01、雅思听力 Listening
本周听力考试题型较为常规，涵盖了填空、单选和配对题。Part 1 为填空题型，考查保险索赔场景下的基础信息捕捉与拼写能力；Part 2 为单选与配对题型，围绕体育中心话题，重点考察细节理解与同义替换能力；Part 3 同样为单选与配对题型，话题涉及洗发水市场营销项目，语言难度较高，需要同学们在多人对话中准确区分不同发言者的观点与细节；Part 4 为学术讲座填空题型，围绕儿童发展相关话题，考查学术场景下的细节捕捉与词汇拼写能力。
Part 1 保险索赔（Accident Insurance Claim）
【题型】：填空
点评
本部分为常规填空题型，场景为保险索赔（Accident Insurance Claim），属于雅思听力 Part 1 的高频话题。答案词整体难度适中，但需注意以下几点：① 参考编号CWX576884 为字母与数字混合编码，听写时需要同时兼顾字母拼写和数字顺序，建议平时多做编码类听写专项练习；② 邮政编码GO194KE 同样为字母数字混合，注意字母O 与数字0 的区分；③ "switched off" 为动词短语填空，注意不要遗漏off；④ 地址类信息Middle Street 和post office 属于常见场景词汇，拼写难度不高但需避免粗心失误。总体而言，本部分要求同学们提 升对编码、数字串的反应速度，以及在日常对话场景中快速捕捉关键细节的能力。Complete the notes below. Write NO MORE THAN TWO WORDS AND/OR A NUMBER for each answer.
1. Reference number: __________
答案：CWX576884
2. When did the man buy the insurance? __________ ago.
答案：9 months
3. Postcode: __________
答案：GO194KE
4. Address: __________
答案：Middle Street
5. Because of the __________, it was out of control and switched off automatically.
答案：water
6. Because of the water, it was out of control and __________ automatically.
答案：switched off
7. The floor which is made of __________ was wet.
答案：wood
8. The client is available next __________.
答案：Tuesday
9. Contact the client __________.
答案：engineer
10. The repair company is opposite to the __________.
答案：post office
（答案仅供参考，实际答案及顺序可能有变化）
Part 2 体育中心（Sports Centre）
【题型】：单选+匹配
点评
本部分围绕体育中心（Sports Centre）话题展开，采用单选题与匹配题的组合形式。单选题（11-16题）涉及新开设施、费用包含项目、获奖原因、开放日赠品、新会员优惠以及停止锻炼的主因等内容，信息点较为密集，需要同学们快速抓取关键细节并进行同义替换判断。匹配题（17-20题）要求将不同运动项目与其对应的益处进行匹配，考查学生对运动健身相关表达的熟悉程度以及对听力材料中因果关系的把握。建议同学们在备考中积累运动健身类话题词汇，并加强匹配题中干扰项排除的训练。单选题（11-16）
11. The sports centre has just opened a new
答案：A. dance studio
12. The cost of the course includes
答案：B. a uniform
13. Last year the centre won an award for its
答案：B. teaching staff
14. On the open day, visitors can get a free
答案：C. T-shirt
15. The special offer for new members is
答案：A. a free introductory session
16. The main reason people stop exercising is
答案：A. lack of time
匹配题（17-20）
Which benefit does each of the following sports activities bring?
Choose FOUR answers from the box and write the correct letter, A-F, next to questions 17-20.
|
题号 |
运动项目 |
答案 |
对应益处 |
|
17 |
general training |
D |
increased leg power |
|
18 |
weight training |
B |
improved concentration |
|
19 |
aerobics class |
F |
reduced stress |
|
20 |
squash |
A |
better reaction times |
（答案仅供参考，实际答案及顺序可能有变化）
Part 3 洗发水市场营销项目（Shampoo Marketing Project）
【题型】：单选+匹配
点评
本部分围绕"洗发水市场营销项目"展开学术讨论，采用单选题与配对题的组合形式。单选题（21-26题）涉及洗发水的商品属性演变、"bad hair days"的真实性、化学品信息公开、包装印刷效果、环保议题以及消费者购买决策依据等多个角度，信息密度高，需要同学们在Janet 和Michael 的对话中准确区分各自观点并注意同义替换。配对题（27-30题）要求将四个洗发水品牌广告与其核心宣传侧重点进行匹配，考查学生对营销策略相关表达的理解和信息归纳能力。建议同学们在考前多复习市场营销与消费行为类场景词汇，积累相关语料，并加强在多人学术对话中追踪不同发言者立场的专项训练。
单选题（21-26）
21. Janet says that over time, shampoo has become
答案：C. a different kind of commodity.
22. What does Janet say about 'bad hair days'?
答案：A. They really do exist.
23. What do Janet and Michael say about the chemicals used in shampoos?
答案：C. The presence of the chemicals is rarely publicised.
24. According to Janet, printing directly onto shampoo bottles, rather than onto labels,
答案：B. looks less attractive.
25. With regard to environmental issues, Michael and Janet want to investigate
答案：B. variations in the weight of shampoo bottles.
26. Michael bases his own shampoo purchase decisions on his
答案：C. willingness to try new products.
匹配题（27-30）
What does the speaker say is the main promotional focus of each of the following shampoo advertisements?
Choose FOUR answers from the box and write the correct letter, A-G, next to questions 27-30.
|
题号 |
广告名称 |
答案 |
宣传侧重点 |
|
27 |
Zing |
B |
enviable lifestyle |
|
28 |
Splash |
F |
romantic interest |
|
29 |
Just go |
E |
product reliability |
|
30 |
Brozene |
A |
link to relaxation |
Part 4 儿童发展（Children's Development）
【题型】：填空
点评
本部分为雅思听力 Part 4 的学术讲座填空题型，话题围绕儿童发展（Children's Development）展开。Part 4 是听力部分中难度最 高的环节，要求学生在连续的学术独白中准确捕捉关键信息词并进行拼写。本次考查的答案词涵盖了情感（feelings）、认知能力（verbal, decision, imagination）、研究方法（interviews, grant）以及社会议题（obesity, balancing）等多个维度，词汇类型丰富，既包含常见词汇也涉及学术场景高频词。建议同学们在备考中重点积累儿童心理学、教育学及社会发展类话题词汇，同时加强学术讲座类听力材料的精听训练，提 升对长段落中关键信息的定位与速记能力。
Complete the notes below. Write ONE WORD ONLY for each answer.
31.答案：feelings
32.答案：balancing
33.答案：verbal
34.答案：decision
35.答案：grant
36.答案：cinema
37.答案：names
38.答案：interviews
39.答案：imagination
40.答案：obesity
（答案仅供参考，实际答案及顺序可能有变化）
02、雅思阅读 Reading
本场考试P1、P2从题型搭配、话题考察上都比较常规，难度正常，但P3匹配、填空、单选、多选齐出，在答题心态上给考生不小挑战，加之话题本身不算“接地气”，在今日考试当中不算友好
本场考试话题涵盖材料科学、美国马戏团历史与澳大利亚风景艺术，难度中等偏上。P1为科技创新类说明文，题型常规，重在细节定位与理解；P2为历史文化类记叙文，段落信息匹配与人名观点匹配并行，对信息检索与归纳能力要求较高；P3为艺术评论类议论文，判断题与选择题占比较大，对文本理解和观点辨析能力要求较高。本场考试依然以填空题、判断题、匹配题三大主流题型为主，其中匹配题（尤其是段落信息匹配）是拉开分数差距的关键。
逻辑关系：P1侧重于科技创新与应用前景，包含大量因果论证（菌丝体的特性→应用优势）；P2侧重于历史事件的线性叙述，包含对比论证（不同马戏团经营者的策略对比）和时间顺序（从1793年到19世纪末）；P3侧重于观点辩论与评价，包含让步转折（虽然保守，但也有价值）和举例论证（Gladwell的例子）。
Passage 1 The Material of the Future 未来材料
【难度】：⭐⭐⭐
【题型】：判断6+填空7
【类别】：自然科学/材料科学
PASSAGE 1
The Material of the Future
A
Khen Hayer is the co-founder of Kinvalive, a company in Albany, New York, that creates an unusual substance: mycelium. Mycelium is the thread-like part of a fungus that grows underground, but Bayer has found an innovative use for it - turning it into sustainable materials. Hayer originally began experimenting with mycelium after a project he did while attending business school to find a replacement for the adhesives used in the manufacture of his products. His business partner, Gardn McIntyne, applied for a patent to use mycelium as a substitute for their product. Now their best-selling mycelium product is used as packaging for fragile goods and buildings. In the last few years, they've also been developing mycelium materials with fashion potential.
B
One designer who appreciates the qualities of mycelium is Maurizio Montalti. While studying at Design Academy Eindhoven in the Netherlands, he began to look for alternatives to materials such as plastic. This, he believed, would always be a waste of resources. Instead, he worked with a substance that would be truly sustainable. He thought that fungus was ideal, having a background in biology, he contacted Han Wosten, a professor at a university in the Netherlands. In the years since, they have developed a laboratory so that it can be used to make a range of products. The fungus they work with is the oyster mushroom (P. ostreatus). The thread-like roots of the oyster mushrooms are safe both to eat and to make into organic materials, with straw products. Montalti and Wosten take the mass production of mycelium to take on a scale of everyday objects. The finished object is thrown in an oven to stop further growth.
C
Presently, Montalti and Wosten have created a permanent exhibition at Micropia in Amsterdam, the world's only museum dedicated to microbes. Called A Mycelium, the exhibition includes an array of everyday objects they've created, including chairs, tables, cups and bowls. It is lightweight and elegant vases which are capable of holding water for days. By allowing visitors to interact with each piece by picking them up, people will walk away with a better understanding of how fungus might be a material for the future. It's the fact that the items are so light, however, that visitors say they didn't expect.
D
Montalti and Wosten are keen to point out the advantages of products made of mycelium. While the tiny threads of mycelium become totally waterproof. It is this quality that makes the mycelium based materials so great. Montalti believes, as they won't be limited to rigid forms in the development of alternatives to textiles, he says, "You could imagine making raincoats." Furthermore, mycelium products are not harmful and once they are disposed of they will decompose naturally into the ecosystem.
Questions 1-7
Complete the notes below.
Choose ONE WORD ONLY from the passage for each answer.
Fungus research and design
Eben Bayer
lstarted working with mycelium when he was at school
lthe most popular mycelium product his company makes is a type of 1. __________
Maurizio Montalti and Han Wosten
las a design student, Montalti wanted to find a natural material that was highly 2. __________
lMontalti and Wosten teamed up and started growing fungus in a laboratory
lthey mainly use oyster mushrooms as these are not toxic
loyster mushrooms grow particularly well in 3. __________
lafter the mycelium has been moulded into the desired shape, it is placed into a special 4. __________
Amsterdam exhibition
lmuseum visitors can see many fungus-based products, like items of furniture, vases and 5. __________
lvisitors are surprised by how 6. __________ the products are
Advantages of using fungus-based products
products made from fungus are completely waterproof so they can be used outside
when a product made of fungus is thrown away, it can supply the environment with some 7. __________
Questions 8-13
Do the following statements agree with the information given in Reading Passage 1? In boxes 8-13 on your answer sheet, writeTRUE FALSE NOT GIVEN
8.The bowls that Montalti created from fungus in 2012 have remained in good condition.
9.Montalti and Wosten believe that a protective coating might be beneficial to their fungus products.
10.Montalti says that most people realise fungus based products are clean.
11.Montalti plans to supply supermarkets with bags made out of mycelium.
12.Montalti and Wosten have already received orders for architectural products made of mycelium.
13.Wosten predicts that fungus will entirely replace plastic and brick in construction work.
（答案仅供参考，实际答案及顺序可能有变化）
点评
本文介绍了菌丝体（mycelium）作为一种可持续材料的创新应用。Eben Bayer的公司将其制成包装材料和建筑材料；Maurizio Montalti和Han Wösten则将其用于制作家具、花瓶等日常用品，并在阿姆斯特丹MicroPia博物馆举办展览。文章还讨论了菌丝体制品的优势：防水、可自然降解。高分策略：
顺序出题：笔记填空题和判断题基本按文章顺序排列，可以依次解题，降低定位难度。
笔记填空题：利用专有名词（Eben Bayer, Maurizio Montalti, Han Wösten, Amsterdam）和主题词（mycelium, oyster mushrooms）定位。答案均为单个名词，注意拼写和单复数。
判断题：重点关注研究结论与实际发现之间的异同。注意题干中的绝 对化表述（如"most people"、"entirely replace"）往往是陷阱。
Passage 2 The 19th-century American Circus 19世纪美国马戏团
【难度】： ⭐⭐⭐⭐
【题型】：段匹6+人名匹配4+填空3
【类别】：历史文化/社会史
14.B
15.E
16.C
17.G
18.F
19.A
人名观点匹配（Q20-23）
20.F
21.A
22.C
23.B
摘要填空题（Q24-26）
24.accident
25.apprentice
26.name
PASSAGE 2
Read the text and answer the questions below.
The 19th-century American Circus
A
The American circus was born in Philadelphia in 1793, during the term of the first U.S. president, George Washington. Founded by Englishman John Dill Ricketts, this early circus established the common features of most American circuses over the next century and beyond: tricks with animals, especially horses, acrobats performing startling feats, and clowns. Ricketts was himself a highly skilled trick rider whose most famous stunt was riding at full speed while holding a child over his head. President Washington even celebrated his birthday at the circus, and Ricketts had his portrait painted by Gilbert Stuart, famous for his presidential portraits.
B
And yet early American circus promoters had trouble earning a profit. They discovered that outside a few large U.S. cities, only a few towns were populous enough or with large enough exhibition buildings to stage a circus. In 1825, Joshuah Purdy Brown's became the first U.S. circus to tour with its own specially constructed, portable, canvas tent, allowing it to perform in both large and small towns. Soon the traveling circus became the typical U.S. circus, moving throughout the country during the circus season of spring through autumn.
C
As the 19th century progressed, and as new European immigrants moved westward and enlarged the size of the U.S., the traveling circus became a major American institution. New settlers typically were struggling small farmers who were living lives of hard, physical work from sunup until sundown, with few opportunities for entertainment. That is until, for a day, a traveling circus came to town and provided a glimpse of an exotic, alternative existence - colourful performers who pushed beyond the limits of everyday life and showed, in the words of one observer, "how great we could be, how beautiful we could be."
D
Indeed, a challenge for circuses were the frequent campaigns against them by local officials who complained that they encouraged laziness by showing off a glamorous life far removed from work and family duty. Some towns banned circuses. The response from the 19th century's most successful circus promoter, P.T. Barnum, was to add a traveling zoo of exotic animals, which he called a menagerie. Barnum then claimed he was offering his patrons an education. The strategy succeeded in quieting the critics, and menageries became a feature of many circuses.
E
Barnum, already well known for his New York museum of human curiosities, began his circus career in 1870. At that time, William Coup and Dan Costello, two successful circus managers, asked him to invest in their circus and give it his name. Barnum agreed, and the trio launched the biggest traveling circus yet: 245 horses pulling 125 wagons. Barnum was chief marketer, plastering advertising posters on walls for many miles around performance locales, and publishing a promotional newspaper. Coup persuaded the railroads to sell low priced passenger tickets for travel to circus towns, with circus admission included. As a result, the shows drew crowds from up to 100 km away, with some people making the trip on foot. Spectators at some performances exceeded the total population of the host town, and the Barnum circus consistently earned record profits. By 1876, Coup and Costello had withdrawn, leaving Barnum as sole owner.
F
Meanwhile, another famous circus man, James Bailey, appeared on the scene. Bailey, who was actually born with the last name McGinnis, ran away from home at the age of twelve. He was being raised by his sister who was mistreating him. After pretending to have drowned in a swimming accident, he found work as a bellboy at a hotel. Later, he persuaded a circus publicist staying there to hire him as an apprentice. Years of marketing circuses under an experienced publicist taught him the key to circus promotion; he also decided to take the publicist's last name. By age 25, as James Bailey, he was co-manager of his own circus. After a tour of the American West and in late summer, Bailey had the idea to sell his circus to Australia and other locations in the southern hemisphere. The summer season was just beginning and his circus could continue touring. After returning to the U.S., he very successfully made his circus the first to recently begin to use electric lighting for night performances. Later, he and Barnum joined forces, making the Barnum and Bailey Circus the leading American circus of the day.
G
Another important circus man, Adam Forepaugh, had already made a large fortune as an animal dealer selling horses to New York City and the U.S. government. When a circus owner couldn't pay Forepaugh for a number of horses he'd bought, Forepaugh took a share of the circus as payment, and discovered a talent for circus management. Throughout the 1880s, often referred to as the Golden Age of the American circus, the Forepaugh and the Barnum and Bailey circuses competed fiercely. Forepaugh's circus began parading through the streets of a city before performances, drawing large, excited crowds, and leading them straight to the circus grounds. Soon Barnum and Bailey's circus did the same. After Barnum and Bailey had great success with a giant African elephant named Jumbo, Forepaugh quickly imported his own great elephant, Goliath. By the end of the 1800s, the largest American circuses had become something hard to imagine in the tent shows' early days. They were major corporations, with company bureaucracies and profits that rivaled the great oil and steel enterprises of the period.
Questions 14-19
Reading Passage 2 has seven paragraphs, A-G. Which paragraph contains the following information? Write the correct letter, A-G, in boxes 14-19 on your answer sheet. You may use any letter more than once.
14.an explanation for the origin of the travelling circus
15.an example of using ground transport to promote circuses
16.a reason why circuses appealed to labourers
17.a description of how rival firms copied each other
18.a mention of the use of a new technology
19.a reference to a national leader who attended the circus
Questions 20-23
Look at the following statements and the list of circus promoters below. Match each statement with the correct promoter, A-F. Write the correct letter in boxes 20-23 on your answer sheet.
List of Promoters
A. John Bill Ricketts
B. Joshuah Purdy Brown
C. P.T. Barnum
D. William Coup
E. James Bailey
F. Adam Forepaugh
20.He got into the circus business to collect on a bad debt.
21.He helped make the circus socially respectable.
22.He helped make the circus more educational.
23.He helped make the circus mobile.
Questions 24-26
Complete the summary below. ChooseONE WORD ONLY from the passage for each answer.
The early years of James McGinnis
James McGinnis left home to avoid difficulties with his sister. He then made people believe he had had a fatal 24. __________. Later, James was employed to be an 25. __________ to a man providing advertising for circuses. He also decided to use his employer's 26. __________ as his own. This proved to be the start of his successful career as a circus.
（答案仅供参考，实际答案及顺序可能有变化）
点评
高分策略：
段落信息匹配：作为第一组题，建议先做，以快速熟悉文章结构。阅读每个题干，提取独特性关键词（如"origin of the travelling circus"、"national leader"、"new technology"），然后扫读各段首尾句，锁定目标段落。
人名观点匹配：人名较多且事迹分散，建议在阅读过程中，用笔在文中圈出所有人名，并在旁边简要标注其核心事迹。做题时，将题干描述与笔记进行同义替换匹配。
摘要填空题：位于文章末尾，是对文章某一人物的生平总结。先通读摘要，理解其逻辑脉络，再根据关键词定位回原文填写。
Passage 3 200 Years of Australian Landscapes at the Royal Academy 皇家艺术学院澳大利亚风景画两百年展
【难度】：⭐⭐⭐⭐
【题型】：判断5+选择5+句子匹配4
【类别】：艺术评论/文化研究
PASSAGE 3
Read the text and answer the questions below.
200 Years of Australian Landscapes at the Royal Academy In London
A
For the casual viewer, the exhibition of landscapes, Australia, selected by the Royal Academy of Art, will be a spectacular guide through Australian art history. Included in the exhibition are a range of artists and styles, dating from the earliest days of colonial art and progressing through expressionism and modernism to the greats of the 20th century, culminating with the current generation of Australian artists. It is hardly surprising, then, that this results in a flexible, wide ranging notion of landscape.
B
But this landmark exhibition gives rise to some questions, and perhaps problems, regarding Britain's relationship with its former colony. By choosing a style of painting at which British artists excel, the Academy could be seen as inviting criticism that hints at a telling attitude towards Australian art by comparison. But it is the very theme of landscape that provides the strongest connection to Australian art from Britain. To consider it condescending is perhaps too strong, but for Joanna Mendelssohn, an Australian critic and Associate Professor at the University of NSW's College of Fine Arts (COFA), there is a suggestion that British artistic values have directed this exhibition, rather than allowing Australia the freedom to demonstrate its individuality. What Mendelssohn found surprising about this exhibition was that the underlying rules for the selection of work seemed to have been so conservative. Since the landscape is a very strong British artistic theme, it appeared to her that when the British looked to the art of a former colony, there was a tendency for them to think that those colonies would continue to be like the British themselves. In reviewing Australia, the British insisted on looking at the genre of landscape painting.
C
Because of colonial ties, it was inevitable during Australian art's formative years that it would reflect Britain's devotion to the beloved landscape before its own character and idiosyncrasies took shape. And while Mendelssohn's concern over the exhibition's conventional selection is valid, the Academy is nevertheless embracing the peculiarities of Australian art from the mid 19th century onward, albeit within the boundaries of landscape.
D
Australia is curated by Kathleen Soriano, director of exhibitions at the Royal Academy. "Certainly the influence of English, French, or German art is much more evident in the early periods, in the early 1800s to mid 1800s," she says. "What I wanted to show was how Australian art develops a real distinctiveness associated with the landscape and the light."
E
The fusion of tradition of the European kind with something more specifically Australian, and often personal, is crucial to the exhibition, and extends particularly to some of the more contemporary artists involved. Sydney born video artist Shaun Gladwell is a good example of this. Gladwell's most famous piece which is featured in the exhibition, is Storm Sequence (2000), a video of Gladwell skateboarding on the Bondi seafront as one of Sydney's signature brutal storms gathers offshore. It is his acknowledgment of landscape (or seascape) tradition, colored by Gladwell's own individualism. "To exhibit my work in this show might make some sense because I was interested in Turner and the idea of atmosphere affording vision, something I was really interested in around the time of Storm Sequence. I was thinking about this tradition of Romantic landscape, but I wanted to make it personal," says Gladwell. But he didn't want to just embark on borrowing imagery from elsewhere. He wanted to bring in his experience and his world through skateboarding and beach culture.
F
So while it may seem narrow for Britain to reduce Australian art to the genre of landscape, there can be little denying that British landscape painting is still relevant to a current generation of Australian practitioners, however indirectly.
G
Visitors to the exhibition encounter Australian Aboriginal art first, the idea being that these works warrant a prominent position because they were first. Over the last couple of decades, London has hosted many successful exhibitions of Aboriginal art in smaller spaces, but for Soriano, Australia represents an opportunity to place such art in a broader context, with new relationships to the art of the settlers and white Australia. "One of the reasons landscape makes sense as being the right theme was because Aboriginal art started in and on the landscape," she says. "[The exhibition] is a beautiful meshing of the two different kinds of art, that allowed me to bring them together comfortably and honestly within this theme. It was important for me to present Indigenous art to audiences, and I felt it was most authentic that it was seen as part of Australian art history, rather than a separate area with a world of its own."
H
Meanwhile, Australian critic Mendelssohn also points out that London is increasingly less important to today's generation of artists, and this somewhat weakens the ceremony surrounding the exhibition in London. "China is the most important art market in the world," she says. "If you've made it in Shanghai, you've made it. The world has changed. My students in Australia, who come from all over the world, really want to see Venice Biennale and Art Basel, but they're less interested in going to London. When I was growing up, London was the destination, and then when I was at university all the smart young things wanted to go to New York," she added. "Now they want to go everywhere. There's no such thing as the centre and the periphery like there used to be. It's much more complicated."
Questions 27-31
Do the following statements agree with the information given in Reading Passage 3? In boxes 27-31 on your answer sheet, writeTRUE FALSE NOT GIVEN
27.As expected, the artworks chosen for the exhibition reflect a narrow interpretation of landscape.
28.The Academy rejected Australian suggestions for the subject of the exhibition.
29.The colonial relationship meant that purely Australian landscape painting followed the traditions of English landscape painting.
30.The exhibition reflects the fact that Australian art developed its own particular qualities.
31.Contemporary Australian artists have generally rejected British landscape traditions.
Questions 32-36
Choose the correct letter, A, B, C, or D.
32.What is the writer's main point in the second paragraph?
A. Australian landscape painting derives from the British tradition.
B. Australian landscape painting is more highly regarded than British.
C. Britain is still imposing its principles on Australian art.
D. British art cannot be compared to Australian art.
33.What does Joanna Mendelssohn find surprising?
A. Modern Australian landscape painting has great variety.
B. The guidelines for the choice of work were very traditional.
C. Landscape painting remains a popular subject for British artists.
D. The British find the Australian landscape unsuitable as a subject.
34.Shaun Gladwell's work is included in the exhibition because
A. it adopts a subjective approach to depicting the landscape.
B. skateboarding is an inspiration to many Australian artists.
C. storms are a significant feature in the Australian landscape.
D. Bondi is an iconic Australian location.
35.What was the reason for Soriano including Aboriginal art in the exhibition?
A. It is not well known in London art circles.
B. Aboriginal landscape painting influenced Australian settlers.
C. It is part of the Australian art tradition and not independent of it.
D. Modern Aboriginal painting deals with changes to the landscape.
36.By referring to China, Mendelssohn is making the point that
A. having an exhibition in London is not as important as it used to be.
B. young artists in Britain are not interested in Australian art.
C. art from Shanghai is more important than Australian art.
D. New York is still a preferred destination for young artists.
Questions 37-40
Write the correct letter A-F.
List of findings:
A. reflects the mood created by the natural environment.
B. demonstrates that the dominant art form in Australia is landscape painting.
C. demonstrates an understanding of the historical importance of the land.
D. showcases a very small number of artists.
E. demonstrates a strong European flavour.
F. shows an acceptance of the unique qualities of Australian art.
37.In spite of its conservatism, the Royal Academy exhibition __________
38.Australian art of the early to mid 1800s __________
39.The modern work by Gladwell chosen for the exhibition __________
40.Including Aboriginal art in the exhibition __________
（答案仅供参考，实际答案及顺序可能有变化）
点评
03、雅思写作 Writing
小作文
点评
一、必抓4 个核心限定（写错就扣分）
- 时间：2020 年（过去年份，全文动词统一用过去式）
- 地点：英国某地，分两大区域：urban（城市）、rural（乡村）
- 对比维度： 4 种噪音类型：交通噪音、飞机噪音、铁路噪音、工业 & 建筑噪音 2 个时间段：白天 daytime / 夜晚 nighttime
- 统计内容：受噪音打扰的居民人数
二、整体趋势总规律（总结段万 能主线）
- 城市全天受噪音影响的居民，数量全都远高于乡村；
- 无论城市还是乡村，白天被噪音干扰的人普遍比夜晚更多；
- 四类噪音里：交通噪音（traffic）、工业建筑噪音对城市居民影响最严重；飞机噪音整体影响人数最少。
三、分段写作思路（雅思标准4 段极简框架）
第1 段：改写题目（开头引入，1 句话）
同义替换词汇：shows = illustrates /depicts the number of residents affected = how many local people were disturbed different noises = four kinds of noise pollution
第2 段：总体概述（overview，最重要得分段，2 句话）
概括2 个最 大特征：城乡差距+ 昼夜差距，不用写具体数字
第3 段：主体细节第一段（对比城市区域数据）
依次描写4 类噪音：城市白天人数永远最 高，夜晚次之，罗列峰值、高低对比
第4 段：主体细节第二段（对比乡村区域数据）
乡村整体数值偏低，昼夜差值小，和城市形成反差，挑选极值对比即可
四、高频必用词汇（简单易懂，6 分够用）
- 地点类：urban areas 城区；rural areas 乡村地区
- 时间：daytime 白天；nighttime 夜间
- 升降 / 多少：higher /lower than；the largest number；the smallest figure
- 影响：be affected by；be disturbed by 被…… 打扰
- 对比：in comparison；similarly；however 然而
五、时态提醒（易错扣分点）
所有描述数据句子，全部用一般过去时（in 2020过去时间） 例：The number was highest.../ More people were affected...
大作文
点评
一、题型：混合类大作文（原因+ 利弊表态）
必须完整回答两个问题，缺一不可，少一部分直接扣分：
- 第一问：阐述独自观影盛行的诸多原因
- 第二问：表明立场（整体积极/ 整体消极），论证你的观点
二、写作四段式简易框架（6 分稳妥结构）
开头段（2 句话）
- 改写题目：同义替换复述话题
- 总起全文：点明产生该趋势的缘由，同时说明自己整体偏向积极/ 消极
主体第一段：回答第一个问题（原因段，2 个理由即可）
理由1：追求个人自由，避免迁就他人（最易懂论点）
和别人一起看影视需要互相迁就：要统一播放时间、迁就对方喜好、忍受旁人交谈、吃东西打扰；独自观看可以自由暂停、快进、挑选自己想看的内容，完全依照个人节奏，舒适度更高。
理由2：线上流媒体普及，居家观影门槛变低
Netflix、各类视频平台随处可得，手机、平板随时随地都能追剧；不需要专门邀约朋友、出门去影院，碎片化时间就能独自观看，更加便捷高 效。
补充可选理由：
现代生活节奏快，上班族闲暇时间零散，很难和家人朋友凑出共同空余时间，独自观影是最省事的休闲选择。
主体第二段：回答第二个问题（利弊+ 个人立场）
两种立场任选一种即可，各给简单论据：
立场A：整体是积极发展
- 利于舒缓个人压力：独处观影是绝 佳放松方式，能够逃离日常工作社交疲惫，舒缓情绪
- 尊重个人喜好：不用被迫观看自己不感兴趣的节目，精神满足感更强
立场B：整体是消极发展
- 削弱人际互动：减少了和家人、朋友共处交流的机会，会让亲情、友情慢慢变淡
- 容易愈发孤僻：长期习惯独处消遣，会渐渐抗拒线下社交，不利于人际交往能力提 升
结尾段（1-2 句话）
总结：重申主要诱因，再次敲定自己的立场，简单概括核心论点，不要新增新观点。
三、高频简单替换词（6 分适用）
- prefer to do = would rather do 更喜欢做
- films and TV programmes = movies and shows 影视节目
- alone = on one’s own 独自
- reason = cause 原因
- positive = beneficial 积极的、有益的
- negative = harmful 消极的、有害的
- development = trend 趋势
四、写作注意扣分点
-
时态：话题讲nowadays（当下），主体全部用一般现在时 -
字数：全文控制250-280 词最合适 -
切忌中立：不能只写利弊不表态，一定要明确偏向一方