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2020年1月4日雅思考試閱讀回顧如下，各位備考雅思考試的同學們跟著朗閣小編一起來回顧一下本次雅思考試吧。 P1 山雀 P2 講故事的演進 P3 現代技術 朗閣教師邊曉菲點評 1. 本次考試：難度中偏易。 2. 整體分析：涉及生物類(P1)、歷史文化類(P2)、科技類(P3)。 本場考試2新1舊，題目典型，難度中偏易。第一篇為判斷及填空，并且是順序出題，2個大題型幾乎沒有交叉;第二篇文章為段落細節匹配，分類匹配題和填空題的搭配題型，其中段落匹配較難定位，但是分類匹配比較好找并且填空題集中在文章尾部出題，整體難度適中;第三篇為單選，有選項summary和判斷的搭配題型，單選題難度較大，并且選材有一定難度，非常考驗學生靈活運用技巧的能力。 3. 主要題型： 本次考試題型常規。主流題型仍然是填空(11題)和判斷(8題);單選題出現了5題，同時配對題出現2個題型共9題，另外出現4題有選項的summary。 4. 部分答案及參考文章： Passage 1：山雀 題型搭配：判斷6+筆記填空7 原文待補充 部分答案參考： moss feathers 26 grams 3 weeks Caterpillars Passage 2：講故事的演進 題型：段落細節匹配5+分類匹配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. 題目參考: 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 ---- 參考答案: 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：現代技術與語言 題型：單選5+Summary選項5+判斷4 原文待補充 部分答案參考： Not Given YES NO Not Given 考試預測 1. 2020年開年第一場考試，選材難度中等，從各題型的出題難度來講中等偏易，除配對題外的組合題型基本遵循大題順序原則，常規題型中的填空和判斷出題位置均較為集中，這類題也是廣大考生比較拿手的題型，因此得分效率應在一個較高的水平上。本場考試的第3篇出現5題單選題，文章和題目難度系數均相對較高，正確選項多為文章內容的總結，對考生的文章理解能力要求較高。 2. 結合去年的考試情況和本場考試來看，除基礎題型外，配對題仍為重點，考生應著重準備，其中人名匹配為重中之重，在接下來考試中，考生要強化練習相應技巧，并思考在組合題型中如何靈活且高效的應用技巧提高得分效率。 3. 下場考試的話題可能有關管理類，藝術類，傳記類。 4. 重點瀏覽2016-2017年機經。 (責任編輯：jasmine) |
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