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新托福閱讀考試試題
IBT 全稱 Internet-based Test 的縮寫，即托福網(wǎng)考，也就是現(xiàn)在的新托福，與舊托福最大的區(qū)別是多了個(gè)“網(wǎng)”，也就是通過網(wǎng)絡(luò)，而不再是紙質(zhì)的考試。下面是小編整理的新托福閱讀考試試題，希望多久開啊認(rèn)真閱讀!
模擬試題一：
The discovery of freezing has changed our eating habits more than any other related invention. Because many foods contain large amounts of water, they freeze solidly at or just below 32 degrees Fahrenheit. When we lower the temperature to well below the freezing point and prevent air from penetrating the food, we retard the natural process of decay that causes food to spoil. Freezing preserves the flavor and nutrients of food better than any other preservation method. When properly prepared and packed, foods and vegetables can be stored in the freezer for one year.
Most vegetables and some fruits need blanching before they are frozen, and to avoid this step would be an expensive mistake. The result would be a product largely devoid of vitamins and minerals. Proper blanching curtails the enzyme action, which vegetables require during their growth and ripening but which continues after maturation and will lead to decay unless it is almost entirely stopped by blanching. This process is done in two ways, either by plunging vegetables in a large amount of rapidly boiling water for a few minutes or by steaming them. For steam blanching, it is important that timing begin when the water at the bottom of the pot is boiling. Different vegetables require different blanching times, and specified times for each vegetable must be observed. Under-blanching is like no blanching at all, and over-blanching, while stopping the enzyme action, will produce soggy, discolored vegetables.
1.Why does the author mention 32 degrees Fahrenheit?
A.To suggest the storage temperature for most foods
B.To identify the freezing point of water
C.To state the correct setting for a freezer
D.To give the temperature for blanching
2.Why does the author use the term expensive mistake in discussing blanching?
A.To state that blanching is expensive but very effective
B.To warn that not blanching will harm the food’s nutritional value
C.To emphasize the importance of blanching only a few items at a time
D.To show that many people waste food by blanching improperly
答案：
1.B 2.B
模擬試題二：
The United States dancer Loie Fuller (1862–1928) found theatrical dance in the late nineteenthcentury artistically unfulfilling. She considered herself an artist rather than a mere entertainer,and she, in turn, attracted the notice of other artists.
Fuller devised a type of dance that focused on the shifting play of lights and colors on thevoluminous skirts or draperies she wore, which she kept in constant motion principallythrough movements of her arms, sometimes extended with wands concealed under hercostumes. She rejected the technical virtuosity of movement in ballet, the most prestigiousform of theatrical dance at that time, perhaps because her formal dance training was minimal.Although her early theatrical career had included stints as an actress, she was not primarilyinterested in storytelling or expressing emotions through dance; the drama of her dancingemanated from her visual effects.
Although she discovered and introduced her art in the United States, she achieved her greatestglory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became “LaLoie,” the darling of Parisian audiences. Many of her dances represented elements or naturalobjects—Fire, the Lily, the Butterfly, and so on—and thus accorded well with the fashionableArt Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing alsoattracted the attention of French poets and painters of the period, for it appealed to their likingfor mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable initself rather than because it may have some moral or educational benefit, and their efforts tosynthesize form and content.
Fuller had scientific leanings and constantly experimented with electrical lighting (which wasthen in its infancy), colored gels, slide projections, and other aspects of stage technology. Sheinvented and patented special arrangements of mirrors and concocted chemical dyes for herdraperies. Her interest in color and light paralleled the research of several artists of the period,notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes andlight on canvas by applying extremely small dots of color rather than by painting lines. One ofFuller's major inventions was underlighting, in which she stood on a pane of frosted glassilluminated from underneath. This was particularly effective in her Fire Dance (1895), performedto the music of Richard Wagner's “Ride of the Valkyries.” The dance caught the eye of artistHenri de Toulouse-Lautrec, who depicted it in a lithograph.
As her technological expertise grew more sophisticated, so did the other aspects of herdances. Although she gave little thought to music in her earliest dances, she later used scoresby Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky,Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. Shebegan to address more ambitious themes in her dances such as The Sea, in which her dancersinvisibly agitated a huge expanse of silk, played upon by colored lights. Always open toscientific and technological innovations, she befriended the scientists Marie and Pierre Curieupon their discovery of radium and created a Radium Dance, which simulated thephosphorescence of that element. She both appeared in films—then in an early stage ofdevelopment—and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) wasplayed by René Clair, later a leading French film director.
At the Paris Exposition in 1900, she had her own theater, where, in addition to her owndances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her.Although she is remembered today chiefly for her innovations in stage lighting, her activitiesalso touched Isadora Duncan and Ruth St. Denis, two other United States dancers who wereexperimenting with new types of dance. She sponsored Duncan's first appearance in Europe.Her theater at the Paris Exposition was visited by St. Denis, who found new ideas aboutstagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St.Denis paid tribute to Fuller with the duet Valse à la Loie.
Paragraph 1: The United States dancer Loie Fuller (1862–1928) found theatrical dance in thelate nineteenth century artistically unfulfilling. She considered herself an artist rather than amere entertainer, and she, in turn, attracted the notice of other artists.
1. What can be inferred from paragraph 1 about theatrical dance in the late nineteenthcentury?
○It influenced many artists outside of the field of dance.
○It was very similar to theatrical dance of the early nineteenth century.
○It was more a form of entertainment than a form of serious art.
○It was a relatively new art form in the United States.
Paragraph 2: Fuller devised a type of dance that focused on the shifting play of lights andcolors on the voluminous skirts or draperies she wore, which she kept in constant motionprincipally through movements of her arms, sometimes extended with wands concealed underher costumes. She rejected the technical virtuosity of movement in ballet, the mostprestigious form of theatrical dance at that time, perhaps because her formal dance trainingwas minimal. Although her early theatrical career had included stints as an actress, she wasnot primarily interested in storytelling or expressing emotions through dance; the drama of herdancing emanated from her visual effects.
2. According to paragraph 2, all of the following are characteristic of Fuller's type of danceEXCEPT
○experimentation using color
○large and full costumes
○continuous movement of her costumes
○ technical virtuosity of movement
3. The word prestigious in the passage is closest in meaning to
○highly regarded
○financially rewarding
○demanding
○serious
4. 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.
○Fuller was more interested in dance's visual impact than in its narrative or emotionalpossibilities.
○Fuller used visual effects to dramatize the stories and emotions expressed in her work.
○Fuller believed that the drama of her dancing sprang from her emotional style of storytelling.
○Fuller's focus on the visual effects of dance resulted from her early theatrical training as anactress.
Paragraph 3: Although she discovered and introduced her art in the United States, she achievedher greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soonbecame “La Loie,” the darling of Parisian audiences. Many of her dances represented elements ornatural objects—Fire, the Lily, the Butterfly, and so on—and thus accorded well with thefashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Herdancing also attracted the attention of French poets and painters of the period, for it appealedto their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art isvaluable in itself rather than because it may have some moral or educational benefit, and theirefforts to synthesize form and content.
5. The word engaged in the passage is closest in meaning to
○noticed
○praised
○hired
○attracted
6. The word synthesize in the passage is closest in meaning to
○improve
○define
○simplify
○integrate
7. According to paragraph 3, why was Fuller's work well received in Paris?
○Parisian audiences were particularly interested in artists and artistic movements from theUnited States.
○Influential poets tried to interest dancers in Fuller's work when she arrived in Paris.
○Fuller's work at this time borrowed directly from French artists working in other media.
○Fuller's dances were in harmony with the artistic values already present in Paris.
Paragraph 4: Fuller had scientific leanings and constantly experimented with electrical lighting(which was then in its infancy), colored gels, slide projections, and other aspects of stagetechnology. She invented and patented special arrangements of mirrors and concocted chemicaldyes for her draperies. Her interest in color and light paralleled the research of several artists ofthe period, notably the painter Seurat, famed for his Pointillist technique of creating a sense ofshapes and light on canvas by applying extremely small dots of color rather than by paintinglines. One of Fuller's major inventions was underlighting, in which she stood on a pane offrosted glass illuminated from underneath. This was particularly effective in her Fire Dance(1895), performed to the music of Richard Wagner's “Ride of the Valkyries.” The dance caughtthe eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph.
8. According to paragraph 4, Fuller's Fire Dance was notable in part for its
○use of colored gels to illuminate glass
○use of dyes and paints to create an image of fire
○technique of lighting the dancer from beneath
○draperies with small dots resembling the Pointillist technique of Seurat
Paragraph 5: As her technological expertise grew more sophisticated, so did the otheraspects of her dances. Although she gave little thought to music in her earliest dances, shelater used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduatingto Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then consideredprogressive. She began to address more ambitious themes in her dances such as The Sea,in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights.Always open to scientific and technological innovations, she befriended the scientists Marie andPierre Curie upon their discovery of radium and created a Radium Dance, which simulated thephosphorescence of that element. She both appeared in films—then in an early stage ofdevelopment—and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) wasplayed by René Clair, later a leading French film director.
9. Why does the author mention Fuller's The Sea?
○To point out a dance of Fuller's in which music did not play an important role
○ To explain why Fuller sometimes used music by progressive composers
○To illustrate a particular way in which Fuller developed as an artist
○To illustrate how Fuller's interest in science was reflected in her work
10. The word agitated in the passage is closest in meaning to
○emerged from beneath
○created movement in
○arranged themselves in
○pretended to be
Paragraph 6: At the Paris Exposition in 1900, she had her own theater, where, in addition toher own dances, she presented pantomimes by the Japanese actress Sada Yocco. Sheassembled an all-female company at this time and established a school around 1908, butneither survived her. Although she is remembered today chiefly for her innovations in stagelighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other UnitedStates dancers who were experimenting with new types of dance. She sponsored Duncan's firstappearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who foundnew ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays.In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.
11. According to paragraph 6, what was true of Fuller's theater at the Paris Exposition?
○It presented some works that were not by Fuller.
○It featured performances by prominent male as well as female dancers.
○It became a famous school that is still named in honor of Fuller.
○It continued to operate as a theater after Fuller died.
12. The passage mentions which of the following as a dance of Fuller's that was set to music?
○Fire Dance
○Radium Dance
○Le Lys de la Vie
○Valse à la Loie
Paragraph 5: As her technological expertise grew more sophisticated, so did the otheraspects of her dances. Although she gave little thought to music in her earliest dances, shelater used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduatingto Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then consideredprogressive. She began to address more ambitious themes in her dances such as The Sea,in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights.Always open to scientific and technological innovations, she befriended the scientists Marie andPierre Curie upon their discovery of radium and created a Radium Dance, which simulated thephosphorescence of that element. She both appeared in films—then in an early stage ofdevelopment—and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) wasplayed by René Clair, later a leading French film director.
13. Look at the four squares [] that indicate where the following sentence could be added tothe passage.
For all her originality in dance, her interests expanded beyond it into newly emerging artisticmedia.
Where would the sentence best fit?
14. Directions: An introductory sentence for a brief summary of the passage is provided below.Complete the summary by selecting the THREE answer 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.
Loie Fuller was an important and innovative dancer.
Answer Choices
1. Fuller believed that audiences in the late nineteenth century had lost interest in mosttheatrical dance.
2. Fuller transformed dance in part by creating dance interpretations of works by poets andpainters.
3. Fuller's work influenced a number of other dancers who were interested in experimentaldance.
4. Fuller introduced many technical innovations to the staging of theatrical dance.
5. Fuller continued to develop throughout her career, creating more complex works andexploring new artistic media.
6. By the 1920's, Fuller's theater at the Paris Exhibition had become the world center forinnovative dance.
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