2019年6月1日雅思考試預(yù)測機(jī)經(jīng)匯總（版本合集）！

2019年6月雅思考試開始啦！已經(jīng)拿到學(xué)校offer，就差雅思成績的同學(xué)，開學(xué)前一定要把分?jǐn)?shù)提到學(xué)校要求的線上去！

完整版：

>>>免費(fèi)下載2019年6月1日雅思預(yù)測機(jī)經(jīng)匯總（版本合集）！

聽力部分

Section One

場次2011044 2010066

場景：租房咨詢

題型：填空10

內(nèi)容概述：Tenant Details租房

1.Title:manager

2.Position:center題目是in the xx of the city

3.Total staff number:10簡單加法10+20+10

4.Preferred date:May之前那個house agent說那個新地方available只有在Oct,但是這個女孩說是他們的租期6月份到期，所以最好prefer May

5.The size of new office 12000有個混淆數(shù)字是10,000

6.Remove xx in the conference room填boards

7.Store room needs enlargement卷面詞匯不是enlargement,但是這個意思

8.Kitchen那個house agent說這個廚房還是挺好的，但是那個女孩說需要裝修下

9.A view of xx river

Section Two

場次2016031 20120811 2008

場景：其他

題型：選擇1填空9

內(nèi)容概述：關(guān)于太平洋制衣公司Pacific Clothing Firm招聘介紹，先說服務(wù)行業(yè)競爭，再說主要職位的空缺、人員的要求和福利。

選擇1：

1.服裝行業(yè)競爭的重點(diǎn)in order to succeed,clothing firms should:選：(B.sellnew product)

填空9：

需要的職位three types of professions the firm is looking for:

2.designers

3.accountants

4.engineers

要求員工的技能the firm plans to recruit employees who are

5.clever另一版本：collaborative

6.loyal

7.hard-working

提供的待遇問題

Section Three

場次20110106 20100805 20091121 2008 2007 2006

題型：填空10

內(nèi)容概述：女生要求換專業(yè)，以及學(xué)習(xí)中遇到的問題及相應(yīng)對策

填空10 Table1

name of the original course:1.Economic History

starting time:2.last September.the courses she wants to change

the first choice:3.Politics,but this course is very hot

the second choice:4.Philosophy

Table 2：

studying problems and the possible solutions in the original course:There are three main problems:

5.lectures too difficult.

The first solution:record the class,and it indeed works.

The second solution:suggest to take part in a 6.discussion group

7.not enough tutorials.

Poor performance in homework

……

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閱讀部分

5月份的文章涉及題材主要集中在人文社科和生物科普兩個大類，建議考生在正式考試之前認(rèn)真做完下表中的對應(yīng)劍橋真題。題型方面，匹配題通常在每場考試的第2篇和第3篇文章中都會出現(xiàn)，這種題型對學(xué)生的閱讀速度和信息的理解能力要求較高，建議考生在復(fù)習(xí)的時候多總結(jié)真題中出現(xiàn)的同義替換，加強(qiáng)信息抓取的敏感度。

附上兩篇閱讀雅思真題，供大家參考：

Are Artists Liars?

A Shortly before his death,Marlon Brando was working on a series of instructional videos about acting,to be called“Lying for a Living”.On the surviving footage,Brando can be seen dispensing gnomic advice on his craft to a group of enthusiastic,if somewhat bemused, Hollywood stars,including Leonardo Di Caprio and Sean Penn.Brando also recruited random people from the Los Angeles street and persuaded them to improvise(the footage is said to include a memorable scene featuring two dwarves and a giant Samoan)."If you can lie,you can act,”Brando told Jod Kaftan,a writer for Rolling Stone and one of the few people to have viewed the footage."Are you good at lying?”asked Kaftan.“Jesus,”said Brando,“I’m fabulous at it.”

B Brando was not the first person to note that the line between an artist and a liar is a fine one.If art is a kind of lying,then lying is a form of art,albeit of a lower order—as Oscar Wilde and Mark Twain have observed.Indeed,lying and artistic storytelling spring from a common neurological root-one that is exposed in the cases of psychiatric patients who suffer from a particular kind of impairment.Both liars and artists refuse to accept the tyranny of reality.Both carefully craft stories that are worthy of belief—a skill requiring intellectual sophistication,emotional sensitivity and physical self-control(liars are writers and performers of their own work).Such parallels are hardly coincidental,as I discovered while researching my book on lying.

C A case study published in 1985 by Antonio Damasio,a neurologist,tells the story of a middle-aged woman with brain damage caused by a series of strokes.She retained cognitive abilities,including coherent speech,but what she actually said was rather unpredictable.Checking her knowledge of contemporary events,Damasio asked her about the Falklands War.In the language of psychiatry,this woman was"confabulating".Chronic confabulation is a rare type of memory problem that affects a small proportion of brain damaged people.In the literature it is defined as"the production of fabricated,distorted or misinterpreted memories about oneself or the world,without the conscious intention to deceive”.Whereas amnesiacs make errors of omission—there are gaps in their recollections they find impossible to fill~confabulators make errors of commission:they make things up.Rather than forgetting,they are inventing.Confabulating patients are nearly always oblivious to their own condition,and will earnestly give absurdly implausible explanations of why they’re in hospital,or talking to a doctor.One patient,asked about his surgical scar,explained that during the Second World War he surprised a teenage girl who shot him three times in the head,killing him,only for surgery to bring him back to life.The same patient,when asked about his family,described how at various times they lad died in his arms,or had been killed before his eyes.Others tell yet more fantastical tales,about trips to the moon,fighting alongside Alexander in India or seeing Jesus on Cross.Confabulators aren’t out to deceive.They engage in what Morris Moscovitch,a neuropsychologist,calls“honest lying”.Uncertain,and obscurely distressed by their uncertainly,they are seized by a"compulsion to narrate”：a deep-seated need to shape,order and explain what they do not understand.Chronic confabulators are often highly inventive at the verbal level,jamming together words in nonsensical but suggestive ways:one patient,when asked what happened to Queen Marie Antoinette of France,answered that she had been"suicide"by her family.In a sense,these patients are like novelists,as described by Henry James:people on whom“nothing is wasted”.Unlike writers,however,they have little or no control over their own material.

D The wider significance of this condition is what it tells us about ourselves.Evidently there is a gushing river of verbal creativity in the normal human mind,from which both artistic invention and lying are drawn.We are born storytellers,spinning narrative out of our experience and imagination,straining against the leash that keeps us tethered to reality.This is a wonderful thing;it is what gives us our ability to conceive of alternative futures and different worlds.And it helps us to understand our own lives through the entertaining stories of others.But it can lead us into trouble,particularly when we try to persuade others that out inventions are real.Most of the time,as our stories bubble up to consciousness,we exercise our cerebral censors,controlling which stories we tell,and to whom.Yet people lie for all sorts of reasons,including the fact that confabulating can be dangerously fun.

E During a now-famous libel case in 1996,Jonathan Aitken,a former cabinet minister,recounted a tale to illustrate the horrors he endured after a national newspaper tainted his name.The case,which stretched on for more than two years,involved a series of claims made by the Guardian about Aitken’s relationships with Saudi arms dealers,including meetings he allegedly held with them on a trip to Paris while he was a government minister.What amazed many in hindsight was the sheer superfluity of the lies Aitken told during his testimony.Aitken's case collapsed in June 1997,when he defence finally found indisputable evidence about his Paris trip.Until then,Aitken's charm,fluency and flair for theatrical displays of sincerity looked as if they might bring him victory.They revealed that not only was Aitken’s daughter not with him that day(when he was indeed doorstepped),but also that the minister had simply got into his car and drove off,with no vehicle in pursuit.

F Of course,unlike Aitken,actors,playwrights and novelists are not literally attempting to deceive us,because the rules are laid out in advance:come to the theatre,or open this book,and we'll lie to you.Perhaps this is why we felt it necessary to invent art in the first place:as a safe space into which our lies can be corralled,and channeled into something socially useful.Given the universal compulsion to tell stories,art is the best way to refine and enjoy the particularly outlandish or insightful ones.But that is not the whole story.The key way in which artistic“l(fā)ies”differ from normal lies,and from the"honest lying”of chronic confabulators,is that they have a meaning and resonance beyond their creator.The liar lies on behalf of himself;the artist tell lies on behalf of everyone.If writers have a compulsion to narrate,they compel themselves to find insights about the human condition.Mario Vargas Llosa has written that novels“express a curious truth that can only be expressed in a furtive and veiled fashion,masquerading as what it is not.”Art is a lie whose secret ingredient is truth.

……

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