TOEFL iBT 模擬考 Mock 3 — 人文學科主題
難度：挑戰 Challenging 建議時間：約 2 小時完整練習 主題方向：人文學科（藝術史、歷史、哲學、文學、音樂）
威威老師的話：Mock 3 是挑戰級別，主題以人文學科為主。人文類文章通常較抽象，詞彙要求更高。如果這份覺得難，是正常的！慢慢來，能力的提升來自持續的挑戰。
📖 READING Section
時間限制：35 分鐘 | 20 題 | 2 篇文章
Passage 1: The Origins and Evolution of Perspective in Renaissance Art
Directions: Read the passage below and answer the questions. You have 18 minutes for this passage.
The invention of linear perspective in early fifteenth-century Florence represents one of the most consequential developments in the history of Western art. Prior to this innovation, European painters depicted space through intuitive methods — objects meant to be distant were simply painted smaller and higher on the picture plane — but these approaches lacked mathematical consistency. The systematization of perspective by Filippo Brunelleschi around 1415 transformed not merely the technique of painting but the very conception of what a picture could represent: a rational, measurable world governed by geometric laws.
Brunelleschi’s breakthrough emerged from his architectural training and his study of ancient Roman ruins. He understood that if parallel lines receding into the distance appear to converge at a single vanishing point, then the size of objects at any given distance could be calculated mathematically. According to his biographer Antonio Manetti, Brunelleschi demonstrated his method through a famous experiment involving a painted panel of the Florence Baptistery viewed through a peephole, with a mirror reflecting the actual building — when the mirror was removed, the painting appeared indistinguishable from reality. This empirical validation lent the new technique enormous intellectual prestige.
The theoretical codification of perspective was accomplished by Leon Battista Alberti in his 1435 treatise De Pictura (On Painting), the first systematic treatment of the subject. Alberti described the picture plane as a transparent window through which the viewer observes a scene, with all orthogonal lines converging on a single vanishing point at the viewer’s eye level. He provided practical instructions for constructing a perspectival grid — a paved floor receding into depth — that allowed artists to place figures and objects at mathematically correct positions. Alberti’s treatise circulated widely among Italian artists and was instrumental in establishing perspective as an essential component of artistic training.
The diffusion of perspective techniques produced a revolution in pictorial space. Masaccio’s Holy Trinity fresco in Santa Maria Novella (c. 1427) is widely regarded as the first fully realized perspectival painting — the architectural framework recedes convincingly into an illusionistic chapel, and the figures are proportioned according to their spatial positions. Piero della Francesca later pushed the mathematical foundations of perspective to their logical extreme, composing entire paintings around geometric principles and writing his own treatise, De Prospectiva Pingendi, which explored more complex perspectival problems such as the representation of irregular solids.
However, it would be misleading to suggest that perspective was universally embraced. In Northern Europe, artists like Jan van Eyck achieved remarkable spatial effects through meticulous empirical observation of light, texture, and atmospheric effects rather than mathematical construction. And in the twentieth century, modern artists deliberately abandoned perspective as too restrictive — too wedded to a single, stationary viewpoint inconsistent with the dynamic, multiple perspectives of modern experience. Cubist painters such as Picasso and Braque fractured the picture plane into multiple simultaneous viewpoints, rejecting the Renaissance window in favor of a more comprehensive, if less literal, representation of visual reality.
Glossary:
- linear perspective: 線性透視法
- vanishing point: 消失點
- codification: 系統化整理
- Cubist: 立體派
- treatise: 專著/論文
Questions 1–10: Passage 1
Question 1 — Factual Information According to paragraph 1, how did European painters depict spatial depth before Brunelleschi’s innovation? (A) They used complex mathematical formulas (B) They painted distant objects smaller and higher on the canvas (C) They avoided depicting space altogether (D) They used mirrors to project scenes onto the canvas
Question 2 — Vocabulary The word “consequential” in paragraph 1 is closest in meaning to: (A) minor (B) predictable (C) important (D) controversial
Question 3 — Factual Information According to paragraph 2, what was the purpose of Brunelleschi’s mirror and peephole experiment? (A) To measure the exact dimensions of the Florence Baptistery (B) To create a self-portrait (C) To demonstrate that his perspectival painting could be indistinguishable from reality (D) To teach other artists how to paint buildings
Question 4 — Inference What can be inferred from paragraph 3 about Alberti’s influence on Renaissance art? (A) His ideas were largely ignored during his lifetime (B) His treatise helped standardize perspective as a fundamental artistic skill (C) He was primarily an architect rather than a theorist (D) He directly trained most of the major Renaissance painters
Question 5 — Rhetorical Purpose Why does the author mention Masaccio’s Holy Trinity fresco in paragraph 4? (A) To provide an example of the earliest known painting to use perspective (B) To argue that Masaccio was more skilled than Piero della Francesca (C) To illustrate the first fully realized application of perspective in a painting (D) To compare Florentine churches with those in other regions
Question 6 — Negative Factual Information According to paragraph 4, all of the following are true about Piero della Francesca EXCEPT: (A) He wrote a treatise on perspective (B) He composed paintings around geometric principles (C) He explored the representation of irregular solids (D) He was the first person to describe perspective theoretically
Question 7 — Sentence Simplification Which of the following best expresses the essential information of the highlighted sentence in paragraph 5? “Cubist painters such as Picasso and Braque fractured the picture plane into multiple simultaneous viewpoints, rejecting the Renaissance window in favor of a more comprehensive, if less literal, representation of visual reality.” (A) Cubist painters improved upon Renaissance perspective by making it more mathematically precise (B) Cubism abandoned the single-viewpoint perspective system in favor of presenting multiple perspectives simultaneously (C) Picasso and Braque believed the Renaissance approach was literally incorrect (D) Modern artists returned to the pre-Renaissance methods of depicting space
Question 8 — Insert Text Look at the four squares [A], [B], [C], [D] that indicate where the following sentence could be added to paragraph 5.
“This northern approach, while producing extraordinarily convincing illusions of space, was fundamentally different in method from the mathematically-based Italian system.”
However, it would be misleading to suggest that perspective was universally embraced. [A] In Northern Europe, artists like Jan van Eyck achieved remarkable spatial effects through meticulous empirical observation of light, texture, and atmospheric effects rather than mathematical construction. [B] And in the twentieth century, modern artists deliberately abandoned perspective as too restrictive — too wedded to a single, stationary viewpoint inconsistent with the dynamic, multiple perspectives of modern experience. [C] Cubist painters such as Picasso and Braque fractured the picture plane into multiple simultaneous viewpoints, rejecting the Renaissance window in favor of a more comprehensive, if less literal, representation of visual reality. [D]
Where would the sentence best fit? (A) A (B) B (C) C (D) D
Question 9 — Factual Information According to paragraph 3, what metaphor did Alberti use to describe the picture plane? (A) A mirror reflecting nature (B) A transparent window through which the viewer observes a scene (C) A door opening onto another world (D) A stage where figures perform
Question 10 — Prose Summary Directions: Select the THREE answer choices that express the most important ideas in the passage.
- (A) Brunelleschi invented linear perspective around 1415 through his architectural and mathematical knowledge.
- (B) Alberti codified perspective in his 1435 treatise, providing practical methods that spread among Italian artists.
- (C) Masaccio’s Holy Trinity fresco is located in Santa Maria Novella.
- (D) Northern European artists rejected Italian perspective entirely because it was too mathematical.
- (E) Renaissance perspective revolutionized pictorial space, but was later challenged by Northern artists’ empirical approaches and abandoned by modern artists.
- (F) Piero della Francesca wrote a treatise exploring complex perspectival problems such as irregular solids.
Passage 2: The Printing Revolution and the Reformation
Directions: Read the passage below and answer the questions. You have 17 minutes for this passage.
When Johannes Gutenberg completed his development of movable-type printing in Mainz around 1450, few could have anticipated the scale of the cultural and religious upheaval that his invention would help unleash. Historians now widely recognize that print technology was not merely a neutral conduit for pre-existing ideas but a transformative force that fundamentally altered the conditions under which knowledge was produced, disseminated, and contested. Nowhere was this transformation more consequential than in the Protestant Reformation, which unfolded in the very decades when printing was spreading across Europe.
The relationship between print and Reformation was reciprocal and mutually reinforcing. Martin Luther, an Augustinian monk and professor of theology at the University of Wittenberg, proved to be an extraordinarily adept exploiter of the new medium. His famous Ninety-Five Theses, traditionally said to have been nailed to the door of Wittenberg’s Castle Church in 1517, were quickly translated from academic Latin into vernacular German, printed, and distributed across the Holy Roman Empire. Within two months, copies had reached Rome; within three months, across much of Western Europe. The speed and scale of this diffusion would have been inconceivable in a manuscript culture dependent on hand-copied texts.
Quantitative analysis underscores the magnitude of the print effect. Between 1517 and 1520, Luther published approximately 30 treatises and pamphlets, which together went through an estimated 370 editions, totaling perhaps 300,000 copies. To put this in perspective, Luther’s publications accounted for roughly one-third of all German-language books printed in these years. The vernacular was crucial: by writing in German rather than Latin, Luther addressed not just the clerical and scholarly elite but the broader literate public — artisans, merchants, and municipal officials who could read when texts were in their native tongue.
Print also transformed the character of theological debate. In the manuscript era, academic disputes were conducted slowly, through letters and treatises circulated among small, elite circles. Print enabled rapid-fire polemical exchanges in which arguments and counterarguments could be published, read, and refuted within weeks rather than years. Luther’s opponents, both Catholic and from rival Protestant factions, responded with their own printed pamphlets, creating a public sphere of religious controversy unprecedented in European history. The proliferation of competing printed claims ultimately contributed to a more skeptical and critical readership, as readers were forced to adjudicate between conflicting authorities.
Yet print’s role in the Reformation should not be overstated as purely causal. Literacy rates, while rising, remained limited — perhaps 5 to 10 percent of the population in German-speaking lands could read. Oral transmission of ideas, through sermons, public readings, and conversation, continued to be vitally important. Print provided content for these oral networks — pamphlets were read aloud in taverns and town squares — but it did not replace them. The Reformation was a multimedia event, and printing was its most powerful but not its only medium. Moreover, print could serve orthodoxy as well as reform: the Catholic Church eventually developed its own sophisticated print campaigns, producing catechisms, devotional works, and polemics that helped consolidate Catholic identity in the face of the Protestant challenge.
Questions 11–20: Passage 2
Question 11 — Factual Information According to paragraph 1, where did Gutenberg develop his printing technology? (A) Wittenberg (B) Rome (C) Mainz (D) Geneva
Question 12 — Vocabulary The word “adept” in paragraph 2 is closest in meaning to: (A) reluctant (B) skilled (C) accidental (D) unaware
Question 13 — Factual Information According to paragraph 2, into what language were the Ninety-Five Theses translated for wide distribution? (A) Latin (B) French (C) Italian (D) Vernacular German
Question 14 — Inference What can be inferred about literacy in early sixteenth-century Germany from the passage? (A) Most people could read Latin (B) A significant literate public existed for German-language texts (C) Only clergy could read at all (D) Literacy was universal among the urban population
Question 15 — Rhetorical Purpose Why does the author mention that Luther’s publications “accounted for roughly one-third of all German-language books printed” between 1517 and 1520? (A) To suggest that the printing industry depended on Luther for survival (B) To quantify Luther’s dominance of the print market during this period (C) To argue that other authors were unable to find publishers (D) To criticize Luther for monopolizing the printing presses
Question 16 — Negative Factual Information According to the passage, all of the following were effects of printing on the Reformation EXCEPT: (A) Enabling rapid distribution of Luther’s ideas across Europe (B) Creating a public sphere of rapid polemical exchange (C) Completely replacing oral transmission of religious ideas (D) Fostering a more critical and skeptical readership
Question 17 — Sentence Simplification Which of the following best expresses the essential information of the highlighted sentence in paragraph 4? “The proliferation of competing printed claims ultimately contributed to a more skeptical and critical readership, as readers were forced to adjudicate between conflicting authorities.” (A) Readers became confused and stopped reading religious texts (B) Exposure to multiple conflicting viewpoints in print made readers more discerning and less accepting of a single authority (C) The Reformation failed because readers could not agree on which authority to follow (D) Printers made money by publishing both sides of the religious debate
Question 18 — Insert Text Look at the four squares [A], [B], [C], [D] that indicate where the following sentence could be added to paragraph 5.
“In this sense, the new medium amplified existing social practices rather than inventing entirely new ones.”
Yet print’s role in the Reformation should not be overstated as purely causal. [A] Literacy rates, while rising, remained limited — perhaps 5 to 10 percent of the population in German-speaking lands could read. [B] Oral transmission of ideas, through sermons, public readings, and conversation, continued to be vitally important. [C] Print provided content for these oral networks — pamphlets were read aloud in taverns and town squares — but it did not replace them. [D] The Reformation was a multimedia event, and printing was its most powerful but not its only medium.
Where would the sentence best fit? (A) A (B) B (C) C (D) D
Question 19 — Factual Information According to paragraph 5, how did the Catholic Church respond to the print revolution? (A) It attempted to ban all printing presses (B) It developed its own print campaigns to consolidate Catholic identity (C) It ignored the new technology entirely (D) It hired Martin Luther to produce Catholic materials
Question 20 — Prose Summary Directions: Select the THREE answer choices that express the most important ideas in the passage.
- (A) Gutenberg’s invention of movable-type printing around 1450 was a prerequisite for the rapid spread of Reformation ideas that followed decades later.
- (B) Martin Luther’s prolific use of vernacular German printed materials enabled his ideas to reach a broad audience and dominate the print market.
- (C) The Ninety-Five Theses were nailed to the door of Wittenberg’s Castle Church in 1517.
- (D) Print transformed theological debate by enabling rapid polemical exchange and fostering critical readership.
- (E) Print was central to the Reformation but worked alongside oral transmission; the Catholic Church also adopted print to defend orthodoxy.
- (F) Between 1517 and 1520, Luther published exactly 30 treatises totaling over 300,000 copies.
🎧 LISTENING Section
時間限制：36 分鐘 | 28 題
Lecture 1: Philosophy — Utilitarianism and Its Critics
Narrator: Listen to part of a lecture in a philosophy class.
Professor: Alright, let’s turn to one of the most influential — and most controversial — ethical theories of the modern era: utilitarianism. At its core, utilitarianism is elegantly simple. It holds that the morally right action is the one that produces the greatest happiness for the greatest number of people. This is what’s called the “greatest happiness principle,” articulated most famously by the English philosopher Jeremy Bentham in the late eighteenth century, and later refined by John Stuart Mill.
Bentham’s approach was radically democratic in its moral arithmetic. He proposed what he called the “hedonic calculus” — a method for quantifying pleasure and pain across different actions and choosing the one that maximizes net happiness. The unit of measurement was the “util.” And crucially, Bentham insisted that every person’s happiness counts equally. The pleasure of a king and the pleasure of a peasant are weighed on the same scale. In an era of rigid social hierarchy, this was a genuinely revolutionary idea.
John Stuart Mill, writing about half a century later, felt that Bentham’s quantitative approach was too crude. It seemed to equate the pleasures of poetry and philosophy with the pleasures of eating a good meal, which struck Mill as obviously wrong. So Mill introduced a qualitative dimension: he distinguished between “higher pleasures” — intellectual, aesthetic, moral — and “lower pleasures” — merely physical ones. Mill famously wrote that “it is better to be a human being dissatisfied than a pig satisfied; better to be Socrates dissatisfied than a fool satisfied.” The competent judge, someone who had experienced both types of pleasure, would always prefer the higher.
Now, critics have raised powerful objections. The most persistent is the “justice objection.” If punishing an innocent person would prevent a riot and save many lives, utilitarianism seems to require it — the net happiness would be greater. But most of us feel this is clearly wrong. There are some things you simply may not do to a person, regardless of the consequences. This line of criticism suggests that utilitarianism fails to respect individual rights and the separateness of persons.
Another criticism concerns the problem of measurement. Can happiness really be quantified and compared across individuals? If I enjoy opera and you enjoy video games, how do we determine whose pleasure is “greater”? Bentham’s hedonic calculus sounds scientific but may be practically impossible to apply. More recent philosophers, such as Peter Singer, have refined utilitarian arguments to address some of these concerns, but the core tensions between aggregate welfare and individual rights remain very much alive in contemporary ethical debate.
Questions 21–26: Lecture 1
Question 21 — Gist What is the lecture mainly about? (A) The biographies of Bentham and Mill (B) The core principles of utilitarianism and major criticisms of the theory (C) A comparison of ancient and modern ethical systems (D) The influence of economics on philosophical thought
Question 22 — Detail According to the professor, what was Bentham’s “hedonic calculus”? (A) A mathematical formula for calculating interest rates (B) A method for measuring and comparing pleasure and pain across different actions (C) A system for evaluating educational achievement (D) A political voting system
Question 23 — Detail What distinction did John Stuart Mill add to Bentham’s utilitarianism? (A) The distinction between individual and collective happiness (B) The qualitative distinction between higher and lower pleasures (C) The distinction between short-term and long-term consequences (D) The distinction between moral and legal obligations
Question 24 — Function Why does the professor quote Mill’s statement about “Socrates dissatisfied”? (A) To argue that Socrates was an unhappy person (B) To illustrate Mill’s argument that intellectual pleasures are qualitatively superior (C) To criticize Bentham’s biography of Socrates (D) To suggest that philosophers are inherently dissatisfied
Question 25 — Organization How does the professor structure the lecture? (A) Chronologically through the history of Western philosophy (B) By presenting the theory, its refinement, and then major criticisms (C) By comparing utilitarianism with three alternative ethical theories (D) By describing a series of philosophical thought experiments
Question 26 — Inference What can be inferred about the professor’s view of the “justice objection” to utilitarianism? (A) She believes it has been definitively refuted by modern philosophers (B) She considers it a powerful and persistent challenge to the theory (C) She thinks it misunderstands Bentham’s original intentions entirely (D) She dismisses it as an emotional rather than rational objection
Lecture 2: Literature — The Gothic Novel Tradition
Narrator: Listen to part of a lecture in an English literature class.
Professor: When Horace Walpole published The Castle of Otranto in 1764, he subtitled it “A Gothic Story” — and in doing so, he unwittingly named an entire literary tradition that would flourish for over two centuries and counting. The Gothic novel emerged in the late eighteenth century as a kind of shadow to the Enlightenment, a literary expression of everything that the rational, orderly eighteenth-century mind tried to repress: the irrational, the supernatural, the terrifying, and the psychologically uncanny.
The settings of Gothic fiction are almost characters in themselves. Think of the crumbling castle, the ancient abbey, the labyrinthine mansion — these architectural spaces embody the genre’s preoccupation with the past and with decay. The castle isn’t just where the story happens; it symbolizes a world where the boundaries between past and present, living and dead, natural and supernatural have broken down. Ann Radcliffe, the most popular Gothic novelist of the 1790s, perfected the use of setting to create what she called “terror” — as distinct from “horror” — a state of prolonged, pleasurable dread rather than shocking revulsion.
A defining feature of Gothic fiction is what literary scholars call “the explained supernatural.” Radcliffe was the master of this technique. She would introduce seemingly supernatural events — ghostly music, mysterious voices, apparitions — and then, toward the end of the novel, reveal rational explanations for them. The music was actually a servant practicing in a hidden room; the ghost was a wax figure. This device allowed Radcliffe to generate the emotional effect of the supernatural while remaining within the bounds of Enlightenment rationalism.
The Gothic tradition underwent significant transformations in the nineteenth century. Mary Shelley’s Frankenstein (1818) shifted the source of horror from external threats — ghosts, villains, crumbling castles — to the consequences of human ambition and scientific overreach. The monster is not supernatural; it is the product of Victor Frankenstein’s own creation, making the horror psychological and ethical rather than spectral. Later in the century, Bram Stoker’s Dracula (1897) brought Gothic tropes into the modern urban world — the Count stalks not a medieval castle but the streets of London — and introduced themes of contagion, sexuality, and imperial anxiety that resonated powerfully with late Victorian concerns.
In the twentieth and twenty-first centuries, Gothic has proven remarkably adaptable. Southern Gothic in American literature — think of William Faulkner or Flannery O’Connor — relocated Gothic sensibilities to the decaying mansions and sweltering landscapes of the American South, infusing them with race, religion, and regional identity. And in contemporary culture, Gothic aesthetics pervade film, television, and popular fiction in ways that suggest its preoccupations — with buried secrets, the return of the repressed, the porous boundary between self and other — remain deeply resonant.
Questions 27–32: Lecture 2
Question 27 — Gist What is the main topic of the lecture? (A) The biography of Horace Walpole (B) The origins, characteristics, and evolution of the Gothic novel tradition (C) A comparison of English and American literary traditions (D) How to write a Gothic novel
Question 28 — Detail According to the professor, who was the most popular Gothic novelist of the 1790s? (A) Horace Walpole (B) Mary Shelley (C) Ann Radcliffe (D) Bram Stoker
Question 29 — Detail What is “the explained supernatural” as described in the lecture? (A) A technique where supernatural events are eventually given rational explanations (B) A theory that all supernatural phenomena are real (C) A method of writing that avoids supernatural elements entirely (D) A technique where ghosts explain themselves to the characters
Question 30 — Function Why does the professor mention that the monster in Frankenstein is “not supernatural”? (A) To argue that Mary Shelley was not truly a Gothic author (B) To illustrate a shift in Gothic fiction toward psychological and scientific horror (C) To criticize the book for lacking traditional Gothic elements (D) To distinguish Frankenstein from science fiction
Question 31 — Attitude What is the professor’s attitude toward the Gothic tradition? (A) Dismissive — she considers it a minor literary curiosity (B) Appreciative — she emphasizes its adaptability and enduring resonance (C) Critical — she believes it appeals to base emotions rather than intellect (D) Neutral — she presents only factual information
Question 32 — Inference What can be inferred about the relationship between Gothic fiction and the Enlightenment? (A) Gothic fiction was an extension of Enlightenment rationalism (B) Gothic fiction emerged as a counter-current, giving voice to what Enlightenment rationalism repressed (C) The Enlightenment directly caused the decline of Gothic fiction (D) Gothic authors were uniformly hostile to Enlightenment ideas
Lecture 3: Music History — The Birth of Jazz
Narrator: Listen to part of a lecture in a music history class.
Professor: Jazz is often described as America’s classical music, and the claim isn’t as hyperbolic as it might sound. No other art form is as deeply rooted in the specific historical and cultural conditions of the United States — particularly the African American experience — and yet no other American art form has achieved comparable global influence. Today I want to trace jazz’s origins, focusing on the unique cultural synthesis that occurred in New Orleans around the turn of the twentieth century.
New Orleans at that time was arguably the most culturally diverse city in North America. French, Spanish, African, Caribbean, and Anglo-American populations coexisted — not always harmoniously, but in sufficiently close contact to create extraordinary cultural hybridity. Congo Square, a public space where enslaved and free African Americans were permitted to gather on Sundays, became a crucible for the preservation and transformation of African musical traditions — complex polyrhythms, call-and-response patterns, and the central role of improvisation.
The musical ingredients that would coalesce into jazz came from multiple sources. There were the brass band traditions, rooted in European military music but transformed by African American musicians who brought a fundamentally different approach to rhythm — what we now call “swing.” There was ragtime, a syncopated piano style that swept the country in the 1890s, with Scott Joplin as its most famous exponent. The blues provided jazz with its emotional depth, its characteristic “blue notes” — the flattened third, fifth, and seventh degrees of the scale — and its twelve-bar structural form. And there was the rich tradition of African American religious music — spirituals and gospel — with its ecstatic vocal techniques and communal participation.
The figure traditionally credited with “inventing” jazz — a claim that music historians now treat with considerable caution — is the cornetist Charles “Buddy” Bolden. Bolden led a popular band in New Orleans from roughly 1895 to 1907, and eyewitness accounts describe a powerful, blues-drenched sound that could be heard across the city. Unfortunately, Bolden never recorded — he suffered a mental breakdown and spent the last 24 years of his life in an institution. Jazz enters the historical record with the first recordings by the Original Dixieland Jazz Band in 1917, but these were by white musicians, and they capture only a fraction of the music’s complexity.
The Great Migration — the movement of millions of African Americans from the rural South to northern cities beginning around 1916 — dispersed jazz nationally. Chicago and New York became major centers. Louis Armstrong, who left New Orleans to join King Oliver’s band in Chicago in 1922, would become jazz’s first great soloist and arguably the most influential musician in the genre’s history. His recordings from the late 1920s, particularly the “Hot Five” and “Hot Seven” sessions, established the model of jazz as a vehicle for individual virtuosic expression within an ensemble framework — a balance between individual freedom and collective structure that remains at the heart of the music.
Questions 33–38: Lecture 3
Question 33 — Gist What is the lecture mainly about? (A) A biography of Louis Armstrong (B) The cultural origins and early development of jazz music in New Orleans (C) A comparison of jazz with classical European music (D) The invention of musical recording technology
Question 34 — Detail According to the professor, what role did Congo Square play in the development of jazz? (A) It was where the first jazz recordings were made (B) It was a space where African musical traditions were preserved and transformed (C) It was a concert hall built specifically for jazz performances (D) It was where Louis Armstrong gave his first public performance
Question 35 — Detail Which of the following was NOT listed as a musical ingredient that contributed to jazz? (A) Brass band traditions (B) Opera (C) Ragtime (D) The blues
Question 36 — Function Why does the professor say: “a claim that music historians now treat with considerable caution”? (A) To suggest that Bolden may not have actually existed (B) To indicate that the idea of a single “inventor” of jazz oversimplifies a complex cultural process (C) To argue that another musician clearly deserves the title (D) To criticize modern historians for being overly skeptical
Question 37 — Organization How does the professor organize the lecture? (A) By comparing jazz development in different American cities (B) By listing the cultural ingredients, discussing early figures, and tracing geographic spread (C) By describing specific jazz compositions in chronological order (D) By presenting an argument and then systematically refuting it
Question 38 — Inference What can be inferred about the Original Dixieland Jazz Band’s recordings from 1917? (A) They are considered the definitive representations of early jazz (B) They represent jazz as performed by white musicians and capture only a partial picture (C) They were never commercially released (D) They featured Buddy Bolden on cornet
Conversation 1: Professor Meeting — Thesis Topic Refinement
Narrator: Listen to a conversation between a graduate student and her history professor.
Professor: Angela, you wanted to discuss your thesis topic?
Student: Hi, Professor Nakamura. Yes, I’ve been doing preliminary reading and I think I need to narrow my focus. My original idea was “Women in the French Revolution,” which feels impossibly broad. Every time I read one book, I discover three more I need to read.
Professor: That’s the right instinct. “Women in the French Revolution” is a book-length topic — several books, actually. What specifically about women’s participation has captured your attention?
Student: What’s really struck me is the tension between women’s visible political activism — the march on Versailles, the political clubs — and the eventual outcome. By 1793, the Jacobin government actually banned women’s political clubs and executed prominent female revolutionaries like Olympe de Gouges. So women were essential to the revolution’s early success, but were then violently excluded from its political fruits.
Professor: Now you’re on to something. That’s a genuine historical puzzle: inclusion followed by exclusion. Let me suggest a framework. You could focus specifically on the period 1789 to 1793 — the trajectory from women’s participation in the march on Versailles to the suppression of their political organizations. That gives you a clear chronological boundary and a narrative arc.
Student: So I’d be tracing the process of political exclusion over that four-year period.
Professor: Precisely. And that opens up productive analytical questions: What arguments were used to justify women’s exclusion from politics? How did revolutionary ideology — liberty, equality, fraternity — get defined in ways that excluded half the population? What forms of resistance did women offer? These are questions that allow you to engage with primary sources, not just summarize secondary literature.
Student: That’s incredibly helpful. I was drowning in material because I didn’t have a clear question. Now I feel like I have a genuine argument to make.
Professor: Good. Why don’t you draft a one-page proposal with that framework, and we’ll meet again in two weeks?
Questions 39–43: Conversation 1
Question 39 — Gist Why does the student meet with the professor? (A) To request a grade change (B) To narrow down her overly broad thesis topic (C) To discuss switching advisors (D) To ask for a leave of absence
Question 40 — Detail What was the student’s original thesis topic? (A) The role of French aristocrats in the Revolution (B) Women in the French Revolution (C) The military campaigns of Napoleon (D) Economic causes of the French Revolution
Question 41 — Detail What specific historical puzzle does the professor help the student identify? (A) Why the French Revolution began in 1789 (B) Why women, essential to the revolution’s early success, were eventually excluded from politics (C) How the British responded to the French Revolution (D) Why Louis XVI was executed rather than exiled
Question 42 — Function What does the professor mean when she suggests focusing on “1789 to 1793”? (A) The student should study events after 1793 instead (B) A narrower chronological scope will make the thesis manageable and analytically focused (C) Nothing important happened after 1793 (D) The student should write a four-volume thesis
Question 43 — Attitude What is the student’s emotional state at the end of the conversation? (A) Still overwhelmed and confused (B) Relieved and intellectually energized (C) Frustrated that the professor didn’t provide more specific direction (D) Disappointed that her original topic was rejected
Conversation 2: Student Services — Study Abroad Inquiry
Narrator: Listen to a conversation between a student and a study abroad advisor.
Advisor: Welcome to the Office of International Programs. What can I help you with?
Student: Hi. I’m thinking about studying abroad next spring semester, but I have a lot of questions — about programs, credits, costs, all of it. I’m not sure where to begin.
Advisor: That’s what we’re here for. Let’s start with the basics. What’s your major, and is there a particular region or country that interests you?
Student: I’m an art history major with a minor in Italian. So Italy is the obvious choice, but I’m worried about the cost. I’ve heard study abroad is really expensive.
Advisor: Italy is a fantastic choice for art history — you’d have the opportunity to study works in situ, in their original contexts, which is completely different from seeing slides in a classroom. As for cost, let me clarify something important. Our university has exchange agreements with several Italian institutions — the University of Bologna, the University of Florence — and under these agreements, you continue to pay our university’s standard tuition. Your financial aid package travels with you. The main additional costs are airfare, housing, and living expenses.
Student: Wait — so I don’t pay international student tuition? I just pay what I normally pay here?
Advisor: Exactly. And there are scholarships specifically for study abroad, including several funded by our alumni association. I’d encourage you to apply early — the deadlines are competitive, but many students don’t apply because they assume they won’t qualify.
Student: What about the courses? Would credits transfer back? I don’t want to delay graduation.
Advisor: That’s a crucial question. Before you go, you’d complete a Course Approval Form where every course you plan to take is pre-approved by the corresponding department here. As long as you pass the course at the host institution, the credits transfer automatically. For an art history major in Italy, the transfer is very straightforward — many of our programs have established equivalencies.
Student: That’s really reassuring. Can I take the program guide? I want to talk to my parents before committing.
Advisor: Of course. And when you’re ready, schedule another appointment and we’ll work through the application together.
Questions 44–48: Conversation 2
Question 44 — Gist Why does the student visit the Office of International Programs? (A) To complain about a previous study abroad experience (B) To gather information about studying abroad in Italy (C) To request a transcript for a visa application (D) To apply for an international internship
Question 45 — Detail What is the student’s major? (A) International relations (B) Italian language and literature (C) Art history (D) European studies
Question 46 — Detail According to the advisor, what financial arrangement applies under exchange agreements? (A) The student pays reduced international tuition (B) The student pays the home university’s standard tuition (C) The student pays no tuition at all (D) The student pays the host institution’s international student rate
Question 47 — Function Why does the advisor mention that students “don’t apply because they assume they won’t qualify” for scholarships? (A) To criticize students for being lazy (B) To encourage the student to apply for scholarships despite perceived barriers (C) To explain why the scholarship fund has excess money (D) To suggest that only top students receive funding
Question 48 — Inference What can be inferred about the Course Approval Form? (A) It is optional and most students do not complete it (B) It ensures credits earned abroad will count toward the student’s degree (C) It must be submitted after returning from abroad (D) It is only required for art history students
🗣️ SPEAKING Section
時間限制：約 16 分鐘 | 4 題
Task 1: Independent Speaking — Opinion
Directions: Prepare 15 sec. Speak 45 sec.
Question: Some people believe that learning about history is essential for understanding the present, while others think history is not very useful for solving today’s problems. Which view do you agree with? Use specific reasons and examples.
Model Response (45 seconds):
I firmly believe that learning history is essential for understanding the present, and I have two main reasons. First, contemporary issues almost always have historical roots that are invisible without historical knowledge. For example, if you want to understand why tensions exist between certain countries today, you need to know about colonial histories, past conflicts, and treaty decisions made generations ago. Without that context, today’s headlines are unintelligible. Second, studying history develops critical thinking that applies directly to modern problems. When you analyze why the Roman Empire declined, or why the Weimar Republic failed, you are practicing exactly the kind of multi-causal reasoning that’s required for understanding complex contemporary challenges like political polarization or economic inequality. History doesn’t offer simple recipes — “do X and Y will happen” — but it gives you a richer mental toolkit for recognizing patterns, questioning assumptions, and understanding that most problems have deeper origins than they appear. People who dismiss history are essentially trying to navigate without a map.
Task 2: Campus Situation — Integrated
Directions: Read passage (45 sec), listen to conversation. Prepare 30 sec. Speak 60 sec.
Reading Passage (45 seconds):
Policy Update: Mandatory Advising for Course Registration
Effective next semester, all undergraduate students will be required to meet with their assigned academic advisor and obtain an advising clearance code before registering for courses each term. The university administration states that this policy aims to improve graduation rates and reduce the number of students who take unnecessary or misaligned courses. Students who fail to obtain the clearance code by the registration deadline will not be permitted to enroll in courses for that term and will face a late registration penalty. Some students have expressed concern that adding a mandatory meeting creates an administrative burden, particularly for upper-level students who are confident in their course planning.
Listening — Conversation:
Narrator: Now listen to two students discussing the policy.
Man: So they’re making advising mandatory now. I honestly think it’s a good idea, even though it’s a bit inconvenient.
Woman: You do? I find it kind of annoying. I’m a senior — I know exactly what courses I need. This is just another hoop to jump through.
Man: I get that, but I’ve seen too many friends mess up their schedules. My roommate last year — he was a junior — somehow managed to take courses that didn’t count toward his major requirements. He had to take an extra semester, and his parents were not happy about the extra tuition.
Woman: Okay, but that’s one person. Most students know what they’re doing, right?
Man: The data actually suggests otherwise. I read that about 15 percent of students at this university take at least one course that doesn’t count toward any requirement during their college career. Multiply that by four years of tuition, and it adds up. Plus, I think the clearance code system would actually reduce stress in the long run. Instead of second-guessing whether you’ve chosen the right courses, you’d have confirmation from an advisor.
Woman: I guess when you put it in terms of avoiding costly mistakes, it makes more sense. I still think it’s a hassle, but I can see the value.
Question: The man expresses his opinion about the mandatory advising policy. State his opinion and explain the reasons he gives for holding that opinion.
Model Response (60 seconds):
The man supports the mandatory advising policy and provides several practical reasons for his position. First, he cites personal experience — his roommate, a junior, wasted an entire semester taking courses that didn’t count toward his major requirements and had to pay for an extra semester of tuition. This concrete example illustrates the real financial consequences of poor course planning. Second, the man goes beyond personal anecdote and appeals to data, stating that approximately 15 percent of students take at least one unnecessary course during their education. He argues that when you multiply this inefficiency across four years of tuition, the cumulative cost is substantial and the mandatory advising system would help prevent it. Third, he reframes the policy not as an administrative burden but as a stress-reduction mechanism. Instead of students constantly second-guessing whether they’ve selected the right courses, the clearance code provides official confirmation from an advisor, which he argues actually reduces anxiety in the long run. While he acknowledges the inconvenience, he believes the financial savings and reduced uncertainty justify the requirement.
Task 3: Academic — Integrated
Directions: Read passage (45 sec), listen to lecture. Prepare 30 sec. Speak 60 sec.
Reading Passage (45 seconds):
Cultural Hegemony
Cultural hegemony is a concept developed by Italian Marxist theorist Antonio Gramsci in the early twentieth century. It describes the process by which a dominant social group maintains power not primarily through force or coercion but through the manufacture of consent — by shaping cultural norms, values, and beliefs so that the existing social order appears natural, inevitable, and in everyone’s best interest. According to Gramsci, institutions such as schools, media, religious organizations, and popular culture play a crucial role in disseminating the worldview of the dominant class. Hegemony is never complete or static, however; it is continuously contested, and subordinate groups can develop “counter-hegemonic” ideas and movements.
Listening — Lecture:
Narrator: Now listen to part of a lecture on this topic.
Professor: Gramsci’s concept of cultural hegemony can feel abstract, so let me ground it with a concrete historical example: the development of public education in late-nineteenth-century Britain. This example shows how institutions can shape consent to a particular social order without overt force.
During the Industrial Revolution, Britain experienced intense class conflict — labor strikes, Chartist movements demanding political rights for workers, and growing socialist sentiment. The ruling class faced a genuine challenge to its dominance. Their response wasn’t simply repression — though there was plenty of that. They also invested heavily in mass public education. Now, on the surface, expanding education seems like a progressive step that benefits everyone. And it did provide real benefits — literacy opened doors for working-class children. But Gramsci would point us to a deeper function.
The curriculum in these new schools emphasized obedience, punctuality, respect for authority, and acceptance of one’s social position. Textbooks presented British imperial power as benevolent and natural. Working-class history and radical political traditions were excluded. The message, subtly but pervasively reinforced, was that the existing social hierarchy was the natural order of things. Students internalized not just facts about history and geography but a worldview in which their subordinate position seemed inevitable rather than imposed.
This is cultural hegemony in operation: the dominant class’s worldview was disseminated through an institution that appeared neutral and beneficial — who could be against educating children? — yet performed the crucial function of manufacturing consent to an unequal social order. And the process was so effective precisely because it didn’t feel like indoctrination. It felt like education.
Question: Using the example from the lecture, explain the concept of cultural hegemony as described in the reading passage.
Model Response (60 seconds):
The professor uses the development of public education in late-nineteenth-century Britain to illustrate cultural hegemony, which the reading defines as a process where a dominant group maintains power by shaping cultural norms and values to make the existing social order seem natural and inevitable. During Britain’s Industrial Revolution, there was intense class conflict — strikes, movements for workers’ rights, and growing socialism. The ruling class faced a serious challenge. While they did use repression, the professor explains that they also invested in mass public education, which seemed progressive and beneficial. However, using Gramsci’s framework, the professor reveals a deeper function: the school curriculum emphasized obedience, punctuality, respect for authority, and acceptance of one’s social position. Textbooks portrayed British imperial power as natural and benevolent while excluding working-class history and radical traditions. The message students absorbed was that the social hierarchy was simply the natural order. This exemplifies cultural hegemony because the dominant worldview was disseminated through an institution that appeared neutral — who would oppose educating children? — yet it manufactured consent to inequality precisely because it didn’t feel like indoctrination; it felt like ordinary education.
Task 4: Academic Lecture Summary
Directions: Listen to a lecture. Prepare 20 sec. Speak 60 sec.
Listening — Lecture:
Narrator: Listen to part of a lecture from a linguistics class.
Professor: All right, let’s dig into something that’s fascinated linguists for decades: the Sapir-Whorf hypothesis, or what’s more formally called linguistic relativity. This hypothesis, in its simplest form, proposes that the language we speak influences — or some would say determines — the way we think about and perceive the world. Now, it’s crucial to understand that this hypothesis exists in two versions, which differ dramatically in strength and empirical support.
The strong version, linguistic determinism, claims that language actually determines thought — that speakers of different languages live in fundamentally different cognitive worlds. This strong version is largely discredited today. The weak version, linguistic relativity, makes a more modest claim: that language influences thought in more subtle ways, shaping habitual patterns of attention and categorization without determining the limits of what we can think.
Let me give you the classic example that illustrates the weak version. Researchers have studied how different languages divide the color spectrum. Russian, for instance, has two distinct basic color terms for what English calls “blue”: goluboy for lighter blues and siniy for darker blues. English has a single basic term “blue” that covers both. In experiments, Russian speakers were faster at distinguishing between shades of blue that crossed the goluboy-siniy boundary than shades that fell within the same category, while English speakers showed no such advantage for any particular boundary within the blue spectrum. This suggests that having linguistic labels for these categories does affect perceptual discrimination speed.
But here’s an important nuance that often gets lost in popular discussion. When Russian speakers were given a verbal interference task — they had to repeat a string of numbers while doing the color task — the advantage disappeared. This tells us that the effect works through language, not through some permanent rewiring of the visual system. It’s not that Russians literally see color differently; it’s that language provides a tool for making quick categorical distinctions, and when that tool is occupied with another task, the advantage vanishes.
So the contemporary consensus is that language influences thought in specific, measurable ways — primarily by making certain distinctions easier or more automatic to process — but it doesn’t determine or limit what we can think. Different languages highlight different aspects of experience, but the underlying cognitive capacities are universal.
Question: Using points and examples from the lecture, explain the Sapir-Whorf hypothesis, distinguishing between its two versions and describing the evidence from color perception studies.
Model Response (60 seconds):
The professor explains the Sapir-Whorf hypothesis, which proposes that language influences how we think and perceive the world. She distinguishes two versions: the strong version, linguistic determinism, claims language determines thought entirely — this is now discredited. The weak version, linguistic relativity, makes a more modest claim that language shapes habitual attention patterns without limiting thinking. To illustrate the weak version, the professor describes color perception experiments comparing Russian and English speakers. Russian has two distinct basic color terms for blue: goluboy for lighter shades and siniy for darker shades, while English uses a single term “blue.” In experiments, Russian speakers were faster at distinguishing between shades that crossed the goluboy-siniy boundary, while English speakers showed no boundary-specific advantage. This suggests linguistic labels affect perceptual discrimination speed. Crucially, when Russian speakers had to perform a verbal interference task — repeating numbers — the advantage disappeared. This demonstrates the effect works through language as a tool, not a permanent wiring change. Russians don’t literally see color differently; language provides a shortcut for categorical distinctions. The professor concludes that language influences thought in measurable ways by making certain distinctions easier to process, but does not limit underlying cognitive capacities, which are universal across all humans.
✍️ WRITING Section
時間限制：29 分鐘 | 2 題
Task 1: Integrated Writing
Directions: Read passage (3 min), listen to lecture. Write ~150-225 words (20 min).
Reading Passage (3 minutes):
Over the past decade, the growing availability of Massive Open Online Courses, or MOOCs, has led some commentators to predict the eventual obsolescence of the traditional residential university. According to these predictions, online education will replace brick-and-mortar institutions for several reasons.
First, MOOCs offer dramatically lower costs. Traditional university education in the United States can cost students upwards of $200,000 for a four-year degree, while MOOCs are typically free or charge nominal fees for certification. As student debt becomes an increasingly urgent social problem, the cost advantage of online education will become irresistible for price-sensitive students and their families.
Second, MOOCs allow unprecedented flexibility and access. Students can learn at their own pace, on their own schedule, from anywhere with an internet connection. This democratizes higher education, making elite-level instruction — lectures from professors at Harvard, MIT, and Stanford — available to anyone, regardless of geographic location or economic circumstances.
Third, the quality of online instruction is rapidly improving. Adaptive learning technologies can personalize content to individual student needs in ways that traditional classroom lectures cannot. Students struggling with a concept can receive additional explanation and practice, while those who master material quickly can advance without waiting for their peers. This individualization promises to make online learning not just equivalent but superior to traditional classroom instruction.
Listening — Lecture:
Narrator: Now listen to part of a lecture on the same topic.
Professor: The narrative that MOOCs will replace traditional universities is, I think, considerably overstated. Let me address each of the arguments you just read.
On cost: while MOOC content is inexpensive to access, completion rates are abysmally low — typically between 5 and 15 percent. A certificate of completion from a MOOC provider does not carry the same signaling value in the labor market as an accredited university degree. Employers aren’t just buying the content that students learn; they’re buying the credential, which incorporates admissions selectivity, graded assessment with academic integrity, and the social and professional networks formed during residential education. The cost advantage of MOOCs is real but irrelevant if the credential doesn’t open the same doors.
On access and democratization: the data actually tell a troubling story. MOOC participants are disproportionately already-educated and already-employed individuals from developed countries. In a major study of Harvard and MIT MOOCs, roughly 80 percent of participants already held a bachelor’s degree. Far from democratizing education for the underserved, MOOCs have largely provided free continuing education for the already privileged. The digital divide — inequalities in broadband access, digital literacy, and time availability — means the populations that could benefit most from free education are least able to access it.
On quality: personalized adaptive learning is promising, but it cannot replicate what the best university education actually provides: sustained intellectual mentorship, collaborative problem-solving in real time, hands-on laboratory and studio work, and the development of interpersonal skills through face-to-face debate and teamwork. The most valuable aspects of university education are precisely those that are hardest to digitize. As one education researcher put it, teaching is not a content delivery problem — it is a motivation, feedback, and community problem.
Question: Summarize the points made in the lecture, explaining how they challenge the specific claims about MOOCs in the reading passage.
Model Essay (~260 words):
The reading passage presents three arguments for why MOOCs might replace traditional universities: lower cost, wider access, and superior personalized instruction. The lecturer systematically challenges each claim with countervailing evidence.
On cost, the reading emphasizes the enormous price advantage of free or low-cost MOOC content. The lecturer reframes the analysis: the value of a degree lies not just in content but in its credentialing power. MOOC completion rates hover around 5 to 15 percent, and employers value university degrees for their admissions selectivity, verified assessment, and the professional networks they signify. A cheap credential that does not open labor-market doors is, in economic terms, no bargain at all.
On access, the reading portrays MOOCs as democratizing elite education for underserved populations. The lecturer presents data that contradicts this narrative: roughly 80 percent of MOOC participants in Harvard and MIT studies already held a bachelor’s degree. Rather than bridging educational inequality, MOOCs have primarily served as free professional development for already-advantaged individuals. The populations that would benefit most lack the broadband access, digital literacy, and available time to participate meaningfully.
On quality, the reading argues that adaptive learning technologies make online instruction superior to classroom teaching. The lecturer acknowledges the potential of personalization but argues it cannot replace the core value of university education: sustained mentorship, real-time collaboration, hands-on laboratory work, and the interpersonal skills developed through face-to-face debate. Teaching, the lecturer notes, is fundamentally a motivation and community challenge, not merely a content delivery problem.
Overall, the lecturer does not dismiss MOOCs entirely but argues each of the reading’s claims — about cost, access, and quality — relies on an oversimplified understanding of what universities actually provide.
Task 2: Academic Discussion
Directions: Read the discussion. Write a contribution (~120 words).
Discussion:
Professor Kim: This week we’re discussing the role of museums in contemporary society. Traditionally, museums have been institutions for preserving and displaying cultural artifacts. In recent decades, however, many museums have shifted toward becoming interactive, community-oriented spaces — hosting events, encouraging dialogue, and addressing social issues. Some argue this shift revitalizes museums and makes them relevant to diverse audiences. Others worry that museums are abandoning their core mission of scholarship and preservation in favor of entertainment. What do you think? Should museums prioritize scholarship and preservation, or community engagement and accessibility?
Lena (Student): I believe museums should prioritize community engagement. The traditional model — quiet galleries, objects in glass cases, labels written in academic language — speaks to a narrow, already-educated audience. This is undemocratic and unsustainable. When museums host community dialogues, offer interactive exhibits, and actively address current social issues, they become genuinely public institutions. The National Museum of African American History and Culture in Washington, D.C., is a powerful example: it combines rigorous scholarship with an emotionally compelling, participatory visitor experience that has drawn millions of visitors who might never visit a traditional history museum. Museums that don’t adapt risk becoming elegant storage facilities that most people ignore.
David (Student): I lean toward the preservation and scholarship side. The unique value of museums is that they safeguard objects and knowledge that would otherwise be lost — they are society’s collective memory. When museums prioritize entertainment and chasing visitor numbers, they risk trivializing their collections. I’ve been to “interactive” exhibitions that felt more like theme parks than educational institutions. Moreover, the pressure to generate revenue can lead museums to sell parts of their collections — what’s called deaccessioning — which permanently destroys the scholarly resource. A museum that sacrifices its curatorial standards for popularity has lost its reason for existing.
Your Response (~120 words):
Model Response:
Lena and David frame the debate as a trade-off between scholarship and engagement, but I believe the most successful museums demonstrate that these goals reinforce rather than undermine each other. David is right that preservation and scholarship are the foundational mission — without rigorous curatorial work, a museum is merely an event space. But Lena correctly observes that inaccessible scholarship serves no public purpose. The National Museum of African American History and Culture proves that scholarly rigor and broad public engagement can coexist: its exhibitions are meticulously researched and curated, yet the visitor experience is immersive and emotionally powerful. The key is not choosing between scholarship and accessibility but designing institutions where deep expertise enables rather than obstructs public connection. Curators who can communicate their knowledge compellingly create exactly the kind of institution David wants to preserve — one that people actually care about and therefore will fight to protect and fund.
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READING Section Answers
| Question | Answer | Explanation |
|---|---|---|
| 1 | B | Paragraph 1: “distant were simply painted smaller and higher on the picture plane.” |
| 2 | C | ”Consequential” means important, significant, having major consequences. |
| 3 | C | Paragraph 2: “the painting appeared indistinguishable from reality.” |
| 4 | B | Paragraph 3: Alberti’s treatise “circulated widely” and was “instrumental in establishing perspective as an essential component of artistic training.” |
| 5 | C | Paragraph 4: “widely regarded as the first fully realized perspectival painting.” |
| 6 | D | Alberti was the first to codify perspective theoretically, not Piero della Francesca. The passage says Alberti’s 1435 treatise was “the first systematic treatment.” |
| 7 | B | Essential info: Cubism rejected single-viewpoint perspective for multiple simultaneous viewpoints. |
| 8 | B | The sentence comments on the Northern approach just described (van Eyck), fitting at [B]. |
| 9 | B | Paragraph 3: “a transparent window through which the viewer observes a scene.” |
| 10 | A, B, E | Best summary: Brunelleschi’s invention (A), Alberti’s codification (B), and the eventual challenges from Northern/modem art (E). |
| 11 | C | Paragraph 1: “Gutenberg completed his development…in Mainz.” |
| 12 | B | ”Adept” means skilled, proficient. Luther was highly skilled at exploiting print. |
| 13 | D | Paragraph 2: “translated from academic Latin into vernacular German.” |
| 14 | B | Paragraph 3: Luther’s vernacular works sold massively, implying a significant reading public existed for German texts. |
| 15 | B | The statistic quantifies Luther’s market dominance, showing the scale of his print reach. |
| 16 | C | Print did NOT completely replace oral transmission; paragraph 5 says oral networks “continued to be vitally important.” |
| 17 | B | The essential info: competing print claims forced readers to evaluate conflicting sources, creating a more critical audience. |
| 18 | D | The sentence comments on print amplifying existing practices, fitting at [D] after “it did not replace them.” |
| 19 | B | Paragraph 5: “the Catholic Church eventually developed its own sophisticated print campaigns.” |
| 20 | A, B, D/E | Best: print enabled rapid spread (A), Luther dominated the market (B), transformation of debate (D), and multimedia nature (E). |
LISTENING Section Answers
| Question | Answer | Explanation |
|---|---|---|
| 21 | B | The lecture presents the core idea (greatest happiness principle) and major criticisms (justice objection, measurement problem). |
| 22 | B | Professor: “a method for quantifying pleasure and pain across different actions.” |
| 23 | B | Professor: “Mill introduced a qualitative dimension: higher pleasures and lower pleasures.” |
| 24 | B | The quote illustrates that it is better to experience higher intellectual pleasures, even if accompanied by dissatisfaction. |
| 25 | B | Structure: Bentham’s theory, Mill’s refinement, then criticisms. |
| 26 | B | Professor calls it “the most persistent” objection and says the tensions remain “very much alive.” |
| 27 | B | Covers Walpole’s origin, Gothic settings, the explained supernatural, and evolution through Shelley, Stoker, and beyond. |
| 28 | C | Professor: “Ann Radcliffe, the most popular Gothic novelist of the 1790s.” |
| 29 | A | Professor: “introduce seemingly supernatural events…and then reveal rational explanations.” |
| 30 | B | The professor uses this to show how Gothic shifted from external supernatural threats to “human ambition and scientific overreach.” |
| 31 | B | She calls Gothic “remarkably adaptable” and notes its “enduring resonance.” |
| 32 | B | Professor says Gothic emerged as “a shadow to the Enlightenment” expressing what the rational mind “tried to repress.” |
| 33 | B | Focuses on New Orleans cultural synthesis, musical ingredients, and early figures. |
| 34 | B | Professor: “a crucible for the preservation and transformation of African musical traditions.” |
| 35 | B | Opera is never mentioned. The ingredients listed: brass band, ragtime, blues, religious music. |
| 36 | B | The caution reflects the view that jazz emerged from a complex cultural process, not a single inventor. |
| 37 | B | Structure: cultural ingredients, early figures (Bolden), geographic spread via Great Migration. |
| 38 | B | Professor says they were “by white musicians” and “capture only a fraction of the music’s complexity.” |
| 39 | B | Student: “I think I need to narrow my focus.” |
| 40 | B | Student: “My original idea was ‘Women in the French Revolution.‘“ |
| 41 | B | Student describes the “tension between women’s visible political activism and the eventual outcome.” |
| 42 | B | Professor says it gives “a clear chronological boundary and a narrative arc.” |
| 43 | B | Student: “That’s incredibly helpful…now I feel like I have a genuine argument to make.” |
| 44 | B | Student wants info about studying abroad, specifically in Italy for art history. |
| 45 | C | Student: “I’m an art history major.” |
| 46 | B | Advisor: “you continue to pay our university’s standard tuition.” |
| 47 | B | Advisor encourages application by noting the common misconception about unlikeliness of qualifying. |
| 48 | B | Advisor: “every course…is pre-approved” and “credits transfer automatically.” |
📊 Score Conversion Guide
Reading (Raw Score → Scaled Score)
| Raw (out of 20) | Scaled (0–30) |
|---|---|
| 20 | 30 |
| 18–19 | 28–29 |
| 16–17 | 26–27 |
| 14–15 | 24–25 |
| 12–13 | 21–23 |
| 10–11 | 18–20 |
| 8–9 | 15–17 |
| 6–7 | 12–14 |
| 0–5 | 0–11 |
Listening (Raw Score → Scaled Score)
| Raw (out of 28) | Scaled (0–30) |
|---|---|
| 28 | 30 |
| 26–27 | 28–29 |
| 23–25 | 26–27 |
| 20–22 | 23–25 |
| 17–19 | 20–22 |
| 13–16 | 16–19 |
| 9–12 | 12–15 |
| 5–8 | 8–11 |
| 0–4 | 0–7 |
✅ 自我評量清單 Self-Evaluation Checklist
- Reading: 答對 ___ / 20 (目標: 16+)
- Listening: 答對 ___ / 28 (目標: 22+)
- Speaking Task 1: 是否有清楚立場和兩個以上的具體例子？
- Speaking Task 2: 是否摘要了男學生的觀點及支持理由？
- Speaking Task 3: 是否連結了 cultural hegemony 定義與英國公教的例子？
- Speaking Task 4: 是否區分了語言決定論 vs 語言相對論並解釋色彩實驗？
- Writing Task 1: 是否對應了閱讀的三個論點和聽力的反駁？
- Writing Task 2: 是否回應了教授、參考了兩位同學、提出自己的立場？
- 時間管理: 每個 section 在規定時間內完成了嗎？
威威老師小鼓勵： Mock 3 的難度提升不少，人文類文章的抽象詞彙是一個門檻。建議整理這份模擬考中不認識的詞彙，製作個人單字卡！
Mock 3 結束。真正的成長來自挑戰，繼續往前！