详解托福阅读考试的评分标准

楚薇分享 2020-07-18 13:30:20

对于整个托福考试听、说、读、写四个部分，每个部分的总分是30分，托福考试的总分是120分。托福阅读部分的考试主要测试的是考生的大学水平的学术课文与文章的能力。了解它的评分标准，对我们备考托福阅读来说是十分必要的。下面一起来看看吧!

详解托福阅读考试的评分标准

托福阅读考试的时间是60-80分钟，需要完成3-4篇文章，每篇文章的字数大约有700字左右，每天文章的出题数是12-14题。当然不同一题型的分值是不一样的。在了解托福阅读的评分方式之前，我们应该要了解的是托福阅读的题型。

托福阅读题型共分为10种：

1. Factual Information questions(事实信息题)

2. Negative Factual Information questions(否定事实信息题)

3. Inference questions(推论题)

4. Rhetorical Purpose questions(修辞目的题)

5. Vocabulary questions(词汇题)

6. Reference questions(指代题)

7. Sentence Simplification questions(句子简化题)

8. Insert Text question(句子插入题)

9. Prose Summary(文章总结题)

10. Fill in a Table(表格填写题)

了解了托福阅读的题型，我们再来看一下托福阅读的计分方式：

托福阅读以选择题为主，除最后的文章总结题和表格填写题之外，每道题的分值都是1分。

文章总结题满分为2分。这道题会给出6个选项，要求考生从中选出3个最能概括文章内容的选项。在评分方面，文章总结题每道题2分。如果这道题没有选对答案或只选对1个选项，不得分;如果这道题选对2个选项，得1分;如果这道题选对了3个选项，得2分。

表格填写题满分为3分。这道题会有2或3栏/行表格，包括5个正确答案选项。考生需要在备选答案中挑出正确选项，并将正确选项拖入表格中的相应位置。表格填写题满分为3分。没有答对或只答对1或2个答案不得分;答对3个答案得1分;答对4个答案得2分;5个全对得满分3分。

在计算出原始分数以后，将被转化为0-30分的最终分数。以下是原始分数与最终分数的对应表：

原始分数

最终分数

原始分数

最终分数

原始分数

最终分数

原始分数最终分数原始分数最终分数原始分数最终分数

比如，某位学生阅读部分，错了5道小题，3道文章总结题各错一个选项，因此扣去的分数就应该为5+1+1+1=8分，得到的原始分数就是45-8=37分，根据上面的对应表，最终得分应为27分。再如，另一位学生，错了12道小题，3道文章总结题中，1道选错2个选项，另外两道各选错一个选项，则扣分为12+2+1+1=16分，原始分数为45-16=29分，根据对应表，最终分数应为20分。

在上面的分数对应表格中，需要特别注意的是25分和20分的最终分数。如果得到25分以上，那就等于总分有可能上100分，而100分是申请美国名校的比较有竞争力的分数。如果得到20分以上，那就意味着总分有可能到80分以上，这个分数是申请美国前100名学校时比较基本的分数。

大家还需要注意的是0分的最终分数，对应的9分以下的原始分数。在传统考试中，如果不看题目，直接“蒙”，可能会得到一定的分数。而在托福阅读中，如果用“蒙”的方法，可能会得到9分的原始分数，但最终分数就是0分。

此外，正确题目个数与最终分数之间也存在一定的对应关系，具体如下：

正确题目个数最终分数正确题目个数最终分数正确题目个数最终分数

正确题目个数

最终分数

正确题目个数

最终分数

正确题目个数

最终分数

托福阅读真题加答案解析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

托福阅读真题加答案解析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