9月11日托福考试详细机经-上海环球教育官网

9月11日托福考试详细机经

考试时间

2021年9月11日托福阅读回忆和解析

综合点评
本场考试依旧有重复前些年文章的情况, 其中2017和2018年重叠性文章较多; 同学们在备考前还是要扎实好练习
Passage one	学科分类	题目
	社会科学类	the Development of the Sumerian City States
内容回忆	讲述苏美尔与乌鲁克的农业发展土地肥沃、水资源丰富的友好环境大概是苏美尔人选择这里的原因。他们利用肥沃的土壤种可以生产食物的植物，并使用了控制水流、驯服动物、发明犁等先进的方法来改善农业耕作中的不便，大大改善了他们的生存条件。早期的时候，苏美尔人的生活在村庄里，大部分人都通过自己狩猎或耕种来维持生活所需。，后来，人们生产粮食产生了剩余，一些人得以从生产活动中解放出来。于是，人们的职业开始向多样化发展，政府这个概念也慢慢形成随着时间的推移，美索不达米亚地区慢慢形成了城市。乌鲁克城市中形成了各种社会等级，由大祭司、管理员、牧师及各类形政人员管理着城市的秩序，而底层的农民、工匠、渔民等则是被管理的对象。公元前3500年，乌鲁克开始通过武力入侵获取更多的自然资源，如木材、金属、石头等社会物资，后来形成了传播非常广泛的乌鲁克文明。然而，公元前2900年左右乌鲁克文明由于各种原因慢慢没落了
参考阅读	Sumerian Contributions Before about 4500 B.C., lower Mesopotamia, the region between the Tigris and Euphrates rivers just north of the Persian Gulf, was much less densely populated than other inhabited regions of the Near and Middle East. Its marshy soil, subject to annual inundations (floods) from the rivers, was not suited to the primitive hoe culture of early agriculture, in which land was cultivated without domestic animals or beasts. Moreover, the land was virtually treeless and lacked building stone and mineral resources. During the next thousand years, however, this unpromising area became the seat of Sumer, the first great civilization known to history, with large concentrations of people, bustling cities, monumental architecture, and a wealth of religious, artistic, and literary traditions that influenced other ancient civilizations for thousands of years. The exact sequence of events that led to this culmination is unknown, but it is clear that the economic basis of this first civilization lay in its highly productive agriculture. The natural fertility of the rich black soil was renewed annually by the silt left from the spring floods of the Tigris and Euphrates rivers. Harnessing its full productive power, however, required an elaborate system of drainage and irrigation, which in turn required a large and well-disciplined workforce as well as skilled management and supervision. The latter were supplied by a class of priests and warriors who ruled a large population of peasants and artisans. Through taxation and other means the rulers extracted wealth from the population and then used it to construct temples and other public buildings and to create works of art. That gave them (or some of them) the leisure to perfect the other refinements of civilization. The rise of civilization brought with it a far more complex division of labor and system of economic organization. Full-time artisans specialized in the manufacture of textiles and pottery, metalworking, and other crafts. ■ The professions of architecture, engineering, and medicine, among others, were born. ■ Weights and measures were systematized, mathematics was invented, and primitive forms of science emerged. ■ Since Sumer was virtually devoid of natural resources other than its rich soil, it traded with other people, thereby contributing to the diffusion of Sumerian civilization. ■ The scarcity of stone, for tools as well as for buildings, probably hastened the adoption of copper and bronze. Copper, at least, was already known before the rise of Sumerian civilization, but lack of demand for it among the Stone Age peasant villages inhibited its widespread use. In Sumerian cities, on the other hand, stone imported by sea through the Persian Gulf from Oman and downriver from the mountains of Anatolia and the Caucasus had to compete with imported copper, and the latter proved more economical and effective for a variety of uses. Thereafter metallurgy, the technology of separating metals from their ores and purifying them, was regarded as one of the hallmarks of civilization. Sumer's greatest contribution to subsequent civilizations, the invention of writing, likewise grew out of economic necessity. The early cities Eridu, Ur, Uruk, and Lagashwere temple cities: both economic and religious organizations centered on the temple of the local patron deity, represented by a priestly hierarchy. Members of the hierarchy directed the construction and maintenance of irrigation and drainage systems; oversaw agricultural activities; and supervised the collection of produce as taxation or tribute (money or other wealth given as a sign of submission or in return for protection). The need to keep records of the sources and uses of this tribute led to the use of simple pictographs on clay tablets sometime before 3000 B.C. By about 2800 B.C. the pictographs had been stylized into the system of writing known as cuneiform (using wedge-shaped marks on clay), a distinctive characteristic of Mesopotamian civilization. It is one of the few examples in history of a significant innovation issuing from a bureaucratic organization. Although writing originated in response to the need for administrative bookkeeping, it soon found multiple religious, literary, and economic uses. In a later phase of development, after the strict temple-centered organization of the economy had given way to greater freedom of enterprise, clay tablets were used for recording the details of contracts, debts, and other commercial and financial transactions.
Passage two	学科分类	题目
	社会科学类	The Sistine Ceiling
内容回忆	第1段讲到湿壁画（fresco），是将水和颜料混合去完成的一种技术，还会融合石膏（plaster），但是画好了很难改。还有一种是在已经干掉的石膏上上色，好处是比较容易更改画错的地方。第2段讲到西斯廷教堂天画（Sistine Chapel ceiling），是由米开朗琪罗（Michelangelo）完成的。起初他是很犹豫，但是开始画以后，他就开始用纯粹的方法画了。他用了四年的时间完成，因为工作量很大，他用了干的比较慢的颜料，这样在画慢慢干的时候他就节省出了些额外的时间去画别的内容。第三段讲到随着时间的流逝，因为蜡烛的烟熏等，天画开始有些脱色，有个德国的作家欣赏后说，虽然已经过去了三个世纪，米开朗琪罗的画十分珍贵，不过终究还是会随着时间流去，到颜色都会褪去。后面说到对其的翻新，随着多次的恢复，到现在仍然能够欣赏到。但有些人评论道，艺术随着时间流逝慢慢褪去也是一种美，过度的恢复会失去艺术的味道。
参考阅读	The Sistine Ceiling The term fresco refers to a number of techniques for painting images on a room surface. In buon fresco, pigments (mineral colors) are mixed with water and then applied to a layer of wet, lime-based (alkaline) plaster. Because the pigments become embedded in the plaster as it dries, no glue or other binder is needed to hold them in place and buon frescoes are very durable.However, some pigments, especially shades of blue, cannot be used in combination with wet plaster, and since pigments can be applied only as long as the plaster remains damp, mistakes can be corrected only by replastering and then repainting the affected area.In contrast, a secco fresco is done on a dry surface, thus requiring a binder. Sometimes artists combined the two techniques, beginning a work in boon and then, once the plaster dried, using a secco to correct mistakes or add colors that could not be applied using buon. The biblical scenes created by Michelangelo for the ceiling of the Sistine Chapel in the Vatican City are among the world's most famous frescoes. Commissioned in 1508. Michelangelo began his work reluctantly, considering himself more of a sculptor than a painter, and spent four years perched on scaffolding, painting some 300 figures across about 5,000 square feet of ceiling. Despite his initial hesitation, Michelangelo followed the purest fresco tradition of the time, applying his pigments mixed in water directly to fresh lime plaster and choosing only those that are chemically compatible, avoiding azurite, vermilion, and lead-based colors, all of which deteriorate under the alkaline conditions of the lime. The incredible scale of the task required him to execute each scene in patchwork.with about five square meters worth of wet plaster applied per giornata, or "day's work.' The use of plaster relatively low in lime which dries more slowly, bought him some extra time, but it is clear that Michelangelo painted each giornata extremely quickly rarely, if ever, resorting to finishing a section with touch-up paint containing binder. Over the years following their completion, the Vatican frescoes accumulated a coating of soot and dirt that dulled and darkened the images. In 1787 the German writer Goethe made the following observation: "On 2nd February we went to the Sistine Chapel to witness the ceremony of the， blessing of the candles. I thought it is precisely these candles that over three centuries have blackened these splendid frescoes; this is the incense that has not only with its smoke covered over the sun itself of art, but with every year continues to dirty it and will finally engulf it in darkness." While Goethe's dire prediction did not come completely to pass the slow darkening of the frescoes led to a characterization of Michelangelo as a relatively somber artist with little appreciation for color. Deposits of salt from rainwater let in by the leaking roof and from within the building materials themselves compounded the decline, leading to blistering of the paint. Eventually, a full-time restorer was appointed to maintain the frescoes. Salt crystals and dirt were removed by scrubbing with sponges dipped in wine, paints containing binder were used to touch up sections, and varnish was applied to "renew" the colors. Paragraph 5 The net effect of several hundred years of this cosmetic maintenance was a dark film consisting of layers of dust, soot, and varnish entirely covering the frescoes. In 1980 a massive effort began to restore Michelangelo's work to its original glory. Restorers painstakingly removed the layers of grime and varnish, the touch-up paint； and the salt deposits with solutions appropriate for each layer A dilute solution of acrylic paint was applied only when absolutely necessary to reinforce the existing paint. Paragraph 6 Over the course of the next fourteen years, the bright colors that emerged were almost shocking to those accustomed to the dull earth tones that had been the status quo for centuries. Indeed, the work at the Sistine Chapel has led to vigorous debate about the role of restoration. Restorers often cast themselves in the role of interpreting the original artist's intent, using modern materials to override the effects of time. However, some critics believe that aging is part of the natural evolution of art and, therefore, new is not necessarily better.
Passage Three	学科分类	题目
	社会科学类
内容回忆	艺术史方面，讲述画家N集中集中画家风格进行创作
参考阅读	The Art of Pompeii's Influence on Neo-Classicism The discovery of Pompeii’s ruins in 1599 profoundly affected the art world by kindling significant interest in the classical Roman aesthetic that promptly became popular throughout Europe, particularly in France. Pompeii was an ancient Roman city that was famously destroyed and buried by the volcanic eruption of Mt. Vesuvius in 79 CE. According to researchers and historians, ash and pumice rained down on the city and residents of Pompeii for over six hours, blanketing city streets and homes with up to 25 meters of sediment. Temperatures in the city during the eruption reached 250 degrees Celsius (480 degrees Fahrenheit) and many residents died due to exposure to the extreme heat. With Pompeii effectively preserved under a literal mountain of volcanic ash, many everyday items were kept intact, including several of the city’s mural paintings. The rediscovery of these paintings in Pompeii provided audiences in Europe with a genuine glimpse into ancient Roman art. These artifacts inspired many artists in France, England, and other countries who idealized and romanticized ancient Rome to generate art in the 18th century that would be known as Neoclassicism, an imitation of classic Roman art. Art historians have categorized the discovered art of Pompeii into four distinct styles. The first style, which prevailed from 200 to 80 BCE, is characterized by the way large plaster walls were painted to look like colorful, elegant stones; it is known as the “structural” or “masonry” style. The second style, which dates from 100 BCE to the start of the Common Era, is characterized by “illusionist” imagery, with murals featuring three-dimensional images and landscapes seen through painted windows that conveyed a sense of depth. The third style, popular from 20-10 BCE, is known as the “ornate” style, and is characterized by two-dimensional, fantastical perspectives, rather than the realistic, three-dimensional vista-like views associated with the illusionist style. Murals painted in the ornate style focused less on realism and instead were created to depict whimsical scenes in highly structured arrangements. The fourth Pompeian style, which dates from 60-79 CE, combined the strict structures and complexity of the ornate style with the illusionist methods of the second style and the stonework of the first style; the fourth style was essentially a hybrid of its predecessors. The art of Pompeii was first excavated in 1748 when archeologists began the painstaking work of identifying, removing, and collecting artistic artifacts from the ash and soil. As knowledge of the art of Pompeii spread across Europe in the 1760s, interest in Greco-Roman art increased and captured the imagination of a new generation of artists in countries like England, Germany, and France, prompting them to emulate a “classical” style. The art of Pompeii most notably influenced an artist in Paris named Jacques-Louis David (1748-1825), who would become one of the most successful and dominant artists of his time. David worked through the lens of Pompeii’s illusionist style, with a sense of depth and realism generated in a number of his more famous works, echoing the three-dimensional landscape views typified by Pompeian art’s second style. A number of works put forth by other painters in England, Germany, and France would also contain elements of the four styles of the art of Pompeii. The influence of Jacques-Louis David on his contemporaries and future artists only expanded the popularity of Roman art and the influence of Pompeii’s four artistic styles for most of the 1780s and 1790s. Neoclassical art proved to be wildly popular with art collectors and enthusiasts in Europe who commissioned more and more paintings from David and his contemporaries. David’s most famous piece, Oath of the Horatii (1784), contains elements from at least three of the four styles of Pompeian art. In this particular work, one can see the first style in the colored slabs of stone on the ground, the three dimensional perspective of the second style in the dimmed space behind the arches in the background, and the realistic yet fantastical look of the fourth style in the hero figure in the middle of the painting. David serves as just one example of the 18th century artists inspired by the classical Roman works exemplified in the four art styles of Pompeii; indeed, David would pass along his inspiration from Pompeian art to his students. English architect Robert Adam (1728-1792) would create stuccos with elements very similar to the first Pompeian style; he would become known as the leader of the revival of “classical” art in England. The extraction of the art of Pompeii took 32 years to complete, but once re-discovered and integrated into the work of artists of the 18th century such as David, its impact proved to be quite significant and abiding. _______________________________________________________________________________ The discovery of Pompeii’s ruins in 1599 profoundly affected the art world by kindling significant interest in the classical Roman aesthetic that promptly became popular throughout Europe, particularly in France. Pompeii was an ancient Roman city that was famously destroyed and buried by the volcanic eruption of Mt. Vesuvius in 79 CE. According to researchers and historians, ash and pumice rained down on the city and residents of Pompeii for over six hours, blanketing city streets and homes with up to 25 meters of sediment. Temperatures in the city during the eruption reached 250 degrees Celsius (480 degrees Fahrenheit) and many residents died due to exposure to the extreme heat. With Pompeii effectively preserved under a literal mountain of volcanic ash, many everyday items were kept intact, including several of the city’s mural paintings. The rediscovery of these paintings in Pompeii provided audiences in Europe with a genuine glimpse into ancient Roman art. These artifacts inspired many artists in France, England, and other countries who idealized and romanticized ancient Rome to generate art in the 18th century that would be known as Neoclassicism, an imitation of classic Roman art.
Passage Four	学科分类	题目
	社会科学类	Nineteenth-century Railroads in the United States
内容回忆	19世纪美国铁路的，一开始说了一下它自身的发展，然后又说它促进了其他产业的发展，比如电报。政府在美国铁路发展的过程中提供了land。但是虽然铁路在1860年飞速发展，但传统的交通方式在一下rural areas 仍不可替代
参考阅读	题目50 American Railroads In the United States, railroads spearheaded the second phase of the transportation revolution by overtaking the previous importance of canals. The mid-1800s saw a great expansion of American railroads. The major cities east of the Mississippi River were linked by a spiderweb of railroad tracks. Chicago's growth illustrates the impact of these rail links. In 1849 Chicago was a village of a few hundred people with virtually no rail service. By 1860 it had become a city of 100,000, served by eleven railroads. Farmers to the north and west of Chicago no longer had to ship their grain, livestock, and dairy products down the Mississippi River to New Orleans; they could now ship their products directly east. Chicago supplanted New Orleans as the interior of America's main commercial hub. The east-west rail lines stimulated the settlement and agricultural development of the Midwest. By 1860 Illinois, Indiana, and Wisconsin had replaced Ohio, Pennsylvania, and New York as the leading wheat-growing states. Enabling farmers to speed their products to the East, railroads increased the value of farmland and promoted additional settlement. In turn, population growth in agricultural areas triggered industrial development in cities such as Chicago, Davenport (Iowa), and Minneapolis, for the new settlers needed lumber for fences and houses and mills to grind wheat into flour. Railroads also propelled the growth of small towns along their routes. The Illinois Central Railroad, which had more track than any other railroad in 1855, made money not only from its traffic but also from real estate speculation. Purchasing land for stations along its path, the Illinois Central then laid out towns around the stations. The selection of Manteno, Illinois, as a stop of the Illinois Central, for example, transformed the site from a crossroads without a single house in 1854 into a bustling town of nearly a thousand in 1860, replete with hotels, lumberyards, grain elevators, and gristmills. By the Civil War (1861-1865), few thought of the railroad-linked Midwest as a frontier region or viewed its inhabitants as pioneers. As the nation's first big business, the railroads transformed the conduct of business. During the early 1830s, railroads, like canals, depended on financial aid from state governments. With the onset of economic depression in the late 1830s, however, state governments scrapped overly ambitious railroad projects. Convinced that railroads burdened them with high taxes and blasted hopes, voters turned against state aid, and in the early 1840s, several states amended their constitutions to bar state funding for railroads and canals. The federal government took up some of the slack, but federal aid did not provide a major stimulus to railroads before 1860. Rather, part of the burden of finance passed to city and county governments in agricultural areas that wanted to attract railroads. Such municipal governments, for example, often gave railroads rights-of-way, grants of land for stations, and public funds. The dramatic expansion of the railroad network in the 1850s, however, strained the financing capacity of local governments and required a turn toward private investment, which had never been absent from the picture. Well aware of the economic benefits of railroads, individuals living near them had long purchased railroad stock issued by governments and had directly bought stock in railroads, often paying by contributing their labor to building the railroads. But the large railroads of the 1850s needed more capital than such small investors could generate. Gradually, the center of railroad financing shifted to New York City, and in fact, it was the railroad boom of the 1850s that helped make Wall Street in New York City the nation's greatest capital market. The stocks of all the leading railroads were traded on the floor of the New York Stock Exchange during the 1850s. In addition, the growth of railroads turned New York City into the center of modern investment firms. The investment firms evaluated the stock of railroads in the smaller American cities and then found purchasers for these stocks in New York City, Philadelphia, Paris, London, Amsterdam, and Hamburg. Controlling the flow of funds to railroads, the investment bankers began to exert influence over the railroads' internal affairs by supervising administrative reorganizations in times of trouble.

2021年9月11日托福听力回忆和解析

综合点评
今天的听力考试回忆不是很全，但可以看到出现了以往的原题。
Conversation
话题分类		校园生活
内容回忆		学生抱怨自己停车位变了，距离住宿的地方太远，想申请visitor位置。重复题目：20161113 C1
Conversation
话题分类		论文
内容回忆		讨论自然光的三种室内引入方式和一种人工模拟方式。
Conversation
话题分类		图书馆
内容回忆		学生在大学图书馆订了一本书，但是他没有带自己的借书卡，然后图书馆管理员说，你可以把你的学生号报一下，他说我不是本校的学生，我是其他的学校过来借读的，因此实际上我没有学生号。我在这儿读高中的时候，其实有一张借书卡，然后他说你没有卡就不能在这儿借书。然后女生就问，那我能不能再申请一张借书卡呢？管理员说你如果再申请一张新的借书卡的话，你就需要一周的时间，这根本就来不及，然后图管理员突然改口说，你其实好像可以申请一张临时借书卡，这样我马上就能给你。然后说临时借书卡需要女生的一张照片，还需要她的地址的证明文件，然后女生说我有垃圾食物的收货单可以吗？管理员说不行，然后我以订的一些杂志杂志上面有我的地址，可以吗？管理员说可以，然后女生就回去找这本上面有他地址的杂志了。参考文章：题目7 C2
Conversation
话题分类		图书馆
内容回忆		学生去找librarian 提出想要给图书馆开辟一个适合young people喜欢的书的区域，然后librarian不能支持，让他去一个foundation找sponsor。
Conversation
话题分类		选课
内容回忆		另外一个题是关于学校的线上教学平台的对话，要求学生在平台上完成一些作业和对其他同学作业进行评价之类的。
Lecture
话题分类	文学
内容回忆	莎士比亚。 2018年3月3日听力回忆版本：莎士比亚的作品到底是不是他自己写的？老师先讲不是他自己写的，也许是有人用莎士比亚的笔名发表了文章，说了这两个证据。1）他没有受过正式教育，连elementary school都没有毕业，很小就辍学。他家人也几乎都不识字。有学生说那就去看看records in theater，然后去看了发现文件是incomplete。2）早期剧院的一些证据都没有直接表明莎士比亚是剧作家（有一些receipt）3）当地报纸也没有记载过这些东西（又可能是因为报纸incomplete）。另一个观点：是他自己写的。1）他死后，和他一起工作过的两个演员写了回忆录，出版了一些剧本，还写道他生前没看到出版真是遗憾。如果作者不是莎士比亚，就没必要这么写。2）他死后，当地给他建了一座雕塑。教授说如果莎士比亚没有这么有才，为什么他会这么受欢迎，其实我们也不能确定这件事是不是真的。
Lecture
话题分类	生物学
内容回忆	白蚁。 2020年7月11日听力回忆版本：白蚁对地质研究的作用，建造土丘，改变土壤构成。参考文章：题目62 L4
Lecture
话题分类	生物学
内容回忆	homing pigeons。 2021年7月11日听力回忆版本：实验：让homing pigeon回家，但都没有回家只有一次回去了。参考文章：题目35 L1
Lecture
话题分类	商业
内容回忆	人们不愿意排队wait 如果在等待的时间做一些别的事情会变得不那么焦躁同时一些store也会利用这点让customer在销售台买一些gum或magazines。 2017年9月23日听力回忆版本：顾客排队时间太长会影响顾客的满意度。所以很多公司会采取措施，转移注意力，让他们busy有事可做。比如机场行李箱会放很远，这样顾客就有事做不会不满。后来讲有公司会将通道设计的弯弯曲曲，可以看crowds，提了一个point说是的体验会影晌整体印象，举的例子是 uncomfortable温度的水慢慢变热和热水慢慢变冷，人们居然会对一个印象更好。参考文章：题目13 L1
Lecture
话题分类	心理学
内容回忆	讲了一个大脑感知的实验，就是把志愿者放在一个完全全黑的房间当中，然后让志愿者去挥手，并且问这些志愿者能不能看到自己的手在动，很多志愿者都说能看见自己的手在动，但是实际上这是一个全黑的房间，他们根本就不应该看到自己的手在动。这说明人的眼球在感知的时候，其实不是单纯的去识别运动的物体，而且还会根据自己身体的移动来去感知，有可能在那里移动的物体。并且还说到了这些人的眼球的运动并不是跳跃性的盲目的运动，换句话说就是如果这些人自己是瞎编的，说自己能看见，但实际上看不见的时候，他们的眼球应该是跳跃运动的，但是因为这些人自己身体也就是自己的手在运动，自己的大脑能感觉到自己的手在运动，因此这些眼球在看自己的手，在运动的时候其实是运动的很平缓的。然后这些科学家就继续做研究，就是让实验者在这些志愿者面前挥手，但是这些志愿者就看不到这些实验者的挥手了，这说明这些志愿者的视觉其实是受到了自己手的运动的影响。参考文章：题目14 L1

2021年9月11日托福口语回忆和解析

Task 1
内容回忆	On birthday, do you prefer quiet place with few people or crowded place with more people？
参考答案	Personally speaking, I’d prefer to be quiet with few people around me. There are 2 reasons that I need to mention. The first reason that I want to be quiet with few people is that we have something in common. Which means, if I stay with people who enjoy doing what I like, it doesn’t have to be with more people. No matter what to do, it is very feasible to exchange of ideas and interact with each other. However, if I stay with more people in a crowded place, things cannot be finished effectively. On the other hand, staying with more people will bring noisy pollution on birthday. If people play games in a crowded area, some may think it is a good way to facilitate and keep a better relationship on that day. Unfortunately, if so, people even cannot hear a word from people nearby in the noisy area.
Task 2
阅读	阅读中的announcement要取消食品小推车，因为： 1. 搞得到处垃圾很不美观 2. 垃圾食品有害学生健康
听力	听力反对，因为： 1. 多加点垃圾桶就好 2. 也有卖健康食品，而且有推车学生就不用因为急着上课饿肚子
Task 3
阅读	概念：shared-cost effect
听力	广告策略不用低廉价格吸引人，而是在于它提供哪些服务。在面对消费需求时，消费者的目光已经从低价转向了产品需求。如果产品可以吸引消费者，即便价格不菲，消费者还是会选择购买。
Task 4
话题
听力	有些树叶在冬天死亡了，但是到春天才脱落，原因有以下两点： 1. 在冬天脱落的树，需要树叶腐烂在土壤里为它春天的成长提供养分 2. 在春天脱落的树，需要树叶来吸引虫子注意，避免自身枝干被昆虫侵扰

2021年9月11日托福写作回忆和解析

综合点评
9月11日写作部分难度适中，综合写作非听力反驳阅读常规类型，而是problem-solving这一不太常见的新构型。独立写作是经典的教育类话题，关于教学方法的二选一，重复2021.5.30-6.3家考原题，类似的题型（2021.6.21/2019.11.16/2016.11.12/2017.11.4）同属于teacher-led lecture/student-led project二选一，但侧重点有不同。
综合写作
话题分类	生态
考题回忆	总论点	二氧化碳是否好储存
	阅读部分	在地下储备二氧化碳，阅读中的文章认为有三个concerns： 1. 没有足够地方储备-lack of space 2. 泄露后对人安全有威胁-health risk 3. 太贵, 花费高- high cost
	听力部分	听力中教授提出三点解决方案： 1. 高压高温转气体为液体,这样用减少使用的空间 2. 研究表明泄露时只有贴着地面呼吸才可能有危险，只要不趴地上呼吸就没事，通常这样的地方会有警告让人们快点离开，且CO2对人体危害没有那么大。 3. 可以通过财政支出，或者卖甲烷的钱可以make up存储运输CO2的cost（往地下注入CO2会让另一种可以卖钱的气体methane甲烷跑出来，收集起来卖掉，以填补存储运输CO2的支出）
解题思路	传统四段式写作，主体段内容为阅读材料提出的问题+听力观点中针对问题的解决方案（1句总+2-3句细节原因）。
参考范文
独立写作
话题分类	教育;教学方法的选择；二选一
考题回忆	【重复2021.5.30-6.3家考原题】 Do you agree or disagree with the statement? In many places, it has been typical for teachers of high school students (aged 14-18) to lecture or lead a discussion while the students listen and take notes for most of the school day. However, it is not an effective way to prepare students for careers in the modern workplace. A better way to do that is for teachers to spend most of the school day on student-led discussion (in which students frequently present their ideas and discuss them with the class) and project-based activities (in which students do their own research and work together while the teachers are available to help them as needed). 【类似考题】： 2021.6.21/2019.11.16/2016.11.12/2017.11.4 High school teachers spend most of the class time lecturing while the students listen and take notes. Other high school teachers spend most of the class time on discussion and projects that students are highly involved in and exchange their ideas. Which of these two approaches do you think is more effective for students' learning and why?
解题思路	论证注意要扣“lecturing不好的原因是无法培养现在职场所需的技能”的题眼上，而不是简单说teacher-led(lecture)还是student-led(project-based)哪个好。【Prefer student-led class】 1. 让步段：虽然student-led 存在一定的风险：可能浪费时间，上课开小差。但是如果老师加强管理，善于引导，提出要求，可以解决这个问题。 2. Student-centered class让students学习更高效。1）更加沉浸，be more involved，学习主动性更强。2）使学生更好的把知识运用到实践中（单方面的输入难以达到的学习目的，即知识输出、运用） 3. Student-centered class更能帮助学生获得未来职业所需技能。 1）团队合作2）沟通能力。虽然lecture教会学生聆听他人信息，正如未来公司开会需要听上级发言。但是project的过程不仅能学会聆听他人信息，还能锻炼团队沟通协作、解决问题冲突的能力，正如未来职场上的项目合作。
参考范文	It is hard to deny that lecturing in high school facilitates examination-oriented education, helping students acquire knowledge of basic academic disciplines for their future careers. Such a fact may mislead impressionable people to generate the opinion that high school teachers should contribute more time to speaking and guiding students in their lectures. However, I strongly believe that it is more productive for teachers to organize a student-centered class. Admittedly, student-led group discussion runs a higher risk of wasting precious time during classes. In some cases, the time may end up being utilized to discuss newly released mobile games or to gossip about their classmates. However, this kind of adverse effect may only occur in the beginning. As long as teachers demonstrate clear instructions and requirements, students will eventually realize they have to focus on assigned group work; otherwise, they will not accomplish the assignment in time and lose course credit. A student-centered pedagogy guarantees students’ learning efficiency and proficiency in practicing knowledge than its counterpart. For one thing, group interaction benefits students’ class engagement and thus they seldom distract from the class. Once students take the initiative to have a mutual discussion and do research, they will devote themselves to it, instead of waiting for teachers’ answers. This is an approach that usually does not take too long before sapping students’ interest in the course. For another, collaboration in teamwork provides students’ opportunities to employ what they have learned in practice. It is common to notice that while teachers are illustrating complicated math equations or physics theories, students are just either quickly writing them down or staring at the blackboard without thinking. By contrast, giving students highly interactive teamwork to figure out an efficient solution to count numbers or to realize the hidden meaning of The Tragedy of Hamlet will promote students' initiatives in looking up reference and lecture notes. Such a student-centered approach enables students to become smarter individuals instead of admiring teachers’ intelligence. A student-centered project helps students to gain numerous skills for their future careers. It seems possible to foster the ability to listen and grasp key information by listening and taking notes carefully in lectures. Such a process is similar to taking the minutes in meetings where employees also need to record fast as the leader talks. However, one-way input can hardly reach the ultimate learning goal, flexible application. The discussion-based project not only develops students’ input-oriented skills but also cultivates their output-oriented capacity such as communication skills, teamwork spirit and the ability to solve the disagreement, serving as the central skills in our modern workplace. The process of listening to other’s opinions and elaborating own perspective in a student-based project corresponds to the situation when staffs discuss an important topic and arrive at a final decision at work. For example, last summer I was an intern in a marketing department of a multinational company. Due to flat- management, every staff or intern would directly discuss the project, which required me to be highly articulate and be equipped with team spirit. This always reminds me of what I have learned in my English class in high school. At that time, Mrs. Lee, my English teacher, always offered us opportunities to prepare and research on our own. Conflicts or difficulties to figure out the solutions may occur, but these experiences indeed developed my skills of presenting and solving conflicts in group assignments. Thus, during the period of internship, I was confident in adapting to the workplace. In conclusion, I understand that there are a thousand Hamlet in a thousand people’s eyes; however, I strongly maintain that high school teachers ought to organize more classes based on student-led projects or teamwork for imparting knowledge more efficiently and nurturing students’ fundamental skills better in the future workplace.(628)

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