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2020年1月4日雅思考试阅读回顾如下，各位备考雅思考试的同学们跟着朗阁小编一起来回顾一下本次雅思考试吧。 P1 山雀 P2 讲故事的演进 P3 现代技术 朗阁教师边晓菲点评 1. 本次考试：难度中偏易。 2. 整体分析：涉及生物类(P1)、历史文化类(P2)、科技类(P3)。 本场考试2新1旧，题目典型，难度中偏易。第一篇为判断及填空，并且是顺序出题，2个大题型几乎没有交叉;第二篇文章为段落细节匹配，分类匹配题和填空题的搭配题型，其中段落匹配较难定位，但是分类匹配比较好找并且填空题集中在文章尾部出题，整体难度适中;第三篇为单选，有选项summary和判断的搭配题型，单选题难度较大，并且选材有一定难度，非常考验学生灵活运用技巧的能力。 3. 主要题型： 本次考试题型常规。主流题型仍然是填空(11题)和判断(8题);单选题出现了5题，同时配对题出现2个题型共9题，另外出现4题有选项的summary。 4. 部分答案及参考文章： Passage 1：山雀 题型搭配：判断6+笔记填空7 原文待补充 部分答案参考： moss feathers 26 grams 3 weeks Caterpillars Passage 2：讲故事的演进 题型：段落细节匹配5+分类匹配4+填空 4 原文： Storytelling, From Prehistorie Caves To Modern Cinemas A It was told, we suppose, to people crouched around a fire: a tale of adventure, most likely-relating some close encounter with death; a remarkable hunt, an escape from mortal danger; a vision, or something else out of the ordinary. Whatever its thread, the weaving of this story was done with a prime purpose. The listeners must be kept listening. They must not fall asleep. So. as the story went on, its audience should be sustained by one question above all. What happens next? B The first fireside stories in human history can never be known. They were kept in the heads of those who told them. This method of storage is not necessarily inefficient. From documented oral traditions in Australia, the Balkans and other parts of the world we know that specialised storytellers and poets can recite from memory literally thousands of lines, in verse or prose, verbatim-word for word. But while memory is rightly considered an art in itself, it is clear that a primary purpose of making symbols is to have a system of reminders or mnemonic cues-signs that assist us to recall certain information in the mind's eye. C In some Polynesian communities a notched memory stick may help to guide a storyteller through successive stages of recitation. But in other parts of the world, the activity of storytelling historically resulted in the development or even the invention of writing systems. One theory about the arrival of literacy in ancient Greece, for example, argues that the epic tales about the Trojan War and the wanderings of Odysseus-traditionally attributed to Homer-were just so enchanting to hear that they had to be preserved. So the Greeks, c. 750-700BC, borrowed an alphabet from their neighbors in the eastern Mediterranean, the Phoenicians. D The custom of recording stories on parchment and other materials can be traced in many manifestations around the world, from the priestly papyrus archives of ancient Egypt to the birch-bark scrolls on which the North American Ojibway Indians set down their creation- myth. It is a well-tried and universal practice: so much so that to this day storytime is probably most often associated with words on paper. The formal practice of narrating a story aloud would seem-so we assume-to have given way to newspapers, novels and comic strips. This, however, is not the case. Statistically it is doubtful that the majority of humans currently rely upon the written word to get access to stories. So what is the alternative source? E Each year,over 7 billion people will go to watch the latest offering from Hollywood Bollywood and beyond. The supreme storyteller of today is cinema. The movies, as distinct from stilt photography, seem to be an essentially modem phenomenon. This is an illusion, for there are, as we shall see. certain ways in which the medium of film is indebted to very old precedents of arranging “sequences” of images. But any account of visual storytelling must begin with the recognition that all storytelling beats with a deeply atavistic pulse: that is,a 'good story' relies upon formal patterns of plot and characterisation that have been embedded in the practice of storytelling over many generations. F Thousands of scripts arrive every week at the offices of the major film studios. But aspiring screenwriters really need look no further for essential advice than the fourth-century BC Greek Philosopher Aristotle. He left some incomplete lecture notes on the art of telling stories in various literary and dramatic modes, a slim volume known as The Poetics. Though he can never have envisaged the popcorn-fuelled actuality of a multiplex cinema, Aristotle is almost prescient about the key elements required to get the crowds flocking to such a cultural hub. He analyzed the process with cool rationalism. When a story enchants us, we lose the sense of where we are; we are drawn into the story so thoroughly that we forget it is a story being told. This is?in Aristotle's phrase, the suspension of disbelief. G We know the feeling. If ever we have stayed in our seats, stunned with gnef,as the credits roll by, or for days after seeing that vivid evocation of horror have been nervous about taking a shower at home, then we have suspended disbelief. We have been caught, or captivated, in the storyteller's web. Did it all really happen? We realty thought so~for a while. Aristotle must have witnessed often enough this suspension of disbelief. He taught at Athens, the city where theater developed a$ a primary form of civic ritual and recreation. Two theatrical types of storytelling, tragedy and comedy caused Athenian audiences to lose themselves in sadness and laughter respectively. Tragedy, for Aristotle, was particularly potent in its capacity to enlist and then purge the emotions of those watching the story unfold on the stage, so he tried to identify those factors in the storyteller's art that brought about such engagement. He had, as an obvious sample for analysis, not only the fifth- century BC masterpieces of Classical Greek tragedy written by Aeschylus, Sophocles and Euripides. Beyond them stood Homer, whose stories even then had canonical status: The Iliad and The Odyssey were already considered literary landmarks-stories by which all other stories should be measured. So what was the secret of Homer's narrative art? H It was not hard to find. Homer created credible heroes. His heroes belonged to the past, they were mighty and magnificent, yet they were not, in the end, fantasy figures. He made his heroes sulk, bicker, cheat and cry. They were, in short, characters~protagonists of a story that an audience would care about, would want to follow, would want to know what happens next. As Aristotle saw, the hero who shows a human side-some flaw or weakness to which mortals are prone~is intrinsically dramatic. 题目参考: Questions 14-18 Reading Passage 2 has eight paragraphs, A-H. Which paragraph contains the following information? Write the correct letter, A-H, in boxes 14-18 on your answer sheet. 14 A misunderstanding of how people today get stories 15 The categorisation of stories 16 The fundamental aim of storytelling 17 A description of reciting stories without any assistance 18 How to make story characters attractive Questions 19-22 Classify the following information as referring to A adopted the writing system from another country B used organic materials to record stories C used tools to help to tell stories Write the correct letter, A，B or C in boxes 19-22 on your answer sheet. 19 Egyptians 20 Ojibway 21 Polynesians 22 Greek Questions 23-26 Complete the sentences below with ONE WORD ONLY from the passage. Write your answers in boxes 23-26 on your answer sheet. 23 Aristotle wrote a book on the art of storytelling called ---- . 24 Aristotle believed the most powerful type of story to move listeners is ---- 25 Aristotle viewed Homer’s works as ---- . 26 Aristotle believed attractive heroes should have some ---- 参考答案: 14.E 15.G 16.A 17.B 18.H 19.B 20.B 21.C 22.A 23. poetics 24.tragedy 25.landmarks 26.flaw/weakness Passage 3：现代技术与语言 题型：单选5+Summary选项5+判断4 原文待补充 部分答案参考： Not Given YES NO Not Given 考试预测 1. 2020年开年第一场考试，选材难度中等，从各题型的出题难度来讲中等偏易，除配对题外的组合题型基本遵循大题顺序原则，常规题型中的填空和判断出题位置均较为集中，这类题也是广大考生比较拿手的题型，因此得分效率应在一个较高的水平上。本场考试的第3篇出现5题单选题，文章和题目难度系数均相对较高，正确选项多为文章内容的总结，对考生的文章理解能力要求较高。 2. 结合去年的考试情况和本场考试来看，除基础题型外，配对题仍为重点，考生应着重准备，其中人名匹配为重中之重，在接下来考试中，考生要强化练习相应技巧，并思考在组合题型中如何灵活且高效的应用技巧提高得分效率。 3. 下场考试的话题可能有关管理类，艺术类，传记类。 4. 重点浏览2016-2017年机经。 (责任编辑：jasmine) |
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