2019年2月23日雅思大作文-2019年2月23日雅思阅读小范围预测

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　　文章题目Birds intelligence

　　重复年份20151114A 20130525 20111210

　　题材动物

　　题型小标题 7+配对 7

　　文章大意之前一直认为人类是高智能，现在发现猩猩甚至鸟类都有，列举了三种鸟的

　　例子;讲到了鸟的生存环境残酷，鸟也有竞争，脑大的鸟更聪明，还有鸟的

　　社会性。

　　部分答案参考：

　　小标题：

　　第一段：之前一直认为只有人类是高智能，现在发现惺惺甚至鸟都有 Reviewing

　　common belief ;

　　第二段：举三种鸟的例子 examples of different species of birds' intelligence

　　第三段：. 鸟的生存环境残酷，鸟也有竞争 Link between capacity of using tool and

　　survival

　　第四段：脑大的鸟更聪明 physio... evidence of birds' intelligence

　　第五段：鸟的社会性 Link between cognitive ability and communal performance

　　第六段：white whig 什么鸟的幼鸟如何对待雏鸟 how birds trick on others(不确定)

　　配对题：

　　三种鸟分别有两个 white whig 那个什么鸟。

　　1. 用工具砸开食物的 covering shell。

　　2. 还有最后一个选项 observer 那个，有人观察的时候幼鸟才会给雏鸟梳理羽毛 kate

　　鸟。

　　3. 会用诱饵捕鱼 bait 选项

　　4. 还会用火烧草把虫子赶出来。

　　5. 有喜爱的工具。

　　6. 保存工具再用到别的地方。

　　文章题目Food Addictive

　　重复年份20151114B 20140712

　　题材工业

　　题型判断 7+摘要填空 3+配对 3

　　文章大意讲了食品添加剂。人们更多的是通过气味判断食物是否好吃，而非味觉。真

　　材实料的价格都是超过实验室产品的，但是实验室产品的成功率非常低，但

　　回报率 。因此美国的添加剂发展是全球发展的推动力。

　　部分答案参考：

　　判断：

　　1. 一般来说，人们会根据食物味道，决定是否仍然会购买的(second time)

　　F 原文中，分别提到了第二次会购买的对应关键词。但偏偏不是食物的味道。而是第一次，

　　是否感觉好(具体次未能回忆)但印象中，绝对是和题干【食物味道好的理由】是形成

　　opposite 关系的词。因此为 F 而非 NG

　　2. 人们会否通过味道 taste 判别食物。

　　F 其实人的 taste 不过六种，所以基本职能粗略概括，相比气味 smell 的几千种来说，不

　　可进行对比。而且大部的所谓的味道 taste，都来自与人对 flavor 的 smell 判别。来自于

　　鼻子。

　　3. 在美国，很多的食物添加剂实验都会成功

　　F 其实这道题和完成句子题中的一道题进行了对接描述。原文是其实成功的没几个，失败

　　的很多很多，但是一旦成功了，一种，饮料进入市场后，就会取得巨大影响

　　摘要填空：

　　1. 饮料行业中很多的味道实验都会最终陷入 failure

　　2. 在碳酸饮料行业中的食物添加剂高于其他行业

　　3. 一种聚合物 A Compound 能够模仿的味道价格上远远低于实际使用 banana

　　文章题目Japan's ancient pottery

　　重复年份20151119B 20140201 20120707 20110217

　　题材历史

　　题型暂无

　　文章大意本文讲了日本的古陶艺。这是一种特殊意义的传统技艺，后来某年间得 到发展，在某地如何被做出来等等。讲到了一个大师先后跟父亲学习技
艺，后来和哥哥一起做获得成就等。

　　参考阅读：

　　Japanese pottery and porcelain , is one of the country's oldest art forms,
dating back to

　　the Neolithic period. Kilns haveproducedearthenware, pottery, stoneware,
glazed pottery, glazed stoneware, porcelain, and blue-and-white ware. Japan has
an exceptionally long and successful history of ceramic production. Earthenwares
were created as early as the Jōmon period (10,000-300 BCE), giving Japan one of
the oldest ceramic traditions in the world. Japan is further distinguished by
the unusual esteem that ceramics holds within its artistic tradition, owing to
the enduring popularity of the tea ceremony.

　　Japanese ceramic history records distinguished many potter names, and some
were artist-potters, e.g. Honami Koetsu, Ogata Kenzan, and Aoki Mokubei Japanese
anagama kilns also have flourished through the ages, and their influence weighs
with that of the potters. Another characteristically Japanese aspect of the art
is the continuing popularity of unglazed high-fired stoneware even after
porcelain became popular.[2] Since the 4th century, Japanese ceramics have often
been influenced byChinese and Korean pottery. Japan transformed and translated
the Chinese and Korean prototypes into a uniquely Japanese creation, and the
result was distinctly Japanese in character. Since the mid-17th century when
Japan started to industrialize high-quality standard wares produced in factories
became popular exports to Europe. In the 20th century, a modern ceramics
industry (e.g.,Noritake and Toto Ltd.) grew up.

　　Japanese pottery is distinguished by two polarised aesthetic traditions. On
the one hand, there is a tradition of very simple and roughly finished pottery,
mostly in earthenware and using a muted palette of earth colours. This relates
to Zen Buddhism and many of the greatest masters were priests, especially in
early

　　periods. Many pieces are also related to the Japanese tea ceremony and
embody the aesthetic principles of wabi-sabi ("austerity-rust/patina"). Most
raku ware, where the final decoration is partly random, is in this tradition…
The other tradition is of highly finished and brightly coloured factory wares,
mostly in porcelain, with complex and balanced decoration, which develops
Chinese porcelain styles in a distinct way. A third tradition, of simple but
perfectly formed and glazed stonewares, also relates more closely to both
Chinese and Korean traditions. In the 16th century, a number of styles of
traditional utilitarian rustic wares then in production became admired for their
simplicity, and their forms have often been kept in production to the present
day for a collectors market.

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