity is greater exposure to predators since play is attention-getting behavior. 所以，它导致能量的丢失，这些能量应该更好地被用于生长或积累脂肪储存。这个活动的另一个潜在代价就是更可能被暴露在天敌之下，因为玩耍是很吸引注意力的一种行为。这两句话与E的前半部分相同。第四段开头提到：The benefits of play must outweigh the costs, or play would not have evolved, according to Darwin’s theory. 玩耍的移除必须要超过代价，否则根据达尔文的进化论，玩耍就不会进化出来。这句话与E选项的后半部分相同。所以E正确;F选项，该选项提到的内容，神经学上的获益在第四段的实验中有提及，同时与第五题和第六题所对应的内容相同。第五段最开始就提到玩耍会促进肌肉组织的发育。第六段与第九题的句子简化题提到的内容，描述的就是从玩耍中学到适应群体的社交行为。

托福阅读TPO30原文参考译文：玩耍在发育中的角色

比起单独定义玩耍的概念，用例子去解释玩耍要更容易一些。在任何情况下，在动物间玩耍都包括了跳跃，奔跑，攀登，投掷，格斗和另外的一些动作，随之一起的也会有其他的物品或者动物。根据物种的不同，玩耍的目的主要包括社会交往，锻炼，或者探索。定义“玩耍”的难点之一是，玩耍过程中常常会包含一些与其他情况下相似的行为，例如在统治，捕食，竞争和搏斗中。因此，判断其是否在玩耍，要根据动物的目的来确认，常常通过行为本身很难分析其目的。

玩耍似乎是那些有着相对复杂的神经系统的动物的一个发育，发展的特征，主要包括了鸟类和哺乳类动物。玩耍的研究主要在灵长类和犬类之间大范围进行。动物到底为什么要玩耍仍然在文献研究中存在争议，并且每种物种玩耍的原因也不尽相同。确定玩耍的功能很难，因为它的功能是长期的，伴随着一些直到动物成年才会显现出来的有利影响。

玩耍对于动物个体并非没有一定的损失。玩耍通常是非常活跃的，涉及了一些空间动作，有时也会发出声音。所以，这些都会导致一些年幼的动物的本来可以用来生长或者储存脂肪的能量流失。另一个潜在的损失，这些活动是吸引注意的行为，因此通常都会使动物暴露在捕食者的视野内。大量的运动也会增加摔倒滑倒导致受伤的危险。

根据达尔文理论，玩耍的好处一定能抵消其损失，不然玩耍就不会一直存在并进化。其中一些潜在的好处就是直接关于动物的大脑和神经系统的健康发展。在一个研究学习中，两组小老鼠被养在不同的环境中。第一组成长在一个比较“富裕”的环境中，这样的环境使其可以与其他老鼠接触，和玩具玩儿，并且接受迷宫训练。另一组生活在“穷困” 的环境中，它们被养在独立笼子里，只有微弱的光照和极少的刺激。最后，结果表明生活在单一环境中的老鼠的大脑重量要比生活在复杂情况下的老鼠的大脑轻(即使它们被喂养的食物一样的)。另外一些研究表明，较大的刺激不仅会影响大脑的大小，而且也会增加神经细胞间的通道数量。因此，活跃的玩耍可以为大脑中的突触连接提供必要的刺激，特别是负责运动机能的小脑。

玩儿也会刺激肌肉组织的生长，并且能提供一些练习生存技能的机会。被捕食的种群，比如小鹿或者山羊，比如说，其代表动作就是突然快速逃生动作和转弯，相反捕食种群，比如猫科动物，练习潜行追踪，猛扑和撕咬。

玩耍使得年幼的动物暴漏在环境中，并且由于周围的成年动物一般不期望孩子去处理威胁和捕食者，所以它们可以在相对安全的环境中练习技能，玩耍也可以为求爱和交配的社交行为提供练习。学习适当的社交行为特别重要，尤其是对于群居动物，比如猴子，它们需要学会控制自己的自私和攻击性，学着去懂得妥协以融入群体。它们要学习怎么去统治和顺从因为每只猴子都会在将来扮演某个角色。大部分这类事情都在灵长类的长期的发展过程中被学习，期间它们有数不清的玩耍经验。

当然，也有危险，就是玩耍可能会被别的动物误会，或者不被当做玩耍，潜在地造成进攻。这个情况尤其在扮演包含练习正常的侵略性或者是捕食者行为。因此，许多物种都尤其明确的信号去表明玩耍。比如狗，它们用会摇尾巴，前腿趴下，撅着屁股来表示“以下行为都是逗你玩儿的!”

备战托福阅读满分宝典

1.词汇

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”。

2.通过练习使学生养成高效的阅读方法--即所谓的阅读技巧

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%。

3.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。

除了上述三方面的训练之外，如果能够对一些基本的背景知识加以补充的话，更能确保阅读理解的准确率和速度。

所以真正的TOEFL“宝典”并不是去学习一些技巧，而是在训练中养成一种无意识的使用技巧的习惯，做到“心无技巧”的忘我境界。

托福阅读TPO30原文+答案解析+译文

篇2：托福TPO9阅读第原文及答案解析

托福TPO9阅读原文Part2

Reflection in Teaching

Teachers, it is thought, benefit from the practice of reflection, the conscious act of thinking deeply about and carefully examining the interactions and events within their own classrooms. Educators T. Wildman and J. Niles (1987) describe a scheme for developing reflective practice in experienced teachers. This was justified by the view that reflective practice could help teachers to feel more intellectually involved in their role and work in teaching and enable them to cope with the paucity of scientific fact and the uncertainty of knowledge in the discipline of teaching.

Wildman and Niles were particularly interested in investigating the conditions under which reflection might flourish-a subject on which there is little guidance in the literature. They designed an experimental strategy for a group of teachers in Virginia and worked with 40 practicing teachers over several years. They were concerned that many would be “drawn to these new, refreshing” conceptions of teaching only to find that the void between the abstractions and the realities of teacher reflection is too great to bridge. Reflection on a complex task such as teaching is not easy.“ The teachers were taken through a program of talking about teaching events, moving on to reflecting about specific issues in a supported, and later an independent, manner.

Wildman and Niles observed that systematic reflection on teaching required a sound ability to understand classroom events in an objective manner. They describe the initial understanding in the teachers with whom they were working as being ”utilitarian … and not rich or detailed enough to drive systematic reflection.“ Teachers rarely have the time or opportunities to view their own or the teaching of others in an objective manner. Further observation revealed the tendency of teachers to evaluate events rather than review the contributory factors in a considered manner by, in effect, standing outside the situation.

Helping this group of teachers to revise their thinking about classroom events became central. This process took time and patience and effective trainers. The researchers estimate that the initial training of the teachers to view events objectively took between 20 and 30 hours, with the same number of hours again being required to practice the skills of reflection.

Wildman and Niles identify three principles that facilitate reflective practice in a teaching situation. The first is support from administrators in an education system, enabling teachers to understand the requirements of reflective practice and how it relates to teaching students. The second is the availability of sufficient time and space. The teachers in the program described how they found it difficult to put aside the immediate demands of others in order to give themselves the time they needed to develop their reflective skills. The third is the development of a collaborative environment with support from other teachers. Support and encouragement were also required to help teachers in the program cope with aspects of their professional life with which they were not comfortable. Wildman and Niles make a summary comment: ”Perhaps the most important thing we learned is the idea of the teacher-as-reflective-practitioner will not happen simply because it is a good or even compelling idea.“

The work of Wildman and Niles suggests the importance of recognizing some of the difficulties of instituting reflective practice. Others have noted this, making a similar point about the teaching profession's cultural inhibitions about reflective practice. Zeichner and Liston (1987) point out the inconsistency between the role of the teacher as a (reflective) professional decision maker and the more usual role of the teacher as a technician, putting into practice the ideas of theirs. More basic than the cultural issues is the matter of motivation. Becoming a reflective practitioner requires extra work (Jaworski, 1993) and has only vaguely defined goals with, perhaps, little initially perceivable reward and the threat of vulnerability. Few have directly questioned what might lead a teacher to want to become reflective. Apparently, the most obvious reason for teachers to work toward reflective practice is that teacher educators think it is a good thing. There appear to be many unexplored matters about the motivation to reflect - for example, the value of externally motivated reflection as opposed to that of teachers who might reflect by habit.

Paragraph 1: Teachers, it is thought, benefit from the practice of reflection, the conscious act of thinking deeply about and carefully examining the interactions and events within their own classrooms. Educators T. Wildman and J. Niles (1987) describe a scheme for developing reflective practice in experienced teachers. This was justified by the view that reflective practice could help teachers to feel more intellectually involved in their role and work in teaching and enable them to cope with the paucity of scientific fact and the uncertainty of knowledge in the discipline of teaching.

托福TPO9阅读题目Part2

1. The word ”justified“ in the passage is closest in meaning to

○supported

○shaped

○stimulated

○suggested

2. According to paragraph 1, it was believed that reflection could help teachers

○understand intellectual principles of teaching

○strengthen their intellectual connection to their work

○use scientific fact to improve discipline and teaching

○adopt a more disciplined approach to teaching

Paragraph 2: Wildman and Niles were particularly interested in investigating the conditions under which reflection might flourish-a subject on which there is little guidance in the literature. They designed an experimental strategy for a group of teachers in Virginia and worked with 40 practicing teachers over several years. They were concerned that many would be ”drawn to these new, refreshing“ conceptions of teaching only to find that the void between the abstractions and the realities of teacher reflection is too great to bridge. Reflection on a complex task such as teaching is not easy. The teachers were taken through a program of talking about teaching events, moving on to reflecting about specific issues in a supported, and later an independent, manner.

3. The word ”flourish“ in the passage is closest in meaning to

○ continue

○ occur

○ succeed

○ apply

4. All of the following are mentioned about the experimental strategy described in paragraph 2 EXCEPT:

○It was designed so that teachers would eventually reflect without help from others.

○It was used by a group of teachers over a period of years.

○It involved having teachers take part in discussions of classroom events.

○It involved having teachers record in writing their reflections about teaching.

5. According to paragraph 2, Wildman and Niles worried that the teachers they were working with might feel that

○ the number of teachers involved in their program was too large

○ the concepts of teacher reflection were so abstract that they could not be applied

○ the ideas involved in reflection were actually not new and refreshing

○ several years would be needed to acquire the habit of reflecting on their teaching

Paragraph 3: Wildman and Niles observed that systematic reflection on teaching required a sound ability to understand classroom events in an objective manner. They describe the initial understanding in the teachers with whom they were working as being ”utilitarian … and not rich or detailed enough to drive systematic reflection.“ Teachers rarely have the time or opportunities to view their own or the teaching of others in an objective manner. Further observation revealed the tendency of teachers to evaluate events rather than review the contributory factors in a considered manner by, in effect, standing outside the situation.

6. The word ”objective“ in the passage is closest in meaning to

○ unbiased

○ positive

○ systematic

○ thorough

7. According to paragraph 3, what did the teachers working with Wildman and Niles often fail to do when they attempted to practice reflection?

○Correctly calculate the amount of time needed for reflection.

○Provide sufficiently detailed descriptions of the methods they used to help them reflect.

○Examine thoughtfully the possible causes of events in their classrooms.

○Establish realistic goals for themselves in practicing reflection.

Paragraph 4: Helping this group of teachers to revise their thinking about classroom events became central. This process took time and patience and effective trainers. The researchers estimate that the initial training of the teachers to view events objectively took between 20 and 30 hours, with the same number of hours again being required to practice the skills of reflection.

8. How is paragraph 4 related to other aspects of the discussion of reflection in the passage?

○It describes and comments on steps taken to overcome problems identified earlier in the passage.

○It challenges the earlier claim that teachers rarely have the time to think about their own or others' teaching.

○It identifies advantages gained by teachers who followed the training program described earlier in the passage.

○It explains the process used to define the principles discussed later in the passage.

Paragraph 5: Wildman and Niles identify three principles that facilitate reflective practice in a teaching situation. The first is support from administrators in an education system, enabling teachers to understand the requirements of reflective practice and how it relates to teaching students. The second is the availability of sufficient time and space. The teachers in the program described how they found it difficult to put aside the immediate demands of others in order to give themselves the time they needed to develop their reflective skills. The third is the development of a collaborative environment with support from other teachers. Support and encouragement were also required to help teachers in the program cope with aspects of their professional life with which they were not comfortable. Wildman and Niles make a summary comment: ”Perhaps the most important thing we learned is the idea of the teacher-as-reflective-practitioner will not happen simply because it is a good or even compelling idea.“

9. The word ”compelling“ in the passage is closest in meaning to

○ commonly held

○ persuasive

○ original

○ practical

Paragraph 6: The work of Wildman and Niles suggests the importance of recognizing some of the difficulties of instituting reflective practice. Others have noted this, making a similar point about the teaching profession's cultural inhibitions about reflective practice. Zeichner and Liston (1987) point out the inconsistency between the role of the teacher as a (reflective) professional decision maker and the more usual role of the teacher as a technician, putting into practice the ideas of theirs. More basic than the cultural issues is the matter of motivation. Becoming a reflective practitioner requires extra work (Jaworski, 1993) and has only vaguely defined goals with, perhaps, little initially perceivable reward and the threat of vulnerability. Few have directly questioned what might lead a teacher to want to become reflective. Apparently, the most obvious reason for teachers to work toward reflective practice is that teacher educators think it is a good thing. There appear to be many unexplored matters about the motivation to reflect - for example, the value of externally motivated reflection as opposed to that of teachers who might reflect by habit.

10. According to paragraph 6, teachers may be discouraged from reflecting because

○ it is not generally supported by teacher educators

○ the benefits of reflection may not be apparent immediately

○ it is impossible to teach and reflect on one's teaching at the same time

○ they have often failed in their attempts to become reflective practitioners

11. Which of the sentences below expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information

○The practice of being reflective is no longer simply a habit among teachers but something that is externally motivated.

○Most teachers need to explore ways to form the habit of reflection even when no external motivation exists.

○Many aspects of the motivation to reflect have not been studied, including the comparative benefits of externally motivated and habitual reflection among teachers.

○There has not been enough exploration of why teachers practice reflection as a habit with or without external motivation.

Paragraph 4: Helping this group of teachers to revise their thinking about classroom events became central. ■This process took time and patience and effective trainers. ■The researchers estimate that the initial training of the teachers to view events objectively took between 20 and 30 hours, with the same number of hours again being required to practice the skills of reflection.

Paragraph 5: ■Wildman and Niles identify three principles that facilitate reflective practice in a teaching situation. ■The first is support from administrators in an education system, enabling teachers to understand the requirements of reflective practice and how it relates to teaching students. The second is the availability of sufficient time and space. The teachers in the program described how they found it difficult to put aside the immediate demands of others in order to give themselves the time they needed to develop their reflective skills. The third is the development of a collaborative environment with support from other teachers. Support and encouragement were also required to help teachers in the program cope with aspects of their professional life with which they were not comfortable. Wildman and Niles make a summary comment: ”Perhaps the most important thing we learned is the idea of the teacher-as-reflective-practitioner will not happen simply because it is a good or even compelling idea.“

12. Look at the four squares [■] that indicate where the following sentence could be added to the passage.

However, changing teachers' thinking about reflection will not succeed unless there is support for reflection in the teaching environment.

Where could the sentence best fit?

13. Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some answer choices do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.

Wildman and Niles have conducted research on reflection in teaching

●

Answer Choices

○Through their work with Virginia teachers, Wildman and Niles proved conclusively that reflection, though difficult, benefits both teachers and students.

○Wildman and Niles found that considerable training and practice are required to understand classroom events and develop the skills involved in reflection.

○Wildman and Niles identified three principles that teachers can use to help themselves cope with problems that may arise as a result of reflection.

○Wildman and Niles concluded that teachers need sufficient resources as well as the cooperation and encouragement of others to practice reflection.

○There are numerous obstacles to implementing reflection in schools and insufficient understanding of why teachers might want to reflect.

○Whether teachers can overcome the difficulties involved in reflection may depend on the nature and intensity of their motivation to reflect

托福TPO9阅读答案Part2

参考答案：

1. ○1

2. ○2

3. ○3

4. ○4

5. ○2

6. ○1

7. ○3

8.○1

9. ○2

10. ○2

11. ○3

12. ○3

13. Wildman and Niles found that

Wildman and Niles concluded that

There are numerous obstacles to

托福TPO9阅读翻译Part2

参考翻译：教学中的反思

教师被认为受益于反思实践--有意识地更深入思考、仔细地检查发生在他们自己教室里的事件和相互影响。教育家T o 怀尔德曼和J. o奈尔斯(1987)描述了一个在资深教师中开展反思实践的方案。这是合理的，因为人们认为反思的实践可以帮助老师们更加理性地对待他们的角色和从事的事业，并可以让他们能在教学准则中处理科学事实的缺乏和知识的不确定。

怀尔德曼和奈尔斯都特别喜欢研究在哪种情况下反思可能大量出现--一个几乎没有任何文献指导的课题。他们给弗吉利亚的一组教师设计了一个实验策略，并在几年内研究了这一组的40位教师。他们担心很多人可能认为沉浸在这种全新的教育概念中的结果就是，发现教师反思的抽象概念和现实之间的鸿沟太大而无法逾越。要反思像教学这样复杂的事件不是容易的。老师们都参加了关于教学事件计划的讨论，紧接着在工作人员的协助下去反思具体问题，然后是独立反思。

怀尔德曼和奈尔斯观察到系统教学反思需要一种以客观的方式来理解教室里发生事件的能力。他们起初认为参与研究的教师们太功利，并不是足够丰富和详细以促使系统反思的产生。教师们很少有机会和时间去客观地观察他们自己和其他老师的教学。更深的研究发现教师们更愿意评价事件而不是站在事件之外洞察一个事件的促进因素。

帮助这组教师修订他们关于课堂事件的认识变成了关键问题。这个过程需要时间和耐心以及有效的受训者。研究者认为训练同一个教师使他客观地看待事情需要大约20到30小时，而反思技巧的练习同样需要这么多时间。

怀尔德曼和奈尔斯确定了促进在教学环境中实现反思行为的3个原则。第一就是来自教学系统管理层的支持，这使得教师们明白反思实践的必要条件，并知道它与教学之间的联系。第二就是需要足够的时间和空间。项目中的教师们抱怨说让他们放弃别人当时的要求而为自己腾出时间去提升自己的反思能力是很困难的。第三就是以其他教师的支持为基础的亲密无间的环境。项目中的教师同样需要支持和鼓励以帮助他们去应付他们职业生活中的不如意的方面。怀尔德曼和奈尔斯作出了一个总结性的评论：”或许我们学到的最重要的观点就是教师不会因为这是好的，或者甚至是不可或缺的观念而自发地开展教学反思。“

怀尔德曼和奈尔斯的工作表明认识进行反思的某些困难的重要性。也有其他人知道这个，并指出相似的关于反思行为的教学职业文化阻碍。Zeichner 和Liston(1987)指出作为一个决策者的教师和作为一个将其他人观念付诸实施的教师之间，存在着角色上的不一致。比文化问题更基本的是动机问题。成为一个反思教学的执行者需要额外的付出(Jaworski,1993)而且只有一个模糊的目标，甚至不仅没有显而易见的回报，反而有易受责难的威胁。很少人直接质疑什么可能让一个教师想变成反思型教师。显然，使教师朝着反思行为奋斗的最直接的原因是师资培训者认为这是一件很好的事情。关于反思的动力存在许多未知的问题，例如外部驱动的反思的价值与通过习惯进行反思的价值是不同的。

篇3：托福TPO10阅读原文及答案解析Part1

Chinese Pottery

China has one of the world's oldest continuous civilizations-despite invasions and occasional foreign rule. A country as vast as China with so long-lasting a civilization has a complex social and visual history, within which pottery and porcelain play a major role.

The function and status of ceramics in China varied from dynasty to dynasty, so they may be utilitarian, burial, trade-collectors', or even ritual objects, according to their quality and the era in which they were made. The ceramics fall into three broad types-earthenware, stoneware, and porcelain-for vessels, architectural items such as roof tiles, and modeled objects and figures. In addition, there was an important group of sculptures made for religious use, the majority of which were produced in earthenware.

The earliest ceramics were fired to earthenware temperatures, but as early as the fifteenth century B.C., high-temperature stonewares were being made with glazed surfaces. During the Six Dynasties period (AD 265-589), kilns in north China were producing high-fired ceramics of good quality. Whitewares produced in Hebei and Henan provinces from the seventh to the tenth centuries evolved into the highly prized porcelains of the Song dynasty (AD. 960-1279), long regarded as one of the high points in the history of China's ceramic industry. The tradition of religious sculpture extends over most historical periods but is less clearly delineated than that of stonewares or porcelains, for it embraces the old custom of earthenware burial ceramics with later religious images and architectural ornament. Ceramic products also include lead-glazed tomb models of the Han dynasty, three-color lead-glazed vessels and figures of the Tang dynasty, and Ming three-color temple ornaments, in which the motifs were outlined in a raised trail of slip-as well as the many burial ceramics produced in imitation of vessels made in materials of higher intrinsic value.

Trade between the West and the settled and prosperous Chinese dynasties introduced new forms and different technologies. One of the most far-reaching examples is the impact of the fine ninth-century AD. Chinese porcelain wares imported into the Arab world. So admired were these pieces that they encouraged the development of earthenware made in imitation of porcelain and instigated research into the method of their manufacture. From the Middle East the Chinese acquired a blue pigment-a purified form of cobalt oxide unobtainable at that time in China-that contained only a low level of manganese. Cobalt ores found in China have a high manganese content, which produces a more muted blue-gray color. In the seventeenth century, the trading activities of the Dutch East India Company resulted in vast quantities of decorated Chinese porcelain being brought to Europe, which stimulated and influenced the work of a wide variety of wares, notably Delft. The Chinese themselves adapted many specific vessel forms from the West, such as bottles with long spouts, and designed a range of decorative patterns especially for the European market.

Just as painted designs on Greek pots may seem today to be purely decorative, whereas in fact they were carefully and precisely worked out so that at the time, their meaning was clear, so it is with Chinese pots. To twentieth-century eyes, Chinese pottery may appear merely decorative, yet to the Chinese the form of each object and its adornment had meaning and significance. The dragon represented the emperor, and the phoenix, the empress; the pomegranate indicated fertility, and a pair of fish, happiness; mandarin ducks stood for wedded bliss; the pine tree, peach, and crane are emblems of long life; and fish leaping from waves indicated success in the civil service examinations. Only when European decorative themes were introduced did these meanings become obscured or even lost.

From early times pots were used in both religious and secular contexts. The imperial court commissioned work and in the Yuan dynasty (A.D. 1279-1368) an imperial ceramic factory was established at Jingdezhen. Pots played an important part in some religious ceremonies. Long and often lyrical descriptions of the different types of ware exist that assist in classifying pots, although these sometimes confuse an already large and complicated picture.

Paragraph 2: The function and status of ceramics in China varied from dynasty to dynasty, so they may be utilitarian, burial, trade-collectors', or even ritual objects, according to their quality and the era in which they were made. The ceramics fall into three broad types-earthenware, stoneware, and porcelain-for vessels, architectural items such as roof tiles, and modeled objects and figures. In addition, there was an important group of sculptures made for religious use, the majority of which were produced in earthenware.

托福TPO10阅读题目Part1

1.The word ”status“ in the passage is closest in meaning to

○ origin

○ importance

○ quality

○ design

2. According to paragraph 2, which of the following is true of Chinese ceramics?

○ The function of ceramics remained the same from dynasty to dynasty.

○ The use of ceramics as trade objects is better documented than the use of ceramics as ritual objects.

○ There was little variation in quality for any type of ceramics over time.

○ Some religious sculptures were made using the earthenware type of ceramics.

Paragraph 3: The earliest ceramics were fired to earthenware temperatures, but as early as the fifteenth century B.C., high-temperature stonewares were being made with glazed surfaces. During the Six Dynasties period (AD 265-589), kilns in north China were producing high-fired ceramics of good quality. Whitewares produced in Hebei and Henan provinces from the seventh to the tenth centuries evolved into the highly prized porcelains of the Song dynasty (AD. 960-1279), long regarded as one of the high points in the history of China's ceramic industry. The tradition of religious sculpture extends over most historical periods but is less clearly delineated than that of stonewares or porcelains, for it embraces the old custom of earthenware burial ceramics with later religious images and architectural ornament. Ceramic products also include lead-glazed tomb models of the Han dynasty, three-color lead-glazed vessels and figures of the Tang dynasty, and Ming three-color temple ornaments, in which the motifs were outlined in a raised trail of slip-as well as the many burial ceramics produced in imitation of vessels made in materials of higher intrinsic value.

3. The word ”evolve“ in the passage is closest in meaning to

○ divided

○ extended

○ developed

○ vanished

4. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.

○ While stonewares and porcelains are found throughout most historical periods, religious sculpture is limited to the ancient period.

○ Religious sculpture was created in most periods, but its history is less clear than that of stonewares or porcelains because some old forms continued to be used even when new ones were developed.

○ While stonewares and porcelains changed throughout history, religious sculpture remained uniform in form and use.

○ The historical development of religious sculpture is relatively unclear because religious sculptures sometimes resemble earthenware architectural ornaments.

5. Paragraph 3 supports all of the following concerning the history of the ceramic industry in China EXCEPT:

○ The earliest high-fired ceramics were of poor quality.

○ Ceramics produced during the Tang and Ming dynasties sometimes incorporated multiple colors.

○ Earthenware ceramics were produced in China before stonewares were.

○ The Song dynasty period was notable for the production of high quality porcelain ceramics.

Paragraph 4: Trade between the West and the settled and prosperous Chinese dynasties introduced new forms and different technologies. One of the most far-reaching examples is the impact of the fine ninth-century AD. Chinese porcelain wares imported into the Arab world. So admired were these pieces that they encouraged the development of earthenware made in imitation of porcelain and instigated research into the method of their manufacture. From the Middle East the Chinese acquired a blue pigment-a purified form of cobalt oxide unobtainable at that time in China-that contained only a low level of manganese. Cobalt ores found in China have a high manganese content, which produces a more muted blue-gray color. In the seventeenth century, the trading activities of the Dutch East India Company resulted in vast quantities of decorated Chinese porcelain being brought to Europe, which stimulated and influenced the work of a wide variety of wares, notably Delft. The Chinese themselves adapted many specific vessel forms from the West, such as bottles with long spouts, and designed a range of decorative patterns especially for the European market.

6. The word ”instigate“ in the passage is closest in meaning to

○ improved

○ investigated

○ narrowed

○ caused

7. According to paragraph 4, one consequence of the trade of Chinese ceramics was

○ the transfer of a distinctive blue pigment from China to the Middle East

○ an immediate change from earthenware production to porcelain production in European countries

○ Chinese production of wares made for the European market

○ a decreased number of porcelain vessels available on the European market

Paragraph 5: Just as painted designs on Greek pots may seem today to be purely decorative,whereas in fact they were carefully and precisely worked out so that at the time, their meaning was clear, so it is with Chinese pots. To twentieth-century eyes, Chinese pottery may appear merely decorative, yet to the Chinese the form of each object and its adornment had meaning and significance. The dragon represented the emperor, and the phoenix, the empress; the pomegranate indicated fertility, and a pair of fish, happiness; mandarin ducks stood for wedded bliss; the pine tree, peach, and crane are emblems of long life; and fish leaping from waves indicated success in the civil service examinations. Only when European decorative themes were introduced did these meanings become obscured or even lost.

8. The word ”whereas“ in the passage is closest in meaning to

○ while

○ previously

○ surprisingly

○ because

9. In paragraph 5, the author compares the designs on Chinese pots to those on Greek pots in order to

○ emphasize that while Chinese pots were decorative, Greek pots were functional

○ argue that the designs on Chinese pots had specific meanings and were not just decorative

○ argue that twentieth-century scholars are better able to understand these designs than were ancient scholars

○ explain how scholars have identified the meaning of specific images on Chinese pots

10. Which of the following is mentioned in paragraph 5 as being symbolically represented on Chinese ceramics?

○ Chinese rulers

○ love of homeland

○ loyally to friends

○ success in trade

11. Paragraph 5 suggests which of the following about the decorations on Chinese pottery?

○ They had more importance for aristocrats than for ordinary citizens.

○ Their significance may have remained clear had the Chinese not come under foreign influence.

○ They contain some of the same images that appear on Greek pots

○ Their significance is now as clear to twentieth century observers as it was to the early Chinese.

Paragraph 6: From early times pots were used in both religious and secular contexts. The imperial court commissioned work and in the Yuan dynasty (A.D. 1279-1368) an imperial ceramic factory was established at Jingdezhen. Pots played an important part in some religious ceremonies. Long and often lyrical descriptions of the different types of ware exist that assist in classifying pots, although these sometimes confuse an already large and complicated picture.

12. The word ”these" in the passage refers to

○ religious ceremonies

○ descriptions

○ types of ware

○ pots

Paragraph 4: Trade between the West and the settled and prosperous Chinese dynasties introduced new forms and different technologies. One of the most far-reaching examples is the impact of the fine ninth-century AD. Chinese porcelain wares imported into the Arab world. ■So admired were these pieces that they encouraged the development of earthenware made in imitation of porcelain and instigated research into the method of their manufacture. ■From the Middle East the Chinese acquired a blue pigment-a purified form of cobalt oxide unobtainable at that time in China-that contained only a low level of manganese. Cobalt ores found in China have a high manganese content, which produces a more muted blue-gray color. ■In the seventeenth century, the trading activities of the Dutch East India Company resulted in vast quantities of decorated Chinese porcelain being brought to Europe, which stimulated and influenced the work of a wide variety of wares, notably Delft. ■The Chinese themselves adapted many specific vessel forms from the West, such as bottles with long spouts, and designed a range of decorative patterns especially for the European market.

13. Look at the four squares [■]that indicate where the following sentence could be added to the passage.

Foreign trade was also responsible for certain innovations in coloring.

Where could 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.

Ceramics have been produced in China for a very long time.

●

Answer choices

○ The Chinese produced earthenware, stoneware, and porcelain pottery and they used their ceramics for a variety of utilitarian, architectural, and ceremonial purposes.

○ The shape and decoration of ceramics produced for religious use in China were influenced by Chinese ceramics produced for export.

○ As a result of trade relations, Chinese ceramic production changed and Chinese influenced the ceramics production of other countries.

○ Chinese burial ceramics have the longest and most varied history of production and were frequently decorated with written texts that help scholars date them.

○ Before China had contact with the West, the meaning of various designs used to decorate Chinese ceramics was well understood.

○ Ceramics made in imperial factories were used in both religious and non-religious contexts.

篇4：托福TPO10阅读原文及答案解析Part1

参考答案：

1. ○2

2. ○4

3. ○3

4. ○2

5. ○1

6. ○4

7. ○3

8.○1

9. ○2

10. ○1

11. ○2

12. ○2

13. ○2

14. The Chinese produced

As a result of trade

Before China had contact

托福TPO10阅读翻译Part1

参考翻译：中国的陶瓷

尽管中国曾饱受入侵，偶尔丧失主权受制于外国，她仍然拥有世界上最源远流长的文明。像中国一个拥有悠久文明的大国，而陶瓷在其复杂的社会历史以及视觉历史中扮演了极为重要的角色。

在中国，每一个朝代陶瓷的功能和地位都是不同的，所以，根据它们的质量和制作年代的不同，可以是实用器物、陪葬品、贸易收藏品，甚至是礼器。对于容器、瓦片等建筑材料、模仿的物体或人物，陶瓷广义上被分为3大类：陶器、炻器和瓷器。另外，瓷器中还有很重要的一类就是宗教用途的雕塑，它们多数是陶质的。

尽管最早的陶瓷是在制陶的温度下烧制的，但是早在公元前15世纪，就已经出现了上釉的高温炻器。六朝时期(公元265-589年)，中国北方就有窑炉在烧制优质的高温瓷器。从7世纪到10世纪，河北以及河南省产的白瓷逐渐演变成为享有盛名的宋瓷(公元960-1279年)--长久以来被认为是中国陶瓷业历史中的巅峰时期之一。宗教雕塑的传统在大部分历史时期中都有延续，但是没有炻器和瓷器质地的雕塑描绘的那么清晰，有一种古老的习俗，就是将刻着新的宗教形象和建筑装饰的陶器作为陪葬品。瓷制品还包括汉朝的铅釉随葬陶俑，唐朝的三彩铅釉器皿和人物，明朝的以泥釉凸纹展现轮廓的三彩寺庙装饰物以及很多用来仿制贵重器皿的陪葬瓷器。

西方国家和繁荣稳定的历代中国朝代之间的贸易促使双方互相引入了新的形式和不同的技术。有一个意义最为深远的例子，公元9世纪精美中国瓷器出口到阿拉伯世界，带来巨大的影响。阿拉伯人对这些瓷器赞不绝口，于是他们鼓励制陶来仿制瓷器，并激励人们研究制作方法。中国人从中东获得了一种蓝色颜料--一种纯化的氧化钴，当时在中国并未出现，其中只含有少量的锰。中国境内发现的钴矿石含有大量的会产生暗蓝灰色的锰元素。17世纪，大量中国装饰类瓷器通过荷兰东印度公司的交易活动流入欧洲，这刺激和影响了广泛多样的瓷器的生产，特别是代尔夫特。中国人自己改良了很多种来自西方的特殊器皿，比如长嘴的瓶子，并专门为欧洲市场设计了一系列装饰性图案。

就像希腊的陶器上所绘的图案，今天看来也许纯粹是为了装饰，然而事实上在当时它们都是人们精心烧制而成的，它们的意义在当时非常明确，中国的瓷器也是如此。以20世纪的眼光来看，中国制造的陶瓷也许仅仅是装饰品，但是对于中国人来说每个物件的形状及它的装饰都有寓意非凡，影响深远。龙代表皇帝，凤代表皇后;石榴意味着多子，双鱼意味着幸福;鸳鸯寓意着婚姻幸福美满;松树、桃树以及鹤都是长寿的象征;鱼跃出水面意味着科举考试会高中。但是欧洲的装饰主题被引进后，这些寓意就变得不再那么流行甚至丢失了。

陶瓷器皿在很早期就已用于宗教和日常生活中。朝廷分派了制作工作，并于元朝(公元1279-1368年)在景德镇设立了一座官窑。陶瓷器皿在一些宗教仪式上也有着重要的地位。现存的关于不同类型的陶瓷器具很多长篇且抒情的描述可以帮助我们对其进行分类，尽管这些描述有时候会使得一幅大而复杂的画面显得凌乱。

代尔夫特陶器(荷兰产,通常是青色、白色)

篇5：TPO53托福阅读Passage2原文及答案解析

Sounds In The Film

Listen to part of a lecture in a film studies class.

Professor: Nowadays we take sound in films for granted. I mean you still might see black and white films occasionally. But you'll hardly ever see silent films anymore.

So it's interesting to note that the use of recorded sound was originally controversial. And some directors, uh, some filmmakers even thought it shouldn't be used, that it would destroy the purity of cinema, somehow reverse all the progress that had been made in the art of cinema. Abby?

Abby: What about all the sounds you hear in some silent movies? Like, you know, a loud sound when somebody falls down or something?

Professor: Okay, you're talking about a soundtrack added much later, which has over time become part of the film we know. But this recorded track didn't exist then.

And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater.

Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common.

Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action, an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise.

So, it finally became possible to play recorded sound as part of the film in the 1920s. Trouble was, it wasn't always used to very good effect. First it was, you know, amazing to see somebody's mouth move at the same time you hear the words, or hear a door close when you see it closing on screen.

But that luster wears off, of course. And if you're a director, a filmmaker, what's the next step?

Abby: Well, you sound to enhance the movie right? Bring something more to it that wasn’t possible?

Professor: Yes. That’s exactly what directors, who were more interested in cinema as art, not commerce, were thinking.

But they also predicted that there would be a problem that sound would be misused and, boy, was it ever.Because the commercial types, the producers and so on, were thinking, “Okay. Now that sound is possible, let's talk as much as possible and forget about the fact that we're making a movie, that we have this powerful visual medium.”

So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. The name they used for sound films then was “talking films” and that was on the mark, since, well, all they pretty much did was talk and talk.

So, remedy? Well what was proposed by a number of filmmakers and theorists was the creative expressive use of sound, what they generally called nonsynchronous sound.

Okay, synchronous sound means basically that what we hear is what we see. Everything on the soundtrack is seen on the screen. And everything was recorded simultaneously, which… Well, since the sound technicians working on films often had experience with live radio that made sense to them. Recording the sound separately and adding it in afterward? Well, that idea was less obvious.

Anyway synchronous sound means the source of the sound is the image on the screen.Nonsynchronous sound then is…

Abby: The sound doesn't match the picture?

Professor: Right. Now we can look at this in various ways. But let's take it as literally as possible.

Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous.

So, that doesn't seem so radical, does it? But again, those early producers didn't think their audiences could keep up with this.

Abby: Excuse me, but did you say earlier that some filmmakers actually advocated not using sound at all?

Professor: Well, yes. But that was a bit of an exaggeration, I guess. What I meant to say was that some filmmakers thought that the way the film sound was actually used was setting the art of filmmaking back.But everyone agreed that sounds solved some very difficult issues and offered potentially exciting tools.

TPO53托福阅读Passage2题目

Question 1 of 5

What is the lecture mainly about?

A. The influence of theater on early sound films

B. Conflicting views on uses of sound during the early days of sound films

C. The great progress in cinema after the development of sound

D. Viewer reactions to early sound films

Question 2 of 5

According to the professor, what types of sound were used in silent film theaters? Click on 3 answers

A. Live music performed in the theater

B. Sound effects created in the theater

C. Recorded sound tracks played with the film

D. Live narration during the film

E. Musical entertainment offered before the film

Question 3 of 5

What is the professor's attitude toward early movie producers?

A. He is critical of their influence on films.

B. He thinks they had little influence on films.

C. He thinks they understood what audiences wanted.

D. He acknowledges that they made progress possible.

Question 4 of 5

According to the professor, what was characteristic of sound films in the 1920s?

A. Dialogues between characters were kept to a minimum.

B. Many films were closely based on theater plays.

C. Musical sound tracks were added to most films.

D. Sounds were recorded separately and added to films later.

Question 5 of 5

What is an example of synchronous sound in a film?

A. A character hearing a train that is not visible

B. A past conversation being replayed in a character's mind

C. A character playing guitar and singing on screen

D. A song playing at the end of a film as credits appear on the screen

篇6：TPO53托福阅读Passage2原文及答案解析

正确答案：B

题目解析：本题定位到原文：So it's interesting to note that the use of recorded sound was originally controversial. 此处原文的大意是：我们不妨来说说声音最开始应用的时候是怎样有争议的。题干问的是这个讲座的大意是什么。选项A的意思是电影院对于早期有声电影的影响，选项B的意思是早期有声电影的声音使用中的争论，选项C的意思是在声音发展之后电影的巨大进步，选项D的意思是观看者对于早期有声电影的反应。只有选项B符合原文，其余三个选项都不合适。

正确答案：ABD

题目解析：本题定位到原文：And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater. ...... Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common. ...... Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action. 此处原文的大意是： 1. 以前的电影不是不需要声音，而是技术没有发展到可以加进声音的程度，而且当时还有现场演奏; 2. 剧院里已经使用了很好声音效果很长时间了; 3. 电影播放现场会有配音演员现场发声; 题干问的是默片剧院会使用怎样的声音。选项A的意思是现场音乐演奏，选项B的意思是剧院里创造出来的音效，选项C的意思是录制好的声音，选项D的意思是电影里的现场旁白，选项E的意思是电影之前的音乐演出。选项ABD符合原文。其余两个则不符合。

正确答案：A

题目解析：本题定位到原文：an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise. 此处原文的大意是：这一点很好地例证了当时绝多数情况下只顾挣钱的影片制作人，对自己的观众没信心，担心不这么做，观众就看不懂电影了。题干问的是教授对于早期电影制作人的态度。选项A的意思是他对他们在电影上的影响持批判的态度，选项B的意思是他觉得他们没有影响电影，选项C的意思是他觉得他们能理解观众需要的东西，选项D的意思是他认为他们可能会有进步。只有选项A合适，其余三个选项均不符合原文。

正确答案：B

题目解析：本题定位到原文：So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. 此处原文的大意是：因此，代的电影基本上都是直接从舞台(也就是剧院)里成功的戏剧直接转换过来的。题干问的是二十世纪二十年代有声电影的特征是什么。选项A的意思是角色之间的对话最少，选项B的意思是很多电影是紧紧基于戏剧的，选项C的意思是音乐被添加到了大多数电影里，选项D的意思是声音被单独录制然后后期加进电影里。选项B合适原文，其余三个选项均不合适。

正确答案：C

题目解析：本题定位到原文：Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous. 此处原文的大意是：除非我们看到无线电或者管弦乐队，音乐就是“非同步声”。如果摄像机拍到的是听众，而不是演讲者，那就是“非同步声”。如果我们听到的不在屏幕上的背景音，那就是“非同步声”。题干问的是同步声的例子是哪一个。选项A的意思是角色听到火车声但看不到火车，选项B的意思是过去的对话在角色脑海中重现，选项C的意思是角色弹吉他唱歌，选项D的意思是片尾曲。只有选项C符合原文，其余三个选项不符合。

托福阅读细节题应该注意哪些错误

一、托福阅读细节题不会定位

提及定位，恐怕所有的同学都会说定位非常简单。但是，是不是所有同学都可以准确定位，并且高效地完成阅读中的细节题呢?其实不然，我们来看以下这道出自TPO16套的细节题：

According to paragraph 2, how did Middle Eastern shop owners treat their workers?

有的同学一看到这个题目，第一反应就是用Middle Eastern shop

owners去原文定位，很快可以找到本段的第二句话：Production was generally in the hands of skilled individual artisans doing piecework under the tutelage of a master who was also the shop owner.但是，当我们读过这句话之后，发现它并没有回答前面的问题，于是我们开始纠结。在将这句话反反复复看了好几遍却仍然找不到答案之后，我们才开始继续往下看。有些同学甚至为了寻找答案干脆将整段看一遍。但是，如果大家一开始在定位的时候，用的是shop owner, treat,和workers来定位，大家就很容易就知道这道题是在问shop

owner和workers之间的关系，在读原文第二句话时很快就能发现这句话并没有提到任何与关系相关的单词。于是往下寻找和关系有关的词或者句子。我们很快便会看到后面有一个In these shops differences of rank were blurred，也就是说在这些shop里等级区别模糊了。这不正是说明了owner和worker之间的这种等级关系么?因此，不难确定，这句话才是我们要找的答案。

二、托福阅读细节题纠结选项

在选项上纠结的这类同学，在对文章的定位上一般不存在问题。他们的问题是，在找到原文之后，却觉得几个选项在文章中都出现过，于是一遍遍地再来读文章。这样做既费时费力，又不一定能对。

对于这些同学，老师提醒大家，你们需要谨记的就是“符合原文”四个大字。

例如TPO2中的一道题，假定通过定位我们已经找到了原文中答案所在的句子：the presence of a fluke1 and blowhole2 cannot disguise their affinities with land dwelling mammals.这道题对应有两个选项：

A It clearly indicates that cetaceans are mammals.

B It cannot conceal the fact that cetaceans are mammals.

这时爱纠结的同学们又开始纠结了，两个都说cetaceans是mammals，怎么选?亲爱的同学们，你们首先要搞清楚原文到底说的是什么，是说“暗示”还是说“不能掩盖”?如果是说暗示，那就选a，因为a选项清楚的有一个indicate，如果是说不能掩盖，那就选b，因为b选项中有一个cannot conceal。

三、托福阅读细节题单词量少

单词量少是一个困扰绝大多数考生的问题。对于备考托福的同学来说，攻克单词这个难题，只有一个方法-背!在备考期间大家需要大量地背单词。但是，即使我们很努力的去背了单词，依然会在做题的时候碰到一些我们不认识的单词。这个时候，很多同学就会慌了手脚，不知道怎么办才好。其实，一篇文章对我们造成困难的，不是那些人名、地名和专有名词，而是构成我们要理解的这句话的基本结构。因此，如果碰到一句很长的话，里面有一些生单词，大家不要慌张。只要把这句话的结构弄清楚，你就能读懂这句话的大致意思了。这样，所谓的单词也就不再是你的拦路虎了。我们来看一个TPO1里的句子：

Immediately adjacent to the timberline, the tundra consists of a fairly complete cover of low-lying shrubs, herbs, and grasses, while higher up the number and diversity of species decrease until there is much bare ground with occasional mosses and lichens and some prostrate cushion plants.

虽然这句话中生僻的词比较多，但是如果我们能够找出句子的主干，那么这句话就会容易很多。整句的主干结构是这样的：adjacent to timberline, the tundra consists of shrubs and grasses and so on, while rise up, the species and diversities will decrease.

同学们只要能读出来这句话的核心意思是“靠近林木线的土地上到处覆盖着灌木和草，而海拔高度提高的时候，物种减少直到出现大片的荒地”，我们就能够理解这个句子。但是理解的前提是，你必须平时要好好的背单词，如果连一些很简单的单词，例如blur，stimulate都不认识，那么建议大家还是在背单词上多下点功夫吧!

篇7：TPO53托福阅读Passage1原文及答案解析

Questions About A Drama Class

Listen to a conversation between a student and his drama professor.

Professor: Hi Robert. So how's your paper going?

Robert: Pretty well. It's a lot of work, but I’m getting into it, so I don't mind. I’ll probably have some questions for you in the next week or so.

Professor: Okay. Glad to hear you’re progressing so well.

Robert: Um… There was something you said at the end of the lecture on Tuesday, something about there not really being any original plays.

Professor: There’s no such thing as an original play. Yes. That's the direct quote from Charles Mee.

Robert: Mee… that's with two “e”s, right?

Professor: Yep. M-E-E. You'll probably be hearing a lot about him. He's becoming a pretty famous playwright.

Robert: Yeah，well, I’ve been thinking about his quote. I mean there must be some original plays out there.

Professor: I’ll grant that he's overstating things somewhat. But the theater does have a long tradition of borrowing. Take Shakespeare. Like most writers of his day, he borrowed plots from other sources unabashedly. And the ancient Greeks, all the plays they wrote were based on earlier plays, poems and myths.

Robert: And borrowing applies to plays being written nowadays, too?

Professor: To some extent, yes. Mee, for example, he's made a career out of remaking plays, one of which we’ll be studying soon. It’s called Full Circle and Mee based it on an earlier play by a German playwright.

Robert: Oh Full Circle… Wasn't that based on the Caucasian Chalk Circle?

Professor: That's right.

Robert: I remember hearing about that play from my acting coach.

Professor: Okay. Well, the Caucasian Chalk Circle was based on a play by yet another German playwright, someone who was fascinated by the ancient literatures of China, India and Persia, and many of his works were adapted from those literatures, including his version of the Chalk Circle which was based on an early Chinese play.

Robert: So this Full Circle play, by Charles Mee, the one we're going to study, it's like the third or fourth remake. Wow… And we complain that Hollywood keeps making the same movies over and over again.

Professor: Well, part of what Mee’s trying to do is drive home the point that: One, theater’s always a collaborative effort.

Robert: Well, yeah, the playwright, the director, the actors, people have to work together to produce a play.

Professor: Yes, of course. But Mee means historically. The dramatic literature of early periods is hugely influential in shaping later dramatic works.

Robert: So it's like when the playwright bases a play on a previous playwright's theme or message.It's like they're talking to each other, collaborating. Uh, just not at the same time right?

Professor: Exactly. And the second point Mee's trying to make, I think, is that it's legitimate to retell an old story in a new way, in a way that’s, uh… more in line with contemporary concerns. So when playwrights reinvent or update an earlier play, it shouldn't be construed as a lack of imagination or an artistic failure.

TPO53托福阅读Passage1题目

Question 1 of 5

Why does the man go to see the professor?

A. To discuss a play he heard about

B. To get feedback on a paper he is writing

C. To ask about a point made in class

D. To get information about an acting coach

Question 2 of 5

Why does the professor mention Shakespeare and the ancient Greek playwrights?

A. To support her statement that some original plays do exist

B. To show that playwrights historically have used themes from earlier plays

C. To point out that Shakespeare was greatly influenced by ancient Greek plays

D. To give examples of playwrights whose plays have inspired later playwrights

Question 3 of 5

What does the professor imply about the play Full Circle by Charles Mee?

A. It served as the basis for a Hollywood film.

B. It is indirectly based on a Chinese play.

C. It has influenced a more recent play.

D. It uses themes from ancient Greek literature.

Question 4 of 5

What two points does Charles Mee make about playwriting? Click on 2 answers

A. Rewriting old plays to deal with modern issues is a respectable practice.

B. Playwrights should preserve as much of the original as possible when updating an older play.

C. Older plays tend to show more imagination than newer plays.

D. In a way, modern playwrights work with playwrights of the past.

Question 5 of 5

What does the man imply when he says this:

A. He thinks the professor misunderstood his point.

B. He has written some original plays himself.

C. He doubts that what Charles Mee said is true.

D. He has read some original plays by Charles Mee.

篇8：TPO53托福阅读Passage1原文及答案解析

正确答案：C

题目解析：本题定位到原文：Robert: Um… There was something you said at the end of the lecture on Tuesday, something about there're not really being any original plays. 此处原文的大意是：学生提到教授上节课说其实没有完全原创的戏剧。题干问的是男生为什么去见教授; 选项A的意思是为了谈论他听说的一部戏剧，选项B的意思是为了获得他写的论文的反馈，选项C的意思是为了询问老师在课上提出的观点，选项D的意思是为了得到代理教练的信息。只有选项C符合原文意思，其他三个选项都不合适。

正确答案：B

题目解析：本题定位到原文：But the theater does have a long tradition of borrowing. Take Shakespeare. Like most writers of his day, he borrowed plots from other sources unabashedly. And the ancient Greeks, all the plays they wrote were based on earlier plays, poems and myths. 此处原文的大意是：戏剧拥有很长的借鉴历史，比如莎士比亚和古希腊的戏剧，都是基于前人作品的创作。题干问的是为什么教授要提到莎士比亚和古希腊剧作家。选项A的意思是为了支持他的观点，即原创戏剧还是存在的，选项B的意思是为了表明历史上剧作家会使用早期戏剧的主题，选项C的意思是为了指出莎士比亚被古希腊的戏剧影响很深，选项D的意思是为了给出曾经给后面剧作家以灵感的剧作家的例子。只有选项B符合原文意思，其他三个选项都不合适。

正确答案：B

题目解析：本题定位到原文：Professor: To some extent, yes. Mee, for example, he's made a career out of remaking plays, one of which we’ll be studying soon. It’s called Full Circle and Mee based it on an earlier play by a German playwright. …… Okay. Well, the Caucasian Chalk Circle was based on a play by yet another German playwright, someone who was fascinated by the ancient literature as of China, India and Persia and many of his works were adapted from those literatures, including his version of the Chalk Circle which was based on an early Chinese play. 此处原文的大意是：Mee的Full Circle直接基于一部德国戏剧，但是德国剧作家又对中国古文化着迷。题干问的是教授为什么提到Mee的Full Circle; 选项A的意思是它作为了好莱坞电影的基础，选项B的意思是它间接地基于中国戏剧，选项C的意思是它影响了一部近代电影，选项D的意思是它使用了古希腊文学的主题。只有选项B符合原文意思，其他三个选项都不合适。

正确答案：AD

题目解析：本题定位到原文：Professor: Well, part of what Mee’s trying to do is drive home the point that: One, theaters always a collaborative effort. …… Robert: So it's like when the playwright bases a play on a previous playwrights theme or message. It's like they're talking to each other collaborating. Uh, just not at the same time right? Professor: Exactly. And the second point Mee's trying to make, I think, is that it's legitimate to retell an old story in a new way, in a way that, uh… some more in line with contemporary concerns. So when playwrights reinvent or update an earlier play it shouldn't be construed as a lack of imagination or an artistic failure. 此处原文的大意是：学生和老师讨论戏剧中的借鉴问题，双方都认为对旧戏剧的借鉴其实类似于新老剧作家跨越时空的合作，并不能被算成是缺少想象力或者失败的艺术。题干问的是Mee对于戏剧创作的观点。选项A的意思是对以前的戏剧的重写，使其能对应当代的问题，选项B的意思是剧作家应该在改编旧戏剧的时候保存尽可能多的原创，选项C的意思是旧时候的戏剧比新的戏剧倾向于去展示更多的想象力，选项D的意思是某种程度上，当代剧作家跟以前的剧作家一起合作。选项AD符合原文，另外两个则不符合。

正确答案：C

题目解析：本题定位到原文：Robert: Yeah，well, I’ve been thinking about his quote. I mean there must be some original plays out there. 此处原文的大意是：学生怀疑老师前面说过的原创戏剧几乎不存在的事情。题干问的是学生为什么要这样说。选项A的意思是他觉得教授错误理解了他的意思，选项B的意思是他自己写了一些原创戏剧，选项C的意思是他怀疑Mee说的内容的真实性，选项D的意思是他读过一些Mee的原创戏剧。选项C符合原文，其他三个选项均不符合。

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