文勇的新托福黄金精选阅读真题

1、在文勇的网站会定期更新黄金精选阅读最新版本,欢迎热心同学定期转载文勇的新托福黄金精选阅读（原黄金29篇）真题7.0版本【2011年3月14日星期二】更新tpo17-19的9篇文章俺常常收到同学们的邮件，要我推荐各种各样阅读材料,问我ibt的复习资料中 barron, longman, delta等等哪个更好。我其实很无奈-因为尽管这些机构很大牌,但大牌丝毫都不意味着文章“质量高”(比如你可以想想三鹿奶粉)-说这些机构的文章质量不高,并不是说文字写得不好,而是说这些文章的句子结构, 论述方式, 出题思路与ets的并不一致(有时候甚至大相径庭)：用这样的材料训练，实在是 事倍功半。于是，我们实在应

2、该去找找由ets出的ibt文章来做：（我们能够找到的|由ets编纂的标准ibt文章有）1.og 之中的13篇文章 ；（其中3篇为第三版og之中的文章）2.19次（套）tpo 之中的3*19=57篇文章 ；3.早期 报名之时ets赠送的3篇在线测试题4.ets官方给出的模考软件之中抽出的1篇文章； 于是这个文档在我的一时兴起之下，出现了：og拿在手上，可以一个个字的敲成电子版；tpo的所有考试都是在自己的计算机进行，于是可以一边花钱参加考试,一边截图与录像-再利用截下来的图片，逐个的敲下来；早期的ets赠送的3篇在线测试题，我也恰好有电子版本；官方的模考软件稍微用点功夫，就能将文章提取并复制出来

3、。虽然工作有些繁杂，但总算完成了所有文章的敲打工作。再花了些时间，把这74篇文章都做了答案，附在文章的后面。（由于tpo之中有3篇文章与og中完全重复,于是减去3篇,只剩下74篇。）同时我还更正了og上几个明显的错误（详见文后附录）当然，我还做出了方便大家理解文章的参考译文，附在文章的后面。在这74篇由ets出的文章没有做完之前，我们实在不应该花时间在任何其他的题目之上。我有时候甚至会对着我的弟兄们高呼：“没有把这74篇做遍，你好意思上考场么？你好意思花钱在任何一本垃圾书上面么？ ”另外，如果你正在准备ibt-sat-gre的作文部分或者写留学文书，也应该仔细的琢磨一下这些文章：经过ets打磨

4、的文章，无一不是精妙绝伦，极具模仿价值。常常有同学拜托我帮她（他）写ps，也说起自己的句子怎么看都像是小学生写的（尽管用上了gre里面的单词），于是会随口问我“勇哥，您的写作能力是怎么训练出来的。”我说，“看呗，看呗：托福文章看多了，写作能力自然就提高了。”“这ets的这些文章真的那么好？”。每当听到这个问题，我都会装做赵本山的样子来一句“谁用谁知道” 文勇欢迎进行未删节的转载|且不必告诉我你转载到哪里去|都是一个战壕里面的弟兄啊一开始做这件事情的时候，文档之中有不少的typo，还好获得了弟兄们的支持和理解，这个文档的错误才慢慢的越变越少。很感激大家对这个文档的关心和帮助，这个文档还是会一直地

5、做下去，为大家提供第一手的托福阅读复习资料。新增加文章的翻译还在进行当中，请大家耐心等待：）既然这些文章都是托福真题，那么它们的出处具体是怎么样的呢？tpo1来自网上公布的题目，tpo2来自og，tpo3来自2006年8月12日，tpo4来自2006年10月8日，tpo5来自2008年3月8日，tpo6来自2007年12月10日tpo7来自2007年2月24日/2007年12月14日tpo8来自2008年2月9日/2008年12月21日tpo9来自2008年5月4日，tpo10来自2008年6月7日，tpo11来自2006年12月8日（阅读+口语）/2006年12月15日（听力+写作）tpo1

6、2来自2006年12月8日（听力+独立写作）/2006年12月15日（阅读+口语）/2007年12月1日（综合写作）tpo13来自2006年6月9日/2007年6月30日以上统计来自于康老师欢迎同学们发邮件给我指出任何的关于这个文档的意见和建议！ liuwenyong本文檔由 刘文勇出于个人兴趣制作，由陈睿|李想等协助制作,该行为并不代表任何机构;注意:文章源自ets,版权啥的自然都来自ets,这一点毫无疑问,由于教务繁忙,估计各种错误是少不了的,如果你发现了错误且有空的话,就拜托你发邮件告诉我一下吧)(liuwenyong我都会在文档的附录中标记你的贡献，若找到五处以上的错误，免费电话答疑；

7、若找到十处以上直接请吃饭：)introductionmany students sent me e-mail, asking me to recommend some reading materials. of assorted ibt preparing materials, barron, longman, delta, etc, which is the best? as often as not, i feel at a loss: does brand equal to quality? these branded institutions are highly publicized

8、, however, their passages and questions are not necessarily of quality. does the brand “sanlu” mean something to you? “quality and safety are the foundations of social harmony,” proclaim posters at the headquarters of the sanlu group, until recently one of chinas biggest producers of milk powder. no

9、w we all know that sanlu scandal has been more than an embarrassment. to say that these “branded” passages are not of quality does not mean they are not stylish, elegant or carefully-written; in fact, i discovered that the passage types, sentence patterns, arguing methods, and arrangement of questio

10、ns are not quite consistent with, and sometimes even wildly divergent from those of ets. i reflect that practicing with these materials cannot expect a satisfactory result. at this, we should collect etss original passages and questions. such passages available include:1. 13 passages in official gui

11、de (og);2. 19sets from tpo, with 3 passages included in each set, 57 passages in total;3. 3 passages provided by ets to the applicants for a test on line in the early time of ibt,4. 1 passage extracted from the simulated exam software provided by ets;(3 passages in tpo are abstracted from og, so the

12、y are exactly the same) then, i cannot resist the temptation to make such a text: i typed every letter of the 13 passages in og into computer; i paid dollars for the tpo and completed it myself, filming the screen and capturing every page. then i typed all the passages with the help of videos and ca

13、ptured pictures. the 3 passages in the on-line test happened to be available to me; and as for the one passage in the simulated exam, though with a little difficulty, i nevertheless succeeded make an electronic text of it. of course, i finished all these questions and attached the answer to end of t

14、his text. eventually, the final “deluxe” edition of this text, including 71 passages in aggregate (3 passages in tpo are abstracted from og, so they are exactly the same. then taking 3 from 74 leaves 71 passages at last. ) i insist that before carefully finished and studied these 71passages, we shou

15、ld not let ourselves distracted by any other materials. sometimes, i yelled to my students, only a joke, “if you had not studied these passages and questions 3 times at least, how could you be barefaced enough to sit in the exam room? shame on you to waste your mothers money buying other costly book

16、s!” in addition, have you got ants in your pants every time you make a stab at writing? do you go berserk for your personal statement? if you are preparing for the ibt, sat, gre, etc, writing, essays, or your personal statement, these passages can also be of help: polished by ets, words, sentence, a

17、nd structures of these passages are “epic”, and worth imitating for none-native english users. frequently, friends asked me to help with their personal statement, complaining why what they had written looked so nave, immature and awkward, even littered with those “glorious noble” gre words (actually

18、, these words made their personal statement even freak!). and they asked, “wenyong, my brother, how you forged your impressive writing skills?” i said, “read! read! and read again! the more you read, the better you write.” “are these ibt passages really so amazing?” i affected a tone of a comedian,

19、“try them!”how good can these passages be? “they are golden, they are precious, they are diamonds!” yours wenyong目录1.applied arts and fine arts72.the origins of cetaceans123.desert formation194.early cinema285.aggression376.artisans and industrialization467.swimming machines558.nineteenth-century po

20、litics in the united states639.the expression of emotions7210.geology and landscape8111.groundwater9012.the origins of theater9713.timberline vegetation on mountains10414.architecture11115.depletion of the ogallala aquifer11816.the long-term stability of ecosystems12517.opportunists and competitors1

21、3218.lascaux cave paintings13819.electricity from wind14520.deer populations of the puget sound15221.cave art in europe15922.petroleum resources16623.meteorite impact and dinosaur extinction17324.minerals and plants18025.the origin of the pacific island people18726.the cambrian explosion19527.poweri

22、ng the industrial revolution20228.william smith20929.infantile amnesia21630.the geologic history of the mediterranean22331.ancient rome and greece23032.agriculture, iron, and the bantu peoples23733.the rise of teotihuacan24434.extinction of the dinosaurs25135.running water on mars25936.colonizing th

23、e americas via the northwest coast26637.reflection in teaching27438.the arrival of plant life in hawaii28139.feeding habits of east african herbivores28840.loie fuller29541.green icebergs30242.chinese pottery30943.variations in the climate31644.seventeenth-century european economic growth32345.ancie

24、nt egyptian sculpture33046.orientation and navigation33747.begging by nestlings34448.which hand did they use?35149.transition to sound in film35850.water in the desert36651.types of social groups37352.biological clocks38053.methods of studying infant perception38754.children and advertising39455.may

25、a water problems40156.pastoralism in ancient inner eurasia40857.a warm-blooded turtle41558.mass extinctions42259.glacier formation42960.trade and the ancient middle east43661.development of the periodic table44362.planets in our solar system45163.trade and the ancient middle east45764.development of

26、 the periodic table46465.symbiotic relationships47266.the mystery of yawning47967.lightning48568.industrialization in the netherlands and scandinavia49169.the roman armys impact on britain49770.succession, climax, and ecosystems50471.discovering the ice ages511托福阅读知识体系519文勇的新托福强化阅读白金班520穿越重洋，给你思维的力量

27、522applied arts and fine artsalthough we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led to their being known as the applied arts. approaching crafts fr

28、om the point of view of function, we can divide them into simple categories: containers, shelters and supports. there is no way around the fact that containers, shelters, and supports must be functional. the applied arts are thus bound by the laws of physics, which pertain to both the materials used

29、 in their making and the substances and things to be contained, supported, and sheltered. these laws are universal in their application, regardless of cultural beliefs, geography, or climate. if a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any

30、traditional sense. since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. buildings without roofs, for example, are unusual because they depart

31、from the norm. however, not all functional objects are exactly alike; that is why we recognize a shang dynasty vase as being different from an inca vase. what varies is not the basic form but the incidental details that do not obstruct the objects primary function. sensitivity to physical laws is th

32、us an important consideration for the maker of applied-art objects. it is often taken for granted that this is also true for the maker of fine-art objects. this assumption misses a significant difference between the two disciplines. fine-art objects are not constrained by the laws of physics in the

33、same way that applied-art objects are. because their primary purpose is not functional, they are only limited in terms of the materials used to make them. sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. paintings mu

34、st have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. these are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work. for example, in the early italian renaissance, bronze statues

35、of horses with a raised foreleg usually had a cannonball under that hoof. this was done because the cannonball was needed to support the weight of the leg. in other words, the demands of the laws of physics, not the sculptors aesthetic intentions, placed the ball there. that this device was a necess

36、ary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze). even though the fine arts in the twentieth century often treat materials in ne

37、w ways, the basic difference in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant. it would therefore not be too great an exaggeration to say that practitioners of the fine arts work to overcome the limitations of their materials, wh

38、ereas those engaged in the applied arts work in concert with their materials. paragraph 1: although we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led t

39、o their being known as the applied arts. approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. there is no way around the fact that containers, shelters, and supports must be functional. the applied arts are thus bound by

40、 the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. these laws are universal in their application, regardless of cultural beliefs, geography, or climate. if a pot has no bottom or has large openings i

41、n its sides, it could hardly be considered a container in any traditional sense. since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. building

42、s without roofs, for example, are unusual because they depart from the norm. however, not all functional objects are exactly alike; that is why we recognize a shang dynasty vase as being different from an inca vase. what varies is not the basic form but the incidental details that do not obstruct th

43、e objects primary function. 3. the word they in the passage refers to applied-art objects the laws of physics containers the sides of pots 4. which of the following best expresses the essential information in the highlighted sentence? incorrect answer choices change the meaning in important ways or

44、leave out essential information. functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics. the function of applied-art objects is determined by basic patterns in the laws of physics. since functional applied-art objects vary only within certain limits

45、, arbitrary decisions cannot have determined their general form. the general form of applied-art objects is limited by some arbitrary decision that is not determined by the laws of physics. paragraph 2: sensitivity to physical laws is thus an important consideration for the maker of applied-art obje

46、cts. it is often taken for granted that this is also true for the maker of fine-art objects. this assumption misses a significant difference between the two disciplines. fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are. because their primary pu

47、rpose is not functional, they are only limited in terms of the materials used to make them. sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. paintings must have rigid stretchers so that the canvas will be taut, and t

48、he paint must not deteriorate, crack, or discolor. these are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work. for example, in the early italian renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under

49、that hoof. this was done because the cannonball was needed to support the weight of the leg. in other words, the demands of the laws of physics, not the sculptors aesthetic intentions, placed the ball there. that this device was a necessary structural compromise is clear from the fact that the canno

50、nball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze). 5. according to paragraph 2, sculptors in the italian renaissance stopped using cannonballs in bronze statues of horses because they began us

51、ing a material that made the statues weigh less they found a way to strengthen the statues internally the aesthetic tastes of the public had changed over time the cannonballs added too much weight to the statues 6. why does the author discuss the bronze statues of horses created by artists in the ea

52、rly italian renaissance? to provide an example of a problem related to the laws of physics that a fine artist must overcome to argue that fine artists are unconcerned with the laws of physics to contrast the relative sophistication of modern artists in solving problems related to the laws of physics

53、 to note an exceptional piece of art constructed without the aid of technology 7. 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 sentences do not belo

54、ng 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. this passage discusses fundamental differences between applied-art objects and fine-art objects. answer choices applied-art objects fulfill functions

55、, such as containing or sheltering, and objects with the same function have similar characteristics because they are constrained by their purpose.it is easy to recognize that shang dynasty vases are different from inca vases.fine-art objects are not functional, so they are limited only by the proper

56、ties of the materials used.renaissance sculptors learned to use iron braces to strengthen the internal structures of bronze statues.in the twentieth century, fine artists and applied artists became more similar to one another in their attitudes toward their materials.in all periods, fine artists ten

57、d to challenge the physical limitations of their materials while applied artists tend to cooperate with the physical properties of their materials.8. directions: complete the table below to summarize information about the two types of art discussed in the passage. match the appropriate statements to the types of art with which they are associated.