詳解托福閱讀考試的評分標準

時間：2020-07-18 13:30:20 楚薇0由分享

對于整個托?？荚嚶?、說、讀、寫四個部分，每個部分的總分是30分，托?？荚嚨目偡质?20分。托福閱讀部分的考試主要測試的是考生的大學水平的學術課文與文章的能力。了解它的評分標準，對我們備考托福閱讀來說是十分必要的。下面一起來看看吧!

詳解托福閱讀考試的評分標準

托福閱讀考試的時間是60-80分鐘，需要完成3-4篇文章，每篇文章的字數(shù)大約有700字左右，每天文章的出題數(shù)是12-14題。當然不同一題型的分值是不一樣的。在了解托福閱讀的評分方式之前，我們應該要了解的是托福閱讀的題型。

托福閱讀題型共分為10種：

1. Factual Information questions(事實信息題)

2. Negative Factual Information questions(否定事實信息題)

3. Inference questions(推論題)

4. Rhetorical Purpose questions(修辭目的題)

5. Vocabulary questions(詞匯題)

6. Reference questions(指代題)

7. Sentence Simplification questions(句子簡化題)

8. Insert Text question(句子插入題)

9. Prose Summary(文章總結題)

10. Fill in a Table(表格填寫題)

了解了托福閱讀的題型，我們再來看一下托福閱讀的計分方式：

托福閱讀以選擇題為主，除最后的文章總結題和表格填寫題之外，每道題的分值都是1分。

文章總結題滿分為2分。這道題會給出6個選項，要求考生從中選出3個最能概括文章內容的選項。在評分方面，文章總結題每道題2分。如果這道題沒有選對答案或只選對1個選項，不得分;如果這道題選對2個選項，得1分;如果這道題選對了3個選項，得2分。

表格填寫題滿分為3分。這道題會有2或3欄/行表格，包括5個正確答案選項?？忌枰趥溥x答案中挑出正確選項，并將正確選項拖入表格中的相應位置。表格填寫題滿分為3分。沒有答對或只答對1或2個答案不得分;答對3個答案得1分;答對4個答案得2分;5個全對得滿分3分。

在計算出原始分數(shù)以后，將被轉化為0-30分的最終分數(shù)。以下是原始分數(shù)與最終分數(shù)的對應表：

原始分數(shù)

最終分數(shù)

原始分數(shù)

最終分數(shù)

原始分數(shù)

最終分數(shù)

原始分數(shù)最終分數(shù)原始分數(shù)最終分數(shù)原始分數(shù)最終分數(shù)

比如，某位學生閱讀部分，錯了5道小題，3道文章總結題各錯一個選項，因此扣去的分數(shù)就應該為5+1+1+1=8分，得到的原始分數(shù)就是45-8=37分，根據(jù)上面的對應表，最終得分應為27分。再如，另一位學生，錯了12道小題，3道文章總結題中，1道選錯2個選項，另外兩道各選錯一個選項，則扣分為12+2+1+1=16分，原始分數(shù)為45-16=29分，根據(jù)對應表，最終分數(shù)應為20分。

在上面的分數(shù)對應表格中，需要特別注意的是25分和20分的最終分數(shù)。如果得到25分以上，那就等于總分有可能上100分，而100分是申請美國名校的比較有競爭力的分數(shù)。如果得到20分以上，那就意味著總分有可能到80分以上，這個分數(shù)是申請美國前100名學校時比較基本的分數(shù)。

大家還需要注意的是0分的最終分數(shù)，對應的9分以下的原始分數(shù)。在傳統(tǒng)考試中，如果不看題目，直接“蒙”，可能會得到一定的分數(shù)。而在托福閱讀中，如果用“蒙”的方法，可能會得到9分的原始分數(shù)，但最終分數(shù)就是0分。

此外，正確題目個數(shù)與最終分數(shù)之間也存在一定的對應關系，具體如下：

正確題目個數(shù)最終分數(shù)正確題目個數(shù)最終分數(shù)正確題目個數(shù)最終分數(shù)

正確題目個數(shù)

最終分數(shù)

正確題目個數(shù)

最終分數(shù)

正確題目個數(shù)

最終分數(shù)

托福閱讀真題加答案解析1

PASSAGE 3

The Native Americans of northern California were highly skilled at basketry, using the reeds,grasses, barks, and roots they found around them to fashion articles of all sorts and sizes — notonly trays, containers, and cooking pots, but hats, boats, fish traps, baby carriers, and ceremonialobjects.

Of all these experts, none excelled the Pomo — a group who lived on or near the coast duringthe 1800's, and whose descendants continue to live in parts of the same region to this day. Theymade baskets three feet in diameter and others no bigger than a thimble. The Pomo people weremasters of decoration. Some of their baskets were completely covered with shell pendants;others with feathers that made the baskets' surfaces as soft as the breasts of birds. Moreover, thePomo people made use of more weaving techniques than did their neighbors. Most groups madeall their basketwork by twining — the twisting of a flexible horizontal material, called a weft,around stiffer vertical strands of material, the warp. Others depended primarily on coiling — aprocess in which a continuous coil of stiff material is held in the desired shape with tightwrapping of flexible strands. Only the Pomo people used both processes with equal ease andfrequency. In addition, they made use of four distinct variations on the basic twining process,often employing more than one of them in a single article.

Although a wide variety of materials was available, the Pomo people used only a few. Thewarp was always made of willow, and the most commonly used weft was sedge root, a woodyfiber that could easily be separated into strands no thicker than a thread. For color, the Pomopeople used the bark of redbud for their twined work and dyed bullrush root for black in coiledwork. Though other materials were sometimes used, these four were the staples in their finestbasketry.

If the basketry materials used by the Pomo people were limited, the designs were amazinglyvaried. Every Pomo basketmaker knew how to produce from fifteen to twenty distinct patternsthat could be combined in a number of different ways.

1. What best distinguished Pomo baskets

from baskets of other groups?

(A) The range of sizes, shapes, and designs

(B) The unusual geometric

(D) The rare materials used

2. The word fashion in line 2 is closest in meaning to

(A) maintain

(B) organize

(D) create

3. The Pomo people used each of the following materials to decorate baskets EXCEPT

(A) shells

(B) feathers

(D) bark

4. What is the author's main point in the second paragraph?

(A) The neighbors of the Pomo people tried to improve on the Pomo basket weaving techniques.

(B) The Pomo people were the most skilled basket weavers in their region.

(D) The Pomo baskets have been handed down for generations.

5. The word others in line 9 refers to

(A) masters

(B) baskets

(D) surfaces

6. According to the passage , a weft is a

(A) tool for separating sedge root

(B) process used for coloring baskets

(D) pattern used to decorate baskets

7. According to the passage , what did the Pomo people use as the warp in their baskets?

(A) bullrush

(B) willow

(D) redbud

8. The word article in line 17 is close in meaning to

(A) decoration

(B) shape

(D) object

9. According to the passage . The relationship between redbud and twining is most similar to the

relationship between

(A) bullrush and coiling

(B) weft and warp

(D) sedge and weaving

10. The word staples in line 23 is closest in meaning to

(A) combinations

(B) limitations

(D) basic elements

11. The word distinct in lime 26 is closest in meaning to

(A) systematic

(B) beautiful

(D) compatible

12. Which of the following statements about Pomo baskets can be best inferred from the

passage ?

(A) Baskets produced by other Native Americans were less varied in design than those of the

Pomo people.

(B) Baskets produced by Pomo weavers were primarily for ceremonial purposes.

(D) The basketmaking production of the Pomo people has increased over the years.

PASSAGE 3 BDCBB CBDAD CA

托福閱讀真題加答案解析2

PASSAGE 4

The term Hudson River school was applied to the foremost representatives ofnineteenth-century North American landscape painting. Apparently unknown during the goldendays of the American landscape movement, which began around 1850 and lasted until the late1860's, the Hudson River school seems to have emerged in the 1870's as a direct result of thestruggle between the old and the new generations of artists, each to assert its own style as therepresentative American art. The older painters, most of whom were born before 1835, practicedin a mode often self-taught and monopolized by landscape subject matter and were securelyestablished in and fostered by the reigning American art organization, the National Academy ofDesign. The younger painters returning home from training in Europe worked more with figuralsubject matter and in a bold and impressionistic technique; their prospects for patronage in theirown country were uncertain, and they sought to attract it by attaining academic recognition inNew York. One of the results of the conflict between the two factions was that what in previousyears had been referred to as the American, native, or, occasionally, New York school — the mostrepresentative school of American art in any genre — had by 1890 become firmly established inthe minds of critics and public alike as the Hudson River school.

The sobriquet was first applied around 1879. While it was not intended as flattering, it washardly inappropriate. The Academicians at whom it was aimed had worked and socialized in NewYork, the Hudson's port city, and had painted the river and its shores with varying frequency.Most important, perhaps, was that they had all maintained with a certain fidelity a manner oftechnique and composition consistent with those of America's first popular landscape artist,Thomas Cole, who built a career painting the Catskill Mountain scenery bordering the HudsonRiver. A possible implication in the term applied to the group of landscapists was that many ofthem had, like Cole, lived on or near the banks of the Hudson. Further, the river had long servedas the principal route to other sketching grounds favored by the Academicians, particularly theAdirondacks and the mountains of Vermont and New Hampshire.

1. What does the passage mainly discuss?

(A) The National Academy of Design

(B) Paintings that featured the Hudson River

(D) The training of American artists in European academies

(A) Figural painting

(B) Landscape painting

(D) Historical painting

3. The word struggle in line 5 is closest in meaning to

(A) connection

(B) distance

(D) competition

4. The word monopolized in line 7 is closest in meaning to