文章題目Birds intelligence
重復(fù)年份20151114A 20130525 20111210
題材動(dòng)物
題型小標(biāo)題 7+配對(duì) 7
文章大意之前一直認(rèn)為人類(lèi)是高智能,現(xiàn)在發(fā)現(xiàn)猩猩甚至鳥(niǎo)類(lèi)都有,列舉了三種鳥(niǎo)的
例子;講到了鳥(niǎo)的生存環(huán)境殘酷,鳥(niǎo)也有競(jìng)爭(zhēng),腦大的鳥(niǎo)更聰明,還有鳥(niǎo)的
社會(huì)性。
部分答案參考:
小標(biāo)題:
第一段:之前一直認(rèn)為只有人類(lèi)是高智能,現(xiàn)在發(fā)現(xiàn)惺惺甚至鳥(niǎo)都有 Reviewing
common belief ;
第二段:舉三種鳥(niǎo)的例子 examples of different species of birds' intelligence
第三段:. 鳥(niǎo)的生存環(huán)境殘酷,鳥(niǎo)也有競(jìng)爭(zhēng) Link between capacity of using tool and
survival
第四段:腦大的鳥(niǎo)更聰明 physio... evidence of birds' intelligence
第五段:鳥(niǎo)的社會(huì)性 Link between cognitive ability and communal performance
第六段:white whig 什么鳥(niǎo)的幼鳥(niǎo)如何對(duì)待雛鳥(niǎo) how birds trick on others(不確定)
配對(duì)題:
三種鳥(niǎo)分別有兩個(gè) white whig 那個(gè)什么鳥(niǎo)。
1. 用工具砸開(kāi)食物的 covering shell。
2. 還有最后一個(gè)選項(xiàng) observer 那個(gè),有人觀察的時(shí)候幼鳥(niǎo)才會(huì)給雛鳥(niǎo)梳理羽毛 kate
鳥(niǎo)。
3. 會(huì)用誘餌捕魚(yú) bait 選項(xiàng)
4. 還會(huì)用火燒草把蟲(chóng)子趕出來(lái)。
5. 有喜愛(ài)的工具。
6. 保存工具再用到別的地方。
文章題目Food Addictive
重復(fù)年份20151114B 20140712
題材工業(yè)
題型判斷 7+摘要填空 3+配對(duì) 3
文章大意講了食品添加劑。人們更多的是通過(guò)氣味判斷食物是否好吃,而非味覺(jué)。真
材實(shí)料的價(jià)格都是超過(guò)實(shí)驗(yàn)室產(chǎn)品的,但是實(shí)驗(yàn)室產(chǎn)品的成功率非常低,但
回報(bào)率 。因此美國(guó)的添加劑發(fā)展是全球發(fā)展的推動(dòng)力。
部分答案參考:
判斷:
1. 一般來(lái)說(shuō),人們會(huì)根據(jù)食物味道,決定是否仍然會(huì)購(gòu)買(mǎi)的(second time)
F 原文中,分別提到了第二次會(huì)購(gòu)買(mǎi)的對(duì)應(yīng)關(guān)鍵詞。但偏偏不是食物的味道。而是第一次,
是否感覺(jué)好(具體次未能回憶)但印象中,絕對(duì)是和題干【食物味道好的理由】是形成
opposite 關(guān)系的詞。因此為 F 而非 NG
2. 人們會(huì)否通過(guò)味道 taste 判別食物。
F 其實(shí)人的 taste 不過(guò)六種,所以基本職能粗略概括,相比氣味 smell 的幾千種來(lái)說(shuō),不
可進(jìn)行對(duì)比。而且大部的所謂的味道 taste,都來(lái)自與人對(duì) flavor 的 smell 判別。來(lái)自于
鼻子。
3. 在美國(guó),很多的食物添加劑實(shí)驗(yàn)都會(huì)成功
F 其實(shí)這道題和完成句子題中的一道題進(jìn)行了對(duì)接描述。原文是其實(shí)成功的沒(méi)幾個(gè),失敗
的很多很多,但是一旦成功了,一種,飲料進(jìn)入市場(chǎng)后,就會(huì)取得巨大影響
摘要填空:
1. 飲料行業(yè)中很多的味道實(shí)驗(yàn)都會(huì)最終陷入 failure
2. 在碳酸飲料行業(yè)中的食物添加劑高于其他行業(yè)
3. 一種聚合物 A Compound 能夠模仿的味道價(jià)格上遠(yuǎn)遠(yuǎn)低于實(shí)際使用 banana
文章題目Japan's ancient pottery
重復(fù)年份20151119B 20140201 20120707 20110217
題材歷史
題型暫無(wú)
文章大意本文講了日本的古陶藝。這是一種特殊意義的傳統(tǒng)技藝,后來(lái)某年間得 到發(fā)展,在某地如何被做出來(lái)等等。講到了一個(gè)大師先后跟父親學(xué)習(xí)技
藝,后來(lái)和哥哥一起做獲得成就等。
參考閱讀:
Japanese pottery and porcelain , is one of the country's oldest art forms,
dating back to
the Neolithic period. Kilns haveproducedearthenware, pottery, stoneware,
glazed pottery, glazed stoneware, porcelain, and blue-and-white ware. Japan has
an exceptionally long and successful history of ceramic production. Earthenwares
were created as early as the Jōmon period (10,000-300 BCE), giving Japan one of
the oldest ceramic traditions in the world. Japan is further distinguished by
the unusual esteem that ceramics holds within its artistic tradition, owing to
the enduring popularity of the tea ceremony.
Japanese ceramic history records distinguished many potter names, and some
were artist-potters, e.g. Honami Koetsu, Ogata Kenzan, and Aoki Mokubei Japanese
anagama kilns also have flourished through the ages, and their influence weighs
with that of the potters. Another characteristically Japanese aspect of the art
is the continuing popularity of unglazed high-fired stoneware even after
porcelain became popular.[2] Since the 4th century, Japanese ceramics have often
been influenced byChinese and Korean pottery. Japan transformed and translated
the Chinese and Korean prototypes into a uniquely Japanese creation, and the
result was distinctly Japanese in character. Since the mid-17th century when
Japan started to industrialize high-quality standard wares produced in factories
became popular exports to Europe. In the 20th century, a modern ceramics
industry (e.g.,Noritake and Toto Ltd.) grew up.
Japanese pottery is distinguished by two polarised aesthetic traditions. On
the one hand, there is a tradition of very simple and roughly finished pottery,
mostly in earthenware and using a muted palette of earth colours. This relates
to Zen Buddhism and many of the greatest masters were priests, especially in
early
periods. Many pieces are also related to the Japanese tea ceremony and
embody the aesthetic principles of wabi-sabi ("austerity-rust/patina"). Most
raku ware, where the final decoration is partly random, is in this tradition…
The other tradition is of highly finished and brightly coloured factory wares,
mostly in porcelain, with complex and balanced decoration, which develops
Chinese porcelain styles in a distinct way. A third tradition, of simple but
perfectly formed and glazed stonewares, also relates more closely to both
Chinese and Korean traditions. In the 16th century, a number of styles of
traditional utilitarian rustic wares then in production became admired for their
simplicity, and their forms have often been kept in production to the present
day for a collectors market.
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