托福閱讀真題文章精選

1、 托福精選閱讀文章ETS編纂的標準iBT文章目前共有74篇：1.OG 之中的13篇文章 ；（其中3篇為第三版OG之中的文章）2.19套TPO 之中的3*19=57篇文章 ；3.早期 報名之時ETS贈送的3篇在線測試題4.ETS官方給出的模考軟件之中抽出的1篇文章； 在這74篇由ETS出的文章沒有做完之前，我們實在不應(yīng)該花時間在任何其他的題目之上。沒有把這74篇做遍，你好意思上考場么？另外，如果你正在準備iBT-SAT-GRE的作文部分或者寫留學(xué)文書，也應(yīng)該仔細的琢磨一下這些文章：經(jīng)過ETS打磨的文章，無一不是精妙絕倫，極具模仿價值。 既然這些文章都是托福真題，那么它們的出處具體是怎么樣的呢？T

2、PO1來自網(wǎng)上公布的題目，TPO2來自O(shè)G，TPO3來自2006年8月12日，TPO4來自2006年10月8日，TPO5來自2008年3月8日，TPO6來自2007年12月10日TPO7來自2007年2月24日/2007年12月14日TPO8來自2008年2月9日/2008年12月21日TPO9來自2008年5月4日，TPO10來自2008年6月7日，TPO11來自2006年12月8日（閱讀+口語）/2006年12月15日（聽力+寫作）TPO12來自2006年12月8日（聽力+獨立寫作）/2006年12月15日（閱讀+口語）/2007年12月1日（綜合寫作）TPO13來自2006年6月9日/2

3、007年6月30日目錄 TOC o 1-1 h z u HYPERLINK l _Toc18685 APPLIED ARTS AND FINE ARTS PAGEREF _Toc18685 5 HYPERLINK l _Toc22063 THE ORIGINS OF CETACEANS PAGEREF _Toc22063 10 HYPERLINK l _Toc11060 DESERT FORMATION PAGEREF _Toc11060 17 HYPERLINK l _Toc22474 EARLY CINEMA PAGEREF _Toc22474 26 HYPERLINK l _Toc109

4、58 AGGRESSION PAGEREF _Toc10958 35 HYPERLINK l _Toc21598 ARTISANS AND INDUSTRIALIZATION PAGEREF _Toc21598 44 HYPERLINK l _Toc10503 SWIMMING MACHINES PAGEREF _Toc10503 53 HYPERLINK l _Toc19309 NINETEENTH-CENTURY POLITICS IN THE UNITED STATES PAGEREF _Toc19309 61 HYPERLINK l _Toc1480 THE EXPRESSION OF

5、 EMOTIONS PAGEREF _Toc1480 70 HYPERLINK l _Toc10752 GEOLOGY AND LANDSCAPE PAGEREF _Toc10752 79 HYPERLINK l _Toc23471 GROUNDWATER PAGEREF _Toc23471 88 HYPERLINK l _Toc25357 THE ORIGINS OF THEATER PAGEREF _Toc25357 95 HYPERLINK l _Toc20835 TIMBERLINE VEGETATION ON MOUNTAINS PAGEREF _Toc20835 102 HYPER

6、LINK l _Toc11265 ARCHITECTURE PAGEREF _Toc11265 109 HYPERLINK l _Toc21110 Depletion of the Ogallala Aquifer PAGEREF _Toc21110 116 HYPERLINK l _Toc1687 The Long-Term Stability of Ecosystems PAGEREF _Toc1687 123 HYPERLINK l _Toc21603 Opportunists and Competitors PAGEREF _Toc21603 130 HYPERLINK l _Toc1

7、9043 Lascaux Cave Paintings PAGEREF _Toc19043 136 HYPERLINK l _Toc12393 Electricity from Wind PAGEREF _Toc12393 143 HYPERLINK l _Toc13242 Deer Populations of the Puget Sound PAGEREF _Toc13242 150 HYPERLINK l _Toc8528 Cave Art in Europe PAGEREF _Toc8528 157 HYPERLINK l _Toc27360 Petroleum Resources P

8、AGEREF _Toc27360 164 HYPERLINK l _Toc11366 Meteorite Impact and Dinosaur Extinction PAGEREF _Toc11366 171 HYPERLINK l _Toc19877 MINERALS AND PLANTS PAGEREF _Toc19877 178 HYPERLINK l _Toc14119 THE ORIGIN OF THE PACIFIC ISLAND PEOPLE PAGEREF _Toc14119 185 HYPERLINK l _Toc22225 THE CAMBRIAN EXPLOSION P

9、AGEREF _Toc22225 192 HYPERLINK l _Toc22389 Powering the Industrial Revolution PAGEREF _Toc22389 199 HYPERLINK l _Toc6674 William Smith PAGEREF _Toc6674 206 HYPERLINK l _Toc6735 Infantile Amnesia PAGEREF _Toc6735 213 HYPERLINK l _Toc16462 The Geologic History of the Mediterranean PAGEREF _Toc16462 22

10、0 HYPERLINK l _Toc7515 Ancient Rome and Greece PAGEREF _Toc7515 227 HYPERLINK l _Toc3971 Agriculture, Iron, and the Bantu Peoples PAGEREF _Toc3971 234 HYPERLINK l _Toc31182 THE RISE OF TEOTIHUACAN PAGEREF _Toc31182 241 HYPERLINK l _Toc8855 EXTINCTION OF THE DINOSAURS PAGEREF _Toc8855 248 HYPERLINK l

11、 _Toc13165 RUNNING WATER ON MARS PAGEREF _Toc13165 256 HYPERLINK l _Toc22731 Colonizing the Americas via the Northwest Coast PAGEREF _Toc22731 263 HYPERLINK l _Toc13501 REFLECTION IN TEACHING PAGEREF _Toc13501 271 HYPERLINK l _Toc434 THE ARRIVAL OF PLANT LIFE IN HAWAII PAGEREF _Toc434 278 HYPERLINK

12、l _Toc27043 FEEDING HABITS OF EAST AFRICAN HERBIVORES PAGEREF _Toc27043 285 HYPERLINK l _Toc12753 LOIE FULLER PAGEREF _Toc12753 292 HYPERLINK l _Toc21497 GREEN ICEBERGS PAGEREF _Toc21497 299 HYPERLINK l _Toc19798 Chinese Pottery PAGEREF _Toc19798 306 HYPERLINK l _Toc4589 Variations in the Climate PA

13、GEREF _Toc4589 313 HYPERLINK l _Toc401 Seventeenth-Century European Economic Growth PAGEREF _Toc401 320 HYPERLINK l _Toc19484 Ancient Egyptian Sculpture PAGEREF _Toc19484 327 HYPERLINK l _Toc27400 Orientation and Navigation PAGEREF _Toc27400 334 HYPERLINK l _Toc29130 Begging by Nestlings PAGEREF _To

14、c29130 341 HYPERLINK l _Toc21859 Which Hand Did They Use? PAGEREF _Toc21859 348 HYPERLINK l _Toc7084 Transition to Sound in Film PAGEREF _Toc7084 355 HYPERLINK l _Toc11140 Water in the Desert PAGEREF _Toc11140 362 HYPERLINK l _Toc29206 Types of Social Groups PAGEREF _Toc29206 369 HYPERLINK l _Toc857

15、6 Biological Clocks PAGEREF _Toc8576 376 HYPERLINK l _Toc6546 Methods of Studying Infant Perception PAGEREF _Toc6546 383 HYPERLINK l _Toc12126 Children and Advertising PAGEREF _Toc12126 390 HYPERLINK l _Toc291 Maya Water Problems PAGEREF _Toc291 397 HYPERLINK l _Toc27330 Pastoralism in Ancient Inner

16、 Eurasia PAGEREF _Toc27330 404 HYPERLINK l _Toc1997 A Warm-Blooded Turtle PAGEREF _Toc1997 411 HYPERLINK l _Toc32489 Mass Extinctions PAGEREF _Toc32489 418 HYPERLINK l _Toc23308 Glacier Formation PAGEREF _Toc23308 425 HYPERLINK l _Toc15787 Trade and the Ancient Middle East PAGEREF _Toc15787 432 HYPE

17、RLINK l _Toc15975 Development of the Periodic Table PAGEREF _Toc15975 439 HYPERLINK l _Toc22872 Planets in Our Solar System PAGEREF _Toc22872 446 HYPERLINK l _Toc11334 Europes Early Sea Trade with Asia PAGEREF _Toc11334 452 HYPERLINK l _Toc5801 ANIMAL SIGNALS IN THE RAIN FOREST (TPO17) PAGEREF _Toc5

18、801 458 HYPERLINK l _Toc680 Symbiotic Relationships PAGEREF _Toc680 464 HYPERLINK l _Toc32547 The mystery of yawning PAGEREF _Toc32547 471 HYPERLINK l _Toc17016 Lightning PAGEREF _Toc17016 478 HYPERLINK l _Toc8088 Industrialization in the Netherlands and Scandinavia PAGEREF _Toc8088 485 HYPERLINK l

19、_Toc24203 The Roman Armys Impact on Britain PAGEREF _Toc24203 492 HYPERLINK l _Toc31661 Succession, Climax, and Ecosystems PAGEREF _Toc31661 500 HYPERLINK l _Toc16269 Discovering the Ice Ages PAGEREF _Toc16269 508 HYPERLINK l _Toc26249 托福閱讀知識體系 PAGEREF _Toc26249 516APPLIED ARTS AND FINE ARTSAlthough

20、 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 from the point of view of function, we

21、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 in their making and the substances a

22、nd 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 traditional sense. Since the laws of

23、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 from the norm. However, not all funct

24、ional 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 thus an important consideration for the

25、 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 same way that applied-art objects are

26、. 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 must have rigid stretchers so that the

27、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 of horses with a raised foreleg usual

28、ly 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 necessary structural compromise is clear fr

29、om 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 new ways, the basic difference in attit

30、ude 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, whereas those engaged in the applied ar

31、ts 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 to their being known as the applied ar

32、ts. 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 the laws of physics, which pertain t

33、o 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 in its sides, it could hardly be consi

34、dered 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. Buildings without roofs, for example, are unu

35、sual 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 the objects primary function. 3. The wo

36、rd 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 leave out essential information. Func

37、tional 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, arbitrary decisions cannot have det

38、ermined 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 objects. It is often taken for granted th

39、at 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 purpose is not functional, they are onl

40、y 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 the paint must not deteriorate, crack,

41、 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 that hoof. This was done because the

42、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 cannonball quickly disappeared when sculpt

43、ors 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 using a material that made the statues

44、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 early Italian Renaissance? To provide a

45、n 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 To note an exceptional piece of art

46、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 belong in the summary because they expres

47、s 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, such as containing or sheltering, a

48、nd 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 properties of the materials used.Renaissanc

49、e 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 tend to challenge the physical limitatio

50、ns 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

51、 associated. This question is worth 3 points. TYPES OF ART STATEMENTSThe Applied Arts Select 3 The Fine Arts Select 2 Statements An objects purpose is primarily aesthetic. Objects serve a functional purpose. The incidental details of objects do not vary. Artists work to overcome the limitations of t

52、heir materials. The basic form of objects varies little across cultures. Artists work in concert with their materials. An objects place of origin is difficult to determine. 參考答案：3. 14. 15. 26. 17. 1, 3, 68. 2, 5, 6 1, 4參考譯文實用藝術(shù)和創(chuàng)造藝術(shù)在現(xiàn)代，人們將根據(jù)工藝品的制造材質(zhì)對他們進行分類，如陶土，玻璃，木頭，纖維還有金屬。但最初人們根據(jù)工藝品的功能將他們通通定義為“實用工藝

53、品”。根據(jù)工藝品的實用性，我們可以把手工藝品簡單分為：容器，遮蔽物，支撐物。毫無疑問它們都是具有一定功能的物品。這些實用工藝品以自然規(guī)律為基礎(chǔ)，它們的制作材料及其容納、支撐、遮蓋的內(nèi)容需要符合這些規(guī)律。這些規(guī)律在工藝品應(yīng)用過程中非常普遍，不會因文化信仰、地理條件和氣候的改變而改變。如果一個壺沒有底座，或者在一側(cè)有一個大開口，那么它在任何傳統(tǒng)意義上都很難被視為是一個容器。自然規(guī)律決定了實用工藝品的一般形式，而不是武斷的結(jié)論決定的，它們遵循基本的樣式，以至于它們的功能不會變化太大。舉個例子，沒有屋頂?shù)慕ㄖ呛苌僖姷?，因為它違反了自然規(guī)律。但是，并不是所有的功能物品都一模一樣，比如我們知道的為什么商

54、代花瓶和印加花瓶不同。它們的區(qū)別不是基本功能的不同，而是那些不影響其基本功能的細節(jié)存在區(qū)別。實用工藝品的生產(chǎn)者會著重考慮這件工藝品對自然規(guī)律的敏感性。所以人們認為對純工藝品的生產(chǎn)來說也是一樣。但這種推斷忽略了兩種工藝品之間重要的區(qū)別。純工藝品不像實用工藝品那樣會受到自然規(guī)律的限制。因為它們最主要的并不是體現(xiàn)其功能性，其實它們僅受限于制作材料的性質(zhì)。比方說雕塑必須要牢固，這就需要了解質(zhì)量，重力分布和壓力的性質(zhì)。油畫必須有堅固的支架，才能讓畫布保持繃緊，并且油畫不可以有毀損，裂紋，褪色。類似困難都是藝術(shù)家們必須克服的，這些困擾往往影響了藝術(shù)家對于工藝品的設(shè)計。就好像在意大利文藝復(fù)興早期，踢出前腿馬

55、匹的青銅像往往有一個金屬球置于它的前蹄下。這樣設(shè)計是因為需要金屬球來支撐腿的重量。換而言之，擺在那里的金屬球是客觀條件的需要，而不是藝術(shù)家的美學(xué)意愿。當(dāng)?shù)袼芗覍W(xué)會如何了用鐵支架加強雕塑的內(nèi)部結(jié)構(gòu)后（鐵比青銅更結(jié)實），就不再使用金屬球了，由此看來，鐵球的使用是對于必要結(jié)構(gòu)性的妥協(xié)。盡管在20世紀純工藝品的制作通常采用新的制造工藝，人們對兩種工藝品的基本態(tài)度仍然保持對立。因此，毫不夸張地說，純藝術(shù)工藝品的生產(chǎn)者需要克服原材料的限制進行生產(chǎn)，而從事實用性工藝品的生產(chǎn)者則依據(jù)材料的性質(zhì)來進行生產(chǎn)。THE ORIGINS OF CETACEANSIt should be obvious that cet

56、aceans-whales, porpoises, and dolphins-are mammals. They breathe through lungs, not through gills, and give birth to live young. Their streamlined bodies, the absence of hind legs, and the presence of a fluke1 and blowhole2 cannot disguise their affinities with land dwelling mammals. However, unlike

57、 the cases of sea otters and pinnipeds (seals, sea lions, and walruses, whose limbs are functional both on land and at sea), it is not easy to envision what the first whales looked like. Extinct but already fully marine cetaceans are known from the fossil record. How was the gap between a walking ma

58、mmal and a swimming whale bridged? Missing until recently were fossils clearly intermediate, or transitional, between land mammals and cetaceans.Very exciting discoveries have finally allowed scientists to reconstruct the most likely origins of cetaceans. In 1979, a team looking for fossils in north

59、ern Pakistan found what proved to be the oldest fossil whale. The fossil was officially named Pakicetus in honor of the country where the discovery was made. Pakicetus was found embedded in rocks formed from river deposits that were 52 million years old. The river that formed these deposits was actu

60、ally not far from an ancient ocean known as the Tethys Sea.The fossil consists of a complete skull of an archaeocyte, an extinct group of ancestors of modern cetaceans. Although limited to a skull, the Pakicetus fossil provides precious details on the origins of cetaceans. The skull is cetacean-like