Disequilibrium at the interface of water and air is a factor on which the transfer of heat and water vapor from the ocean to the air depends. The air within about a millimeter of the water is almost saturated with water vapor and the temperature of the air is close to that of the surface water. Irrespective of how small these differences might be, they are crucial, and the disequilibrium is maintained by air near the surface mixing with air higher up, which is typically appreciably cooler and lower in water vapor content. The turbulence, which takes its energy from the wind mixes the air. As the speed of wind increases, so does the turbulence, and consequently the rate of heat and moisture transfer. We can arrive at a detailed understanding of this phenomenon after further study. The transfer of momentum from wind to water, which occurs when waves are formed is an interacting-and complicated phenomenon. When waves are made by the wind, it transfers important amounts of energy-energy, which is consequently not available for the production of turbulence. This passage principally intends to:

attempt a description of a phenomenon

reinforce certain research findings

Swimming has developed from a primal mode of movement to an advanced hobby and competitive sport. Exercising nearly every muscle group, swimming is a rigorous sport and requires intense training. In competitions swimmers typically contend for the fastest time to complete a certain distance by performing a specific swimming stroke. Also, swimmers work to build endurance and an ability to swim over long distances. Because swimming has developed into a highly intricate competitive sport, where one wrong technique can disqualify a participant, it is interesting to ponder how the sport will evolve for people in the future, either advancing into a progressive purpose or regressing to a primal mode of movement. The structure of this passage could be best described in what way?

An activity narrowed to a specific purpose and expanded to consider future deviations.

An activity narrowed to a specific purpose and expanded to consider future implications.

A hypothesis tested against certain conditions, developed into a larger thesis.

An activity and its purposes are explained.

A supposition regarding the prospect of an activity, analyzed for viability

Swimming has developed from a primal mode of movement to an advanced hobby and competitive sport. Exercising nearly every muscle group, swimming is a rigorous sport and requires intense training. In competitions swimmers typically contend for the fastest time to complete a certain distance by performing a specific swimming stroke. Also, swimmers work to build endurance and an ability to swim over long distances. Because swimming has developed into a highly intricate competitive sport, where one wrong technique can disqualify a participant, it is interesting to ponder how the sport will evolve for people in the future, either advancing into a progressive purpose or regressing to a primal mode of movement. Which of the following situations would fulfill the author’s prophecy for swimming?

Humans settling on the moon use swimming techniques to move through space.

Swimming remains a competitive Olympic sport.

Animals, including amphibians, begin to swim instinctively upon birth, as a dominant genetic trait.

People swim in home and community pools to relax and exercise

Fish begin swimming at unprecedented speeds and extend the average life span.

Cities across the world are essentially blends of smaller cultural environments that lead people to have vastly different experiences. Each city typically contains a broad spectrum of dining establishments along with various art institutions like museums and theatres. Yet with all these blends of dining, art and night lives, what is the one characteristic that can distinguish a city? History. The undeniably unique history of each city provides rich traditions and a bond between the local people that overshadows any other city’s mélange of dining and art institutions. Which of the following would the author believe is the most important city attraction or characteristic?

Ruins from the Berlin Wall and the local community

The exquisite French restaurant in the European district

Passage 1 Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is aLinescary proposition. Maintaining the reality of the character is,5in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see:10namely, the performer’s fear, or stage fright. Passage 2 The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of15fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a 20 host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place. What is the best way to describe the purposes of the two passages?

Passage 1 analyzes a phenomenon; Passage 2 suggests a solution to a problem

Passage 1 traces the consequences of an incident; Passage 2 narrates a process

Passage 1 interprets a series of examples; Passage 2 gives a typical case.

Both passages present well-known examples to challenge a misconception

Both passages explain a pattern by questioning previous theories.

Passage 1 Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is aLinescary proposition. Maintaining the reality of the character is,5in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see:10namely, the performer’s fear, or stage fright. Passage 2 The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of15fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a20host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place. In the context of Passage 1, the phrase "Maintaining the reality of the character" (line 4) most directly refers to

presenting to the audience only behavior relevant to the character

believing oneself to be the character

playing the character in a way that resembles real life

showing the audience how the character sees a situation

keeping the character from becoming purely imaginative

Passage 1 Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is aLinescary proposition. Maintaining the reality of the character is,5in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see:10 namely, the performer’s fear, or stage fright. Passage 2 The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of15fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a20host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place. How do the passages view stage fright in relation to human behavior in general?

Passage 1 emphasizes that situations unique to the theater cause stage fright, whereas Passage 2 views stage fright as similar in one way to most othe

Passage 1 attributes stage fright to an individual's personal problems, whereas Passage 2 believes stage fright is caused by social problems.

Passage 1 sees stage fright as normal and healthy, while Passage 2 sees stage fright as an extreme reaction.

Both passages view stage fright as a phenomenon that people experience in everyday life.

Both passages view stage fright as part of a phase actors go through in their lives.

Passage 1 Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is aLinescary proposition. Maintaining the reality of the character is,5in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see:10namely, the performer’s fear, or stage fright. Passage 2 The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of15fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a20host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place. Which of the following describes an actor coping with stage fright by following the advice of the author of Passage 2?

A performer who thinks of the audience as friends

A performer who tries to impress the audience

A performer who follows the same rituals before every performance

A performer who blocks out thoughts of the audience

A performer who tries to keep the audience amused

TOEFL TEST FOR 10TH GRADER

Authored by hasan ng

English

10th Grade

CCSS covered

Used 67+ times

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28 questions

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MULTIPLE CHOICE QUESTION

1 min • 1 pt

Technology is rapidly expanding the scope of capabilities for both professional and personal use; such is the case with smart phones. Professionals now have devices available to them capable of digital media, internet access, phone communication, multi-person scheduling and office tools for documents and presentations. Businesspeople that are often mobile may maximize the use of these critical features on smart phones. Individuals who simply enjoy the luxury of multi-function devices often use these devices for frivolous pursuits such as downloading catchy ring tones, instant messaging about the latest gossip and looking up the world record for most cans crushed on one’s head during the Superbowl. This fusion of capabilities and increased availability of such devices could be a sign of a growing blend in society between work and personal life, or individuals could simply be taking a luxurious approach to their connectivity in personal lives.
The term “frivolous” implies that the author

is fascinated by the endless capabilities on smart phones.

hopes that technology ceases to expand its scope.

believes that the average individual does not need a smart phone.

has a smart phone.

wants to see more developments added to smart phone technology.

Tags

CCSS.RI. 9-10.6

CCSS.RI.11-12.6

CCSS.RL.11-12.6

CCSS.RL.9-10.6

CCSS.RI.8.9

MULTIPLE CHOICE QUESTION

1 min • 1 pt

Technology is rapidly expanding the scope of capabilities for both professional and personal use; such is the case with smart phones. Professionals now have devices available to them capable of digital media, internet access, phone communication, multi-person scheduling and office tools for documents and presentations. Businesspeople that are often mobile may maximize the use of these critical features on smart phones. Individuals who simply enjoy the luxury of multi-function devices often use these devices for frivolous pursuits such as downloading catchy ring tones, instant messaging about the latest gossip and looking up the world record for most cans crushed on one’s head during the Superbowl. This fusion of capabilities and increased availability of such devices could be a sign of a growing blend in society between work and personal life, or individuals could simply be taking a luxurious approach to their connectivity in personal lives.
What is the purpose of the conclusion sentence?

Draw a conclusion about what we know smart phones can do

Assume where technology is headed and how it will affect society

Comment on human connectivity through the use of smart phones

Predict how the government will regulate and guide future technology

Present two possible explanations for the growing popularity of smart phones

Tags

CCSS.RL.11-12.2

CCSS.RL.9-10.2

CCSS.RI. 9-10.2

CCSS.RI.11-12.2

CCSS.RI.8.2

MULTIPLE CHOICE QUESTION

1 min • 1 pt

But man is not destined to vanish. He can be killed, but he cannot be destroyed, because his soul is deathless and his spirit is irrepressible. Therefore, though the situation seems dark in the context of the confrontation between the superpowers, the silver lining is provided by amazing phenomenon that the very nations which have spent incalculable resources and energy for the production of deadly weapons are desperately trying to find out how they might never be used. They threaten each other, intimidate each other and go to the brink, but before the total hour arrives they withdraw from the brink.
The main point from the author's view is that

Man's soul and spirit can not be destroyed by superpowers

Man's destiny is not fully clear or visible.

Man's soul and spirit are immortal.

Man's safety is assured by the delicate balance of power in terms of nuclear weapons.

Human society will survive despite the serious threat of total annihilation.

Tags

CCSS.RL.11-12.2

CCSS.RL.9-10.2

CCSS.RI. 9-10.2

CCSS.RI.11-12.2

CCSS.RL.8.2

MULTIPLE CHOICE QUESTION

1 min • 1 pt

But man is not destined to vanish. He can be killed, but he cannot be destroyed, because his soul is deathless and his spirit is irrepressible. Therefore, though the situation seems dark in the context of the confrontation between the superpowers, the silver lining is provided by amazing phenomenon that the very nations which have spent incalculable resources and energy for the production of deadly weapons are desperately trying to find out how they might never be used. They threaten each other, intimidate each other and go to the brink, but before the total hour arrives they withdraw from the brink.
The phrase 'Go to the brink' in the passage means

Retreating from extreme danger.

Declare war on each other.

Advancing to the stage of war but not engaging in it.

Negotiate for peace.

Commit suicide.

Tags

CCSS.RI.9-10.4

CCSS.RL.9-10.4

CCSS.RI.11-12.4

CCSS.RL.11-12.4

CCSS.RL.8.4

MULTIPLE CHOICE QUESTION

1 min • 1 pt

But man is not destined to vanish. He can be killed, but he cannot be destroyed, because his soul is deathless and his spirit is irrepressible. Therefore, though the situation seems dark in the context of the confrontation between the superpowers, the silver lining is provided by amazing phenomenon that the very nations which have spent incalculable resources and energy for the production of deadly weapons are desperately trying to find out how they might never be used. They threaten each other, intimidate each other and go to the brink, but before the total hour arrives they withdraw from the brink.
In the author's opinion

Huge stockpiles of destructive weapons have so far saved mankind from a catastrophe.

Superpowers have at last realized the need for abandoning the production of lethal weapons.

Mankind is heading towards complete destruction.

Nations in possession of huge stockpiles of lethal weapons are trying hard to avoid actual conflict.

There is a silver lining over the production of deadly weapons

Tags

CCSS.RL.11-12.2

CCSS.RL.9-10.2

CCSS.RI. 9-10.2

CCSS.RI.11-12.2

CCSS.RL.8.2

MULTIPLE CHOICE QUESTION

1 min • 1 pt

But man is not destined to vanish. He can be killed, but he cannot be destroyed, because his soul is deathless and his spirit is irrepressible. Therefore, though the situation seems dark in the context of the confrontation between the superpowers, the silver lining is provided by amazing phenomenon that the very nations which have spent incalculable resources and energy for the production of deadly weapons are desperately trying to find out how they might never be used. They threaten each other, intimidate each other and go to the brink, but before the total hour arrives they withdraw from the brink.
'Irrepressible' in the second line means

incompatible

strong

oppressive

unrestrainable

unspirited

Tags

CCSS.RI.9-10.4

CCSS.RL.9-10.4

CCSS.RI.11-12.4

CCSS.RL.11-12.4

CCSS.RL.8.4

MULTIPLE CHOICE QUESTION

1 min • 1 pt

Greek mythology is a vehicle that uses mythological characters and creatures to teach people about the dangers, beauties and possible outcomes of life. In many myths, characters face moral dilemmas involving honor and practicality. The protagonists of epics face creatures that represent values and challenges such as respect, temptation and redemption. How has Greek mythology inevitably evolved with time and new story tellers? Scholars that have interpreted Greek mythology seek to maintain the universal values conveyed in these stories, while ensuring the validity of adapting these stories to their own distinct cultures. It is up to each reader to seek their own truths and learn from epic Greek mythology as best they can.
According to the author’s description, which of the following is most likely to be a message from Greek mythology?

Love is difficult, but it will last if the lovers are meant to be together.

Resisting temptation and immediate gratification will lead to ultimate success.

It is important to keep track of your personal history

Passing down Greek mythology has taken on a new form since oral records faded.

It is not the fastest, but the longest lasting that wins the race

Tags

CCSS.RL.8.4

CCSS.RL.8.5

CCSS.RL.11-12.9

CCSS.RL.9-10.10

CCSS.RL.9-10.9

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