9月25日的托福考试完成，有许多的学生对于这次考试的真题是很想要知道的，因为能够帮助他们的托福备考。那么下面就由来给大家带来9月25日托福口语考试的真题内容吧。
2021年9月25日托福口语真题：
T1
Do you agree or disagree with the following statement？Athletes do not deserve the high salarie they＇re paid？
T2
阅读中学生建议business department给学生机会出国参加实习，听力中女不赞同，说虽然我们这里是个小城市，但是也有很多公司，她舍友就参加了实习跟国外的人交流了；并且business department没什么钱，资助少部分学生出国可能会导致其他大部分学生的利益受损，比如不能去实地考察。
T3
false-cause error，因为一件事情发生在另一件事情之前，所以人们就会错误的觉得是第一件事导致了第二件事。举例：教授说他朋友借了他的车，还回来之后车开始发出怪声，他就错误地觉得是他朋友导致的，但其实他那车本来就很旧了
T4
植物会吸引一些protective insects来保护它们不被harmful insects吃掉。
托福口语考试丢分因素：
1、发音
ETS强调了很多次，托福口语并不把打分的重点放在口音上，但是很多小伙伴还是致力于学习怎么发出最正宗的美音。
事实上，托福口语对于发音的要求只有一个：makes one’s ideas / meaning understandable 让别人理解。也就是说只要你发音尽可能的准确，带有中国口音并不会影响你的成绩（不然印度考生口语平均分怎么高出我们那么多...）。
想想托福听力在讲话时，还时不时出现英音印度音，小伙伴们就该懂ETS的大概意思了。因此，大家不用把口音当成提分的首要练习关键。
2、语法问题
不管是在之前的文章，还是在别的地方，相信小伙伴们都看到过一句话：只要表述清晰有逻辑，说的话能够被考官理解，那么出现语法问题也可以被原谅或者忽略。
看到这句话后，是不是觉得口语可以随意说？如果觉得语法不重要就大错特错了！不要忽略这句话的限定条件：清晰、逻辑、能被理解。但凡能达到这三点，内容不算格外出彩也一定是完整正确的。也就是说，只有在输出优质内容答案的时候，语法上的小错才会被忽略，否则语法不过是考官扣你分的另一个理由罢了。
所以，如果大家在讲述的内容是否打动考官这件事上没有把握的话，还是不要放松对自己语法上的要求了。
3、流利度与停顿
流利常常是我们评价口语的第一反应。“流利”不是快速说完45秒，而是指没有出现长时间的停顿，没有无话可说的状态，没有重复叙述。
口语叙述过程中出现停顿往往是思路“断片”的表现，但小伙伴们作答也不能无缝衔接每一句话每一个段落，不然会很憋气，必要的停顿能帮助考官理解讲话内容。在回答完一个例子或者一部分之后，小伙伴们可以稍稍做一个停顿，相当于“句号”的作用。提示考官这部分结束了，下一部分要开始了。
托福口语考试的练习：
具体体现在新托福口语考试中，就是让考生阅读文字信息，听一段课堂演讲或发生在校园里的对话之后，针对内容综合复述，回答问题，实现语言输入和输出的相对关联，从而判断出考生的实际语言应用能力。
新托福口语考试的设计是建立在语言技能综合循环，培养“交际能力”的概念上的。因此，它要求考生进行语言交际训练时，不仅要注重语言的合理口头表达，还要注意口语表达的内容是必须通过听读的输入技能获得并循环于意识中，通过意识加工创造表达出来的。
显然，这类以语言内容为重点的考试要求考生不仅具有一定的语言知识（知道怎样说），同时更重要的是还须具备语言以外的社会、文化、科学等方面的知识 （知道说什么）。新托福口语考试完全模拟真实的校园生活与学术交流环境，话题将会涉及众多领域：社会、文化、科学、历史、宗教等等。因此，它要求考生对于知识的掌握不一定要“很渊”，但一定要“较博”，也即要有内容可讲，要知道“说什么”并且能够说出来。
9月25日的托福考试完成，有许多的学生对于这次考试的真题内容比较感兴趣。为了能够帮助同学们的备考，下面就给大家带来9月25日托福写作考试的真题内容，来看看这些真题吧。
2021年9月25日托福写作真题：
独立写作：
Do you agree or disagree with the following statement：
Nowadays，children rely too much on the technology，like computers，smartphone，video games，for fun and entertainment. Playing simpler toys or playing outside with friends would be better for the children＇s development.
综合写作：
阅读：要求学生做志愿活动的3个坏处
1. 他们可能会cheat，学校没办法监督
2. 使学生以后不愿意提供志愿服务
3. 强制要求是一种侵权行为
听力反驳：
1. 学校要求的社区服务是有专门机构组织进行的，这些机构会给学校反馈document
2. 志愿服务之后很多高中生有了很好的体验，会觉得参加志愿服务是一个很好的体验，以后会有更强的motivation；
3. 要求参加志愿活动，和学校要求学生参加课程一样，没有侵权还能让学生学到更多
独立写作范文：
Well，I disagree.
First off，they work really hard. Unlike other occupations，athletes start at an early age and keep training for years or even dosens of years before they can have some decent accomplishments. What＇s especially noteworthy is，they do not enjoy any holidays like us，meaning they have to do the training while others are having family get-togethers. So the sacrifices they make deserve high salaries.
Second，they win glory for the country. Nowadays，the competition among countries is not restricted to economy，technology and education. People believe that performances in the arena also show the power of the country. When athletes stand on the podium，they represent the country. In this sense，athletes could do something meaningful for the nation.
托福写作的备考技巧：
1.审题时间的控制
如果说独立写作是闭卷考试，那么你花上3～5分钟的时间去审题，去构思，是很必要的。但是，实际情况是，独立写作是开卷考试，首先题库公开，它的题型和题材都不会超出题库的范围，你总会在题库中找到类似的题目，加之机经的强大力量，使得TOEFL独立写作真的成了开卷考试。既然是开卷考试，大家就应该把审题的工作放到考试之前做，争取在1分钟之内完成，不要浪费时间，把时间用来打字，而不是思考上面。那些思维风暴、切题思路之类的，应该是事先已经准备过，训练过的。如果考到了你从来没接触过的题，只能说明你没有准备到位，如果你的审题时间超过了2分钟，那么你的准备也没有到位，这就是开卷考试的备考思维，满分不是临场发挥出来的，而是准备出来的。
2.保质保量
如果不能保证文章的质量，可以从数量入手，有位同学独立写作30分钟写了600字，拿了满分。当然他肯定有一些不足和错误，可是仍然不影响满分。可见如果不能把文章写得很漂亮，不能写出亮点，那就多写点吧，字数多也是亮点。
TPO模考工具是我没复习托福非常好的帮手，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
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