2014年6月19日雅思阅读考试都考了哪些题目，难度如何？小站教育名师第一时间为大家带来最新的雅思阅读真题回忆（雅思阅读机经）。
2014年6月19日雅思阅读真题回忆
一、考试时间：2014年6月19日（周四）
二、考试概述：
本次考试出现了两旧一新，属于中等难度。第一篇文章的题材是文明发展史，是旧题，类似的剑桥真题是C9T4P1。第二篇文章是新题，题材是心理学，剑桥真题的C8T3P2题材和题型都与其相似，可供参考。第三篇论述艺术的评判标准，是2012年12月出现过的旧题。本次考试没有出现较难的自然科普类文章，因此阅读难度不大。另外，本次考试涉及的题型有：简答，判断(是非及对错)，填空（图表），配对（人名理论配对及句子配对），单选和多选。其中，具有顺序性且偏简单的判断和填空占了大比重，多选和配对都出现了两次，因此题型难度偏中等。
建议烤鸭们平时要多练习高频题型，对于6月底的烤鸭，建议多看些自然科普类文章，并多练习List of headings和段落信息配对题。
三、文章简介：
Passage 1: Spinning Jenny 珍妮纺纱机
Passage 2: Perseverance to success 坚持不懈对成功的意义
Passage 3: What’s art? 艺术的评判标准
四、篇章分析：
Passage 1:
文章内容
文章先描述了珍妮纺纱机发明的背景，在它发明之前的纺纱业状况。然后叙述发明的灵感来源，以及发明过程，涉及了它的设计和运作机制流程。最后介绍了发明带来的结果，对当地经济，生产模式的影响和对当地居民生活状态的改善。文中最后还提到发明者想要注册商标，但是没有成功。
题型分布及参考答案
1. 简答题6道(No More Than Three Words)
2. 判断题4道(TFNG)
3. 图表填空3道(Diagram Filling)关于纺纱机的设计和运作机制
参考答案：
简答题：
1. 在主人公小的时候，他们村子里的主要的生产方式：farming
2. 早期在城镇里从事纺织的人群：wives and daughters
3. 发明者是基于谁的技术发明的：Thomas Height
4. 机器是用什么做的：wood
判断题：只有一个NOT GIVEN
相关拓展
以下是文章的内容回忆：
James Hargreaves was a weaver living in the village of Stanhill in Lancashire. It is claimed that one day his daughter Jenny, accidentally knocked over over the family spinning wheel. The spindle continued to revolve and it gave Hargreaves the idea that a whole line of spindles could be worked off one wheel.
In 1764 Hargreaves built what became known as the Spinning-Jenny. The machine used eight spindles onto which the thread was spun from a corresponding set of rovings. By turning a single wheel, the operator could now spin eight threads at once. Later, improvements were made that enabled the number to be increased to eighty. The thread that the machine produced was coarse and lacked strength, making it suitable only for the filling of weft, the threads woven across the warp.
Hargreaves did not apply for a patent for his Spinning Jenny until 1770 and therefore others copied his ideas without paying him any money. It is estimated that by the time James Hargreaves died in 1778, over 20,000 Spinning-Jenny machines were being used in Britain.
James Hargreaves was born near Blackburn in about 1720. Hargreaves received no formal education and was unable to read or write. He worked as a carpenter and weaver but had a strong interest in engineering.
By the 1760s Hargreaves was living in the village of Stanhill and was one of the many weavers who owned his own spinning wheel and loom. It is claimed that one day his daughter Jenny accidentally knocked over over the family spinning wheel. The spindle continued to revolve and it gave Hargreaves the idea that a whole line of spindles could be worked off one wheel.
In 1764 Hargreaves built what became known as the Spinning-Jenny. The machine used eight spindles onto which the thread was spun from a corresponding set of rovings. By turning a single wheel, the operator could now spin eight threads at once. The thread that the machine produced was coarse and lacked strength, making it suitable only for the filling of weft, the threads woven across the warp.
Originally Hargreaves produced the machine for family use but when he began to sell the machines, spinners from Lancashire, fearing the possibility of cheaper competition, marched on his house and destroyed his equipment. Hargreaves did not apply for a patent for his Spinning Jenny until 1770 and therefore others copied his ideas without paying him any money.
Hargreaves moved to Nottingham where he erected a small spinning-mill. Others began to make improvements to the Spinning-Jenny and the number of threads was increased from eight to eighty. By the time James Hargreaves died in 1778, over 20,000 Spinning-Jenny machines were being used in Britain.
Passage 2:
文章内容
讨论坚持不懈对成功的作用和他们的关系。首先探讨了毅力是否是成功的必要条件，并阐述了众多学家就此提出的各类观点。在论证天才是不是也需要坚持不懈时，举例了莫扎特一个人坚持找工作的过程。最后证明了坚持不懈和成功的关系密切。
题型分布及参考答案
1. 多选选择题：9选4
2. 人名理论配对5道
3. 判断题4道(YNNG)
参考答案：
选择题9选4：坚持不懈能够带来以下哪些成就（答案分布比较不集中）
A：学术成就 C：事业成就 F：商业成就 G：体育成就
配对题：4个人名，5个题目，其中A被选了两次
判断题：只有一个NOT GIVEN
相关拓展
剑桥真题C8T3P2 The Nature of Genius一文与考试文章的话题类似，论述了天才的本质，最后提到天才的成功也是付出了坚持不懈的努力。真题中所考题型也是多选选择题和判断题。可供大家参考：
The Nature of Genius
There has always been an interest in geniuses and prodigies. The word 'genius', from the Latin gens (= family) and the term 'genius', meaning 'begetter', comes from the early Roman cult of a divinity as the head of the family. In its earliest form, genius was concerned with the ability of the head of the family, the paterfamilias, to perpetuate himself. Gradually, genius came to represent a person's characteristics and thence an individual's highest attributes derived from his 'genius' or guiding spirit. Today, people still look to stars or genes, astrology or genetics, in the hope of finding the source of exceptional abilities or personal characteristics.
The concept of genius and of gifts has become part of our folk culture, and attitudes are ambivalent towards them. We envy the gifted and mistrust them. In the mythology of giftedness, it is popularly believed that if people are talented in one area, they must be defective in another, that intellectuals are impractical, that prodigies burn too brightly too soon and burn out, that gifted people are eccentric, that they are physical weaklings, that there's a thin line between genius and madness, that genius runs in families, that the gifted are so clever they don't need special help, that giftedness is the same as having a high IQ, that some races are more intelligent or musical or mathematical than others, that genius goes unrecognised and unrewarded, that adversity makes men wise or that people with gifts have a responsibility to use them. Language has been enriched with such terms as 'highbrow', 'egghead', 'blue-stocking', 'wiseacre', 'know-all', 'boffin' and, for many, 'intellectual' is a term of denigration.
The nineteenth century saw considerable interest in the nature of genius, and produced not a few studies of famous prodigies. Perhaps for us today, two of the most significant aspects of most of these studies of genius are the frequency with which early encouragement and teaching by parents and tutors had beneficial effects on the intellectual, artistic or musical development of the children but caused great difficulties of adjustment later in their lives, and the frequency with which abilities went unrecognised by teachers and schools. However, the difficulty with the evidence produced by these studies, fascinating as they are in collecting together anecdotes and apparent similarities and exceptions, is that they are not what we would today call norm-referenced. In other words, when, for instance, information is collated about early illnesses, methods of upbringing, schooling, etc., we must also take into account information from other historical sources about how common or exceptional these were at the time. For instance, infant mortality was high and life expectancy much shorter than today, home tutoring was common in the families of the nobility and wealthy, bullying and corporal punishment were common at the best independent schools and, for the most part, the cases studied were members of the privileged classes. It was only with the growth of paediatrics and psychology in the twentieth century that studies could be carried out on a more objective, if still not always very scientific, basis.
Geniuses, however they are defined, are but the peaks which stand out through the mist of history and are visible to the particular observer from his or her particular vantage point. Change the observers and the vantage points, clear away some of the mist, and a different lot of peaks appear. Genius is a term we apply to those whom we recognise for their outstanding achievements and who stand near the end of the continuum of human abilities which reaches back through the mundane and mediocre to the incapable. There is still much truth in Dr Samuel Johnson's observation, 'The true genius is a mind of large general powers, accidentally determined to some particular direction'. We may disagree with the 'general', for we doubt if all musicians of genius could have become scientists of genius or vice versa, but there is no doubting the accidental determination which nurtured or triggered their gifts into those channels into which they have poured their powers so successfully. Along the continuum of abilities are hundreds of thousands of gifted men and women, boys and girls.
What we appreciate, enjoy or marvel at in the works of genius or the achievements of prodigies are the manifestations of skills or abilities which are similar to, but so much superior to, our own. But that their minds are not different from our own is demonstrated by the fact that the hard-won discoveries of scientists like Kepler or Einstein become the commonplace knowledge of schoolchildren and the once outrageous shapes and colours of an artist like Paul Klee so soon appear on the fabrics we wear. This does not minimise the supremacy of their achievements, which outstrip our own as the sub-four-minute milers outstrip our jogging.
To think of geniuses and the gifted as having uniquely different brains is only reasonable if we accept that each human brain is uniquely different. The purpose of instruction is to make us even more different from one another, and in the process of being educated we can learn from the achievements of those more gifted than ourselves. But before we try to emulate geniuses or encourage our children to do so we should note that some of the things we learn from them may prove unpalatable. We may envy their achievements and fame, but we should also recognise the price they may have paid in terms of perseverance, single-mindedness, dedication, restrictions on their personal lives, the demands upon their energies and time, and how often they had to display great courage to preserve their integrity or to make their way to the top.
Genius and giftedness are relative descriptive terms of no real substance. We may, at best, give them some precision by defining them and placing them in a context but, whatever we do, we should never delude ourselves into believing that gifted children or geniuses are different from the rest of humanity, save in the degree to which they have developed the performance of their abilities.
Questions 14-18
Choose FIVE letters, A-K.
Write the correct letters in boxes 14-18 on your answer sheet.
NB Your answers may be given in any order.
Below are listed some popular beliefs about genius and giftedness.
Which FIVE of these beliefs are reported by the writer of the text?
A Truly gifted people are talented in all areas.
B The talents of geniuses are soon exhausted.
C Gifted people should use their gifts.
D A genius appears once in every generation.
E Genius can be easily destroyed by discouragement.
F Genius is inherited.
G Gifted people are very hard to live with.
H People never appreciate true genius.
I Geniuses are natural leaders.
J Gifted people develop their greatness through difficulties.
K Genius will always reveal itself.
Questions 19-26
Do the following statements agree with the information given in Reading Passage 2?
In boxes 19-26 on your answer sheet, write
TRUE if the statement agrees with the information
FALSE if the statement contradicts the information
NOT GIVEN if there is no information on this
19 Nineteenth-century studies of the nature of genius failed to take into account the uniqueness of the person’s upbringing.
20 Nineteenth-century studies of genius lacked both objectivity and a proper scientific approach.
21 A true genius has general powers capable of excellence in any area.
22 The skills of ordinary individuals are in essence the same as the skills of prodigies.
23 The ease with which truly great ideas are accepted and taken for granted fails to lessen their significance.
24 Giftedness and genius deserve proper scientific research into their true nature so that all talent may be retained for the human race.
25 Geniuses often pay a high price to achieve greatness.
26 To be a genius is worth the high personal cost.
Passage 3:
文章内容
文章主要叙述了托尔斯泰的艺术观以及它对艺术的评判标准。首先提出了托尔斯泰对艺术的定义和态度，即关于艺术的本质问题。文中写道，托尔斯泰最大的贡献不在于给出了艺术的定义，而是在于提出了一系列问题如何去判断一个作品是否属于艺术。他认为艺术家应该是业余的，不应该是职业化的，还批判了传统的主流观点关于构成艺术作品的要素，例如beauty, entertainment等；然后继续批判很多传统的艺术品都是counterfeit，这些作品都有imitation和striking等特点。
题型分布及参考答案
1. 单选5道 定位简单
2. 判断4道(YNNG)定位很难
3. 句子配对5道 比较简单
参考答案：
单选：DDCAC
判断：NO, NOT GIVEN, YES, YES
相关拓展
以下是文章的内容回忆：
According to Tolstoy, art must create a specific emotional link between artist and audience, one that "affects" the viewer. Thus, real art requires the capacity to unite people via communication (clearness and genuineness are therefore crucial values). This aesthetic conception led Tolstoy to widen the criteria of what exactly a work of art is. He believed that the concept of art embraces any human activity in which one emitter, by means of external signs, transmits previously experienced feelings. Tolstoy offers an example of this: a boy that has experienced fear after an encounter with a wolf later relates that experience, infecting the hearers and compelling them to feel the same fear that he had experienced-that is a perfect example of a work of art. As communication, this is good art, because it is clear, it is sincere, and it is singular (focused on one emotion).
However, genuine "infection" is not the only criterion for good art. The good art vs. bad art issue unfolds into two directions. One is the conception that the stronger the infection, the better is the art. The other concerns the subject matter that accompanies this infection, which leads Tolstoy to examine whether the emotional link is a feeling that is worth creating. Good art, he claims, fosters feelings of universal brotherhood. Bad art inhibits such feelings. All good art has a Christian message, because only Christianity teaches an absolute brotherhood of all men. However, this is "Christian" only in a limited meaning of the word. Art produced by artistic elites is almost never good, because the upper class has entirely lost the true core of Christianity.
Furthermore, Tolstoy also believed that art that appeals to the upper class will feature emotions that are peculiar to the concerns of that class. Another problem with a great deal of art is that it reproduces past models, and so it is not properly rooted in a contemporary and sincere expression of the most enlightened cultural ideals of the artist's time and place. To cite one example, ancient Greek art extolled virtues of strength, masculinity, and heroism according to the values derived from its mythology. However, since Christianity does not embrace these values (and in some sense values the opposite, the meek and humble), Tolstoy believes that it is unfitting for people in his society to continue to embrace the Greek tradition of art.
Among other artists, he specifically condemns Wagner and Beethoven as examples of overly cerebral artists, who lack real emotion. Furthermore, Beethoven's Symphony No. 9 cannot claim to be able to "infect" its audience, as it pretends at the feeling of unity and therefore cannot be considered good art.
希望大家都能在当天考试中取得更高的分数，小站教育也会持续为大家奉上最新的资讯，更多小站教育雅思机经请参见《小站机经》。
雅思考试成绩查询的步骤如下：
1、登录教育部雅思考试报名网站（http://ielts.etest.net.cn/）；
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【随附：2014年雅思考试报名指南：考试题型解析】
| 雅思热点 | 雅思听力 | 雅思阅读 | 雅思写作 | 雅思口语 | 高分经验 |
|---|---|---|---|---|---|
| 考试流程 | 边玩边学 | 要点内容 | 倒装句 | 四大技巧 | 考官解析 |
| 评分标准 | 精听技巧 | 文章特点 | 真题解析 | 发音技巧 | 高分特点 |
| 考后服务 | 看英剧 | 阅读提分点 | 优秀句型 | 话题整理 | 8分阅读 |
| 单项突破 | 速寻答案 | 阅读关键点 | 注意事项 | 必备句型 | 7分经验 |
| 暑期备考 | 场景解析 | 分层技巧 | 语言包装 | 重点解析 | 8分经验 |
