托福和雅思閱讀的區(qū)別是什么哪個(gè)更難
雖然托福和雅思兩個(gè)考試都有聽說(shuō)讀寫四個(gè)部分,但是考察方式差距還是比較大的。下面小編為大家詳細(xì)介紹一下托福和雅思在閱讀部分的差別。需要注明的是,這里我們將用2019年8月1日后改革后的托??荚囆问竭M(jìn)行比較。
托福和雅思閱讀的區(qū)別是什么 哪個(gè)更難?
考試 | 托福 | 雅思 |
時(shí)間 | 54分鐘(不含加試的情況) | 60分鐘 |
題目數(shù)量 | 3篇文章,30題,每篇10題 | 3篇文章,40題(每篇13-14題) |
文章長(zhǎng)度 | 700詞左右/篇 | 800-1000詞 |
題型 | 單項(xiàng)選擇題、多項(xiàng)選擇題(6選3、7選5等) | 選擇題、填空題(形式多樣)、判斷正誤題、標(biāo)題匹配題、段落匹配題、信息匹配題、簡(jiǎn)答題等 |
文章來(lái)源 | 由ETS考試中心根據(jù)學(xué)術(shù)材料撰寫改編,市面上沒有 | 選自報(bào)刊、雜志、書籍、學(xué)術(shù)期刊的真實(shí)文本 |
題材 | 學(xué)術(shù)文章 | 題材廣泛 |
相比雅思,托福閱讀呈現(xiàn)以下特點(diǎn):
1、托福閱讀題目考查更直觀。托福基本所有題目均為ABCD形式的選擇題,只不過題目?jī)?nèi)部考察的側(cè)重點(diǎn)不同。而雅思閱讀的題型較多,不同的題型則需要學(xué)生使用不同的應(yīng)考策略。比如,我經(jīng)常會(huì)對(duì)雅思的判斷正誤題發(fā)怵,因?yàn)檫@類題目除了判斷正確錯(cuò)誤還會(huì)有一項(xiàng)叫做NOT-GIVEN,即原文沒有給出。這就很容易讓我這種過度推斷的人膽戰(zhàn)心驚,很有可能抓到一些文章蛛絲馬跡就去判斷正確錯(cuò)誤,而其實(shí)文本沒有非常直接的證據(jù)證明對(duì)錯(cuò)。
2、托福閱讀文章更強(qiáng)調(diào)學(xué)術(shù)性。托福文章由出題人員從學(xué)術(shù)研究中總結(jié)凝練改編而來(lái),所以文章相對(duì)來(lái)說(shuō)比較枯燥,語(yǔ)言很學(xué)術(shù)化,不生活化。而雅思的文章廣度上更大,有雜志文章、書籍文章也有學(xué)術(shù)期刊文章。
能否理性地量化托福文章和雅思文章哪個(gè)更難一些呢?我用Lexile-Index這樣一個(gè)工具進(jìn)行對(duì)比。Lexile-Index又稱為藍(lán)思指數(shù),是專門對(duì)文本復(fù)雜度進(jìn)行衡量的工具。我們選取雅思最新出版的劍14的12篇文章,和托福最新的TPO59-62四套題目的12篇文章進(jìn)行對(duì)比。結(jié)果如下:
從平均值來(lái)看,兩個(gè)考試文章的藍(lán)思指數(shù)綜合平均值基本一致,在1290左右,大概相當(dāng)于美國(guó)高中10年級(jí)-11年級(jí)文本閱讀難度。在平均句長(zhǎng)上也差距不大,基本每句話在21個(gè)單詞。單詞重合度(log word frequency)考核的是每一篇文章不重復(fù)的單詞情況,數(shù)值越高說(shuō)明這篇文章要求的詞匯量閱讀。兩者也差距不大。
唯獨(dú)在篇幅上,雅思文章明顯長(zhǎng)于托福。雅思文章達(dá)到了862詞,而托福穩(wěn)定在700詞左右。這是否意味著雅思文章更難讀呢?其實(shí)考慮到雅思閱讀是紙筆考試,托福閱讀是機(jī)器考試,需屏幕閱讀考試。我們都能直觀地感受到屏幕是會(huì)降低閱讀速度的。那兩者之間是否可以轉(zhuǎn)化呢?一些心理學(xué)研究指出,紙質(zhì)閱讀速度一般比屏幕閱讀快10-30%。如果我們?nèi)?0%為平均值,則折合后的托福文章在紙幣上應(yīng)該為840詞的長(zhǎng)度,和雅思長(zhǎng)度則差不多。但是如果應(yīng)試者能夠非常適應(yīng)屏幕閱讀,能夠把速度差異控制在10%左右,那么毫無(wú)疑問,讀托福閱讀文章會(huì)感覺到明顯短一些。
所以結(jié)論是,從文本復(fù)雜度上,兩個(gè)考試的閱讀文本區(qū)別不大。
托福閱讀真題練習(xí):繪畫藝術(shù)
By 1776 the fine art of painting as it had developed in western Europe up to this time had been introduced into theAmerican colonies through books and prints, European visitors and immigrants,and traveling colonists who brought back copies (and a few original) of old master paintings and acquaintance with European art institutions.
By the outbreak of the revolution against British rule in 1776, the status of the artists had already undergone change. In the mid-eighteenth century, painters had been willing to assume such artisan-related tasks as varnishing, gilding teaching, keeping shops, and painting wheel carriages, houses, and signs. The terminology by which artists were described at the time suggests their status: "limner" was usually applied to the anonymous portrait painter up to the 1760's;"painter" characterized anyone who could paint a flat surface. By the second half of the century,colonial artists who were trained in England or educated in the classics rejected the status of laborer and thought of themselves as artists. Some colonial urban portraitists, such as John Singleton Copley, Benjamin West, and Charles Wilson Peale, consorted with affluent patrons.
Although subject to fluctuations in their economic status, all three enjoyed sufficient patronage to allow them to maintain an image of themselves as professional artists, an image indicated by their custom of signing their paintings. A few art collectors James Bowdoin III of Boston, William Byrd of Virginian, and the Aliens and Hamiltons of Philadelphia introduced European art traditions to those colonists privileged to visit their galleries, especially aspiring artists, and established in their respective communities the idea of the value of art and the need for institutions devoted to its encouragement.
Although the colonists tended to favor portraits, they also accepted landscapes, historical works, and political engravings as appropriate artistic subjects. With the coming of independence from the British Crown, a sufficient number of artists and their works were available to serve nationalistic purposes. The achievements of the colonial artists, particularly those of Copley, West,and Peale, lent credence to the boast that the new nation was capable of encouraging genius and that political liberty was congenial to the development of taste — a necessary step before art could assume an important role in the new republic.
托福閱讀題目
1. What does the passage mainly discuss?
(A) European influence on colonialAmerican painting
(B) The importance of patronage to artist
(C) The changing status of artists in theAmerican colonies in the eighteenth century
(D) Subjects preferred by artists in theAmerican colonies in the eighteenth century.
2. The word "outbreak" in line 5 is closest in meaning to
(A) cause
(B) beginning
(C) position
(D) explanation
3. The word "undergone" in line 6 is closest in meaning to
(A) led to
(B) transformed
(C) preferred
(D) experienced
4.According to the passage , before the American Revolution the main task of limners was to
(A) paint wheel carriages
(B) paint portraits
(C) varnish furniture
(D) paint flat surfaces
5. It can be inferred from the passage that artists who were trained in England
(A) considered artists to be superior to painters
(B) barely painted portraitists
(C) were often very wealthy
(D) imitated English painters
6. The word "consorted" in line 14 is closest in meaning to
(A) made decisions
(B) studies
(C) agreed
(D) associated
7. The word "sufficient" in line 16 is closest in meaning to
(A) adequate
(B) temporary
(C) friendly
(D) expensive
8.According to the passage , artists such as Copley, West and Peal signed their paintings
(A) increased the monetary value of the paintings
(B) made it more difficult for other artists to copy the paintings
(C) supported the artists' image of professionalism
(D) distinguished colonialAmerican artists from European artists
9. The author mentions James Bowdoin III and William Byrd in line 17 as examples of which of
the following?
(A)Art gallery owners who displayed only European art
(B)Art collectors who had a profound influence on American attitudes toward art
(C)Artists who gave financial support to other artists
(D) Patrons whose helped to encourage artisans to become artists
10. With which of the following would the author be most likely to agree?
(A) Countries that have not had a political revolution are unlikely to develop great art.
(B) The most successful art collectors are usually artists themselves.
(C) The value of colonialAmerican paintings decreased after the Revolution.
(D) Colonial artists made an important contribution to the evolving culture of the new nation.
托福閱讀答案
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