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托福考試真題詳解
三更燈火五更雞，正是男兒讀書時(shí)。黑發(fā)不知勤學(xué)早，白首方悔讀書遲。以下是小編為大家搜索整理的托�？荚囌骖}詳解，希望對(duì)大家有所幫助！
托�？荚囌骖}詳解 1
In seeking to describe the origins of theater, one must rely primarily on speculation, sincethere is little concrete evidence on which to draw. The most widely accepted theory,championed by anthropologists in the late nineteenth and early twentieth centuries, envisionstheater as emerging out of myth and ritual. The process perceived by these anthropologistsmay be summarized briefly. During the early stages of its development, a society becomesaware of forces that appear to influence or control its food supply and well-being. Having littleunderstanding of natural causes, it attributes both desirable and undesirable occurrences tosupernatural or magical forces, and it searches for means to win the favor of these forces.Perceiving an apparent connection between certain actions performed by the group and theresult it desires, the group repeats, refines and formalizes those actions into fixed ceremonies,or rituals.
Stories (myths) may then grow up around a ritual. Frequently the myths includerepresentatives of those supernatural forces that the rites celebrate or hope to influence.Performers may wear costumes and masks to represent the mythical characters orsupernatural forces in the rituals or in accompanying celebrations. As a person becomes moresophisticated, its conceptions of supernatural forces and causal relationships may change. Asa result, it may abandon or modify some rites. But the myths that have grown up around therites may continue as part of the group’s oral tradition and may even come to be acted outunder conditions divorced from these rites. When this occurs, the first step has been takentoward theater as an autonomous activity, and thereafter entertainment and aesthetic valuesmay gradually replace the former mystical and socially efficacious concerns.
Although origin in ritual has long been the most popular, it is by no means the only theoryabout how the theater came into being. Storytelling has been proposed as one alternative.Under this theory, relating and listening to stories are seen as fundamental human pleasures.Thus, the recalling of an event (a hunt, battle, or other feat) is elaborated through thenarrator’s pantomime and impersonation and eventually through each role being assumedby a different person.
A closely related theory sees theater as evolving out of dances that are primarily pantomimic,rhythmical or gymnastic, or from imitations of animal noises and sounds. Admiration for theperformer’s skill, virtuosity, and grace are seen as motivation for elaborating the activities intofully realized theatrical performances.
In addition to exploring the possible antecedents of theater, scholars have also theorizedabout the motives that led people to develop theater. Why did theater develop, and why was itvalued after it ceased to fulfill the function of ritual? Most answers fall back on the theoriesabout the human mind and basic human needs. One, set forth by Aristotle in the fourth centuryB.C., sees humans as naturally imitative—as taking pleasure in imitating persons, things, andactions and in seeing such imitations. Another, advanced in the twentieth century, suggeststhat humans have a gift for fantasy, through which they seek to reshape reality into moresatisfying forms than those encountered in daily life. Thus, fantasy or fiction (of which dramais one form) permits people to objectify their anxieties and fears, confront them, and fulfilltheir hopes in fiction if not fact. The theater, then, is one tool whereby people define andunderstand their world or escape from unpleasant realities.
But neither the human imitative instinct nor a penchant for fantasy by itself leads to anautonomous theater. Therefore, additional explanations are needed. One necessary conditionseems to be a somewhat detached view of human problems. For example, one sign of thiscondition is the appearance of the comic vision, since comedy requires sufficientdetachment to view some deviations from social norms as ridiculous rather than as seriousthreats to the welfare of the entire group. Another condition that contributes to thedevelopment of autonomous theater is the emergence of the aesthetic sense. For example,some early societies ceased to consider certain rites essential to their well-being andabandoned them, nevertheless, they retained as parts of their oral tradition the myths thathad grown up around the rites and admired them for their artistic qualities rather than for theirreligious usefulness.
Paragraph 1: In seeking to describe the origins of theater, one must rely primarily onspeculation, since there is little concrete evidence on which to draw. The most widelyaccepted theory, championed by anthropologists in the late nineteenth and early twentiethcenturies, envisions theater as emerging out of myth and ritual. The process perceived bythese anthropologists may be summarized briefly. During the early stages of its development, asociety becomes aware of forces that appear to influence or control its food supply and well-being. Having little understanding of natural causes, it attributes both desirable andundesirable occurrences to supernatural or magical forces, and it searches for means to winthe favor of these forces. Perceiving an apparent connection between certain actionsperformed by the group and the result it desires, the group repeats, refines and formalizesthose actions into fixed ceremonies, or rituals.
1. The word “championed” in the passage is closest in meaning to
○Changed
○Debated
○Created
○Supported
2. The word “attributes” in the passage is closest in meaning to
○Ascribes
○Leaves
○Limits
○Contrasts
3. According to paragraph 1, theories of the origins of theater
○Are mainly hypothetical
○Are well supported by factual evidence
○Have rarely been agreed upon by anthropologists
○Were expressed in the early stages of theater’s development
4. According to paragraph 1, why did some societies develop and repeat ceremonial actions?
○To establish a positive connection between the members of the society
○To help society members better understand the forces controlling their food supply
○To distinguish their beliefs from those of other societies
○To increase the society’s prosperity
Paragraph 2:Stories (myths) may then grow up around a ritual. Frequently the myths includerepresentatives of those supernatural forces that the rites celebrate or hope to influence.Performers may wear costumes and masks to represent the mythical characters orsupernatural forces in the rituals or in accompanying celebrations. As a people becomes moresophisticated, its conceptions of supernatural forces and causal relationships may change. Asa result, it may abandon or modify some rites. But the myths that have grown up around therites may continue as part of the group’s oral tradition and may even come to be acted outunder conditions divorced from these rites. When this occurs, the first step has been takentoward theater as an autonomous activity, and thereafter entertainment and aesthetic valuesmay gradually replace the former mystical and socially efficacious concerns.
5. The word “this” in the passage refers to
○The acting out of rites
○The divorce of ritual performers from the rest of society
○The separation of myths from rites
○The celebration of supernatural forces
6. The word “autonomous” in the passage is closest in meaning to
○Artistic
○Important
○Independent
○Established
7. According to paragraph 2, what may cause societies to abandon certain rites?
○Emphasizing theater as entertainment
○Developing a new understanding of why events occur.
○Finding a more sophisticated way of representing mythical characters
○Moving from a primarily oral tradition to a more written tradition
Paragraph 5:In addition to exploring the possible antecedents of theater, scholars have alsotheorized about the motives that led people to develop theater. Why did theater develop, andwhy was it valued after it ceased to fulfill the function of ritual? Most answers fall back on thetheories about the human mind and basic human needs. One, set forth by Aristotle in thefourth century B.C., sees humans as naturally imitative—as taking pleasure in imitatingpersons, things, and actions and in seeing such imitations. Another, advanced in the twentiethcentury, suggests that humans have a gift for fantasy, through which they seek to reshapereality into more satisfying forms than those encountered in daily life. Thus, fantasy or fiction(of which drama is one form) permits people to objectify their anxieties and fears, confrontthem, and fulfill their hopes in fiction if not fact. The theater, then, is one tool whereby peopledefine and understand their world or escape from unpleasant realities.
8. All of following are mentioned in paragraph 5 as possible reasons that led societies to developtheater EXCEPT:
○Theater allows people to face that they are afraid of.
○Theater gives an opportunity to imagine a better reality.
○Theater is a way to enjoy imitating other people.
○Theater provides people the opportunity to better understand the human mind.
9. Which of the following best describes the organization of paragraph 5?
○The author presents two theories for a historical phenomenon.
○The author argues against theories expressed earlier in the passage.
○The author argues for replacing older theories with a new one.
○The author points out problems with two popular theories.
Paragraph 6: But neither the human imitative instinct nor a penchant for fantasy by itselfleads to an autonomous theater. Therefore, additional explanations are needed. Onenecessary condition seems to be a somewhat detached view of human problems. For example,one sign of this condition is the appearance of the comic vision, since comedy requiressufficient detachment to view some deviations from social norms as ridiculous rather thanas serious threats to the welfare of the entire group. Another condition that contributes to thedevelopment of autonomous theater is the emergence of the aesthetic sense. For example,some early societies ceased to consider certain rites essential to their well-being andabandoned them, nevertheless, they retained as parts of their oral tradition the myths thathad grown up around the rites and admired them for their artistic qualities rather than for theirreligious usefulness.
10.The word “penchant” in the passage is closest in meaning to
○Compromise
○Inclination
○Tradition
○Respect
11.Why does the author mention “comedy”?
○To give an example of early types of theater
○To explain how theater helps a society respond to threats to its welfare
○To help explain why detachment is needed for the development of theater
○To show how theatrical performers become detached from other members of society.
12.Which of the sentences below best expresses the essential information in the highlightedsentence in the passage? Incorrect choices change the meaning in important ways or leave outessential information.
○A society’s rites were more likely to be retained in the oral tradition if its myths were admiredfor artistic qualities.
○The artistic quality of a myth was sometimes an essential reason for a society to abandonit from the oral tradition.
○Some early societies stopped using myths in their religious practices when rites ceased to beseen as useful for social well-being.
○Myths sometimes survived in a society’s tradition because of their artistic qualities even afterthey were no longer deemed religiously beneficial.
Paragraph 3:Although origin in ritual has long been the most popular, it is by no means theonly theory about how the theater came into being.Storytelling has been proposed as onealternative. Under this theory, relating and listening to stories are seen as fundamentalhuman pleasures. Thus, the recalling of an event (a hunt, battle, or other feat) is elaboratedthrough the narrator’s pantomime and impersonation and eventually through each rolebeing assumed by a different person.
13.Look at the four squares that indicate where the following sentence could be added tothe passage.
To enhance their listener’s enjoyment, storytellers continually make their stores moreengaging and memorable.
Where would the sentence best fit? Click on a square to add the sentence to the passage.
14.Directions: An introductory sentence for a brief summary of the passage is providedbelow. Complete the summary by selecting the THREE answer choices that express the mostimportant ideas in the passage. Some sentences do not belong in the summary because theyexpress ideas that are not presented in the passage or are minor ideas in the passage. Thisquestion is worth 2 points.
Anthropologists have developed many theories to help understand why and how theateroriginated.
Answer choices
○The presence of theater in almost all societies is thought to have occurred because earlystory tellers traveled to different groups to tell their stores.
○Many theorists believe that theater arises when societies act out myths to preserve socialwell-being.
○The more sophisticated societies became, the better they could influence desirableoccurrences through ritualized theater.
○Some theories of theater development focus on how theater was used by group leaders togroup leaders govern other members of society.
○Theater may have come from pleasure humans receive from storytelling and movingrhythmically.
○The human capacities for imitation and fantasy are considered possible reasons whysocieties develop theater.
參考譯文
戲劇的起源
由于幾乎沒有具體材料可供研究，探尋戲劇的起源只能憑推測(cè)。19世紀(jì)末20世紀(jì)初為人類學(xué)家們所擁護(hù)的一種理論得到了世人的廣泛認(rèn)同;這種觀點(diǎn)認(rèn)為戲劇起源于神話和宗教儀式，這些人類學(xué)家們推論過(guò)程可簡(jiǎn)要概括如下：在社會(huì)發(fā)展早期，人們相信有股力量可以影響甚至操控他們的食物供應(yīng)和幸福生活。在對(duì)自然原因并不十分了解的情況下，他們把希望或不惜希望發(fā)生的事情都?xì)w咎于超自然的或魔幻的力量，并且試圖尋找各種途徑贏得這些力量的厚愛。當(dāng)他們意識(shí)到自己的某些行為和期許的結(jié)果之間存在明顯的聯(lián)系以后，人們便開始重復(fù)并且完善這些行為，最終形成固定的典禮或宗教儀式。
故事(神話)在這種儀式中發(fā)展起來(lái)，這些故事中經(jīng)常會(huì)有儀式慶�；蚱谕绊懙某匀涣α康牡湫�。在這種儀式或伴隨的慶典中，表演者們可能會(huì)穿上戲裝和面具來(lái)扮演神秘的角色或超自然力量。當(dāng)人們認(rèn)識(shí)事物的能力進(jìn)一步加強(qiáng)的`時(shí)候，他們對(duì)超自然力量以及與其引發(fā)的事件間因果關(guān)系的認(rèn)識(shí)就發(fā)生了改變;于是，他們會(huì)拋棄或者修改某些儀式。不過(guò)在這些儀式中發(fā)展起來(lái)的神話故事繼續(xù)在人們的口頭流傳，甚至可能脫離了儀式而被演繹著。這時(shí)侯，戲劇作為一種自發(fā)的活動(dòng)邁出了自己的第一步，接著，戲劇的娛樂(lè)和審美價(jià)值開始漸漸取代先前的帶有神話色彩的、在社會(huì)上靈驗(yàn)的關(guān)注。
盡管戲劇起源于宗教儀式的說(shuō)法是目前最被大眾認(rèn)可的，但無(wú)論如何這都不是戲劇起源的唯一理論;另一種推測(cè)認(rèn)為戲劇源于說(shuō)書。在這個(gè)理論中，與故事產(chǎn)生聯(lián)系和聆聽故事被視為是人類基本的樂(lè)趣。因此，講述人通過(guò)自己的手勢(shì)和模仿把對(duì)一個(gè)事件的回憶(一次打獵、戰(zhàn)役或是其它功勛偉業(yè))表現(xiàn)的淋漓盡致，這種方式最終演變成為由不同的人來(lái)演繹不同的角色。
另外一種與之相關(guān)的理論認(rèn)為，戲劇主要是從無(wú)聲的、有節(jié)奏的舞蹈、體操，或模仿動(dòng)物聲音的過(guò)程逐漸演變而來(lái)。人們對(duì)表演者的演技、審美能力和優(yōu)雅的欣賞被視為是表演者將他們的表演精心策劃為戲劇的動(dòng)力。
為了進(jìn)一步探尋戲劇的起源，一些學(xué)派開始從人類發(fā)展戲劇的動(dòng)機(jī)上建立理論。為什么戲劇會(huì)發(fā)展，為什么在戲劇完全脫離宗教儀式以后還有這么大的價(jià)值?大部分答案都回到那些關(guān)于人類心智和人類基本需求的理論中。首先，亞里士多德在公元前4世紀(jì)提出，人們天生好模仿，并從模仿他人、事物和動(dòng)作以及觀看模仿中獲得樂(lè)趣。另外，20世紀(jì)提出的先進(jìn)理論認(rèn)為人類擅長(zhǎng)幻想，通過(guò)幻想將日常生活中的現(xiàn)實(shí)重塑成更加令人滿意的形式。因此，人們通過(guò)幻想或虛構(gòu)(戲劇的一個(gè)形式)把他們的焦慮和恐懼具體化，再通過(guò)這種方式面對(duì)焦慮和恐懼，并從虛構(gòu)中滿足他們現(xiàn)實(shí)中無(wú)法實(shí)現(xiàn)的愿望。所以，戲劇成為了一種幫助人們認(rèn)識(shí)和理解這個(gè)世界，或是幫助人們逃避不滿現(xiàn)實(shí)的工具。
但是，無(wú)論是人類模仿的本能或是對(duì)幻想的嗜好本身都不能發(fā)展成為獨(dú)立的戲劇，因此，我們需要更多解釋。一個(gè)必要的條件可能是一種要脫離通常人們看待問(wèn)題的視角。比如，這個(gè)條件的一個(gè)標(biāo)志是喜劇構(gòu)想的出現(xiàn)，因?yàn)橄矂∫笞銐虻陌l(fā)散思維，我們需要將社會(huì)規(guī)范中的離經(jīng)叛道的行為視作極其荒謬的事情，而不是對(duì)公眾群體福利的嚴(yán)重威脅。另一個(gè)導(dǎo)致戲劇獨(dú)立的條件是審美感覺的出現(xiàn)。例如，一些早期社會(huì)的人們認(rèn)為有的儀式對(duì)他們的幸福生活來(lái)說(shuō)不再是必需品，并且取消了那些儀式。雖然如此，人們還是保留了那些口頭傳述故事的傳統(tǒng)并且熱愛從這些儀式里發(fā)展起來(lái)的神話，出于它們的藝術(shù)性，而不是宗教原因。
托福考試真題詳解 2
Task1:
Do you agree or disagree with the following statement? Students should be allowed to take additional courses in their spare time to graduate as soon as possible.
Task2:
一名商學(xué)院的學(xué)生提出了一項(xiàng)提議，即商學(xué)院應(yīng)該要求所有主修商科的學(xué)生必須完成一個(gè)暑期實(shí)習(xí)。
Task3:
Sandwich Strategy夾心策略是一種商業(yè)競(jìng)爭(zhēng)策略，通常由市場(chǎng)上的老牌企業(yè)采用，以應(yīng)對(duì)新進(jìn)入者的價(jià)格競(jìng)爭(zhēng)。當(dāng)新企業(yè)以更低的價(jià)格提供類似的產(chǎn)品或服務(wù)時(shí)，老牌企業(yè)可能會(huì)感到壓力，擔(dān)心失去市場(chǎng)份額和客戶。
Task4:
Discrete and Continuous Signals 離散信號(hào)和連續(xù)信號(hào)是動(dòng)物交流的兩種基本方式：
1.離散信號(hào)是簡(jiǎn)單的.、標(biāo)準(zhǔn)化的交流形式，用于傳遞明確且一致的信息。這類信號(hào)通常在同種動(dòng)物之間使用，以確保信息的準(zhǔn)確傳遞。離散信號(hào)的一個(gè)特點(diǎn)是它們的表現(xiàn)形式總是相同的，這有助于動(dòng)物迅速識(shí)別并作出反應(yīng)。
2.連續(xù)信號(hào)則更為復(fù)雜，它們可以傳達(dá)更豐富的信息，包括情感、意圖和環(huán)境狀況等。連續(xù)信號(hào)的一個(gè)重要特點(diǎn)是它們的強(qiáng)度或質(zhì)量可以根據(jù)情況的嚴(yán)重性或緊急程度而變化。這種信號(hào)的靈活性使得動(dòng)物能夠更精細(xì)地表達(dá)自己的狀態(tài)或需求。
托�？荚囌骖}詳解 3
Task1:
Some people like to read certain books more than once. Others prefer to always read something they have never read before. Which do you usually prefer? Explain why, using details and examples.
Task2:
一位學(xué)生建議學(xué)校使用最近收到的資金來(lái)重修學(xué)校的鐘樓(bells)。她認(rèn)為鐘樓是學(xué)校的象征，并且鐘樓的鐘聲可以提醒學(xué)生時(shí)間。
Task3:
Illusion of Truth真實(shí)性幻覺，是一種認(rèn)知偏差，指的是人們傾向于相信他們能夠準(zhǔn)確判斷接收到的信息是真是假，但往往并非如此。研究發(fā)現(xiàn)，當(dāng)同樣的信息多次呈現(xiàn)給人們時(shí)，他們更有可能接受這些信息為真實(shí)。這種現(xiàn)象發(fā)生的'原因是因?yàn)槭煜さ男畔⒈炔皇煜さ男畔⒏菀滋幚�。信息處理的便捷性可能�?dǎo)致人們錯(cuò)誤地相信信息是真實(shí)的，僅僅因?yàn)樗麄冎坝龅竭^(guò)。
Task4:
Aquatic Birds水鳥,是指那些大部分生活在水中或水域附近的鳥類，它們適應(yīng)了水生環(huán)境，并發(fā)展出了一些特殊的生理和行為特征以適應(yīng)這種生活方式。
1.Auk(海雀)：海雀是一種擅長(zhǎng)潛水的海鳥，它們擁有緊湊的身體和適應(yīng)深水捕食的翅膀。海雀的羽毛非常防水，它們可以迅速潛入水中尋找魚類和其他海洋生物作為食物。
2.Grebe(鸊鷉)：鸊鷉是一種小型的水鳥，以其優(yōu)雅的水上舞蹈和獨(dú)特的求偶行為而聞名。鸊鷉的腳位于身體后部，這使得它們?cè)谒杏斡緯r(shí)更加高效，但它們?cè)陉懙厣闲凶邥r(shí)卻顯得笨拙。鸊鷉通常在水面下捕食小魚和水生昆蟲。
托�？荚囌骖}詳解 4
Task1:
Do you agree or disagree with the following statement? The best way to teach children how to behave is to praise their good behavior rather than to criticize their bad behavior.
Task2:
學(xué)校提出了實(shí)施虛擬校園游覽的政策。這項(xiàng)政策允許學(xué)生在校園網(wǎng)站上進(jìn)行虛擬游覽，從而了解學(xué)校環(huán)境和周邊設(shè)施。
Task3:
古特有物種(Paleoendemic Species)是指那些曾經(jīng)在更廣闊的地理范圍內(nèi)生活，但隨著時(shí)間的`推移，由于地理或環(huán)境變化，現(xiàn)在僅在特定地區(qū)或島嶼上發(fā)現(xiàn)的物種。這些物種通常具有獨(dú)特的進(jìn)化歷史，它們的分布范圍因歷史上的大陸分裂或生態(tài)變化而受限。
Task4:
隨著汽車數(shù)量的增長(zhǎng)，美國(guó)城市在土地使用和建筑設(shè)計(jì)方面經(jīng)歷的兩個(gè)主要變化：
1. 土地使用方式的影響
2. 建筑設(shè)計(jì)方式的影響
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