托福TPO12综合写作阅读原文+听力原文+满分范文

为了帮助大家高效备考托福，为大家带来托福TPO12独立写作题目文本+满分范文，希望对大家备考有所帮助。

托福TPO12独立写作题目原文： Some people say that the Internet provides people with a lot of valuable information. Others think access to much information creates problems. Which view do you agree with? Use specific reasons and examples to support your answer. 托福TPO12独立写作满分范文： There are so many people doubting on whether a broad knowledge of many academic subjects take the advantage of specializing in one specific subject. We have to realize the fact that the method of learning is more essential rather than the knowledge itself. As we are in the century full of knowledge and information, just absorbing knowledge is not as important as before. However, to learn the way of study requires some training in the subject and of course those who have broad knowledge of many academic aspects can learn more about different ways of learning in different subjects. When given a new task, they can easily solve it by using various methods he has learned, who takes a lot advantage from the learning experience. Moreover, the distinction among subjects becomes less clear. In fact, to solve the problem in a certain aspect may use knowledge in other aspects. Thus it leads us to cover more knowledge instead of just specializing in one specific subject. For instance, the subject of biochemistry requires the knowledge of chemistry as well as biology. The one having the background of the two subjects can absorb more and discovery more in doing researches, and have more chances of success. In fact, to see the famous scientists in the past, we'll find that most of them specialized in more than one subject. Aristotle, one of the most famous philosophies in ancient Greek, knew a lot about the knowledge in science and did researches on such things. As for Franklin, he discovered the electricity when having storm, and he also did well in his political career. From their experience we will learn that it's not the knowledge of a certain subject contributes to their success, instead, it's their way of thinking and the good personality traits lead to their achievement. As the saying goes that knowledge is power, we can draw the conclusion that more knowledge, more power. Anyway, there is nothing wrong in learning new knowledge and perhaps one day it can be used in researches or inventions. 以上是给大家整理的托福TPO12独立写作题目文本+满分范文，希望对你有所帮助!。

tpo12综合写作范文Task 1:The passage emphasizes the importance of social normsin shaping human behavior. It asserts that cultures and individuals are not static entities, and their beliefs, values, and actions evolve in response to the social contexts that surround them. Social norms act as implicit guidelines that influence how individuals perceive and respond to their environments, ultimately shaping their thoughts, actions, and choices.Task 2:The lecture examines the role of friendship in positive youth development. It posits that friendships provide young people with a sense of belonging, identity, and support. Friendships can foster emotional intelligence, empathy, and resilience, contribute to academic success, and reduce the risks of engaging in delinquent behaviors. Moreover,friendships can influence a person's future relationships and decisions throughout life.中文回答：任务 1：文章强调社会规范在塑造人类行为方面的重要性。

Transition to Sound in Film电影声音的演变The shift from silent to sound film at the end of the 1920s marks, so far, the most important transformation in motion picture history. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has come close towords are phrased, the most basic division in cinema history lies between films that are mute and films that speak.电影史上最为重大的一次过渡——电影从无声到有声的跨越发生在1920 年的年底。

尽管在戏剧和家庭成像的多元化方面更高级的视觉技术在之前已经发展了十年，依然没有一项类似的发明出现可以被归入这次转折。

但是在所有语言中几乎都是这样描述的：电影史上最基本的分水岭就是从默片到电影中语音的加入。

Yet this most fundamental standard of historical periodization conceals a host ofNearly every movie theater, however modest, had a piano or organ to provide musical accompaniment to silent pictures. In many instances, spectators in the era before recorded sound experienced elaborate aural presentations alongsidedialogue narratives to performed by symphony-size orchestras in Europe and the United States. In Berlin, for the premiere performance outside the Soviet Union of The Battleship Potemkin, film director Sergei Eisenstein worked with Austrian composer Edmund Meisel (1874-1930) on a musical score matching sound to image; the Berlin screenings with live music helped to bring the film its wide international fame.这项历史周期中最基础的的标志性事件却隐藏在一系列的矛盾中。

In the reading, the author believes the portrait that recently was claimed to be the portrait of Jane Austen is convincing. However, the professor proposes evidence to refute it.Firstly, although the painting has been identified by Austen's family as the reading presents, the professor points out this actually happened 70 years later after her death. That means the family members who claimed they clearly recognized Austen as the subject on the portrait have never seen Austen in person. So it is unconvincing for them to make such a conclusion.Secondly, it is also unconvincing for the author to draw the conclusion that the person on the portrait resembles Austen in Cassandra's sketch is certainly Austen herself. Since the Austen's family is very large, any female relatives that were teenagers at that time could be resemble to Austen. In fact, according to the professor, some scholars have find another possible person who could be the subject on the portrait, and she is actually a c ousin of Austen.Thirdly, the professor believes to identify the painting as the exact time work when Austen was at the age according to the painting style is questionable. Scholars have find evidence on the board on which the portrait was painted to identify the time of the board. And the result turns out that the merchant who sold it was active when the Austen was already 27 years old. So it seems impossible that Austen would be painted on the board when she was the age of the girl in the painting.。

TPO 12 听力原文Conversation 1NarratorListen to a conversation between a student and a professor.StudentSo Professor Tibets, your notes said that you want to see me about myheavy-weight paper. I have to say that grade wasn’t what I was expecting. Itho ught I’d done a pretty good job.ProfessorOh, you did. But do you really want to settle for pretty good when you can do something very good?StudentYou think it can be very good?ProfessorAbsolutely!StudentWould that mean you’d…I could get a bette r grade?ProfessorOh, sorry! It’s not for your grade. It's…I think you could learn a lot by revising it. StudentYou mean, rewrite the whole thing? I really swamped. There’re deadlines wherever I turn and… and I don’t really know how much time I could g ive it. ProfessorWell, it is a busy time, with spring break coming up next week. It’s your call.But I think with all a little extra effort, you could really turn this into a fine essay. StudentNo… yeah…I mean, after I read your comments, I...I can s ee how it tries to do too much.ProfessorYeah. It’s just too ambitious for the scope of the assignment.StudentSo I should cut out the historical part?ProfessorYes. I would just stick to the topic. Anything unrelated to the use of nature EMITRY has no place in the paper. All that tangential material just distracted from the main argument.StudentYeah, I never know how much to include. You know…where to draw the line?ProfessorTell me about it! All writers struggled without one. But it’s something you can learn. That will become more clear with practice. But I think if you just cut out the…emm…StudentThe stuff about history, but if I cut out those sections, won’t it be too short?ProfessorWell, better a short well-structured paper than a long paper thatpoorly-structured and wanders off topic.StudentSo all I have to do is to leave those sections?ProfessorWell, not so fast. After you cut out those sections, you’ll have to go back and revise the rest, to see how it all fits together. And of course, you’ll have to revise the introduction too, to accurately describe what you do in the body ofthe paper. But that shouldn’t be too difficult. Just remember to keep the discussion focused. Do you think you can get it to me by noon tomorrow?StudentWow…emm…I have so much…er…but I’ll try.ProfessorOK, good! Do try! But if you can’t, well, sure for after spring break, OK?TPO12 Lecture 1 BiologyNarratorListen to part of a lecture in a Biology Class.ProfessorAs we learn more about the DNA in human cells and how it controls the growth and development of cells, then maybe we can explain a very important observation, that when we try to grow most human cells in libratory, they seem programmed to divide only a certain number of times before they die. Now this differs with the type of cell. Some cells, like nerve cells, only divide seven to nine times in their total life. Others, like skin cells, will divide many, many more times. But finally the cells stop renewing themselves and they die. And in the cells of the human body itself, in the cells of every organ, of almost every type of tissues in the body, the same thing will happen eventually.OK, you know that all of persons’ genetic information is contained on very long pieces of DNA called Chro mosomes. 46 of them are in the human cells that’s23 pairs of these Chromosomes are of very lengths and sizes. Now if you look at this rough drawing of one of them, one Chromosome is about to divide into two. You see that it sort of looks like, well actual ly it’s much more complex than this but it reminds us a couple of springs linked together to coil up pieces of DNA. And if you stretch them out you will find they contain certain genes, certain sequences of DNA that help to determine how the cells of the body will develop. When researchers look really carefully at the DNA in Chromosomesthough, they were amazed, we all were, to find that only a fraction of it, maybe 20-30%, converts into meaningful genetic information. It’s incredible; at least it was to me. But if you took away all the DNA that codes for genes, you still have maybe 70% of the DNA left over. That’s the so-called JUNK DNA. Though the word junk is used sort of townies cheek.The assumption is that even these DNA doesn’t make up any of the g enes it must serve some other purpose. Anyway, if we examine these ends of these coils of DNA, we will find a sequence of DNA at each end of every human Chromosome, called a telomere. Now a telomere is a highly repetitious and genetically meaningless sequence of DNA, what we were calling JUNK DNA. But it does have any important purpose; it is sort of like the plastic tip on each end of shoelace. It means not help you tie your shoe but that little plastic tip keeps the rest of the shoelace, the shoe string from unraveling into weak and useless threads. Well, the telomere at the end of Chromosomes seems to do about the same thing--- protect the genes the genetically functional parts of the。

【托福听力备考】TPO12听力文本——Lecture 1众所周知，托福TPO材料是备考托福听力最好的材料。

相信众多备考托福的同学也一直在练习这套材料，那么在以下内容中我们就为大家带来托福TPO听力练习的文本，希望能为大家的备考带来帮助。

TPO12 Lecture 1 BiologyNarrator:Listen to part of a lecture in a Biology Class.ProfessorAs we learn more about the DNA in human cells and how it controls thegrowth and development of cells, then maybe we can explain a very importantobservation, that when we try to grow most human cells in a laboratory, theyseem programmed to divide only a certain number of times before they die.Now this differs with the type of cell. Some cells, like nerve cells, onlydivide seven to nine times in their total life. Others, like skin cells, willdivide many, many more times. But finally the cells stop renewing themselves andthey die. And in the cells of the human body itself, in the cells of everyorgan, of almost every type of tissue in the body, the same thing will happeneventually.OK, you know that all of a person’s genetic information is contained onvery long pieces of DNA called Chromosomes. 46 of them are in the human cells,that’s 23 pairs of these Chromosomes of various lengths and sizes.Now if you’ll look at this rough drawing of one of them, one Chromosomeabout to divide into two. You see that it sort of looks like, well actually it’smuch more complex than this, but it reminds us a couple of springs linkedtogether, two coiled up pieces of DNA. And if you stretch them out you will find they contain certain genes, certain sequences of DNA that help determine how the cells of the body will develop. When researchers look really carefully at the DNA in Chromosomes though, they were amazed, we all were, to find that only afraction of it, maybe 20-30%, converts into meaningful genetic information. It’sincredible; at least it was to me. But if you took away all the DNA that codes for genes, you still have maybe 70% of the DNA left over. That’s the so-called JUNK DNA. Though the word junk is used sort of tongue-in-cheek.The assumption is that even if this DNA doesn’t make up any of the genes, it must serve some other purpose. Anyway, if we examine these ends of these coils of DNA, we will find a sequence of DNA at each end of every humanChromosome, called a telomere.Now a telomere is a highly repetitious and genetically meaningless sequenceof DNA, what we were calling JUNK DNA. But it does have an important purpose; itis sort of like the plastic tip on each end of a shoelace. It may not help you tie your shoe but that little plastic tip keeps the rest of the shoelace, the shoe string from unraveling into weak and useless threads. Well, the telomeres at the ends of Chromosomes seem to do about the same thing--- protect the genes, the genetically functional parts of the Chromosome, from being damaged. Every time the Chromosome divides, every time one cell divides into two. Pieces of theends of the Chromosome, the telomeres, get broken off. So after each division,the telomeres get shorter and one of the things that may happen after a while isthat pieces of the genes themselves get broken off the Chromosomes. So the Chromosome is now losing important genetic information and is no longerfunctional. But as long as the telomeres are a certain length, they keep this from happening. So it seems that, when the, by looking at the length of the telomeres on specific Chromosomes, we can actually predict pretty much how long certain cells can successfully go on dividing.Now, there are some cells that just seem to keep on dividing regardless, which may not always be a good thing if it gets out of control.But when we analyze these cells chemically, we find something veryinteresting, a chemical in them, an enzyme called telomerase. As bits of the telomere break off from the end of the Chromosome, this chemical, thistelomerase can rebuild it, can help reassemble the protective DNA, the telomere that the Chromosome has lost. Someday we may be able to take any cell and keep it alive functioning and reproducing itself essentially forever through the use of telomerase. And in the future we may have virtually immortal nerve cells and immortal skin cells or whatever, because this chemical, telomerase, can keep the telomeres on the ends of Chromosomes from getting any shorter.希望这些对你的托福备考有帮助，预祝大家托福考试能取得理想成绩。

托福TPO12综合写作阅读+听力原文+满分范文【雷哥托福整理】在备考托福写作的过程中，总是将托福的独立作文放在了第一位，但是实际上，综合作文也是占到了作文总分30分里面的50%的分值，不要等到分数出来了，才发现其实是综合作文的limited或者fair极大的影响了自己的分数。

考过的同学会发现托福综合作文分数不高，很大程度上是受我们听力实力的影响，我们很多托福考生的听力分数只有16分上下的时候，对于托福综合作文的听力妥妥的是束手无策，而且很多托福考生还感觉自己都听懂了，那也只能说明你听懂了大意，但是听力里面要的是每一个细节！请注意，是每一个细节！雷哥托福小托君给大家分享TPO1-33综合作文部分的阅读和听力文本全集与综合作文的满分作文，以及满分作文的解析。

如果自己的托福综合作文分数如果可以很给力的话，就已经搞定了15分的分数，可极大地缓解托福独立作文的压力。

文末教你如何使用这个材料。

TPO12综合写作听力+阅读原文ReadingJane Austen (1775-1817) is one of the most famous of all English novelists, and today her novels are more popular than ever, with several recently adapted as Hollywood movies. But we do not have many records of what she looked like. For a long time, the only accepted image of Austen was an amateur sketch of an adult Austen made by her sister Cassandra. However recently a professionally painted, full-length portrait of a teenage girl owned by a member of the Austen family has come up for sale. Although the professional painting is not titled Jane Austen, there are good reasons to believe she is the subject.First, in 1882, several decades after Austen's death, Austen's family gave permission to use the portrait as an illustration in an edition of her letters. Austen's family clearlyrecognized it as a portrait of the author. So, for over a century now, the Austen family itself has endorsed the claim that the girl in the portrait is Jane Austen.Second, the face in the portrait clearly resembles the one in Cassandra's sketch, which we know depicts Austen. Though somewhat amateurish, the sketch communicates definite details about Austen's face. Even though the Cassandra sketch is of an adult Jane Austen, the features are still similar to those of the teenage girl in the painting. The eyebrows, nose, mouth, and overall shape of the face are very much like those in the full-length portrait.Third, although the painting is unsigned and undated, there is evidence that it was painted when Austen was a teenager. The style links it to Ozias Humphrey, a society portrait painter who was the kind of professional the wealthy Austen family would hire. Humphrey was active in the late 1780s and early 1790s, exactly the period when Jane Austen was the age of the girl in the painting.ListeningProfessor: The evidence linking this portrait to Jane Austen is not at all convincing. Sure, the painting has long been somewhat loosely connected to Austen's extended family and their descendents, but this hardly proves it's a portrait of Jane Austen as a teenager. The reading's arguments that the portrait is of Austen are questionable at best.First, when the portrait was authorized for use in the 1882 publication of her letters, Jane Austen had been dead for almost 70 years. So the family members who asserted that the painting was Jane had never actually seen her themselves. They couldn't have known for certain if the portrait was of Austen or not.Second, the portrait could very well be that of a relative of Austen's, a fact that would explain the resemblance between its subject and that of Cassandra's sketch. Theextended Austen family was very large and many of Jane Austen's female cousins were teenagers in the relevant period or had children who were teenagers. And some of these teenage girls could have resembled Jane Austen. In fact, many experts believe that the true subject of the portrait was one of those relatives, Marianne Kempian, who was a distant niece of Austen's.Third, the painting has been attributed to Humphrey only because of the style. But other evidence points to a later date. A stamp on the back of the picture indicates that the blank canvas, you know the actual piece of cloth on which the picture was painted, was sold by a man named William Legg. Record showed that William Legg did not sell canvases in London when Jane Austen was a teenager. He only started selling canvases when she was 27 years old. So it looks like the canvas was used for the painting at a time when Austen was clearly older than the girl in the portrait.首先，就是在自己做托福TPO模考之后，可以根据这里面的听力的文本，来检验自己的听力内容是否抓的足够好，尤其是要看写的够不够全！很多时候，我们的综合作文之所以分低，就是因为听力写的不全！第二点，也可以用于在托福考试前来做跟读，有不少托福考生跟小托君说，自己的口语实力不够，那么做跟读，仔细地来模仿ETS官方素材，是一个很好的提高自己口语的方式。

托福综合写作12范文阅读部分观点：学校打算取消学生的艺术和音乐课程，以增加更多的学术课程时间。

原因主要有三点。

其一，艺术和音乐课程对学生未来的职业发展没有直接的帮助，学生毕业后很少会从事与艺术和音乐直接相关的工作。

其二，艺术和音乐课程需要投入大量的资金用于购买乐器、绘画工具等，而这些资金如果投入到学术课程上，例如购买科学实验设备、更新计算机等，可以大大提升学术课程的教学质量。

其三，艺术和音乐课程的学习比较耗费时间，会分散学生学习学术课程的精力，导致学生在像数学、科学这些主科上的成绩下降。

听力部分反驳：演讲者对学校的这一计划坚决反对，并且给出了三个非常有说服力的理由。

艺术和音乐课程对学生的职业发展有着意想不到的间接帮助。

现在的社会非常需要具有创新思维的人才，而艺术和音乐课程是培养创造力的绝佳途径。

学习艺术和音乐可以让学生学会从不同的角度去看待问题，激发他们的想象力。

比如说，很多科技公司都喜欢招聘那些有艺术背景的员工，因为他们能够提出独特的产品设计理念。

这就说明艺术和音乐课程不是毫无用处的，反而对未来职业发展有着不可忽视的潜在价值。

关于资金问题，其实艺术和音乐课程并不需要像学校想象的那样花费巨额资金。

很多艺术和音乐的学习资源可以通过学生的自主创造和共享来获得。

例如，学生可以自己制作一些简单的乐器，像用空瓶子制作沙锤之类的，绘画工具也可以通过同学们互相借用的方式来解决。

而且，一些社区组织也愿意捐赠二手的乐器和艺术用品给学校。

这样一来，艺术和音乐课程并不会给学校的财政带来巨大的压力，也就不存在把资金转投学术课程的必要性了。

说艺术和音乐课程会分散学生学习主科的精力也是没有依据的。

事实上，艺术和音乐课程能够为学生提供放松的机会，缓解学习主科的压力。

当学生在艺术和音乐的世界里放松一段时间后，他们会以更饱满的精神状态重新投入到学术课程的学习中。

研究表明，那些既学习艺术音乐又学习学术课程的学生，他们在主科上的表现并没有下降，反而有很多学生因为有了艺术和音乐的调节，成绩还提高了呢。

¡¡¡¡ÎªÁË°ïÖú´ó¼Ò¸ßЧ±¸¿¼Íи££¬Îª´ó¼Ò´øÀ´Íи£TPO12ÔĶÁPassage2Ô-ÎÄÎı¾+ÌâÄ¿+´ð°¸½âÎö£¬Ï£Íû¶Ô´ó¼Ò±¸¿¼ÓÐËù°ïÖú¡£¡¡¡¡¨ Íи£TPO12ÔĶÁPassage2Ô-ÎÄÎı¾£º¡¡¡¡Transition to Sound in Film¡¡¡¡The shift from silent to sound film at the end of the 1920s marks, so far, the most important transformation in motion picture history. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has come close to being regarded as a similar kind of watershed. In nearly every language, however the words are phrased, the most basic division in cinema history lies between films that are mute and films that speak.¡¡¡¡Yet this most fundamental standard of historical periodization conceals a host of paradoxes. Nearly every movie theater, however modest, had a piano or organ to provide musical accompaniment to silent pictures. In many instances, spectators in the era before recorded sound experienced elaborate aural presentations alongside movies' visual images, from the Japanese benshi (narrators) crafting multivoiced dialogue narratives to original musical compositions performed by symphony-size orchestras in Europe and the United States. In Berlin, for the premiere performance outside the Soviet Union of The Battleship Potemkin, film director Sergei Eisenstein worked with Austrian composer Edmund Meisel (1874-1930) on a musical score matching sound to image; the Berlin screenings with live music helped to bring the film its wide international fame.¡¡¡¡Beyond that, the triumph of recorded sound has overshadowed the rich diversity of technological and aesthetic experiments with the visual image that were going forward simultaneously in the 1920s. New color processes, larger or differently shaped screen sizes, multiple-screen projections, even television, were among the developments invented or tried out during the period, sometimes with startling success. The high costs of converting to sound and the early limitations of sound technology were among the factors that suppressed innovations or retarded advancement in these other areas. The introduction of new screen formats was put off for a quarter century, and color, though utilized over the next two decades for special productions, also did not become a norm until the 1950s.¡¡¡¡Though it may be difficult to imagine from a later perspective, a strain of critical opinion in the 1920s predicted that sound film would be a technical novelty that would soon fade from sight, just as had many previous attempts, dating well back before the First World War, to link images with recorded sound. These critics were making a common assumption¡ªthat the technological inadequacies of earlier efforts (poor synchronization, weak sound amplification, fragile sound recordings) wouldinvariably occur again. To be sure, their evaluation of the technical flaws in 1920s sound experiments was not so far off the mark, yet they neglected to take into account important new forces in the motion picture field that, in a sense, would not take no for an answer.¡¡¡¡These forces were the rapidly expanding electronics and telecommunications companies that were developing and linking telephone and wireless technologies in the 1920s. In the United States, they included such firms as American Telephone and Telegraph, General Electric, and Westinghouse. They were interested in all forms of sound technology and all potential avenues for commercial exploitation. Their competition and collaboration were creating the broadcasting industry in the United States, beginning with the introduction of commercial radio programming in the early 1920s. With financial assets considerably greater than those in the motion picture industry, and perhaps a wider vision of the relationships among entertainment and communications media, they revitalized research into recording sound for motion pictures.¡¡¡¡In 1929 the United States motion picture industry released more than 300 sound films¡ªa rough figure, since a number were silent films with music tracks, or films prepared in dual versions, to take account of the many cinemas not yet wired for sound. At the production level, in the United States the conversion was virtually complete by 1930. In Europe it took a little longer, mainly because there were more small producers for whom the costs of sound were prohibitive, and in other parts of the world problems with rights or access to equipment delayed the shift to sound production for a few more years (though cinemas in major cities may have been wired in order to play foreign sound films). The triumph of sound cinema was swift, complete, and enormously popular.¡¡¡¡Paragraph 1: The shift from silent to sound film at the end of the 1920s marks, so far, the most important transformation in motion picture history. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has come close to being regarded as a similar kind of watershed. In nearly every language, however the words are phrased, the most basic division in cinema history lies between films that are mute and films that speak.¡¡¡¡¨ Íи£TPO12ÔĶÁPassage2ÌâÄ¿£º¡¡¡¡1. The word ¡°regarded¡± in the passage is closest in meaning to¡¡¡¡¡ðanalyzed¡¡¡¡¡ðconsidered。

为了帮助大家高效备考托福，为大家带来托福TPO12阅读Passage3原文文本+题目+答案解析，希望对大家备考有所帮助。

▉托福TPO12阅读Passage3原文文本： Water in the Desert Rainfall is not completely absent in desert areas, but it is highly variable. An annual rainfall of four inches is often used to define the limits of a desert. The impact of rainfall upon the surface water and groundwater resources of the desert is greatly influenced by landforms. Flats and depressions where water can collect are common features, but they make up only a small part of the landscape. Arid lands, surprisingly, contain some of the world’s largest river systems, such as the Murray-Darling in Australia, the Rio Grande in North America, the Indus in Asia, and the Nile in Africa. These rivers and river systems are known as "exogenous" because their sources lie outside the arid zone. They are vital for sustaining life in some of the driest parts of the world. For centuries, the annual floods of the Nile, Tigris, and Euphrates, for example, have brought fertile silts and water to the inhabitants of their lower valleys. Today, river discharges are increasingly controlled by human intervention, creating a need for international river-basin agreements. The filling of the Ataturk and other dams in Turkey has drastically reduced flows in the Euphrates, with potentially serious consequences for Syria and Iraq. The flow of exogenous rivers varies with the season. The desert sections of long rivers respond several months after rain has fallen outside the desert, so that peak flows may be in the dry season. This is useful for irrigation, but the high temperatures, low humidities, and different day lengths of the dry season, compared to the normal growing season, can present difficulties with some crops. Regularly flowing rivers and streams that originate within arid lands are known as "endogenous." These are generally fed by groundwater springs, and many issue from limestone massifs, such as the Atlas Mountains in Morocco. Basaltic rocks also support springs, notably at the Jabal Al-Arab on the Jordan-Syria border. Endogenous rivers often do not reach the sea but drain into inland basins, where the water evaporates or is lost in the ground. Most desert streambeds are normally dry, but they occasionally receive large flows of water and sediment. Deserts contain large amounts of groundwater when compared to the amounts they hold in surface stores such as lakes and rivers. But only a small fraction of groundwater enters the hydrological cycle—feeding the flows of streams, maintaining lake levels, and being recharged (or refilled) through surface flows and rainwater. In recent years, groundwater has become an increasingly important source offreshwater for desert dwellers. The United Nations Environment Programme and the World Bank have funded attempts to survey the groundwater resources of arid lands and to develop appropriate extraction techniques. Such programs are much needed because in many arid lands there is only a vague idea of the extent of groundwater resources. It is known, however, that the distribution of groundwater is uneven, and that much of it lies at great depths. Groundwater is stored in the pore spaces and joints of rocks and unconsolidated (unsolidified) sediments or in the openings widened through fractures and weathering. The water-saturated rock or sediment is known as an "aquifer". Because they are porous, sedimentary rocks, such as sandstones and conglomerates, are important potential sources of groundwater. Large quantities of water may also be stored in limestones when joints and cracks have been enlarged to form cavities. Most limestone and sandstone aquifers are deep and extensive but may contain groundwaters that are not being recharged. Most shallow aquifers in sand and gravel deposits produce lower yields, but they can be rapidly recharged. Some deep aquifers are known as "fossil waters. The term "fossil" describes water that has been present for several thousand years. These aquifers became saturated more than 10,000 years ago and are no longer being recharged. Water does not remain immobile in an aquifer but can seep out at springs or leak into other aquifers. The rate of movement may be very slow: in the Indus plain, the movement of saline (salty) groundwaters has still not reached equilibrium after 70 years of being tapped. The mineral content of groundwater normally increases with the depth, but even quite shallow aquifers can be highly saline. Paragraph 1: Rainfall is not completely absent in desert areas, but it is highly variable. An annual rainfall of four inches is often used to define the limits of a desert. The impact of rainfall upon the surface water and groundwater resources of the desert is greatly influenced by landforms. Flats and depressions where water can collect are common features, but they make up only a small part of the landscape. ▉托福TPO12阅读Passage3题目： 1. Which of the following statements about annual rainfall can be inferred from paragraph 1? ○Flat desert areas receive more annual rainfall than desert areas with mountains. ○Areas that receive more than four inches of rain per year are not considered deserts. ○Many areas receive less than four inches of annual rainfall, but only a few。

新托福TPO12阅读原文(一):Which Hand Did They Use?TPO12-1：Which Hand Did They Use?We all know that many more people today are right-handed than left-handed. Can one trace this same pattern far back in prehistory?Much of the evidence about right-hand versus left-hand dominance comes from stencils and prints found in rock shelters in Australia and elsewhere,and in many Ice Age caves in France,Spain,and Tasmania.When a left hand has been stenciled,this implies that the artist was right-handed,and vice versa.Even though the paint was often sprayed on by mouth, one can assume that the dominant hand assisted in the operation.One also has to make the assumption that hands were stenciled palm downward—a left hand stenciled palm upward might of course look as if it were a right hand.Of158stencils in the French cave of Gargas,136have been identified as left,and only22as right; right-handedness was therefore heavily predominant.Cave art furnishes other types of evidence of this phenomenon.Most engravings, for example,are best lit from the left,as befits the work of right-handed artists,who generally prefer to have the light source on the left so that the shadow of their hand does not fall on the tip of the engraving tool or brush.In the few cases where an Ice Age figure is depicted holding something,it is mostly,though not always,in the right hand.Clues to right-handedness can also be found by other methods.Right-handers tend to have longer,stronger,and more muscular bones on the right side,and Marcellin Boule as long ago as1911noted the La Chapelle-aux-Saints Neanderthal skeleton had a right upper arm bone that was noticeably stronger than the left.Similar observations have been made on other Neanderthal skeletons such as La Ferrassie I and Neanderthal itself.Fractures and other cut marks are another source of evidence.Right-handed soldiers tend to be wounded on the left.The skeleton of a40-or50-year-old Nabatean warrior,buried2,000years ago in the Negev Desert,Israel,had multiple healed fractures to the skull,the left arm,and the ribs.Tools themselves can be revealing.Long-handed Neolithic spoons of yew wood preserved in Alpine villages dating to3000B.C.have survived;the signs of rubbing on their left side indicate that their users were right-handed.The late Ice Age rope found in the French cave of Lascaux consists of fibers spiraling to the right,and was therefore tressed by a righthander.Occasionally one can determine whether stone tools were used in the right hand or the left,and it is even possible to assess how far back this feature can be traced.In stone toolmaking experiments,Nick Toth,a right-hander,held the core(the stone that would become the tool)in his left hand and the hammer stone in his right.As the tool was made,the core was rotated clockwise,and the flakes,removed in sequence,had a little crescent of cortex(the core's outer surface)on the side.Toth's knapping produced56percent flakes with the cortex on the right,and44percent left-oriented flakes.A left-handed toolmaker would produce the opposite pattern.Toth has applied these criteria to the similarly made pebble tools from a number of early sites(before 1.5million years)at Koobi Fora,Kenya,probably made by Homo habilis.At seven sites he found that57percent of the flakes were right-oriented,and43percent left,a pattern almost identical to that produced today.About90percent of modern humans are right-handed:we are the only mammal with a preferential use of one hand.The part of the brain responsible for fine control and movement is located in the left cerebral hemisphere,and the findings above suggest that the human brain was already asymmetrical in its structure and function not long after2million years ago.Among Neanderthalers of70,000–35,000years ago, Marcellin Boule noted that the La Chapelle-aux-Saints individual had a lefthemisphere slightly bigger than the right,and the same was found for brains of specimens from Neanderthal,Gibraltar,and La Quina.TPO12-1译文：他们到底用哪只手?我们都知道，现在的人们更多是使用右手而非左手。

新托福TPO12阅读原文(一):Which Hand Did They Use?TPO12-1：Which Hand Did They Use?We all know that many more people today are right-handed than left-handed. Can one trace this same pattern far back in prehistory?Much of the evidence about right-hand versus left-hand dominance comes from stencils and prints found in rock shelters in Australia and elsewhere,and in many Ice Age caves in France,Spain,and Tasmania.When a left hand has been stenciled,this implies that the artist was right-handed,and vice versa.Even though the paint was often sprayed on by mouth, one can assume that the dominant hand assisted in the operation.One also has to make the assumption that hands were stenciled palm downward—a left hand stenciled palm upward might of course look as if it were a right hand.Of158stencils in the French cave of Gargas,136have been identified as left,and only22as right; right-handedness was therefore heavily predominant.Cave art furnishes other types of evidence of this phenomenon.Most engravings, for example,are best lit from the left,as befits the work of right-handed artists,who generally prefer to have the light source on the left so that the shadow of their hand does not fall on the tip of the engraving tool or brush.In the few cases where an Ice Age figure is depicted holding something,it is mostly,though not always,in the right hand.Clues to right-handedness can also be found by other methods.Right-handers tend to have longer,stronger,and more muscular bones on the right side,and Marcellin Boule as long ago as1911noted the La Chapelle-aux-Saints Neanderthal skeleton had a right upper arm bone that was noticeably stronger than the left.Similar observations have been made on other Neanderthal skeletons such as La Ferrassie I and Neanderthal itself.Fractures and other cut marks are another source of evidence.Right-handed soldiers tend to be wounded on the left.The skeleton of a40-or50-year-old Nabatean warrior,buried2,000years ago in the Negev Desert,Israel,had multiple healed fractures to the skull,the left arm,and the ribs.Tools themselves can be revealing.Long-handed Neolithic spoons of yew wood preserved in Alpine villages dating to3000B.C.have survived;the signs of rubbing on their left side indicate that their users were right-handed.The late Ice Age rope found in the French cave of Lascaux consists of fibers spiraling to the right,and was therefore tressed by a righthander.Occasionally one can determine whether stone tools were used in the right hand or the left,and it is even possible to assess how far back this feature can be traced.In stone toolmaking experiments,Nick Toth,a right-hander,held the core(the stone that would become the tool)in his left hand and the hammer stone in his right.As the tool was made,the core was rotated clockwise,and the flakes,removed in sequence,had a little crescent of cortex(the core's outer surface)on the side.Toth's knapping produced56percent flakes with the cortex on the right,and44percent left-oriented flakes.A left-handed toolmaker would produce the opposite pattern.Toth has applied these criteria to the similarly made pebble tools from a number of early sites(before 1.5million years)at Koobi Fora,Kenya,probably made by Homo habilis.At seven sites he found that57percent of the flakes were right-oriented,and43percent left,a pattern almost identical to that produced today.About90percent of modern humans are right-handed:we are the only mammal with a preferential use of one hand.The part of the brain responsible for fine control and movement is located in the left cerebral hemisphere,and the findings above suggest that the human brain was already asymmetrical in its structure and function not long after2million years ago.Among Neanderthalers of70,000–35,000years ago, Marcellin Boule noted that the La Chapelle-aux-Saints individual had a lefthemisphere slightly bigger than the right,and the same was found for brains of specimens from Neanderthal,Gibraltar,and La Quina.TPO12-1译文：他们到底用哪只手?我们都知道，现在的人们更多是使用右手而非左手。

¡¡¡¡ÎªÁË°ïÖú´ó¼Ò¸ßЧ±¸¿¼Íи££¬Îª´ó¼Ò´øÀ´Íи£TPO12ÔĶÁPassage1Ô-ÎÄÎı¾+ÌâÄ¿+´ð°¸½âÎö£¬Ï£Íû¶Ô´ó¼Ò±¸¿¼ÓÐËù°ïÖú¡£¡¡¡¡¨ Íи£TPO12ÔĶÁPassage1Ô-ÎÄÎı¾£º¡¡¡¡Which Hand Did They Use?¡¡¡¡We all know that many more people today are right-handed than left-handed. Can one trace this same pattern far back in prehistory? Much of the evidence about right-hand versus left-hand dominance comes from stencils and prints found in rock shelters in Australia and elsewhere, and in many Ice Age caves in France, Spain, and Tasmania. When a left hand has been stenciled, this implies that the artist was right-handed, and vice versa. Even though the paint was often sprayed on by mouth, one can assume that the dominant hand assisted in the operation. One also has to make the assumption that hands were stenciled palm downward¡ªa left hand stenciled palm upward might of course look as if it were a right hand. Of 158 stencils in the French cave of Gargas, 136 have been identified as left, and only 22 as right; right-handedness was therefore heavily predominant.¡¡¡¡Cave art furnishes other types of evidence of this phenomenon. Most engravings, for example, are best lit from the left, as befits the work of right-handed artists, who generally prefer to have the light source on the left so that the shadow of their hand does not fall on the tip of the engraving tool or brush. In the few cases where an Ice Age figure is depicted holding something, it is mostly, though not always, in the right hand.¡¡¡¡Clues to right-handedness can also be found by other methods. Right-handers tend to have longer, stronger, and more muscular bones on the right side, and Marcellin Boule as long ago as 1911 noted the La Chapelle-aux-Saints Neanderthal skeleton had a right upper arm bone that was noticeably stronger than the left. Similar observations have been made on other Neanderthal skeletons such as La Ferrassie I and Neanderthal itself.¡¡¡¡Fractures and other cut marks are another source of evidence. Right-handed soldiers tend to be wounded on the left. The skeleton of a 40- or 50-year-old Nabatean warrior, buried 2,000 years ago in the Negev Desert, Israel, had multiple healed fractures to the skull, the left arm, and the ribs.¡¡¡¡Tools themselves can be revealing. Long-handed Neolithic spoons of yew wood preserved in Alpine villages dating to 3000 B.C. have survived; the signs of rubbing on their left side indicate that their users were right-handed. The late Ice Age rope found in the French cave of Lascaux consists of fibers spiraling to the right, and was therefore tressed by a righthander.¡¡¡¡Occasionally one can determine whether stone tools were used in the right hand or the left, and it is even possible to assess how far back this feature can be traced. In stone toolmaking experiments, Nick Toth, a right-hander, held the core (the stone that would become the tool) in his left hand and the hammer stone in his right. As the tool was made, the core was rotated clockwise, and the flakes, removed in sequence, had a little crescent of cortex (the core's outer surface) on the side. Toth's knapping produced 56 percent flakes with the cortex on the right, and 44 percent left-oriented flakes. A left-handed toolmaker would produce the opposite pattern. Toth has applied these criteria to the similarly made pebble tools from a number of early sites (before 1.5 million years) at Koobi Fora, Kenya, probably made by Homo habilis. At seven sites he found that 57 percent of the flakes were right-oriented, and 43 percent left, a pattern almost identical to that produced today.¡¡¡¡About 90 percent of modern humans are right-handed: we are the only mammal with a preferential use of one hand. The part of the brain responsible for fine control and movement is located in the left cerebral hemisphere, and the findings above suggest that the human brain was already asymmetrical in its structure and function not long after 2 million years ago. Among Neanderthalers of 70,000¨C35,000 years ago, Marcellin Boule noted that the La Chapelle-aux-Saints individual had a left hemisphere slightly bigger than the right, and the same was found for brains of specimens from Neanderthal, Gibraltar, and La Quina.¡¡¡¡Paragraph 1: We all know that many more people today are right-handed than left-handed. Can one trace this same pattern far back in prehistory? Much of the evidence about right-hand versus left-hand dominance comes from stencils and prints found in rock shelters in Australia and elsewhere, and in many Ice Age caves in France, Spain, and Tasmania. When a left hand has been stenciled, this implies that the artist was right-handed, and vice versa. Even though the paint was often sprayed on by mouth, one can assume that the dominant hand assisted in the operation. One also has to make the assumption that hands were stenciled palm downward¡ªa left hand stenciled palm upward might of course look as if it were a right hand. Of 158 stencils in the French cave of Gargas, 136 have been identified as left, and only 22 as right; right-handedness was therefore heavily predominant.¡¡¡¡¨ Íи£TPO12ÔĶÁPassage1ÌâÄ¿£º¡¡¡¡1. The phrase ¡°assisted in¡± in the passage is closest in meaning to¡¡¡¡¡ð initiated¡¡¡¡¡ð dominated¡¡¡¡¡ð helped with。

新托福TPO12阅读原文(二):Transition to Sound in FilmTPO12-2：Transition to Sound in FilmThe shift from silent to sound film at the end of the 1920s marks, so far, the most important transformation in motion picture history. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has come close to being regarded as a similar kind of watershed. In nearly every language, however the words are phrased, the most basic division in cinema history lies between films that are mute and films that speak.Yet this most fundamental standard of historical periodization conceals a host of paradoxes. Nearly every movie theater, however modest, had a piano or organ to provide musical accompaniment to silent pictures. In many instances, spectators in the era before recorded sound experienced elaborate aural presentations alongside movies' visual images, from the Japanese benshi (narrators) crafting multivoiced dialogue narratives to original musical compositions performed by symphony-size orchestras in Europe and the United States. In Berlin, for the premiere performance outside the Soviet Union of The Battleship Potemkin, film director Sergei Eisenstein worked with Austrian composer Edmund Meisel (1874-1930) on a musical score matching sound to image; the Berlin screenings with live music helped to bring the film its wide international fame.Beyond that, the triumph of recorded sound has overshadowed the rich diversity of technological and aesthetic experiments with the visual image that were going forward simultaneously in the 1920s. New color processes, larger or differently shaped screen sizes, multiple-screen projections, even television, were among the developments invented or tried out during the period, sometimes with startling success. The high costs of converting to sound and the early limitations of soundtechnology were among the factors that suppressed innovations or retarded advancement in these other areas. The introduction of new screen formats was put off for a quarter century, and color, though utilized over the next two decades for special productions, also did not become a norm until the 1950s.Though it may be difficult to imagine from a later perspective, a strain of critical opinion in the 1920s predicted that sound film would be a technical novelty that would soon fade from sight, just as had many previous attempts, dating well back before the First World War, to link images with recorded sound. These critics were making a common assumption—that the technological inadequacies of earlier efforts (poor synchronization, weak sound amplification, fragile sound recordings) would invariably occur again. To be sure, their evaluation of the technical flaws in 1920s sound experiments was not so far off the mark, yet they neglected to take into account important new forces in the motion picture field that, in a sense, would not take no for an answer.These forces were the rapidly expanding electronics and telecommunications companies that were developing and linking telephone and wireless technologies in the 1920s. In the United States, they included such firms as American Telephone and Telegraph, General Electric, and Westinghouse. They were interested in all forms of sound technology and all potential avenues for commercial exploitation. Their competition and collaboration were creating the broadcasting industry in the United States, beginning with the introduction of commercial radio programming in the early 1920s. With financial assets considerably greater than those in the motion picture industry, and perhaps a wider vision of the relationships among entertainment and communications media, they revitalized research into recording sound for motion pictures.In 1929 the United States motion picture industry released more than 300 sound films—a rough figure, since a number were silent films with music tracks, or films prepared in dual versions, to take account of the many cinemas not yet wired forsound. At the production level, in the United States the conversion was virtually complete by 1930. In Europe it took a little longer, mainly because there were more small producers for whom the costs of sound were prohibitive, and in other parts of the world problems with rights or access to equipment delayed the shift to sound production for a few more years (though cinemas in major cities may have been wired in order to play foreign sound films). The triumph of sound cinema was swift, complete, and enormously popular.TPO12-2译文：电影声音的演变1920年代末见证了电影史上最重大的一次过渡——电影从无声到有声的跨越。

The passage believes that the teenager in the painting is Jane Austen. While the speaker in the lecture holds the obviously different view that the evidence linking the portrait to Jane Austen is not convincing.Firstly, the passage says that the portrait was used as an illustration in a n edition of her letters with the permission of Austen’s family during several decades after Austen’s death. However, the speaker refutes this idea. He explains that Austen’s family had not seen Austen themselves, for it has been 70 years after Austen’s death. As the result, they can not sure whether the portrait was Austen or not.The second reason why she is Austen is the face in the portrait really resembles the face of Austen painted by Cassandra. But the lecture dose not argue at all. It is said that there are many Austen’ female cousins who looks like Austen, because Austen’s family is very large. It can not be confirmed if the portrait is of Austen or other relatives.Finally, the reading makes the point that the style of the paint is likely to be Ozias Humphrey who was at high possibility hired by the wealthy Austen family as an society painter. On the contrary, the speaker hold the different opinion. The stamp shows that canvas was sold by a man who came to sell canvases when Austen was 27 years old. Consequently the teenager in the portrait can not be Jane Austen.————————王悦昕。

tpo12综合写作文本英文回答：Education is the Key to Unlocking a Brighter Future.Education is a fundamental human right and the cornerstone of a thriving society. It empowers individuals with the knowledge and skills they need to reach their full potential, contribute meaningfully to their communities,and navigate an increasingly complex world.One of the most profound benefits of education is its ability to break down barriers and promote equity. By providing access to quality education, regardless of background or circumstances, individuals are given the opportunity to improve their lives and achieve their dreams. Education empowers marginalized populations, enabling themto participate fully in society and enjoy the same rights and opportunities as others.Furthermore, education plays a crucial role in economic development. An educated workforce is more productive, innovative, and adaptable to the demands of a rapidly changing global economy. It stimulates economic growth, creates new jobs, and improves the overall standard ofliving for individuals and communities alike.Beyond its practical benefits, education also enriches our lives by fostering cultural understanding, critical thinking, and compassion. It exposes us to different perspectives, broadens our horizons, and cultivates a sense of empathy. Education enables us to make informed decisions, engage in meaningful dialogue, and contribute to a morejust and harmonious world.In conclusion, education is an indispensable tool for building a brighter future. It unlocks opportunities, promotes equity, drives economic growth, and enriches our lives in countless ways. By investing in education, weinvest in our children, our communities, and the future of our world.中文回答：教育是开启光明的未来的钥匙。

托福tpo12写作范文(热门5篇)如何修炼才能使自己说一口准确地道的口语?其实这并非难事。

这里同样有3个招数。

招数一：找外教或去培训机构的外教口语课堂，通过跟外教学习模仿外教的语音语调。

招数二：采用权威声像教材模仿、演练。

《走遍美G》是一套完全值得信赖的教学影片，先看片段，按照角色背诵人物对白，模仿人物的动作语气甚至是表情，要模仿得很逼真才能过关。

这种方法很有趣，完全可以从高中阶段的哑巴英语代言人顺利成长为像模像样的英语专业学生。

招数三：常逛英语博客或论坛，参与感兴趣的话题。

你可以想象，大家在写博客或在论坛上发表见解的时候，一般语气较为轻松，不会使用过于正式的词汇。

所以，你可以从中学习生活中常用的英语表达，用到口语中去。

托福tpo12写作范文第5篇如果你要想让自己的口语内容具有广度和深度，那就必须进行广泛阅读，从阅读中吸收养分。

有同学会有这样的疑问：文学作品可以帮助提高口语水平吗?回答是：“完全可以。

”理由是，通过阅读文学作品，考生可以积累大量的习语。

像《圣经》与莎士比亚作品中就含有大量的习语表达，比如由《圣经》而来的“eye for eye, tooth for tooth”(以眼还眼，以牙还牙)和“The spirit is willing but the flesh is weak”(心有余而力不足)便是来自于《圣经》;而习语“what’s done is done”(既往不咎)和“Truth will come to light”(真相将大白于天下)就来自于莎士比亚的喜剧作品《威尼斯商人》(The Merchant of Venice)。

其实阅读杂文小品对提高口语水平也是有帮助的。

杂文小品中富含养分，可以借鉴的东西很多，比如广泛的话题、严谨的逻辑和各类表达技巧(数据统计、举例说明、因果论证、比较对比等)。

阅读就是力量，求知若渴的你请抓紧时间多阅读英文作品吧!。

tpo12综合写作文章1，注意reading/listening material 是不能说话的.最好吧listening material改成的lecturer,professor,speaker.2,Body段开头很不错，很清晰.段落中的表对比转折的词最好不要用第二遍.（however,yet,in contrary to,but.）3，论述和对比在充分点.阅读文章现成的摆在那里就是要你用的，要paraphrase!ex.(Second,the author believes that the girlin the picture is Austen because the similarity between these two girls) 注意What similarity?4，语法，偏口语化.ex.第二段（How,the speaker thinks that the girl may be one of Aust.）总体不错，思路清晰，做到以上几点就能保perfect了.加油.Level :Good(4.0 - 5.0) Your Performance :You responded well to the task,relating the lecture to the reading.Weaknesses,if you have any,might have to do withslight imprecision in your summary of someof the main points and/oruse of English that is occasionally ungrammatical or unclear.。

我试着解释一下你看对不对啊.文章上来说，在早期的影院里，当时特别时髦的方法是用钢琴之类的去给silent pictures配声.说的是无声的图片啊.注意啊.后面开始举例子，说在before recorded sound experienced，这个时代之前各国怎么怎么做去尝试配一些声音.细节还是before这个单词啊.说白了就是人工的去配声音，但是电影本身是无声的.然后就说到film director Sergei Eisenstein worked on a musical score matching sound to image.说他在荧屏前把这个音乐直接和图片做到一起了.然后这种不需要人工单配乐的电影形式就出名了.问题：A.说的就是在B之前电影里实际是没有配乐的，因为都是人工外加上的.所以对.整段也一直都在讨论有声电影和无声电影上.跟director and composer的组合工作形式没有什么关系.。