2023年新托福黄金精选阅读真题目.doc

新托福黄金精选阅读（原黄金29篇）真题8.2版本【2023年7月5日】更新TPO18-22旳15篇文章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, 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. Now 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 questions 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 Guide (OG);2. 22 sets from TPO, with 3 passages included in each set, 66 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 they 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 captured 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 this text. Eventually, the final “deluxe” edition of this text, including 80 passages in aggregate (3 passages in TPO are abstracted from OG, so they are exactly the same. Then taking 3 from 83 leaves 80 passages at last. ) I insist that before carefully finished and studied these 80 passages, we should 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 books!” 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, and 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, 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, “try them!”How good can these passages be? “They are golden, they are precious, they are diamonds!” Yours Wenyong目录OG8Applied Arts and Fine Arts8The Origins of Cetaceans14Desert Formation21Early Cinema30Aggression39Artisans and Industrialization48Swimming Machines57Nineteenth-Century Politics in the United States65The Expression of Emotions74Geology and Landscape83TPO-192Groundwater92The Origins of Theater99Timberline Vegetation on Mountains106TPO-3113Architecture113Depletion of the Ogallala Aquifer120The Long-Term Stability of Ecosystems127Online Test134Opportunists and Competitors134Lascaux Cave Paintings141Electricity from Wind148TPO-4155Deer Populations of the Puget Sound155Cave Art in Europe162Petroleum Resources169Offical Model Exam176Meteorite Impact and Dinosaur Extinction176TPO-5183Minerals and Plants183The Origin of the Pecific Island People190The Cambrian Explosion198TPO-6205Powering the Industrial Revolution205William Smith212Infantile Amnesia219TPO-7226The Geologic History of the Mediterranean226Ancient Rome and Greece233Agriculture, Iron, and the Bantu Peoples240TPO-8247The Rise of Teotihuacn247Extinction of the Dinosaurs254Running Water on Mars262TPO-9269Colonizing the Americas via the Northwest Coast269Reflection in Teaching277The Arrival of Plant Life in Hawaii284OG291Feeding Habits of East African Herbivores291Loie Fuller298Green Icebergs305TPO-10312Chinese Pottery312Variations in the Climate319Seventeenth-Century European Economic Growth326TPO-11333Ancient Egyptian Sculpture333Orientation and Navigation340Begging by Nestlings347TPO-12354Which Hand Did They Use?354Transition to Sound in Film362Water in the Desert370TPO-13377Types of Social Groups377Biological Clocks384Methods of Studying Infant Perception391TPO-14398Children and Advertising398Maya Water Problems406Pastoralism in Ancient Inner Eurasia413TPO-15420A Warm-Blooded Turtle420Mass Extinctions427Glacier Formation434TPO-16441Trade and the Ancient Middle East441Development of the Periodic Table448Planets in Our Solar System456TPO-17462Europes Early Sea Trade with Asia462Animal Signals in the Rain Forest469Symbiotic Relationships476TPO-18483Industrialization in the Netherlands and Scandinavia483The mystery of yawning490Lightning497TPO-19504The Roman Armys Impact on Britain504Succession, Climax, and Ecosystems511Discovering the Ice Ages518TPO-20525Westward Migration525Early Settlements in the Southwest Asia532Fossil Preservation539TPO-21546Geothermal Energy546The Origins of Agriculture554Autobiographical Memory562TPO-22569Spartina569The Birth of Photography576The Allende Meteorite584托福阅读知识体系592乐闻携尔教学培训课程简介593乐闻携尔近期课程信息597OGApplied 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 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 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 in 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. Buildings 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 the objects primary function. Sensitivity to physical laws is thus 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 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 must 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 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 necessary 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 new 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, whereas 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 to 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 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 in 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. Buildings 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 the 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 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, 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 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. 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 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 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 necessary 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). 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 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 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 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