托福阅读到底怎么练高效攻略助您轻松应考.docx

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1、托福阅读到底怎么练,高效攻略助您轻松应考 为了帮助大家攻克托福阅读。今日我主要给大家共享托福阅读究竟怎么练，希望对你们有帮助! 托福阅读究竟怎么练,高效攻略助您轻松应考 1.托福阅读词汇 从某种意义上说，词汇量是托福阅读理解高分的基础和关键，假如你的词汇不符合基本要求(超过5000)，即使有再多的锦囊妙计，也只能落入ETS的“毒招”之下，因此，以牺牲词汇量为代价的技巧练习是完全不行取的。 2.托福阅读技巧 托福的阅读量如此之大，以至于一般的中国考生无法阅读全部的文章。所谓的“扫读”、“跳读”和“略读”只能适用于少数几类文章，不能解决根本问题。那么，阅读文章应当怎么读呢?一句话，主动阅读文章的关

2、键部分。 所谓主动是指不能像一般阅读一样完全被动地接受信息，而是不断地思索和预料。所谓的关键部分主要是每一段的开头和文章结尾，由于托福阅读理解文章全部选自官方出版物，文章的逻辑结构特别完整和严谨，逻辑模式也是屈指可数。 经过系统的训练，考生的预料会特别精确，这样，通过阅读文章的几个关键部分，就可以快速驾驭整篇文章的结构和内部逻辑关系，也就解决了70%的问题。 3.解题训练 解除法可能是大多数考生在解决阅读题时最常用的方法，事实上，这种方法有致命的缺点:干扰大且耗时。一个更有效、更快捷的方法是在阅读完问题后，在脑海中反映出一个模糊或不完整的答案，然后在选项中找到一个接近的答案来推断。这种实力必需

3、在平常的训练和讲解中逐步养成和加强，它绝不是技巧之类可以替代的东西。 除了以上三个方面的训练，假如能补充一些基本的背景学问，阅读理解的精确性和速度就能得到更好的保证。 因此，托福阅读理解的真正提高不是学习一些技巧，而是形成一种在训练中运用技巧的无意识习惯，并做到实力和技巧的奇妙结合。 托福阅读练习题：文艺复兴类 The medieval artists didnt know about perspective; they didnt want to make their people look like real， individual people in a real， individual

4、 scene. They wanted to show the truth， the eternal quality of their religious stories. So these artists didnt need to know about perspective. In the European Renaissance period， artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieva

5、l style couldnt show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-point

6、ed perspective and still later multi-point perspective. With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique， a part of the “grammar of painti

7、ng”. Like all bits of grammar there are exceptions about perspective. For example， only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops dont meet on eye level. For 500 years， artists in Europe made use of perspective drawing in their pictures. Nevertheless， there are a

8、range of priorities that artists in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh， like some of the other painters of the Impressionist period， was interested in Japanes

9、e prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However， he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions. It is technical

10、ly easy to give an illusion of depth. However， a strong two dimensional design is just as important as a feeling of depth， and perhaps more important. 1 The passage mainly discusses (a) the difference between medieval and Renaissance art (b) how the technique of perspective influenced the modern art

11、 (c) the discovery of the technique of perspective (d) the contribution of Renaissance artists 2 The word “eternal” in line 3 is closest in meaning to (a) timeless (b) infinite (c) frequent (d) constant 3 According to the passage， which is the main concern for medieval artists? (a) the individual pe

12、rson and his/her possessions and surroundings (b) real people， real scenes (c) eternal timeless truth of the earth (d) themes of religious stories 4 The discovery of perspective was the result of (a) Renaissance artists to prove that the medieval artists could show level of reality (b) the need to t

13、urn an object at an angle and draw more than one side of it (c) the subject being shifted from religious stories to individual person andsurroundings. (d) natural evolution of human senses 5 The word “it” in line 12 refers to (a) the picture (b) perspective (c) angle (d) the object 6 The word “Gramm

14、ar ” in line 13 is closest in meaning to (a) construction (b) grammatical rules (c) rules and regulations (d) tones and volume 7 The authors purpose to give the example in line14-15 is to (a) explain how perspective work in painting (b) support two-pointed perspective (c) illustrate that there are e

15、xceptions about perspective (d) point out that the technique of perspective though seems so natural is an invented technique 8 The following artists priorities in style shift away from perspective except (a) Crivelli (b) Cezanne (c) Japanese artists (d) Brunelleschi 9 The word ”Illusion” in line 25

16、is closest in meaning to (a) deception (b) photograph (c) decoration (d) illustration 10 It can be inferred from the passage that Renaissance artists (a) embraced the medieval style of eternal truth (b) needed to develop a new approach towards painting to show a new level of reality (c) were inspire

17、d by vertical and horizontal surfaces in inventing the technique of perspective (d) saw two dimensional design more important than a feeling of depth 参考答案：1.b 2.a 3.d 4.c 5.d 6.c 7.c 8.d 9.a 10.b 托福阅读练习题：冰川国家公园 Glacier National park in Montana shares boundaries with Canada， an American Indian reserv

18、ation， and a national forest. Along the North Fork of the Flathead River， the park also borders about 17，000 acres of private lands that are currently used for ranching， timber， and agriculture. This land is an important part of the habitat and migratory routes for several endangered species that fr

19、equent the park. These private lands are essentially the only ones available for development in the region. With encouragement from the park， local landowners initiated a land-use planning effort to guide the future of the North Fork. The park is a partner in an interlocal agreement that calls for r

20、esource-managing agencies to work together and with the more than 400 private owners in the area. A draft plan has been prepared， with the objective of maintaining traditional economic uses but limiting new development that would damage park resources. Voluntary action by landowners， in cooperation

21、with the park and the county， is helping to restrict small-lot subdivisions， maintain wildlife corridors， and minimize any harmful impact on the environment. The willingness of local landowners to participate in this protection effort may have been stimulated by concerns that Congress would impose a

22、 legislative solution. Nevertheless， many local residents want to retain the existing character of the area. Meetings between park officials and landowners have led to a dramatically improved understanding of all concerns. 31. The passage mainly discusses (A) the endangered species in Glacier Nation

23、al Park (B) the protection of lands surrounding Glacier National Park (C) conservation laws imposed by the state of Montana (D) conservation laws imposed by Congress 32. Why are the private lands surrounding Glacier National Park so important? (A) They function as a hunting preserve. (B) They are re

24、stricted to government use. (C) They are heavi ily populated. (D) They contain natural habitats of threatened species. 33. The word "ones" in line 6 refers to (A) private lands (B) endangered species (C) migratory routes (D) ranching， timber， agriculture 34. The word "initiated"

25、in line 7 is closest in meaning to (A) started (B) requested (C) purchased (D) considered 35. The relationship between park officials and neighboring landowners may best be described as (A) indifferent (B) intimate (C) cooperative (D) disappointing 36. It can be inferred from the passage that a majo

26、r interest of the officials of Glacier National Park is to (A) limit land development around the park (B) establish a new Park in Montana (C) influence national legislation (D) settle border disputes with Canada 37. In lines 15-16， the author implies that landowners might be responding to environmen

27、tal concerns for which of the following reasons? (A) They wish to stimulate economic growth. (B) They wish to improve their public image. (C) They have a tradition of cooperating with ththe government. (D) They fear federal legislation. 38. The word "stimulated" in line 16 is closest in me

28、aning to (A) motivated (B) anticipated (C) substituted (D) undermined 39. The word "retain" in line 17 is closest in meaning to (A) preserve (B) possess (C) enjoy (D) improve 40. Where in the passage does the author mention the purpose of the plan developed by local landowners and park off

29、icials? (A) Lines 1-2 (B) Lines 4-6 (C) Lines 10-14 (D) Lines 15-17 如何阐述托福阅读文章意思 例题： Although we now tend to refer to the various crafts according to the materials used to construct them-clay， glass， wood， fiber， and metal-it was once common to think of crafts in terms of function， which led to thei

30、r being known as the “applied arts.” Approaching crafts from the point of view of function， we can divide them into simple categories： containers， shelters， and supports. There is no way around the fact that containers， shelters， and supports must be functional. The applied arts are thus bound by th

31、e laws of physics， which pertain to both the materials used in their making and the substances and things to be contained， supported， and sheltered. These laws are universal in their application， regardless of cultural beliefs， geography， or climate. If a pot has no bottom or has large openings in i

32、ts sides， it could hardly be considered a container in any traditional sense The passage discusses applied-art objects in relation to all of the following EXCEPT A. the techniques used in their construction B. the ways they have been classified C. their function D. the universality of the laws that

33、govern them 解析 正误推断题事实上也是在考察考生理解文章主要信息的实力，从这一点来讲是与Factual Information(事实信息题)相像的，两种题型存在的差异就在于正误推断题是要求考生从四个选项中筛选出与文章不符或文章中没有提到的信息。 细致阅读这一段，我们发觉这一段主要是在探讨1，在过去，人们经常是依据功能来区分手工艺术品的，从而产生了“applied arts(应用艺术品)”这一概念;2，从功能的角度来区分手工艺术品，可以把它们分为收纳物(container)、遮挡物(shelter)、支撑物(support);3，应用艺术品受到laws of physics的限定，不

34、仅限定了制作这些艺术品的材料也限定了他们所收纳的、遮挡的、支撑的物体。这些laws是防止四海皆准的，在任何文化信仰、世界的任何地方和任何一种气候条件都是一样的。比如假如一个没有底的罐子或是一个在旁边开口的罐子，就很难被定一位是收纳物。 整个段落都没有提及建立这些艺术品所运用的技术，所以A是文章中没有提到的，为正确答案。 托福阅读究竟怎么练,高效攻略助您轻松应考本文来源：网络收集与整理，如有侵权，请联系作者删除，谢谢！第17页 共17页第 17 页 共 17 页第 17 页 共 17 页第 17 页 共 17 页第 17 页 共 17 页第 17 页 共 17 页第 17 页 共 17 页第 17 页 共 17 页第 17 页 共 17 页第 17 页 共 17 页第 17 页 共 17 页