托福考试的题型有哪些？
1、阅读理解
阅读理解，共15题，考试时间40分钟。 要求考生阅读三篇短文，总阅读量不超过900个词。每一篇文章后有五个问题，考生应该根据文章内容从每题四个选择项中选出一个最佳答案。
2、词语用法和语法结构
词语用法和语法结构，共30题，考试时间25分钟。题目中50%为词和短语的用法，50%为语法结构。要求考生从每题四个选项中选出一个最佳答案。
3、挑错
挑错，共10题，考试时间10分钟。挑错题由10个单句组成 。每一个句子含有标着A、B、C、D的四个划线部分，其中有一处为错误的，要求考生从四个划线部分里挑出其错误的部分。
4、完形填空
完形填空，共20题，考试时间15分钟。完形填空题是在一篇题材熟悉 、难度适中的短文（约200词）中留有20个空白。每一个空白为一题，每一题有四个选项。要求考生在全面理解内容基础上选出一个最佳答案，使短文的结构和意思恢复完整。
5、翻译
翻译，共10题，考试时间30分钟。翻译试题由两部分组成。第一部分是英译汉，要求考生把前面阅读理解文章里划线的五个句子译成中文。第二部分是为汉译英，要求考生把五个难度适中的中文句子译成为英文。
托福考试内容
托福考试内容介绍：
1、阅读
分段阅读文章。每篇文章对应有11道试题，均为选择题。除了最后一道试题之外，其他试题都是针对文章的某一部分提问，试题的出现顺序与文章的段落顺序一致。最后一题针对整篇文章提问，要求考生从多条选择项中挑选若干项对全文进行总结或归纳。
2、听力
由两篇较长的校园情景对话和四篇课堂演讲组成，课堂演讲每篇长约5分钟。由于是机考，考生在听录音资料之前无法得知试题。在播放录音资料时，电脑屏幕上会显示相应的背景图片。考生可以在听音过程中记笔记。考生不能复查、修改已递交的答案。这个部分持续大约50分钟。
3、口试
然而与现行的TSE相比又有较大改动。这个部分共有6题，持续约20分钟。考生可以在听音过程中记笔记以帮助答题。在准备和答题时，屏幕上会显示倒计时的时钟。
4、写作
其中一篇类似于老托福的写作，要求考生在30分钟内就某一话题阐述自己的观点，字数要求为300字以上。另一篇则要求考生首先阅读一篇文章，五分钟以后，文章隐去，播放一段与文章有关的课堂演讲。
托福考试内容和题型都有什么啊
托福主要考：听力 、语法 、阅读、 作文 。
这四个部分分数的算法如下：
总分为听力（68满）、语法（68满）、阅读（67满）这三个部分的平均分乘以十 。
考试时间： 约为60分钟 。
考试类型：共三篇文章，每篇650－750个单词，12－14道题 。
题目类型：事实信息题，否定排除题，指代关系题，词汇题，推断提，修饰目的题，变换措辞题，插入文本题，重要观点题，归类题。
分数范围： 每篇12-14题， 除重要观点题和归类题以外，每道题的分值都是1分。重要观点题的分值可能是2分。归类题为3或4分。考试所得分数范围： 0-30分.
考试形式：在完成每一篇答题的过程中，考生可以使用复查功能查找没有回答的题目。
托福听力考试时间： 60－90分钟，每个对话是2－3分钟。每个演讲是3－5分钟。
考试类型：听力部分有两个对话和四段演讲。每个对话对应5道试题。每段演讲对应6道试题。听力部分共有34道试题。
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托福阅读真题:TPO11原文及答案
TPO模考工具是托福考试试题我没复习托福非常好托福考试试题的帮手托福考试试题，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，欢迎阅读参考托福考试试题！
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 托福考试试题：
★ 11.26托福考试解析之一:独立口语和写作
托福考试听力有哪些题型
在决定参加托福考试之前托福考试试题，肯定要做托福考试试题的就是了解托福考试听力有哪些题型，这方便我们日后对症下药，逐个击破。所以今天给大家分享一下托福考试听力的几种题型。
1.主旨题
段落的中心思想往往出现在文章的导语或者开头，最常被重复的就是它的中心思想!在考试中听到讲座等学术话题时，首先要把握文章的核心主题，太过细节化的往往不是答案。
2.功能/目的题
对于任何长段落，首先要把握的是文章的主旨和结构，只有确定了主旨，才有可能理解细节并作出推论。
3.细节题
细节题主要考察学生理解基本信息的能力。此外，ETS还考察考生对语用信息的理解和整合能力，以及对全文结构的把握能力。对基本信息的理解占50%，说明了细节题的重要性。
做细节题，具体来说，要把握两条原则。
首先，ETS只关注与主旨相关的重要细节。太过局部的细节如果真没听到，大可不必后悔，影响了后面的发挥;其次，要牢牢抓住与考点相关的重要信号词。比如时间、例子、强调、因果、摘要、定义、建议、数字等。
4.态度/推论题
对话中的态度问题应该通过语气、语调和重音来推断。由于演讲的内容比较学术化和客观化，演讲中的态度话题应注意通过形容词和副词的褒贬来判断说话人的主观意图。推论题把握一个原则:正确的选项往往不是文章中的直接表达，可能通过同义词互换的方式设下陷阱，迷惑考生。
5.内容连接/排序题
这两类试题是考察考生对全文结构的把握程度，是对考生能力的最高要求，也是在把握文章主旨的基础上进行的。要做好这两类问题，托福考试试题你必须在最后一周加强熟练记笔记的能力，笔记不一定要很全面，但肯定要有所记录。
了解完题型，还得用上对的方法，锲而不舍的去学习，这样才能早日通过托福考试!
托福考试全真试题买哪本
《托福考试全真试题集》。本书为ETS在中国独家授权版本托福考试试题，也是ETS为托福考试编写托福考试试题的唯一一本官方真题集。书中提供托福考试试题了5套以往考过的托福考试试题，帮助考生体验真实考场情境。本书最后附有托福考试备考计划，旨在帮助考生更有效的备考并了解通过考试如何增强必需具备的英语技能。
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