2026年1月24日中国大陆雅思A类G类纸质真题回忆+答案汇总（...
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2026年1月24日中国大陆雅思A类G类纸质真题回忆+答案汇总（听说读写答案+机经整理汇总）回忆1：听力p1: 酒店预订难易度: 一般题型：填空1. sixth2. view3. drinks4. saturaday5. copthall6. balcony7. band8. September9. weeks10.041718867188
p2:跳伞注意事项难易度：一般题型：多选题+配对题11.equipment12. B13. A14. landing15. B16. H17. F18. A19. C20. B
P3：南极考察 难易度：一般题型：选择题21. C22. C23. B24. A25. E26. H27. C28. G29. B30. F
p4:Vancouver Island Marmots难易度：一般题型：填空题31. fur32.weight33.shoulders34.digging35.whistle36.distinctive37. fat38.fossil39.extinction40.movements回忆2：阅读p1：History of London Coffeehouse难易度：较难1. FALSE2. TRUE3. TRUE4. FALSE5. NOTGIVEN6. FALSE7. stock8.merchants9.insurance10.scientific11.apparatus12.plants13.penny university
p2 ：Are Artists Liars难易度：较难14. vi15. ii16. iv17. viii18. i19. v20. B21. E22. A23. E24.national newspaper25. armsdealers26.victory
p3: 关于非洲沙漠回忆3：小作文：柱状图5个不同年龄段喜欢四种不同音乐占比
大作文Government should protect culture. Therefore, some people believe that new buildingsshould be built in traditional styles. To what extent do you agree or disagree?
建议思路：部分同意。传统风格有其价值，但完全强制不可行，需平衡传统与现代。
让步段不可否认传统建筑是地域文化的载体，能保留城镇独特性。同时可增强居民的文化归属感，也能吸引游客，带动文化传播与经济发展。
主体段然而，传统建筑设计可能无法适配现代生活与商业需求。1. 空间利用率低、不符合现代建筑安全标准等。2. 强制要求会限制建筑创新，增加建设成本。3. 现代建筑本身也可成为城镇新的文化符号，无需一味固守传统。
In conclusion, 不反对在合适的区域，如历史文化街区, 要求新建筑采用传统风格以保护文化认同。但不应全面强制所有新建筑。政府应制定灵活政策，鼓励新建筑融合传统元素与现代设计，实现文化保护与城镇发展的双赢。回忆4：阅读PASSAGE1主题：History of London Coffeehouse1. FALSE2. TRUE3. TRUE4. FALSE5. NOTGIVEN6. FALSE7. stock8. merchants9. insurance10. scientific11. apparatus12. plants13. pennyuniversity
PASSAGE2主题：Are Artists Liars14. vi15. ii16. iv17. viii18. i19. v20. B21. E22. A23. E24.national newspaper25. armsdealers26.victory
PASSAGE3主题：关于非洲沙漠27.J28.E29.F30.B31.G32.NO33.NO34.YES35.NOTGIVEN36.YES37.C38.A39.D40.C回忆5：阅读第二篇：Are Artists Liars原文：AShortly before his death, Marlon Brando was working on a series of instructional videosabout 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 ofenthusiastic, if somewhat bemused, Hol-lywood stars, including Leonardo DiCaprio and Sean Penn. Brando also recruited random people from the Los Angelesstreet and persuaded them to improvise (the footage is said to include amemorable scene featuring two dwarves and a giant Samoan). “If you can lie, youcan act,” Brando told Jod Kaftan, a writer for Rolling Stone and one of the fewpeople to have viewed the footage. “Are you good at lying?” asked Kaftan.“Jesus,” said Brando, “I’m fabulous at it.”
BBran do was not the first person to note that the line between an artist and a liar isa fine one. If art is a kind of lying, then lying is a form of art, albeit of alower order—as Oscar Wilde and Mark Twain have observed. Indeed, lying andartistic storytelling spring from a common neurological root—one that isexposed in the cases of psychiatric patients who suffer from a particular kindof impairment. Both liars and artists refuse to accept the tyranny of reality.Both carefully craft stories that are worthy of belief—a skill requiringintellectual sophistica-tion, emotional sensitivity and physical self-control(liars are writers and performers of their own work). Such parallels are hardlycoincidental, as I discovered while researching my book on lying.
CA case study published in 1985 by Antonio Damasio, a neurologist, tells the story of amiddle-aged woman with brain damage caused by a series of strokes. She retainedcogni-tive abilities, including coherent speech, but what she actually said wasrather unpredict-able. Checking her knowledge of contemporary events, Damasioasked her about the Falklands War. In the language of psychiatry, this womanwas “confabulating”. Chronic confabulation is a rare type of memory problemthat affects a small proportion of brain-damaged people. In the literature itis defined as “the production of fabricated, distorted or misinterpretedmemories about oneself or the world, without the conscious intention todeceive”. Whereas amnesiacs make errors of omission—there are gaps in theirrecollec-tions they find impossible to fill—confabulators make errors ofcommission: they make things up. Rather than forgetting, they are inventing.Confabulating patients are nearly always oblivious to their own condition, andwill earnestly give absurdly implausible explanations of why they’re inhospital, 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 shothim three times in the head, killing him, only for surgery to bring him back tolife. The same patient, when asked about his family, described how at varioustimes they had died in his arms, or had been killed before his eyes. Otherstell yet more fantastical tales, about trips to the moon, fighting alongsideAlexander in India or seeing Jesus on the Cross. Confabulators aren’t out todeceive. They engage in what Morris Moscovitch, a neuropsychologist, calls“honest lying”. Uncertain, and obscurely distressed by their uncertainty, theyare seized by a “compulsion to narrate”: a deep-seated need to shape, order andexplain what they do not understand. Chronic confabulators are often highlyinventive at the verbal level, jamming together words in nonsensical butsuggestive ways: one patient, when asked what happened to Queen MarieAntoinette of France, answered that she had been “suicided” by her family. In asense, these patients are like novelists, as described by Henry James: peopleon whom “nothing is wasted”. Unlike writers, however, they have little or nocontrol over their own material.
DThe wider significance of this condition is what it tells us about ourselves.Evidently there is a gushing river of verbal creativity in the normal humanmind, from which both artistic invention and lying are drawn. We are bornstorytellers, spinning narrative out of our experi-ence and imagination,straining against the leash that keeps us tethered to reality. This is awonderful thing; it is what gives us our ability to conceive of alternativefutures and differ-ent worlds. And it helps us to understand our own livesthrough the entertaining stories of others. But it can lead us into trouble,particularly when we try to persuade others that our inventions are real. Mostof the time, as our stories bubble up to consciousness, we exercise ourcerebral censors, controlling which stories we tell, and to whom. Yet peoplelie for all sorts of reasons, including the fact that confabulating can bedangerously fun.
EDuring anow-famous libel case in 1996, Jonathan Aitken, a former cabinet minister,recounted a tale to illustrate the horrors he endured after a nationalnewspaper tainted his name. The case, which stretched on for more than twoyears, involved a series of claims made by the Guardian about Aitken’s relationshipswith Saudi arms dealers, including meet-ings he allegedly held with them on atrip to Paris while he was a government minister. What amazed many in hindsightwas the sheer superfluity of the lies Aitken told during his testimony.Aitken’s case collapsed in June 1997, when the defence finally foundindisputable evidence about his Paris trip. Until then, Aitken’s charm, fluencyand flair for theatrical dis-plays of sincerity looked as if they might bringhim victory. They revealed that not only was Aitken’s daughter not with himthat day (when he was indeed doorstepped), but also that the minister hadsimply got into his car and drove off, with no vehicle in pursuit.
FOf course, unlike Aitken, actors, playwrights and novelists are not literally attemptingto 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 itnecessary to invent art in the first place: as a safe space into which our liescan be corralled, and channeled into something socially useful. Given theuniversal compulsion to tell stories, art is the best way to refine and enjoythe particularly outlandish or insightful ones. But that is not the wholestory. The key way in which artistic “lies” differ from normal lies, and fromthe “honest lying” of chronic confabu-lators, is that they have a meaning andresonance beyond their creator. The liar lies on behalf of himself; the artisttell lies on behalf of everyone. If writers have a compulsion to narrate, theycompel themselves to find insights about the human condition. Mario VargasLlosa has written that novels “express a curious truth that can only beexpressed in a furtive and veiled fashion, masquerading as what it is not. ”Art is a lie whose secret ingredient is truth.
Questions14 - 19Reading Passage 2 has six paragraphs, A-F.Choosethe correct heading for each paragraph from the list of headings below.Writethe correct number, i-viii, in boxes 14-19 on your answer sheet.
List ofHeadingsi Unsuccess fuldeceitii Biologicalbasis between liars and artistsiii Howto lie in an artistic wayiv Confabulationsand the exemplifiersv Thedistinction between artists and common liarsvi Thefine line between liars and artistsvii Thedefinition of confabulationviii Creativitywhen people lie
14.ParagraphA15.ParagraphB16.ParagraphC17.ParagraphD18.ParagraphE19.ParagraphF
Questions20 - 21Choose TWO letters, A-E.Write the correct letters in boxes 20 and 21 on your answer sheet.
20-21.WhichTWO of the following statements about people suffering from confabulation aretrue?
Questions22 - 23Choose TWO letters, A-E.Write the correct letters in boxes 22 and 23 on your answer sheet.22-23.Which TWO of the following statements about playwrights and novelists are true?
Questions24 - 26Complete the summary below.Choose NOMORE THAN TWO WORDS from the passage for each answer.Write your answers in boxes 24-26 on your answer sheet.AaccusedJ onathan Aitken, a former cabinet minister, who was selling and buying with.Aitken’s case collapsed in June 1997, when the defence finally foundindisputable evidence about his Paris trip. He was deemed to have his. They revealedthat not only was Aitken’s daughter not with him that day, but also that theminister had simply got into his car and drove off, with no vehicle in pursuit.
答案：14-19 标题匹配14.vi The fine line between liars and artists15.ii Biological basis between liars and artists16.iv Confabulations and the exemplifiers17.viii Creativity when people lie18.i Unsuccessful deceit19.v The distinction between artists and common liars
20-23 选择20.B They do not deliberately tell a lie21.E They try to make up stories22.A Theygive more meaning to the stories23.E Weknow there are lies in the content
24-26 填空24.national newspaper25.arm sdealers26.victory回忆6：【小作文】柱图。5个不同年龄段喜欢四种不同音乐占比
【大作文】Government should protect culture. Therefore, some people believe that new buildings should be built in traditional styles. To what extent do you agree or disagree?
范文:It is widely argued that governments have a responsibility to safeguard culturalheritage, and some people consequently propose that new constructions shouldfollow traditional architectural styles. I partially agree with this view, astraditional designs can preserve cultural identity, but rigid adherence to them may hinder urban development.
On the one hand, constructing new buildings in traditional styles is an effective wayto inherit cultural legacies. Traditional architectures, such as the slopedroofs of Chinese courtyard houses or the stone carvings of European castles, carrythe historical memory and aesthetic values of a region. Integrating theseelements into modern constructions can help residents maintain a connectionwith their cultural roots and enhance their sense of belonging. For example,many cities in China have built new residential communities with classical Chinese-style facades, which not only attract tourists but also make localsproud of their culture.
On the other hand, it is unrealistic to require all new buildings to adopt traditional styles. Modern cities have urgent demands for functional and efficientconstructions, such as high-rise office buildings and large shopping malls,which need to meet the needs of a growing population and fast-paced urban life.Traditional architectural styles, with their complex structures and low spaceutilization, are often not suitable for modern functional requirements.Moreover, architectural innovation is also an important part of culturaldevelopment. Restricting new buildings to traditional styles may stifle the creativityof architects and make cities lose their vitality.
In conclusion, while incorporating traditional architectural elements into new buildings can contribute to cultural protection, governments should not enforce traditional styles for all constructions. A balanced approach that combines traditional aesthetics with modern functionality is the key to achieving bothcultural preservation and urban progress.回忆7：回忆8：回忆9:回忆10：
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