Mở Bài
Chủ đề nghệ thuật công cộng và giáo dục cộng đồng là một trong những đề tài xuất hiện khá thường xuyên trong kỳ thi IELTS Reading, đặc biệt ở các passage thuộc độ khó trung bình và nâng cao. Chủ đề này liên quan đến các lĩnh vực như văn hóa, xã hội học, giáo dục và phát triển đô thị – những mảng được IELTS đánh giá cao về tính học thuật.
Trong bài viết này, bạn sẽ được thực hành với một đề thi IELTS Reading hoàn chỉnh gồm 3 passages với độ khó tăng dần từ Easy đến Hard. Đề thi này sẽ giúp bạn làm quen với đa dạng dạng câu hỏi như Multiple Choice, True/False/Not Given, Yes/No/Not Given, Matching Headings, Sentence Completion và Short-answer Questions.
Sau khi hoàn thành bài test, bạn sẽ có đáp án chi tiết kèm giải thích cụ thể, giúp bạn hiểu rõ cách paraphrase, định vị thông tin và áp dụng các kỹ thuật làm bài hiệu quả. Phần từ vựng được tổng hợp theo từng passage sẽ giúp bạn xây dựng vốn từ vựng học thuật vững chắc.
Đề thi này phù hợp cho học viên từ band 5.0 trở lên, mong muốn nâng cao kỹ năng Reading và đạt điểm cao trong kỳ thi IELTS thực tế.
1. Hướng Dẫn Làm Bài IELTS Reading
Tổng Quan Về IELTS Reading Test
IELTS Reading Test kéo dài trong 60 phút với 3 passages và tổng cộng 40 câu hỏi. Mỗi câu trả lời đúng được tính 1 điểm, không trừ điểm cho câu sai. Độ khó của các passages tăng dần, với Passage 1 là dễ nhất và Passage 3 là khó nhất.
Phân bổ thời gian khuyến nghị:
- Passage 1: 15-17 phút (13 câu hỏi)
- Passage 2: 18-20 phút (13 câu hỏi)
- Passage 3: 23-25 phút (14 câu hỏi)
Lưu ý dành 2-3 phút cuối để kiểm tra và chuyển đáp án vào answer sheet.
Các Dạng Câu Hỏi Trong Đề Này
Đề thi mẫu này bao gồm 7 dạng câu hỏi phổ biến nhất trong IELTS Reading:
- Multiple Choice – Chọn đáp án đúng từ 3-4 lựa chọn
- True/False/Not Given – Xác định thông tin đúng/sai/không được đề cập
- Yes/No/Not Given – Xác định ý kiến tác giả đồng ý/không đồng ý/không đề cập
- Matching Headings – Nối tiêu đề với đoạn văn phù hợp
- Sentence Completion – Hoàn thành câu với số từ giới hạn
- Matching Features – Nối thông tin với đặc điểm tương ứng
- Short-answer Questions – Trả lời câu hỏi ngắn với số từ giới hạn
Học viên đang chuẩn bị làm bài thi IELTS Reading với sách vở và đồng hồ bấm giờ
2. IELTS Reading Practice Test
PASSAGE 1 – Street Murals: Windows to Community Stories
Độ khó: Easy (Band 5.0-6.5)
Thời gian đề xuất: 15-17 phút
In cities around the world, vibrant street murals are transforming once-dull walls into captivating visual narratives that tell the stories of local communities. These large-scale artworks are not merely decorations; they serve as powerful educational tools that engage residents and visitors alike in learning about neighborhood history, cultural heritage, and social issues.
The concept of using public art for education has gained considerable momentum over the past two decades. In Philadelphia, USA, the Mural Arts Program has created over 4,000 murals since 1984, making it the largest public art program in the nation. Each mural is developed through extensive community consultation, where local residents share their stories, concerns, and aspirations. Artists then translate these narratives into visual form, creating artworks that reflect the authentic voice of the community.
One remarkable example is the “Peace Wall” project in Belfast, Northern Ireland. Originally erected as barriers during civil conflict, these walls have been gradually transformed into canvases for murals that promote reconciliation and understanding. Local schools regularly organize educational tours where students learn about the historical context of the conflict and how art can facilitate healing. Teachers report that students who participate in these tours demonstrate increased empathy and a deeper understanding of their community’s complex history.
Community engagement in mural creation extends beyond passive observation. In many projects, residents actively participate in the painting process, working alongside professional artists. This hands-on involvement creates a sense of ownership and pride while teaching practical skills. In the Pilsen neighborhood of Chicago, a predominantly Hispanic area, community members have helped create murals that celebrate Mexican culture and immigrant experiences. These projects often include workshops where participants learn about color theory, design principles, and the history of mural art in Mexican tradition.
The educational impact of street murals is particularly evident in their ability to make learning accessible to all ages and literacy levels. Unlike traditional educational materials that require reading proficiency, murals communicate through visual storytelling that transcends language barriers. In multilingual neighborhoods, this characteristic makes murals especially valuable as inclusive educational resources. A mural depicting the migration journey of a community, for instance, can convey complex historical and emotional narratives without relying on text.
Furthermore, street murals serve as permanent outdoor classrooms. Geography teachers use murals featuring local landscapes to discuss environmental changes. History instructors incorporate murals depicting historical events into their lessons, making abstract concepts more concrete and relatable. Art educators analyze mural techniques and styles, while social studies teachers use murals addressing social justice themes to stimulate critical thinking and discussion about contemporary issues.
The economic educational value of mural projects should not be overlooked. Communities learn about urban planning, tourism development, and the creative economy through their involvement in these initiatives. When a neighborhood gains recognition for its murals, residents witness firsthand how cultural assets can drive economic revitalization. Young people, in particular, gain exposure to career possibilities in the arts, design, and cultural management that they might not have previously considered.
Digital technology has expanded the educational reach of street murals. Many mural projects now include QR codes that visitors can scan to access additional information, artist interviews, and educational materials. Some cities have developed mobile apps that provide self-guided mural tours with historical context and interactive quizzes. This integration of physical and digital elements creates multifaceted learning experiences that appeal to tech-savvy younger generations while preserving the tangible impact of street art.
Research conducted by urban sociologists indicates that neighborhoods with active mural programs experience increased community cohesion and civic engagement. Residents in these areas report feeling more connected to their neighbors and more knowledgeable about local history. Schools located near educational murals have documented improvements in students’ cultural awareness and artistic expression. These findings suggest that the educational benefits of street murals extend beyond formal learning to foster broader social development.
However, challenges exist in maximizing the educational potential of mural projects. Funding remains a persistent obstacle, as many communities lack resources to commission professional artists or maintain existing murals. Additionally, determining whose stories should be told and how they should be represented can create tensions. Effective mural programs address these challenges through transparent decision-making processes and ongoing community dialogue.
Looking forward, the role of street murals in community education appears likely to expand. As cities seek innovative approaches to public education and community building, murals offer a proven model that combines artistic excellence with social purpose. The key to success lies in ensuring that these projects remain rooted in authentic community participation and responsive to local educational needs.
Questions 1-13
Questions 1-5: Multiple Choice
Choose the correct letter, A, B, C, or D.
1. According to the passage, street murals function primarily as:
A. Tourist attractions in urban areas
B. Educational tools for community learning
C. Decorative elements for buildings
D. Income sources for local artists
2. The Mural Arts Program in Philadelphia is distinguished by:
A. Being the oldest mural program globally
B. Creating murals without community input
C. Being the nation’s largest public art initiative
D. Focusing exclusively on historical themes
3. The Peace Wall project in Belfast demonstrates that murals can:
A. Replace traditional peace negotiations
B. Eliminate all community conflicts
C. Support healing and reconciliation processes
D. Prevent future civil disturbances
4. Why are murals particularly valuable in multilingual neighborhoods?
A. They require advanced language skills
B. They communicate through visual storytelling
C. They are cheaper than written materials
D. They attract international tourists
5. Digital technology enhances mural education by:
A. Replacing physical murals entirely
B. Reducing the need for artists
C. Providing QR codes and mobile apps
D. Eliminating traditional teaching methods
Questions 6-9: True/False/Not Given
Do the following statements agree with the information given in the passage?
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
6. All murals created through the Mural Arts Program focus on positive themes.
7. Students who attend Peace Wall educational tours show greater empathy.
8. Community members in Pilsen participate directly in painting murals.
9. Street murals have completely replaced traditional classroom teaching in some cities.
Questions 10-13: Sentence Completion
Complete the sentences below.
Choose NO MORE THAN THREE WORDS from the passage for each answer.
10. History teachers use murals to make __ more concrete for students.
11. Young people gain exposure to career possibilities in the arts and __.
12. Research shows that neighborhoods with mural programs experience increased __ and civic engagement.
13. The success of future mural projects depends on maintaining __ and responding to local needs.
PASSAGE 2 – The Socio-Cultural Dynamics of Public Art Education
Độ khó: Medium (Band 6.0-7.5)
Thời gian đề xuất: 18-20 phút
The pedagogical potential of public art projects has emerged as a significant area of interest for educators, urban planners, and cultural theorists alike. Unlike conventional educational settings that operate within institutional boundaries, public art initiatives function as democratic learning spaces where knowledge exchange occurs organically and continuously. This paradigm shift challenges traditional notions of where and how education should take place, positioning streets, parks, and public squares as legitimate sites for intellectual and cultural development.
A The theoretical framework underpinning public art education draws from multiple disciplines. Social constructivism, which posits that learning occurs through social interaction and cultural context, provides a foundational lens for understanding how public artworks facilitate knowledge construction. When community members engage with a public sculpture or installation, they bring their own experiences, memories, and interpretations, creating a collective meaning-making process. This aligns with the educational philosophy of Paulo Freire, who advocated for dialogic education where learners are active participants rather than passive recipients of information.
B Contemporary research has identified several mechanisms through which public art projects contribute to community education. First, these initiatives promote spatial literacy – the ability to read, interpret, and understand the built environment. When residents engage with public artworks that reference local architecture, historical landmarks, or geographical features, they develop a more sophisticated understanding of their surroundings. This enhanced spatial awareness has practical applications, from urban navigation to participating effectively in city planning discussions.
C Second, public art projects serve as catalysts for intergenerational knowledge transfer. In many communities, elders share oral histories that inform the themes and imagery of public artworks. Younger generations, who might otherwise have limited exposure to these narratives, encounter them through artistic interpretation. A notable example is the Aboriginal public art program in Sydney, Australia, where indigenous artists create works that embed traditional stories and knowledge systems into urban landscapes. These installations function as living archives, preserving cultural knowledge while making it accessible to diverse audiences.
D The aesthetic dimension of public art education warrants particular attention. Unlike textbook learning, which relies primarily on linguistic and logical-mathematical intelligence, public artworks engage multiple intelligences including spatial, kinesthetic, and interpersonal capacities. This multimodal learning approach is especially beneficial for individuals who struggle with traditional educational formats. Art therapists and special education specialists have documented cases where students with learning disabilities demonstrated remarkable engagement and comprehension when educational content was presented through public art experiences.
E Socioeconomic factors significantly influence the educational outcomes of public art projects. Communities with greater resources can typically commission more elaborate installations and develop comprehensive educational programming around them. This disparity raises important questions about equitable access to arts-based education. Some cities have addressed this through targeted investment in underserved neighborhoods, recognizing that strategic public art placement can help counterbalance educational inequalities. The “Art in the Open” initiative in Detroit, Michigan, specifically focuses on neighborhoods with limited access to cultural institutions, bringing high-quality public art directly to residents who face barriers accessing museums and galleries.
F The relationship between public art and civic literacy represents another crucial educational dimension. Many contemporary public art projects explicitly address themes of democracy, citizenship, and social responsibility. These works prompt viewers to reflect on their roles within the broader community and consider their capacity to effect change. Participatory public art projects, where community members contribute to the conceptualization or creation of artworks, provide particularly powerful civic education experiences. Participants learn about consensus-building, resource allocation, and collective decision-making – skills essential for democratic participation.
G Evaluation methodologies for assessing the educational impact of public art projects continue to evolve. Traditional educational assessment tools, designed for formal classroom settings, often fail to capture the nuanced learning that occurs through public art engagement. Researchers have developed alternative approaches including ethnographic observation, community surveys, and longitudinal studies tracking changes in community knowledge and attitudes over time. These methods reveal that public art education produces outcomes extending beyond conventional metrics, including increased community pride, stronger neighborhood identity, and enhanced social capital.
H The digital revolution has introduced new complexities and opportunities for public art education. Augmented reality applications allow viewers to access layered information about artworks, including artist statements, historical context, and educational resources. Some public art projects exist simultaneously in physical and virtual spaces, with digital components that extend educational reach beyond geographical limitations. However, this technological integration also raises concerns about the digital divide and whether technology-enhanced public art experiences might inadvertently exclude community members lacking smartphone access or digital literacy.
I Critics of public art education argue that the informal, voluntary nature of engagement limits its effectiveness as a systematic educational tool. They contend that without structured curricula and assessment mechanisms, learning remains superficial and inconsistent. Proponents counter that the strength of public art education lies precisely in its informality, which eliminates the anxiety and exclusion many people associate with institutional education. This debate reflects broader tensions in educational theory between standardization and flexibility, formal and informal learning.
Looking ahead, the integration of public art into comprehensive community education strategies appears increasingly promising. Several cities have begun developing coordinated approaches that link public artworks with formal educational institutions, community organizations, and digital platforms. These integrated models recognize that effective community education requires multiple touchpoints and formats, with public art serving as a highly visible and accessible entry point into broader learning opportunities. As urban populations grow more diverse and educational needs become more complex, public art projects offer a flexible, culturally responsive tool for fostering informed, engaged communities.
Questions 14-26
Questions 14-19: Yes/No/Not Given
Do the following statements agree with the views of the writer in the passage?
Write:
- YES if the statement agrees with the views of the writer
- NO if the statement contradicts the views of the writer
- NOT GIVEN if it is impossible to say what the writer thinks about this
14. Public art projects challenge the traditional understanding of appropriate educational locations.
15. Paulo Freire’s educational philosophy contradicts the principles of public art education.
16. Public art is more effective than classroom teaching for all types of students.
17. Socioeconomic disparities affect the quality of public art educational programs.
18. Digital technology in public art always improves educational accessibility.
19. The informal nature of public art education is both its strength and weakness.
Questions 20-23: Matching Headings
The passage has nine paragraphs labelled A-I.
Choose the correct heading for paragraphs A, D, F, and H from the list of headings below.
Write the correct number i-viii.
List of Headings:
i. The challenge of measuring educational outcomes
ii. Theoretical foundations of art-based learning
iii. Economic barriers to public art access
iv. Technology’s dual impact on art education
v. Multiple ways of learning through art
vi. Public art as a tool for democratic education
vii. Preserving traditional knowledge through art
viii. The future of urban art education
20. Paragraph A __
21. Paragraph D __
22. Paragraph F __
23. Paragraph H __
Questions 24-26: Summary Completion
Complete the summary below.
Choose NO MORE THAN TWO WORDS from the passage for each answer.
Public art education operates differently from traditional schooling by creating opportunities for 24. __ outside institutional settings. Research has shown that these projects help develop 25. __, which allows people to better understand their physical surroundings. Additionally, public artworks facilitate 26. __ knowledge transfer**, connecting different age groups through shared cultural narratives.
PASSAGE 3 – Paradigmatic Intersections: Public Art as Transformative Pedagogy
Độ khó: Hard (Band 7.0-9.0)
Thời gian đề xuất: 23-25 phút
The epistemological implications of public art projects as vehicles for community education extend far beyond surface-level aesthetic engagement, touching upon fundamental questions about the nature of knowledge, the locus of educational authority, and the sociopolitical dimensions of learning in contemporary urban contexts. As cities worldwide grapple with increasing diversity, socioeconomic stratification, and the erosion of traditional community structures, public art initiatives have emerged not merely as ameliorative interventions but as potentially transformative pedagogical frameworks that challenge dominant educational paradigms and reimagine the relationship between art, knowledge, and collective identity.
Critical pedagogy theorists, building upon the foundational work of Freire, Giroux, and hooks, have identified public art projects as exemplars of emancipatory education – learning experiences that not only transmit information but actively work to disrupt oppressive power structures and cultivate critical consciousness. This theoretical positioning is predicated on the understanding that public space itself is inherently political; who has access to it, whose narratives are represented within it, and what forms of expression are legitimized all reflect and reproduce broader social hierarchies. When marginalized communities gain agency in shaping public artworks, they engage in what educational theorist bell hooks termed “education as the practice of freedom” – a process of claiming space, voice, and visibility that constitutes a profound form of civic learning.
The concept of “place-based education,” which emphasizes learning grounded in local phenomena and community resources, finds particularly robust expression in public art initiatives. Environmental education scholars have documented how public artworks addressing local ecological issues can cultivate what they term “ecological literacy” – a holistic understanding of the interconnections between human communities and natural systems. In Portland, Oregon, the “Green Street Art Project” integrates living plant materials, rainwater management systems, and sculptural elements to create installations that simultaneously beautify neighborhoods and educate residents about urban ecology and sustainable design principles. Longitudinal assessments indicate that neighborhoods hosting these installations demonstrate measurably increased participation in environmental initiatives and more sophisticated discourse around sustainability issues.
The phenomenological dimensions of learning through public art engagement merit careful consideration. Unlike the abstract, decontextualized learning characteristic of many formal educational settings, encounters with public artworks are inevitably embedded in embodied, situated experience. The physicality of walking through a sculpture garden, the sensory experience of textured surfaces, the spatial relationships between artwork and environment – these elements engage somatic intelligence and create what educational psychologist David Kolb described as “concrete experiential learning.” This embodied engagement appears particularly significant for cultivating empathy and emotional understanding; researchers studying public memorial projects have found that physical presence at memorial sites produces more profound emotional learning and perspective-taking than purely cognitive study of historical events.
The semiotic complexity of public artworks creates rich opportunities for developing interpretive capacities and critical analytical skills. Contemporary public art frequently employs multilayered symbolism, intertextual references, and deliberate ambiguity, requiring viewers to engage in sophisticated meaning-making processes. This hermeneutic challenge can be understood through the lens of reader-response theory, which posits that meaning emerges through the interaction between text (or, in this case, artwork) and interpreter. Educational scholars have noted parallels between the interpretive skills developed through public art engagement and the critical reading strategies emphasized in literacy education, suggesting that public art may serve as an alternative entry point for developing broader analytical competencies.
However, the educational efficacy of public art projects is mediated by numerous contextual variables, and optimistic assessments must be tempered by acknowledgment of significant limitations and challenges. Pierre Bourdieu’s concept of “cultural capital” – the accumulated cultural knowledge and competencies that facilitate navigation of social institutions – illuminates how individuals’ backgrounds profoundly shape their capacity to engage with and learn from public artworks. Viewers lacking familiarity with artistic conventions, historical references, or theoretical frameworks embedded in artworks may experience exclusion rather than education. This phenomenon raises thorny questions about whether public art, despite occupying public space, truly functions as democratically accessible education or whether it inadvertently reproduces educational inequalities by privileging those with prior cultural knowledge.
The politics of representation in public art education constitute another critical area of concern. Who determines which stories are told, which historical narratives are foregrounded, and which aesthetic traditions are legitimized? These curatorial decisions carry profound educational implications, shaping collective memory and community identity. In recent years, contentious debates surrounding Confederate monuments in the United States and colonial-era statues in former European colonies have brought these issues into sharp relief, illustrating how public artworks can function as pedagogical tools that either naturalize dominant narratives or create space for counter-hegemonic remembering. The educational dimensions of these controversies themselves – the public discussions, community forums, and historical research they generate – arguably constitute as significant a learning opportunity as the artworks themselves.
The temporality of public art education differs fundamentally from the time-bound structure of formal schooling. Public artworks persist in community spaces, creating opportunities for repeated engagement and evolving interpretation across months, years, or decades. This durational quality enables forms of learning that unfold gradually through accumulated encounters rather than through intensive, time-limited study. Developmental psychologists suggest this pattern may be particularly conducive to deep learning and long-term retention, as it allows individuals to construct understanding incrementally and to revisit concepts at different life stages. Conversely, the permanence of public artworks can become problematic when community needs, demographics, or values shift; what once served an educational function may become irrelevant or even counterproductive.
Recent scholarship has begun exploring the intersectionality of public art education – how it operates differently across axes of race, class, gender, age, ability, and other identity markers. Feminist geographers and disability studies scholars have documented how the spatial configuration of public art installations can enable or impede access for individuals with mobility limitations, how the height of text panels affects readability for people of different statures, and how lighting conditions impact visibility for those with visual impairments. These material considerations have significant educational ramifications; when public artworks are physically or cognitively inaccessible to segments of the community, they fail to fulfill their purported democratic educational function.
The economic sustainability of public art education programs represents a persistent challenge, particularly in the context of austerity policies and competing priorities for public funding. The neoliberal restructuring of urban governance has often shifted responsibility for public art from government agencies to private-public partnerships, corporate sponsorship, and philanthropic funding. This transition raises fundamental questions about educational autonomy: when private entities fund public artworks, do their priorities shape the educational content and messaging? Several critical scholars have argued that corporate-sponsored public art tends toward ideologically safe themes that avoid challenging existing power structures, potentially limiting its capacity to serve genuinely transformative educational functions.
Looking toward future directions, the field of public art education stands at a theoretical and practical crossroads. Emerging technologies such as augmented reality, projection mapping, and interactive digital installations promise to exponentially expand the pedagogical possibilities of public art, enabling layered, customizable, and dynamically responsive learning experiences. Simultaneously, growing emphasis on community-driven methodologies – approaches that position community members as co-creators rather than passive recipients – suggests a democratization of both artistic production and educational agenda-setting. The challenge lies in harnessing these technological and methodological innovations while maintaining critical attention to issues of access, representation, and power. Only through ongoing reflexive practice and rigorous empirical assessment can the field ensure that public art projects realize their potential as tools for equitable, transformative community education.
Dự án nghệ thuật công cộng với cộng đồng tham gia học tập và tương tác trước tác phẩm nghệ thuật đường phố
Questions 27-40
Questions 27-31: Multiple Choice
Choose the correct letter, A, B, C, or D.
27. According to the passage, critical pedagogy theorists view public art as:
A. A simple method of transmitting cultural information
B. A way to challenge oppressive power structures
C. An ineffective educational tool
D. A replacement for traditional schooling
28. The Green Street Art Project in Portland demonstrates:
A. That art and ecology cannot be successfully combined
B. How public art can create ecological literacy
C. The limitations of environmental education
D. The superiority of traditional environmental teaching
29. The concept of “cultural capital” is used to explain:
A. The financial value of public artworks
B. Why some people cannot engage effectively with public art
C. How artists develop their skills
D. The cost of public art education programs
30. The passage suggests that debates about Confederate monuments:
A. Have no educational value
B. Should be avoided in educational contexts
C. Create significant learning opportunities
D. Only interest historians
31. Feminist geographers and disability scholars have highlighted:
A. The universal accessibility of public art
B. That physical design affects educational access
C. The irrelevance of physical space to learning
D. That public art excludes all marginalized groups
Questions 32-36: Matching Features
Match each theoretical concept (32-36) with the correct description (A-H).
Write the correct letter, A-H.
Theoretical Concepts:
32. Place-based education __
33. Somatic intelligence __
34. Cultural capital __
35. Counter-hegemonic remembering __
36. Intersectionality __
Descriptions:
A. Physical and bodily ways of knowing and learning
B. Learning that challenges dominant historical narratives
C. Education grounded in local community resources
D. How identity factors shape educational experiences differently
E. The financial resources needed for arts education
F. Traditional classroom teaching methods
G. Accumulated cultural knowledge facilitating social navigation
H. Digital technology in art education
Questions 37-40: Short-answer Questions
Answer the questions below.
Choose NO MORE THAN THREE WORDS from the passage for each answer.
37. What term describes learning experiences that work to disrupt oppressive power structures?
38. What type of learning does David Kolb associate with embodied, physical engagement?
39. According to the passage, what quality of public artworks enables learning that unfolds gradually over time?
40. What type of practice does the passage suggest is necessary to ensure public art achieves equitable education?
3. Answer Keys – Đáp Án
PASSAGE 1: Questions 1-13
- B
- C
- C
- B
- C
- NOT GIVEN
- TRUE
- TRUE
- FALSE
- abstract concepts
- cultural management
- community cohesion
- authentic community participation
PASSAGE 2: Questions 14-26
- YES
- NO
- NOT GIVEN
- YES
- NO
- YES
- ii
- v
- vi
- iv
- knowledge exchange
- spatial literacy
- intergenerational
PASSAGE 3: Questions 27-40
- B
- B
- B
- C
- B
- C
- A
- G
- B
- D
- emancipatory education
- concrete experiential learning
- durational quality
- reflexive practice
4. Giải Thích Đáp Án Chi Tiết
Passage 1 – Giải Thích
Câu 1: B
- Dạng câu hỏi: Multiple Choice
- Từ khóa: street murals, function primarily
- Vị trí trong bài: Đoạn 1, dòng 2-3
- Giải thích: Passage nói rõ “they serve as powerful educational tools” – murals được nhấn mạnh vai trò giáo dục, không chỉ là trang trí hay thu hút khách du lịch.
Câu 2: C
- Dạng câu hỏi: Multiple Choice
- Từ khóa: Mural Arts Program, Philadelphia, distinguished
- Vị trí trong bài: Đoạn 2, dòng 2-3
- Giải thích: Text ghi rõ “making it the largest public art program in the nation” – đây là đặc điểm nổi bật của chương trình.
Câu 3: C
- Dạng câu hỏi: Multiple Choice
- Từ khóa: Peace Wall, Belfast, demonstrates
- Vị trí trong bài: Đoạn 3
- Giải thích: Passage mô tả murals “promote reconciliation and understanding” và “facilitate healing” – cho thấy vai trò hỗ trợ hòa giải.
Câu 6: NOT GIVEN
- Dạng câu hỏi: True/False/Not Given
- Giải thích: Passage không cung cấp thông tin về việc tất cả murals có chủ đề tích cực hay không, chỉ đề cập đến quá trình tạo ra chúng.
Câu 7: TRUE
- Dạng câu hỏi: True/False/Not Given
- Vị trí trong bài: Đoạn 3, cuối đoạn
- Giải thích: “Teachers report that students who participate in these tours demonstrate increased empathy” – khớp hoàn toàn với statement.
Câu 8: TRUE
- Dạng câu hỏi: True/False/Not Given
- Vị trí trong bài: Đoạn 4
- Giải thích: “community members have helped create murals” – paraphrase của “participate directly in painting”.
Câu 10: abstract concepts
- Dạng câu hỏi: Sentence Completion
- Vị trí trong bài: Đoạn 6
- Giải thích: “History instructors incorporate murals… making abstract concepts more concrete” – đây là cụm từ chính xác từ bài.
Câu 12: community cohesion
- Dạng câu hỏi: Sentence Completion
- Vị trí trong bài: Đoạn 9
- Giải thích: “neighborhoods with active mural programs experience increased community cohesion and civic engagement” – trích nguyên văn.
Giáo viên IELTS đang giải thích chi tiết đáp án bài Reading cho học viên với sơ đồ tư duy và highlight văn bản
Passage 2 – Giải Thích
Câu 14: YES
- Dạng câu hỏi: Yes/No/Not Given
- Vị trí trong bài: Đoạn đầu
- Giải thích: Writer explicitly states that public art “challenges traditional notions of where and how education should take place” – đồng ý hoàn toàn với statement.
Câu 15: NO
- Dạng câu hỏi: Yes/No/Not Given
- Vị trí trong bài: Đoạn A
- Giải thích: Passage nói Paulo Freire’s philosophy “aligns with” public art education, không mâu thuẫn (contradict). Do đó statement sai.
Câu 17: YES
- Dạng câu hỏi: Yes/No/Not Given
- Vị trí trong bài: Đoạn E
- Giải thích: “Socioeconomic factors significantly influence the educational outcomes” và “Communities with greater resources can typically commission more elaborate installations” – writer đồng ý có sự chênh lệch.
Câu 18: NO
- Dạng câu hỏi: Yes/No/Not Given
- Vị trí trong bài: Đoạn H
- Giải thích: Writer mentions “concerns about the digital divide” và technology might “exclude community members” – không phải lúc nào cũng cải thiện khả năng tiếp cận.
Câu 20: ii (Theoretical foundations of art-based learning)
- Dạng câu hỏi: Matching Headings
- Giải thích: Paragraph A discusses “theoretical framework,” “social constructivism,” and educational philosophy – rõ ràng về nền tảng lý thuyết.
Câu 21: v (Multiple ways of learning through art)
- Dạng câu hỏi: Matching Headings
- Giải thích: Paragraph D focuses on “multiple intelligences” và “multimodal learning approach” – về nhiều cách học khác nhau.
Câu 24: knowledge exchange
- Dạng câu hỏi: Summary Completion
- Vị trí trong bài: Đoạn đầu
- Giải thích: “democratic learning spaces where knowledge exchange occurs organically” – đúng cụm từ cần điền.
Câu 25: spatial literacy
- Dạng câu hỏi: Summary Completion
- Vị trí trong bài: Đoạn B
- Giải thích: “promote spatial literacy – the ability to read, interpret, and understand the built environment” – khớp với context.
Passage 3 – Giải Thích
Câu 27: B
- Dạng câu hỏi: Multiple Choice
- Vị trí trong bài: Đoạn 2
- Giải thích: “emancipatory education – learning experiences that not only transmit information but actively work to disrupt oppressive power structures” – đáp án B paraphrase chính xác.
Câu 28: B
- Dạng câu hỏi: Multiple Choice
- Vị trí trong bài: Đoạn 3
- Giải thích: Project is described as cultivating “ecological literacy” và educating residents about urban ecology – rõ ràng về tạo ecological literacy.
Câu 29: B
- Dạng câu hỏi: Multiple Choice
- Vị trí trong bài: Đoạn 6
- Giải thích: Cultural capital “illuminates how individuals’ backgrounds profoundly shape their capacity to engage with and learn from public artworks” – giải thích tại sao một số người không thể tương tác hiệu quả.
Câu 31: B
- Dạng câu hỏi: Multiple Choice
- Vị trí trong bài: Đoạn 9
- Giải thích: These scholars “documented how the spatial configuration… can enable or impede access” – nhấn mạnh thiết kế vật lý ảnh hưởng đến khả năng tiếp cận.
Câu 32: C
- Dạng câu hỏi: Matching Features
- Giải thích: Place-based education is defined as “learning grounded in local phenomena and community resources” – khớp với description C.
Câu 34: G
- Dạng câu hỏi: Matching Features
- Giải thích: Cultural capital là “accumulated cultural knowledge and competencies that facilitate navigation of social institutions” – đúng với G.
Câu 37: emancipatory education
- Dạng câu hỏi: Short-answer Questions
- Vị trí trong bài: Đoạn 2
- Giải thích: “emancipatory education – learning experiences that… actively work to disrupt oppressive power structures” – đúng thuật ngữ.
Câu 39: durational quality
- Dạng câu hỏi: Short-answer Questions
- Vị trí trong bài: Đoạn 8
- Giải thích: “This durational quality enables forms of learning that unfold gradually” – term chính xác.
Câu 40: reflexive practice
- Dạng câu hỏi: Short-answer Questions
- Vị trí trong bài: Đoạn cuối
- Giải thích: “Only through ongoing reflexive practice and rigorous empirical assessment” – cụm từ cuối bài.
5. Từ Vựng Quan Trọng Theo Passage
Passage 1 – Essential Vocabulary
| Từ vựng | Loại từ | Phiên âm | Nghĩa tiếng Việt | Ví dụ từ bài | Collocation |
|---|---|---|---|---|---|
| vibrant | adj | /ˈvaɪbrənt/ | Sống động, rực rỡ | vibrant street murals | vibrant colors, vibrant community |
| captivating | adj | /ˈkæptɪveɪtɪŋ/ | Hấp dẫn, lôi cuốn | captivating visual narratives | captivating story, captivating artwork |
| momentum | n | /məʊˈmentəm/ | Động lực, đà phát triển | gained considerable momentum | gain/gather momentum, lose momentum |
| extensive | adj | /ɪkˈstensɪv/ | Rộng rãi, sâu rộng | extensive community consultation | extensive research, extensive experience |
| reconciliation | n | /ˌrekənsɪliˈeɪʃn/ | Sự hòa giải | promote reconciliation | peace and reconciliation, process of reconciliation |
| empathy | n | /ˈempəθi/ | Sự đồng cảm | increased empathy | show empathy, develop empathy |
| transcend | v | /trænˈsend/ | Vượt qua, siêu việt | transcends language barriers | transcend boundaries, transcend limitations |
| revitalization | n | /ˌriːvaɪtəlaɪˈzeɪʃn/ | Sự phục hưng, tái sinh | economic revitalization | urban revitalization, community revitalization |
| cohesion | n | /kəʊˈhiːʒn/ | Sự gắn kết | community cohesion | social cohesion, group cohesion |
| civic engagement | n phrase | /ˈsɪvɪk ɪnˈɡeɪdʒmənt/ | Sự tham gia công dân | increased civic engagement | promote civic engagement |
| authentic | adj | /ɔːˈθentɪk/ | Chân thực, xác thực | authentic voice | authentic experience, authentic representation |
| hands-on | adj | /hændz ɒn/ | Thực hành trực tiếp | hands-on involvement | hands-on experience, hands-on learning |
Passage 2 – Essential Vocabulary
| Từ vựng | Loại từ | Phiên âm | Nghĩa tiếng Việt | Ví dụ từ bài | Collocation |
|---|---|---|---|---|---|
| pedagogical | adj | /ˌpedəˈɡɒdʒɪkl/ | Thuộc về sư phạm | pedagogical potential | pedagogical approach, pedagogical method |
| paradigm shift | n phrase | /ˈpærədaɪm ʃɪft/ | Sự chuyển đổi mô hình | paradigm shift | undergo a paradigm shift |
| constructivism | n | /kənˈstrʌktɪvɪzəm/ | Thuyết kiến tạo | social constructivism | constructivist approach |
| spatial literacy | n phrase | /ˈspeɪʃl ˈlɪtərəsi/ | Hiểu biết không gian | promote spatial literacy | develop spatial literacy |
| catalyst | n | /ˈkætəlɪst/ | Chất xúc tác, nhân tố thúc đẩy | catalyst for knowledge transfer | act as a catalyst |
| intergenerational | adj | /ˌɪntədʒenəˈreɪʃənl/ | Liên thế hệ | intergenerational knowledge transfer | intergenerational dialogue |
| multimodal | adj | /ˌmʌltiˈməʊdl/ | Đa phương thức | multimodal learning approach | multimodal communication |
| equitable | adj | /ˈekwɪtəbl/ | Công bằng | equitable access | equitable distribution, equitable solution |
| civic literacy | n phrase | /ˈsɪvɪk ˈlɪtərəsi/ | Hiểu biết công dân | relationship between public art and civic literacy | promote civic literacy |
| participatory | adj | /pɑːˈtɪsɪpətri/ | Mang tính tham gia | participatory public art projects | participatory approach, participatory democracy |
| ethnographic | adj | /ˌeθnəˈɡræfɪk/ | Thuộc dân tộc học | ethnographic observation | ethnographic research, ethnographic study |
| longitudinal | adj | /ˌlɒŋɡɪˈtjuːdɪnl/ | Dọc, theo thời gian | longitudinal studies | longitudinal data, longitudinal research |
| augmented reality | n phrase | /ɔːɡˈmentɪd riˈæləti/ | Thực tế tăng cường | augmented reality applications | augmented reality technology |
| digital divide | n phrase | /ˈdɪdʒɪtl dɪˈvaɪd/ | Khoảng cách số | concerns about the digital divide | bridge the digital divide |
| culturally responsive | adj phrase | /ˈkʌltʃərəli rɪˈspɒnsɪv/ | Nhạy cảm văn hóa | culturally responsive tool | culturally responsive teaching |
Passage 3 – Essential Vocabulary
| Từ vựng | Loại từ | Phiên âm | Nghĩa tiếng Việt | Ví dụ từ bài | Collocation |
|---|---|---|---|---|---|
| epistemological | adj | /ɪˌpɪstɪməˈlɒdʒɪkl/ | Thuộc nhận thức luận | epistemological implications | epistemological questions |
| ameliorative | adj | /əˈmiːliərətɪv/ | Cải thiện, làm dịu | ameliorative interventions | ameliorative measures |
| transformative | adj | /trænsˈfɔːmətɪv/ | Có tính chuyển đổi | transformative pedagogical frameworks | transformative learning, transformative change |
| emancipatory | adj | /ɪˈmænsɪpətri/ | Giải phóng | emancipatory education | emancipatory politics |
| legitimize | v | /lɪˈdʒɪtɪmaɪz/ | Hợp thức hóa | what forms are legitimized | legitimize authority |
| phenomenological | adj | /fɪˌnɒmɪnəˈlɒdʒɪkl/ | Thuộc hiện tượng học | phenomenological dimensions | phenomenological approach |
| somatic | adj | /səʊˈmætɪk/ | Thuộc cơ thể | somatic intelligence | somatic experience |
| semiotic | adj | /ˌsemiˈɒtɪk/ | Thuộc ký hiệu học | semiotic complexity | semiotic analysis |
| hermeneutic | adj | /ˌhɜːməˈnjuːtɪk/ | Thuộc diễn giải học | hermeneutic challenge | hermeneutic approach |
| intertextual | adj | /ˌɪntəˈtekstʃuəl/ | Liên văn bản | intertextual references | intertextual analysis |
| mediated | v (past) | /ˈmiːdieɪtɪd/ | Được trung gian hóa | mediated by contextual variables | mediated communication |
| counter-hegemonic | adj | /ˈkaʊntə heɡɪˈmɒnɪk/ | Phản bá quyền | counter-hegemonic remembering | counter-hegemonic discourse |
| temporality | n | /ˌtempəˈræləti/ | Tính thời gian | temporality of public art education | temporality of experience |
| durational | adj | /djʊˈreɪʃənl/ | Kéo dài | durational quality | durational performance |
| intersectionality | n | /ˌɪntəsekʃəˈnæləti/ | Tính giao thoa | intersectionality of public art education | intersectionality theory |
| neoliberal | adj | /ˌniːəʊˈlɪbərəl/ | Tân tự do | neoliberal restructuring | neoliberal policies, neoliberal economics |
| reflexive | adj | /rɪˈfleksɪv/ | Phản tư, phản chiếu | reflexive practice | reflexive thinking, reflexive analysis |
| empirical | adj | /ɪmˈpɪrɪkl/ | Dựa trên kinh nghiệm | rigorous empirical assessment | empirical evidence, empirical research |
Kết Bài
Chủ đề “The Role Of Public Art Projects In Community Education” là một trong những đề tài thú vị và ngày càng phổ biến trong IELTS Reading. Qua ba passages với độ khó tăng dần, bạn đã được tiếp cận với nhiều khía cạnh khác nhau của chủ đề này – từ những ví dụ cụ thể và dễ hiểu về các dự án nghệ thuật đường phố, đến phân tích sâu về cơ chế giáo dục qua nghệ thuật công cộng, và cuối cùng là những thảo luận phức tạp về mặt lý thuyết và triết học giáo dục.
Ba passages đã cung cấp cho bạn trải nghiệm đầy đủ với gần như tất cả các dạng câu hỏi quan trọng trong IELTS Reading: Multiple Choice, True/False/Not Given, Yes/No/Not Given, Matching Headings, Sentence Completion, Matching Features và Short-answer Questions. Mỗi dạng câu hỏi yêu cầu kỹ năng đọc hiểu và chiến lược làm bài khác nhau, và việc luyện tập với đề thi mẫu này sẽ giúp bạn tự tin hơn khi đối mặt với bài thi thực tế.
Phần đáp án chi tiết không chỉ cung cấp câu trả lời đúng mà còn giải thích rõ ràng cách paraphrase, cách định vị thông tin trong passage, và lý do tại sao các đáp án khác không đúng. Điều này giúp bạn hiểu sâu hơn về cách IELTS thiết kế câu hỏi và phát triển tư duy phân tích cần thiết để đạt band điểm cao.
Danh sách từ vựng tổng hợp theo từng passage với hơn 40 từ và cụm từ quan trọng sẽ giúp bạn mở rộng vốn từ học thuật, đặc biệt trong các lĩnh vực nghệ thuật, giáo dục và phát triển cộng đồng. Hãy chú ý các collocations và ví dụ sử dụng để có thể áp dụng từ vựng này một cách tự nhiên trong cả phần Writing và Speaking.
Hãy nhớ rằng, việc đạt điểm cao trong IELTS Reading không chỉ phụ thuộc vào vốn từ vựng mà còn vào kỹ năng quản lý thời gian, khả năng scanning và skimming, và sự quen thuộc với các dạng câu hỏi. Tiếp tục luyện tập thường xuyên với các đề thi mẫu chất lượng, phân tích kỹ các lỗi sai, và không ngừng cải thiện chiến lược làm bài của mình.
Chúc bạn ôn tập hiệu quả và đạt được band điểm mong muốn trong kỳ thi IELTS sắp tới!
