Exams. 26.10.2015

IELTS. READING. Разбираем задание Classification

Автор: Арина Сидоркина

Одним из заданий Reading Part письменного теста IELTS является Classification. Это задание направлено на проверку умения анализировать, сопоставлять и классифицировать информацию на английском языке. Итак, для начала ознакомьтесь с основной информацией касательно этого типа задания. 

Classification questions 

In this type of question, you have to match a set of statements or pieces of information to a list of options. The options are a group of features from the text, and letters (A, B, C, etc.) are used to identify them. Write the correct letter on the answer sheet. You may, for example, have to match descriptions of inventions to the people who invented them. It is possible that some options will not be used, and that others may be used more than once. When it is possible to use any option more than once, the instructions will say: ‘You may use any option more than once’.

What's involved?

These questions ask you to classify information given in the reading text.  

Classifications are often according to the writer’s opinion or according to a period of time or place. You will be asked to identify a letter which represents one of the classifications for each item in a list of statements.

What skills are tested?

This type of question tests your ability to recognize relationships and connections between facts in the text and your ability to recognize opinions and theories. You need to be able to skim and scan the text to find the information quickly so that you can then read that part more carefully for detail.

Это задание может показаться похожим на matching type, или multiple choice. И вот в чем их схожесть и отличие: 

  • Just like matching type , you need to use skimming technique to get a general idea about the passage. Looking at the titles or illustrations as well would help. Having done this, you can now do the scanning to find the area in the passage that relates to the first word/s to be classified. 
  • Unlike multiple choice , answers here do not necessarily appear in order in the passage. 

Некоторые рекомендации и советы касательно данного вида задания

  • Сначала ознакомьтесь с предложенными категориями и утверждениями, которые нужно классифицировать, и только потом читайте текст. 
  • Внимательно прочитайте, какая классификация предложена вам, и не перепутайте, какой букве соответствует каждый пункт. Поверьте, это особенно обидная ошибка, которая случается гораздо чаще, чем вам кажется. И да, сейчас вы думаете, кто этот идиот, который может на таком важном экзамене банально перепутать буквы, а потом вдруг оказывается, что это вы. 
  • Даже если вы сомневаетесь в правильности своего ответа, не оставляйте вопрос без ответа – впишите любую букву, даже наугад. 
  • Лучшая стратегия – это начинать рассматривать утверждения по порядку. Начинайте с первого. Прочитайте само утверждение, и найдите в тексте соответствующую информацию. Затем переходите к следующему. Так вы сводите шансы запутаться к минимуму. 
  • Выделяйте для себя ключевые слова в утверждениях, которые нужно классифицировать. Лучше всего – не лениться и подчеркивать их. Многие недооценивают такую простую вещь. Но времени это действие забирает минимально, а ориентироваться помогает очень здорово. 
  • Помните, что предложения не обязательно будут даны в том же порядке, что и информация в тексте. Может случится так, что информация, относящаяся к первому предложению, находится в самом конце текста. Пусть вас это не смущает.
  • Также обратите внимание, что одна и та же категория может быть использована больше одного раза, или же вовсе не использована. 

Рассмотрим пример такого задания. Ознакомьтесь с заданием, а затем с текстом. Ответы вы найдете внизу. 

Questions 1-9

Classify the following statements as referring to

A Charlie Moore

B Lewis Williams

C Emily Cope

Write the appropriate letters A, B or C in boxes 1-9 on your answer sheet.

  1. British people don't appreciate art because they don't see enough art around them all the time. 
  2. British museums aim to appeal to popular tastes in art. 
  3. The average Englishman likes the works of Turner and Constable. 
  4. Britain, like every other country, has its own view of what art is. 
  5. In Britain, interest in art is mainly limited to traditional forms such as representational painting. 
  6. British art has always been affected by other cultures. 
  7. Galleries in other countries are of better quality that those in Britain. 
  8. People are not raised to appreciate art. 
  9. The British have a limited knowledge of art. 

Questions 10-12

Choose the best answer A, B, C or D.

10. Many British artists

A) are engravers or poets.

B) are great but liked only in Britain.

C) do not belong to a school or general trend.

D) are influenced by Picasso and Dali.

11. 'Classic' art can be described as

A) sentimental, realistic paintings with geometric shapes.

B) realistic paintings with primary colours.

C) abstract modern paintings and sculptures.

D) realistic, representational pictures and sculptures.

12. In Spain, people probably enjoy modern art because

A) their artists have a classifiable style.

B) the most renowned modern artists are Spanish.

C) they attend many modern exhibitions.

D) they have different opinions on art.

The Truth About ART

Modern art has had something of a bad press recently - or, to be more precise, it has always had a bad press in certain newspapers and amongst certain sectors of the public. In the public mind, it seems, art (that is, graphic art - pictures - and spatial art - sculpture) is divided into two broad categories. The first is 'classic' art, by which is meant representational painting, drawing and sculpture; the second is 'modern' art, also known as abstract or non-representational. British popular taste runs decidedly in favour of the former, if one believes a recent survey conducted by Charlie Moore, owner of the Loft Gallery and Workshops in Kent, and one of Britain's most influential artistic commentators. He found that the man (or woman) in the street has a distrust of cubism, abstracts, sculptures made of bricks and all types of so-called 'found' art, He likes Turner and Constable, the great representatives of British watercolour and oil painting respectively, or the French Impressionists, and his taste for statues is limited to the realistic figures of the great and good that litter the British landscape - Robin Hood in Nottingham and Oliver Cromwell outside the Houses of Parliament. This everyman does not believe in primary colours, abstraction and geometry in nature - the most common comment is that such-and-such a painting is "something a child could have done".

Lewis Williams, director of the Beaconsfield Galleries in Hampshire, which specialises in modern painting, agrees. "Look around you at what art is available every day," he says. "Our great museums and galleries specialise in work which is designed to appeal to the lowest common denominator. It may be representational, it may be 'realistic' in one sense, but a lot of it wouldn't make it into the great European galleries. Britain has had maybe two or three major world painters in the last 1000 years, so we make up the space with a lot of second-rate material."

Williams believes that our ignorance of what modern art is has been caused by this lack of exposure to truly great art. He compares the experience of the average British city-dweller with that of a citizen of Italy, France or Spain.

"Of course, we don't appreciate any kind of art in the same way because of the paucity of good art in Britain. We don't have galleries of the quality of those in Madrid, Paris, Versailles, Florence, New York or even some places in Russia. We distrust good art - by which I mean both modern and traditional artistic forms - because we don't have enough of it to learn about it. In other countries, people are surrounded by it from birth. Indeed they take it as a birthright, and are proud of it. The British tend to be suspicious of it. It's not valued here."

Not everyone agrees. Emily Cope, who runs the Osborne Art House, believes that while the British do not have the same history of artistic experience as many European countries, their senses are as finely attuned to art as anyone else's.

"Look at what sells - in the great art auction houses, in greetings cards, in posters. Look at what's going on in local amateur art classes up and down the country. Of course, the British are not the same as other countries, but that's true of all nationalities. The French artistic experience and outlook is not the same as the Italian. In Britain, we have artistic influences from all over the world. There's the Irish, Welsh, and Scottish influences, as well as Caribbean, African and European. We also have strong links with the Far East, in particular the Indian subcontinent. All these influences come to bear in creating a British artistic outlook. There's this tendency to say that British people only want garish pictures of clowns crying or ships sailing into battle, and that anything new or different is misunderstood. That's not my experience at all. The British public is poorly educated in art, but that's not the same as being uninterested in it."

Cope points to Britain's long tradition of visionary artists such as William Blake, the London engraver and poet who died in 1827. Artists like Blake tended to be one-offs rather than members of a school, and their work is diverse and often word-based so it is difficult to export.

Perhaps, as ever, the truth is somewhere in between these two opinions. It is true that visits to traditional galleries like the National and the National Portrait Gallery outnumber attendance at more modern shows, but this is the case in every country except Spain, perhaps because of the influence of the two most famous non-traditional Spanish painters of the 20th century, Picasso and Dali. However, what is also true is that Britain has produced a long line of individual artists with unique, almost unclassifiable styles such as Blake, Samuel Palmer and Henry Moore.

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  1. B
  2. B
  3. A
  4. C
  5. A
  6. C
  7. B
  8. B
  9. C
  10. C
  11. D
  12. B
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