Ngân hàng đề thi Reading (100 đề)
Hôm nay, chúng ta xin giới thiệu bộ 100 đề luyện thi reading - một tài liệu hữu ích để bạn chuẩn bị cho kỳ thi reading một cách hiệu quả. Bộ đề này được thiết kế đặc biệt để giúp bạn rèn kỹ năng đọc hiểu, mở rộng từ vựng và cải thiện khả năng xử lý các dạng câu hỏi phổ biến trong kỳ thi.
Với bộ 100 đề luyện thi reading, bạn sẽ được tiếp cận với một loạt các bài đọc đa dạng từ các lĩnh vực như khoa học, xã hội, văn hóa, công nghệ và nhiều chủ đề khác. Mỗi bài đọc đi kèm với câu hỏi đa dạng, giúp bạn nắm bắt thông tin chi tiết, ý chính, ý ngụ và phân tích các quan hệ logic giữa các ý trong văn bản.
Bộ đề cung cấp cho bạn cơ hội áp dụng các chiến lược đọc hiểu, như quét nhanh, đọc thông qua ngữ cảnh và đọc hiệu quả với thời gian hạn chế. Bạn sẽ rèn kỹ năng tìm hiểu ý nghĩa từ vựng mới thông qua ngữ cảnh, đồng thời nắm vững các ngữ pháp và cấu trúc câu thông qua việc phân tích và giải đáp câu hỏi.
Bộ 100 đề luyện thi reading không chỉ giúp bạn rèn kỹ năng đọc hiểu mà còn giúp bạn cải thiện tốc độ đọc và khả năng tìm kiếm thông tin quan trọng trong văn bản. Bạn sẽ trở nên tự tin hơn trong việc đọc các đoạn văn ngắn và dài, vượt qua các rào cản ngôn ngữ và tiếp cận những kiến thức hữu ích từ các nguồn đa dạng.
Với bộ 100 đề luyện thi reading, bạn sẽ có cơ hội rèn luyện và cải thiện kỹ năng đọc hiểu của mình một cách toàn diện. Bạn sẽ chuẩn bị tốt hơn cho kỳ thi reading và đạt kết quả cao hơn. Hãy bắt đầu ngay hôm nay và hãy sẵn sàng để đón nhận thành công trong hành trình luyện thi của bạn!
Đề tham khảo:
SECTION 1
READING PASSAGE 1
You should spend about 20 minutes on Question 1-13 which are based on Reading Passage 1 below.
Andrea Palladio. Italian architect A new exhibition celebrates Palladio’s architecture 500 years on A
Vicenza is a pleasant, prosperous city in the Veneto, 60km west of Venice. Its grand families settled and farmed the area from the 16th century. But its principal claim to fame is Andrea Palladio, who is such an influential architect that a neoclassical style is known as Palladian. The city is a permanent exhibition of some of his finest buildings, and as he was born – in Padua, to be precise – 500 years ago, the International Centre for the Study of Palladio’s Architecture has an excellent excuse for mounting la grande mostra, the big show
B
The exhibition has the special advantage of being held in one of Palladio’s buildings, Palazzo Barbaran da Porto. Its bold façade is a mixture of rustication and decoration set between two rows of elegant columns. On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and
painted ceilings. Palladio’s design is simple, clear and not over-crowded. The show has been organised on the same principles, according to Howard Burns, the architectural historian who co-curated it.
C
Palladio’s father was a miller who settled in Vicenza, where the young Andrea was apprenticed to a skilled stonemason. How did a humble miller’s son become a world renowned architect? The answer in the exhibition is that, as a young man, Palladio excelled at carving decorative stonework on columns, doorways and fireplaces. He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman and Greek architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael.
D
Burns argues that social mobility was also important. Entrepreneurs, prosperous from agriculture in the Veneto, commissioned the promising local architect to design their country villas and their urban mansions. In Venice the aristocracy were anxious to co- opt talented artists, and Palladio was given the chance to design the buildings that have made him famous – the churches of San Giorgio Maggiore and the Redentore, both easy to admire because they can be seen from the city’s historical centre across a stretch of water.
E
He tried his hand at bridges – his unbuilt version of the Rialto Bridge was decorated with the large pediment and columns of a temple – and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio’s first foreign disciple, this is not as surprising as it sounds.
F
Jones, who visited Italy in 1614, bought a trunk full of the master’s architectural drawings; they passed through the hands of Dukes of Burlington and Devonshire before settling at the Royal Institute of British Architects in 1894. Many are now on display at Palazzo Barbaran. What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps.
G
Palladio’s work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice. In the wider world, Palladio’s reputation has been nurtured by a text he wrote and illustrated, “Quattro Libri dell’ Architettura”. His influence spread to St Petersburg and to Charlottesville in Virginia, where Thomas Jefferson commissioned a Palladian villa he called Monticello.
H
Vicenza’s show contains detailed models of the major buildings and is leavened by portraits of Palladio’s teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less. This is an
uncompromising exhibition; many of the drawings are small and faint, and there are no sideshows for children, but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm. Palladio is history’s most therapeutic architect.
I
“Palladio, 500 Anni: La Grande Mostra” is at Palazzo Barbaran da Porto, Vicenza, until January 6th 2009. The exhibition continues at the Royal Academy of Arts, London, from January 31st to April 13th, and travels afterwards to Barcelona and Madrid.
Questions 1-7
Do the following statements agree with the information given in Reading Passage 1?
In boxes 1-7 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
1 The building where the exhibition is staged has been newly renovated
2 Palazzo Barbaran da Porto typically represent the Palladio’s design
3 Palladio’s father worked as an architect.
4 Palladio’s family refused to pay for his architectural studies
5 Palladio’s alternative design for the Ducal Palace in Venice was based on an English building.
6 Palladio designed both wealthy and poor people.
7 The exhibition includes paintings of people by famous artists
Questions 8-13
Answer the questions below
Choose NO MORE THAN THREE WORDS from the passage for each answer.
Write your answers in boxes 8-13 on your answer sheet
8 What job was Palladio training for before he became an architect?
9 Who arranged Palladio’s architectural studies?
10 Who was the first non-Italian architect influenced by Palladio?
11 What type of Ancient Roman buildings most heavily influenced Palladio’s work?
12 What did Palladio write that strengthened his reputation?
13 In the writer’s opinion, what feeling will visitors to the exhibition experience?
