托福真题？下面是一篇托福TPO阅读真题,这篇托福阅读真题的主要内容是关于欧洲的岩洞艺术的相关信息。欧洲的岩洞艺术已经有几万年的历史了,这些岩洞艺术反映出了当初人们的什么文化,这些艺术有什么作用呢?下面是详细内容。那么，托福真题？一起来了解一下吧。

托福真题网站

托福的作文考试，有独立写作和综合写作两部分，需要大家对两者进行进行了解。下面是我整理的托福2021年11月20日作文考试真题及答案。

2021年11月20日托福作文考试真题

独立写作

Do you agree or disagree with the following statement? It is better for older people to take risks and explore new things than younger people.

综合写作

水手死于铅中毒，有些人认为是罐头食品的原因。

阅读：

1.罐头虽然里面含有金属铅但是制作的时候这个剂量都是控制的，只是少量，而且食物在罐头里储存的时间很短，所以不应该是罐头导致的。

2.当时的其他船员也都会食用这种罐头，假如真的因为罐头不可能只有这一例中毒案件

3. 他们有一个净化水的，所有用水都凳首是干净的，所以不可能是食物导致的。

听力反驳：

1. 虽然放的时间很短，但确实那些食物是inside of cans

2. 水手身体没有经过test而且light poisoning很难被识别出来

3. 通过净化器的水不能用于drinking和cooking，而海水对人身体不好，所以净化器没有用。

雅思9月考试吃亏吗

托福2021年10月16日的考试如今已经完成，相信很多学生对于这次考试的真题是很感兴趣的，现在它的考试真题也出来了。接下来就给大家讲讲这次托福考试口语部分的真题解析吧。

一、10月16日托福口语真题

Task 1

上午场：

Some people like to make decision based on their own experience while other people prefer to ask others for help such as family and friends. Which do you prefer and why？（10月Fancy口语机经第21题；重复2018.1.27）

解析：做决定的时候，有的人喜欢自己做决定，有的人喜欢寻求家人和朋友的帮助，你喜欢哪个？这道题选择寻求他人帮助，因为家人和朋友很了解我们，他们可以给我们很好的建议，帮助我们做出更好的决定；其次，寻求他人帮助可以增进沟通，加强关系。这道题可以使用「家人朋友」的语料。

下午场：

Do you agree or disagree with the statement that it is more important todaythan it wasin the past to have universityeducaiton？

解析：你同不同意，跟以前对比，获得大学教育更重要了？这道题同意，因为大学教育的质量提高了，高等教育可以给我们提供一个更好的去学知识和积累经验，从而让我们成为更专业的人才，这里可以使用「大学教育」的yu＇l语料；其次，社会竞争越来越激烈，人们更需要大学文凭，才能在求职市场上突出。

托福试卷真题以及答案

托福的写作考试，有独立写作和综合写作两个部分，需要考试们认真准备。以下是我整理的2021年10月30日托福写作考试真题及解析，欢迎阅读。

2021年10月30日托福写作考试真题

独立写作

A university recognized that first year students have poor study skills. It is believed that the best way to address this problem is to require all first year students to take courses on study skills， while others don’t agree with this requirement. What is your opinion？

综合写作

拉奥孔雕像是不是米开朗琪罗伪造的

阅读

1. 米开朗琪罗在成名前曾伪造丘比特，鉴于他的造假经历，拉奥孔很可能也是他伪造的

2. 拉奥孔雕像中间有一个图案，和米开朗琪罗早年一副画作很像，这副画作很可能是米开朗琪罗伪造拉奥孔的基础

3. 这样会很赚钱。

中国雅思最好考的城市

TPO模考是我没复备者含习嫌腔托福非常仿笑好的帮手，属于我们一定要好好利用，下面我给大家带来托福阅读真题:TPO11原文及答案，欢迎阅读参考！

托福阅读真题:TPO11原文

Ancient Egyptian Sculpture

In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians' view of the world and the functions and contexts of the art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art.

The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. Other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context.

Statues were normally made of stone, wood, or metal. Stone statues were worked from single rectangular blocks of material and retained the compactness of the original shape. The stone between the arms and the body and between the legs in standing figures or the legs and the seat in seated ones was not normally cut away. From a practical aspect this protected the figures against breakage and psychologically gives the images a sense of strength and power, usually enhanced by a supporting back pillar. By contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finished work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by the lost wax process. The arms could be held away from the body and carry separate items in their hands; there is no back pillar. The effect is altogether lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and metal statues still display frontality.

Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.

Paragraph 1: In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians' view of the world and the functions and contexts of the art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art.

托福阅读真题:TPO11题目

1. The word “vital” in the passage is closest in meaning to

attractive

essential

usual

practical

2. Paragraph 1 suggests that one reason Egyptian art is viewed less favorably than other art is that Egyptian art lacks

a realistic sense of human body proportion

a focus on distinctive forms of varying sizes

the originality of European art

the capacity to show the human body in motion

3. In paragraph 1, the author mentions all of the following as necessary in appreciating Egyptian art EXCEPT an understanding of

the reasons why the art was made

the nature of aristocratic Egyptian beliefs

the influences of Egyptian art on later art such as classical Greek art

how the art was used

Paragraph 2: The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. Other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context.

4. According to paragraph 2, why are Egyptian statues portrayed frontality?

To create a psychological effect of distance and isolation

To allow them to fulfill their important role in ceremonies of Egyptian life

To provide a contrast to statues with a decorative function

To suggest the rigid, unchanging Egyptian philosophical attitudes

5. The word “context” in the passage is closest in meaning to

connection

influence

environment

requirement

6. The author mentions “an architectural setting” in the passage in order to

suggest that architecture was as important as sculpture to Egyptian artists

offer a further explanation for the frontal pose of Egyptian statues

explain how the display of statues replaced other forms of architectural decoration

illustrate the religious function of Egyptian statues

7. The word “they” in the passage refers to

statues

gateways

temples

pillared courts

Paragraph 3: Statues were normally made of stone, wood, or metal. Stone statues were worked from single rectangular blocks of material and retained the compactness of the original shape. The stone between the arms and the body and between the legs in standing figures or the legs and the seat in seated ones was not normally cut away. From a practical aspect this protected the figures against breakage and psychologically gives the images a sense of strength and power, usually enhanced by a supporting back pillar. By contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finished work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by the lost wax process. The arms could be held away from the body and carry separate items in their hands; there is no back pillar. The effect is altogether lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and metal statues still display frontality.

8. According to paragraph 3, why were certain areas of a stone statue left uncarved?

To prevent damage by providing physical stability

To emphasize that the material was as important as the figure itself

To emphasize that the figure was not meant to be a real human being

To provide another artist with the chance to finish the carving

9. The word “core” in the passage is closest in meaning to

material

layer

center

frame

10. According to paragraph 3, which of the following statements about wooden statues is true?

Wooden statues were usually larger than stone statues.

Wooden statues were made from a single piece of wood.

Wooden statues contained pieces of metal or stone attached to the front.

Wooden statues had a different effect on the viewer than stone statues.

Paragraph 4: Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.

11. The word depicts in the passage is closest in meaning to

imagines

classifies

elevates

portrays

12. According to paragraph 4, what is the difference between statues that represent the Egyptian elite and statues that represent the nonelite classes?

Statues of the elite are included in tombs, but statues of the nonelite are not.

Statues of the elite are in motionless poses, while statues of the nonelite are in active poses.

Statues of the elite are shown standing, while statues of the nonelite are shown sitting or kneeling.

Statues of the elite serve an important function, while statues of the nonelite are decorative.

Paragraph 4: Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.

13. Look at the four squares [] that indicate where the following sentence could be added to the passage.

In fact, it is the action and not the figure itself that is important.

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 that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that not presented in the passage or are minor ideas in the passage. This question is worth 2 points.

The distinctive look of ancient Egyptian sculpture was determined largely by its function.

Answer Choices

The twisted forms of Egyptian statues indicate their importance in ritual actions.

The reason Egyptian statues are motionless is linked to their central role in cultural rituals.

Stone, wood, and metal statues all display the feature of frontality.

Statues were more often designed to be viewed in isolation rather than placed within buildings.

The contrasting poses used in statues of elite and nonelite Egyptians reveal their difference in social status.

Although the appearances of formal and generic statues differ, they share the same function.

托福阅读真题:TPO11答案

1. 2

2. 4

3. 3

4. 2

5. 3

6. 2

7. 1

8.1

9. 3

10. 4

11. 4

12. 2

13. 4

14. The reason Egyptian

Stone, wood, and

The contrasting poses

托福阅读真题:TPO11原文及答案相关文章：

★11.26托福考试解析之一:独立口语和写作

雅思测试在线考试

下面是一篇托福TPO阅读真题，这篇托福阅读真题的主要内容是关于欧洲的岩洞艺术桐简模的相关信息。欧洲的岩洞艺术已经有几万年的历史了，这些岩洞艺术局缓反映出了当初人们的咐缺什么文化，这些艺术有什么作用呢?下面是详细内容。

The earliest discovered traces of art are beads and carvings, and then paintings, from sites dating back to the Upper Paleolithic period. We might expect that early artistic efforts would be crude, but the cave paintings of Spain and southern France show a marked degree of skill. So do the naturalistic paintings on slabs of stone excavated in southern Africa. Some of those slabs appear to have been painted as much as 28,000 years ago, which suggests that painting in Africa is as old as painting in Europe. But painting may be even older than that. The early Australians may have painted on the walls of rock shelters and cliff faces at least 30,000 years ago, and maybe as much as 60,000 years ago.

The researchers Peter Ucko and Andree Rosenfeld identified three principal locations of paintings in the caves of western Europe: (1) in obviously inhabited rock shelters and cave entrances; (2) in galleries immediately off the inhabited areas of caves; and (3) in the inner reaches of caves, whose difficulty of access has been interpreted by some as a sign that magical-religious activities were performed there.

The subjects of the paintings are mostly animals. The paintings rest on bare walls, with no backdrops or environmental trappings. Perhaps, like many contemporary peoples, Upper Paleolithic men and women believed that the drawing of a human image could cause death or injury, and if that were indeed their belief, it might explain why human figures are rarely depicted in cave art. Another explanation for the focus on animals might be that these people sought to improve their luck at hunting. This theory is suggested by evidence of chips in the painted figures, perhaps made by spears thrown at the drawings. But if improving their hunting luck was the chief motivation for the paintings, it is difficult to explain why only a few show signs of having been speared. Perhaps the paintings were inspired by the need to increase the supply of animals. Cave art seems to have reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing.

The particular symbolic significance of the cave paintings in southwestern France is more explicitly revealed, perhaps, by the results of a study conducted by researchers Patricia Rice and Ann Paterson. The data they present suggest that the animals portrayed in the cave paintings were mostly the ones that the painters preferred for meat and for materials such as hides. For example, wild cattle (bovines) and horses are portrayed more often than we would expect by chance, probably because they were larger and heavier (meatier) than other animals in the environment. In addition, the paintings mostly portray animals that the painters may have feared the most because of their size, speed, natural weapons such as tusks and horns, and the unpredictability of their behavior. That is, mammoths, bovines, and horses are portrayed more often than deer and reindeer. Thus, the paintings are consistent with the idea that the art is related to the importance of hunting in the economy of Upper Paleolithic people. Consistent with this idea, according to the investigators, is the fact that the art of the cultural period that followed the Upper Paleolithic also seems to reflect how people got their food. But in that period, when getting food no longer depended on hunting large game animals (because they were becoming extinct), the art ceased to focus on portrayals of animals.

Upper Paleolithic art was not confined to cave paintings. Many shafts of spears and similar objects were decorated with figures of animals. The anthropologist Alexander Marshack has an interesting interpretation of some of the engravings made during the Upper Paleolithic. He believes that as far back as 30.000 B.C., hunters may have used a system of notation, engraved on bone and stone, to mark phases of the Moon. If this is true, it would mean that Upper Paleolithic people were capable of complex thought and were consciously aware of their environment. In addition to other artworks, figurines representing the human female in exaggerated form have also been found at Upper Paleolithic sites. It has been suggested that these figurines were an ideal type or an expression of a desire for fertility.

Paragraph 1: The earliest discovered traces of art are beads and carvings, and then paintings, from sites dating back to the Upper Paleolithic period. We might expect that early artistic efforts would be crude, but the cave paintings of Spain and southern France show a marked degree of skill. So do the naturalistic paintings on slabs of stone excavated in southern Africa. Some of those slabs appear to have been painted as much as 28,000 years ago, which suggests that painting in Africa is as old as painting in Europe. But painting may be even older than that. The early Australians may have painted on the walls of rock shelters and cliff faces at least 30,000 years ago, and maybe as much as 60,000 years ago.

1.The word “marked” in the passage is closest in meaning to

○Considerable○Surprising○Limited○Adequate

2.Paragraph 1 supports which of the following statements about painting in Europe?

○It is much older than painting in Australia.

○It is as much as 28,000 years old.

○It is not as old as painting in southern Africa.

○It is much more than 30,000 years old.

Paragraph 2：The researchers Peter Ucko and Andree Rosenfeld identified three principal locations of paintings in the caves of western Europe: (1) in obviously inhabited rock shelters and cave entrances; (2) in galleries immediately off the inhabited areas of caves; and (3) in the inner reaches of caves, whose difficulty of access has been interpreted by some as a sign that magical-religious activities were performed there.

3.The word “principal” in the passage is closest in meaning to

○Major○Likely○Well protected○Distinct

4.According to paragraph 2, what makes some researchers think that certain cave paintings were connected with magical-religious activities?

○The paintings were located where many people could easily see them, allowing groups of people to participate in the magical-religious activities.

○Upper Paleolithic people shared similar beliefs with contemporary peoples who use paintings of animals in their magical-religious rituals.

○Evidence of magical-religious activities has been found in galleries immediately off the inhabited areas of caves.

○The paintings were found in hard-to-reach places away from the inhabited parts of the cave.

Paragraph 3：The subjects of the paintings are mostly animals. The paintings rest on bare walls, with no backdrops or environmental trappings. Perhaps, like many contemporary peoples, Upper Paleolithic men and women believed that the drawing of a human image could cause death of injury, and if that were indeed their belief, it might explain why human figures are rarely depicted in cave art. Another explanation for the focus on animals might be that these people sought to improve their luck at hunting. This theory is suggested by evidence of chips in the painted figures, perhaps made by spears thrown at the drawings. But if improving their hunting luck was the chief motivation for the paintings, it is difficult to explain why only a few show signs of having been speared. Perhaps the paintings were inspired by the need to increase the supply of animals. Cave art seems to have reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing.

5.The word “trappings” in the passage is closest in meaning to

○Conditions○Problems○Influences○Decorations

6. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.

○Upper Paleolithic people, like many contemporary peoples, believed that if they drew a human image in their cave art, it would cause death or injury.

○Many contemporary people believe that the drawing of a human image can cause death or injury, so they, like Upper Paleolithic people, rarely depicted human figures in their cave art.

○If Upper Paleolithic people, like many contemporary peoples, believed that the drawing of a human image could cause death or injury, this belief might explain why human figures are rarely depicted in cave art.

○Although many contemporary peoples believe that the drawing of a human image can cause death or injury, researchers cannot explain why Upper Paleolithic people rarely depicted human figures in their cave art.

7.According to paragraph 3, scholars explained chips in the painted figures of animals by proposing that

○Upper Paleolithic artists used marks to record the animals they had seen

○the paintings were inspired by the need to increase the supply of animals for hunting

○the artists had removed rough spots on the cave walls

○Upper Paleolithic people used the paintings to increase their luck at hunting

8.Why does the author mention that Upper Paleolithic cave art seemed to have “reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing”?

○To argue that Upper Paleolithic art creased to include animals when herds of game became scarce

○To provide support for the idea that the aim of the paintings was to increase the supply of animals for hunting

○To emphasize the continued improvement in the quality of cave art throughout the Upper Paleolithic period

○To show the direct connection between the decrease in herds of game and the end of the Upper Paleolithic period

Paragraph 4：The particular symbolic significance of the cave paintings in southwestern France is more explicitly revealed, perhaps, by the results of a study conducted by researchers Patricia Rice and Ann Paterson. The data they present suggest that the animals portrayed in the cave paintings were mostly the ones that the painters preferred for meat and for materials such as hides. For example, wild cattle (bovines) and horses are portrayed more often than we would expect by chance, probably because they were larger and heavier (meatier) than other animals in the environment. In addition, the paintings mostly portray animals that the painters may have feared the most because of their size, speed, natural weapons such as tusks and horns, and the unpredictability of their behavior. That is, mammoths, bovines, and horses are portrayed more often than deer and reindeer. Thus, the paintings are consistent with the idea that the art is related to the importance of hunting in the economy of Upper Paleolithic people. Consistent with this idea, according to the investigators, is the fact that the art of the cultural period that followed the Upper Paleolithic also seems to reflect how people got their food. But in that period, when getting food no longer depended on hunting large game animals (because they were becoming extinct), the art ceased to focus on portrayals of animals.

9.According to paragraph 4, scholars believe that wild cattle, horses, and mammoths are the animals most frequently portrayed in cave paintings for all of the following reasons EXPECT:

○These animals were difficult to hunt because their unpredictable behavior.

○People preferred these animals for their meat and for their skins.

○The painters admired the beauty of these large animals.

○People feared these animals because of their size and speed.

10.According to paragraph 4, which of the following may best represent the attitude of hunters toward deer and reindeer in the Upper Paleolithic period?

○Hunters did not fear deer and reindeers as much as they did large game animals such as horses and mammoths.

○Hunters were not interested in hunting deer and reindeer because of their size and speed.

○Hunters preferred the meat and hides of deer and reindeer to those of other animals.

○Hunters avoided deer and reindeer because of their natural weapons, such as horns.

11.According to paragraph 4, what change is evident in the art of the period following the Upper Paleolithic?

○This new art starts to depict small animals rather than large ones.

○This new art ceases to reflect the ways in which people obtained their food.

○This new art no longer consists mostly of representations of animals.

○This new art begins to show the importance of hunting to the economy.

Paragraph 5：Upper Paleolithic art was not confined to cave paintings. Many shafts of spears and similar objects were decorated with figures of animals. The anthropologist Alexander Marshack has an interesting interpretation of some of the engravings made during the Upper Paleolithic. He believes that as far back as 30.000 B.C., hunters may have used a system of notation, engraved on bone and stone, to mark phases of the Moon. If this is true, it would mean that Upper Paleolithic people were capable of complex thought and were consciously aware of their environment. In addition to other artworks, figurines representing the human female in exaggerated form have also been found at Upper Paleolithic sites. It has been suggested that these figurines were an ideal type or an expression of a desire for fertility.

12.According to paragraph 5, which of the following has been used as evidence to suggest that Upper Paleolithic people were capable of complex thought and conscious awareness of their environment?

○They engraved animal figures on the shafts of spears and other objects.

○They may have used engraved signs to record the phases of the Moon.

○Their figurines represented the human female in exaggerated form.

○They may have used figurines to portray an ideal type or to express a desire for fertility.

Paragraph 3：The subjects of the paintings are mostly animals. The paintings rest on bare walls, with no backdrops or environmental trappings. Perhaps, like many contemporary peoples, Upper Paleolithic men and women believed that the drawing of a human image could cause death of injury, and if that were indeed their belief, it might explain why human figures are rarely depicted in cave art. Another explanation for the focus on animals might be that these people sought to improve their luck at hunting.█ This theory is suggested by evidence of chips in the painted figures, perhaps made by spears thrown at the drawings. █ But if improving their hunting luck was the chief motivation for the paintings, it is difficult to explain why only a few show signs of having been speared. █ Perhaps the paintings were inspired by the need to increase the supply of animals. Cave art seems to have reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing. █

13.Look at the four squares [█] that indicate where the following sentence could be added to the passage.

Therefore, if the paintings were connected with hunting, some other explanation is needed.

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 explain the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.

Upper Paleolithic cave paintings in Western Europe are among humanity’s earliest artistic efforts.

Answer choices

○Researchers have proposed several different explanations for the fact that animals were the most common subjects in the cave paintings.

○The art of the cultural period that followed the Upper Paleolithic ceased to portray large game animals and focused instead on the kinds of animals that people of that period preferred to hunt.

○Some researchers believe that the paintings found in France provide more explicit evidence of their symbolic significance than those found in Spain, southern Africa, and Australia.

○The cave paintings focus on portraying animals without also depicting the natural environments in which these animals are typically found.

○Some researchers have argued that the cave paintings mostly portrayed large animals that provided Upper Paleolithic people with meat and materials.

○Besides cave paintings, Upper Paleolithic people produced several other kinds of artwork, one of which has been thought to provide evidence of complex thought.

参考答案：

1. ○1

2. ○2

3. ○1

4. ○4

5. ○4

6. ○3

7. ○4

8.○2

9. ○3

10. ○1

11. ○3

12. ○2

13. ○3

14. ○1 5 6

参考译文

以上就是托福真题的全部内容，关于托福独立写作的字数，唯一的要求就是下限，不能低于180.但是如果点写道了，再少也不可能少于180。托福独立写作基本上是机器评分就下了定论，人工评分部分基本上是重复机器的分。内容来源于互联网，信息真伪需自行辨别。如有侵权请联系删除。