詳解托福閱讀的解題技巧和訓練方法

時間：2020-07-18 14:36:12 楚薇0由分享

在托福閱讀考試中，有好的訓練方法和一定量的解題技巧，可以為你的托福閱讀得到高分。那具體這些解題技巧和方法我們應該如何應用到平時的練習中去呢?下面小編就為大家整理了這些，希望可以幫助到大家，快來一起學習吧。

詳解托福閱讀的解題技巧和訓練方法

1.每一篇文章第一次做時，盡量按照考試速度要求做。

2.做完后，接下來就要認真把文章讀一遍，劃出把文章里不懂的單詞和長難句，查出單詞意思，(借助語法知識)認真分析長難句，同時還要把錯題(包括碰巧猜對的題目)認真分析，特別是OG和漢客筆記的題目(還有北極星最后幾套ETS出的題目)，一定要把題目涉及的文章內(nèi)容仔細看，甚至在文章中劃出涉及考題的內(nèi)容，培養(yǎng)對易出題的考點的感覺，甚至揣摩ETS的出題思路。等到這些工作都做完，這篇文章也就基本吃透了，這時再重新把文章讀一遍，最好多讀兩遍。這個過程其實就是精讀了。只要時間允許，做過一次的閱讀文章最好都盡量精讀，吃透它。光作對題只是一個淺顯的要求，就像只顧吃飯，對材料認真分析、精讀才是真正消化吸收。

3.等過了三五天，或者兩三周以后，有空的話再把這篇文章看(做)一遍，作為鞏固，復習，而且有時還會溫故知新。

P.S 如果時間不足，OG的文章是一定要精讀的，而且題目也要仔細研究，這是出題思路和考試最為接近的資料。這些原則在新托福閱讀其實也是同樣適用的，只要文章中出現(xiàn)如下內(nèi)容，都要引起注意：舉例證明，羅列式例舉，轉(zhuǎn)折(否定)，因果，下定義，比較級(最高級)，同位語(插入語)，數(shù)字年代，特殊標點(引號，破折號等)。

閱讀具體的做題順序

閱讀最基本的做題順序有兩種：先讀(全篇)文章再做題;先讀題目再讀文章(相應部分)然后做題

它們又能衍生變化出兩種做題順序：讀一段文章，做相應的題目，然后再讀一段，再做相應的題目;讀文章各段首句，然后看題目，再找文章內(nèi)相應部分做題

對于廣大非牛來說，可能“讀文章各段首句，然后看題目，再找文章內(nèi)相應部分做題”會比較合適，讀各段首句可以粗略掌握文章大意和結(jié)構(gòu)，做題再看內(nèi)容再做能大大降低“工作量”，但是這種做法不利于對全文的消化吸收，從而不利于做總結(jié)題，也可能會遺漏文章內(nèi)的一些細節(jié)而導致做錯細節(jié)題。而新托福目前反饋大都是順序出題的，所以建議練習時就盡量往“讀一段做相應題目，再讀一段再做相應題目”這一順序去靠攏，可以對文章有全面的把握，雖然總量上還是要讀完全文，但是對大腦的短期記憶的負擔要比通讀全文再做題目小很多。

托福閱讀題型破解

閱讀一般來說是中國人的強項了，也是拿分的主力。如果你口語不牛，作文一般，還想考到100分，那么閱讀應該保證在28分以上。(我認為對于多數(shù)人來說，要達到一百分，28，26，22，24這個結(jié)構(gòu)是比較容易達到的。)

在IBT閱讀中，甚至可以擴展到ETS所有考試的閱讀題目中，如果要用一個詞來概括的話，那就是paraphrase，意譯。無論是題干還是正確選項，大都能在原文中找出一句話來與之相對應。即題目是原文的意譯。這種意譯是通過同義詞來完成的。即題干中多用近義詞來對原文中的句子進行替換，來達到提出問題或者提出正確答案的意思。準確把握意譯，是多數(shù)題目中準確在原文中定位信息、或者在迷惑選項中選出正確的那個，都有著重要的作用。在后面的文章里我會結(jié)合實例解釋這一點。

關(guān)于先看題目還是先看文章的問題。也就是做題時間安排的問題。在此問題上我與有的朋友也有過爭執(zhí)。我個人習慣是先用5—7分鐘的時間通讀全文，然后平均每個問題有1分鐘的時間來回答。由于對問題的回答建立在了熟悉全文的基礎(chǔ)上，每個問題又有足夠的時間返回全文，每個選項都一一進行斟酌。我認為這樣準確率比較高。但有的朋友本著居家過日子的心，認為1000多字的文章只出十幾個題，必然有一些信息是沒用的。這樣通讀全文就會浪費掉一些時間，不如先看題再回去找來的痛快。對此我不好妄加評論。每個人都應該通過考前大量的練習來制定出最為適合自己的方法。

關(guān)于復習的時間安排。我認為，弄完詞匯以后，就應該著手突擊一下閱讀了。如今各種各樣的模擬題猶如英語輔導班一樣大量涌現(xiàn)。不會出現(xiàn)我們早期考生有題舍不得做的情況了。但也不能太急功近利，單詞沒弄好就硬上閱讀，有時候會適得其反。用1周的時間大量的突擊，也是對單詞的一個鞏固。找到感覺以后就可以開始下面的復習了。復習聽力口語作文的日子里，每天一定要最少做3篇文章的題量，按照考試的時間要求，千萬不可放松。做得多了，就可以把閱讀當作一種放松了。ETS的閱讀文章能教給我們各種學科的基礎(chǔ)知識。(這與GRE有區(qū)別。托福的專業(yè)性文章還都處于一個啟蒙的專業(yè)水平上，不像G那么變)閱讀還可以教給我們一些老美的思路，老美看待問題的方式。閱讀不會像你想象的那樣痛苦的。

無論是OG還是Delta，都把閱讀的題目分成十類，即：Understanding Facts and Details, IdentifyingNegative Facts, Locating Referents, Understanding Vocabulary in Context, Making Inferences,Determining Purposes, Recognizing Paraphrases (Simplifying sentences), Recognizing Coherence(Sentence inserting), Summarizing Important Ideas and Organizing information. 我將按順序一一解釋。

還有很重要的一點，做題的時候，無論考試還是練習，不光要分析對的選項為什么對，更要分析錯的選項為什么錯。有時候分析錯誤的原因更為重要。有助于你把握出題的思路，培養(yǎng)感覺。這是非常有用的。

托福閱讀詞匯實踐出高分

有些人在復習托福閱讀一開始就抱著詞匯書背，我認為那樣做背起來特別容易忘，而且還到實際中還不知道怎么用。其實不妨這樣做，那一開始就做真題，就像摸考一樣，然后在對答案的時候，遇到的不懂得單詞，再看那些跟著每一套閱讀真題的單詞(有一些書就是跟著每套題的單詞，全篇翻譯都有的)，這時候再背單詞，做一套，背一套，大概這樣做上4、5套題，你的感覺就是，大體主要的單詞也就是這些了，那你就提高到一個境界了。

而且復習托福閱讀真題讓你對真題書而有熟，是一舉幾得的事。我就是這么做的，是清華的一個家伙介紹給我的，真是不錯，現(xiàn)在大概復習有1個多月了，錯題數(shù)能控制在2個以內(nèi)。當然另外，還要注意一點，那就是一個閱讀的方法問題，我也想說一下，希望對大家有用。

托福閱讀備考的方法

其實快速閱讀的技巧在掌握文章的思路，使整篇文章的段落層次，清晰在大腦中展現(xiàn)。

在讀第一段時，特別是第一句，往往給我們一個大致的思路，文章的論題是什么，作者想說什么?然后第二段的第一句，然后在想一想作者下面又想講什么，這一段里有沒有什么重要的細節(jié)。然后第三段，又講了什么，這里面的重要細節(jié)又是什么。

幾段下來，每次讀的時候都要來個小小的總結(jié)。各個段落的目的是什么，主題又是什么?這樣，在腦子里面形成一個作者思路圖，在腦子里或者在草稿紙上畫一個文章的結(jié)構(gòu)思路題。

在回答問題前，花幾秒鐘總結(jié)一下文章大意，它的思路和主題。

再次提醒，TOEFL考察的是你的答題能力而非閱讀能力。你不必完全掌握整篇文章，了解文章中的每一個細節(jié)。(其實，你也沒有那么多時間)。相反，你應該只讀文章段落的第1句，而快速瀏覽其余部分。當你"讀"完這篇文章時，你就能對文章的結(jié)構(gòu)思路有總體的把握。

答題。根據(jù)你對文章的整體思路來答題。將問題(或選項)定位到文章中具體的某個段落甚至具體的句子。因為你這樣做完，你會覺得每一段的思路、脈絡都會非常清晰，做題的時候，就可以很快找到出題點，而且對于偏離主題的題一眼就能看出，主題詞就會顯得格外明顯。而實際中每一次的小結(jié)只需要幾秒鐘的一個停頓就可以，大家不妨試試，就會明白了。

需要注意的是，復習的時候，一定要看原文章，將文章通讀，遇到忘了的單詞，在重新回來查書上的解釋，然后再背。這樣背過的單詞就不再是一個個孤立的單詞，而且也省去了枯燥背單詞的時間，更主要的是，這樣背過的單詞，你會對這個詞的用法很熟悉，不容易忘，或者就像有些人所說的，明明在單詞表里覺得挺熟的詞，到了真正的閱讀中，又會覺得很生疏，或者不能立刻反映出它的意思了。

托福閱讀備考時大家要在做托福閱讀真題的同時理解背誦單詞，這樣才能進一步加強托福閱讀學習的質(zhì)量，希望對大家有幫助。

托福閱讀真題1

Glass fibers have a long history. The Egyptians made coarse fibers by 1600 B.C., and fibers survive as decorations on Egyptian pottery dating back to 1375 B.C. During the Renaissance (fifteenth and sixteenth centuries A.D.), glassmakers from Venice used glass fibers to decorate the surfaces of plain glass vessels. However, glassmakers guarded their secrets so carefully that no one wrote about glass fiber production until the early seventeenth century.

The eighteenth century brought the invention of spun glass fibers. R é ne-Antoine de R é a French scientist, tried to make artificial feathers from glass. He made fibers by rotating a wheel through a pool of molten glass, pulling threads of glass where the hot thick liquid stuck to the wheel. His fibers were short and fragile, but he predicted that spun glass fibers as thin as spider silk would be flexible and could be woven into fabric.

By the start of the nineteenth century, glassmakers learned how to make longer, stronger fibers by pulling them from molten glass with a hot glass tube. Inventors wound the cooling end of the thread around a yarn reel, then turned the reel rapidly to pull more fiber from the molten glass. Wandering tradespeople began to spin glass fibers at fairs, making decorations and ornaments as novelties for collectors, but this material was of little practical use; the fibers were brittle, ragged, and no longer than ten feet, the circumference of the largest reels. By the mid-1870's, however, the best glass fibers were finer than silk and could be woven into fabrics or assembled into imitation ostrich feathers to decorate hats. Cloth of white spun glass resembled silver; fibers drawn from yellow-orange glass looked golden.

Glass fibers were little more than a novelty until the 1930's, when their thermal and electrical insulating properties were appreciated and methods for producing continuous filaments were developed. In the modern manufacturing process, liquid glass is fed directly from a glass-melting furnace into a bushing, a receptacle pierced with hundreds of fine nozzles, from which the liquid issues in fine streams. As they solidify, the streams of glass are gathered into a single strand and wound onto a reel.

1. Which of the following aspects of glass fiber does the passage mainly discuss?

(A) The major developments in its production

(B) Its relationship with pottery making

(D) The variety of its uses in modern industry

2. The word coarse in line 1 is closest in meaning to

(A) decorative

(B) natural

(D) weak

3. Why was there nothing written about the making of Renaissance glass fibers until the seventeenth century?

(A) Glassmakers were unhappy with the quality of the fibers they could make.

(B) Glassmakers did not want to reveal the methods they used.

(D) Production methods had been well known for a long time.

4. According to the passage , using a hot glass tube rather than a wheel to pull fibers from molten

glass made the fibers

(A) quicker to cool

(B) harder to bend

(D) longer and more durable

5. The phrase this material in line 16 refers to

(A) glass fibers

(B) decorations

(D) novelties for collectors

6. The word brittle in line 17 is closest in meaning to

(A) easily broken

(B) roughly made

(D) shiny

7. The production of glass fibers was improved in the nineteenth century by which of the

following

(A) Adding silver to the molten glass

(B) Increasing the circumference of the glass tubes

(D) Using yarn reels

8. The word appreciated in line 23 is closest in meaning to

(A) experienced

(B) recognized

(D) increased

9. Which of the following terms is defined in the passage ?

(A) invention (line 7)

(B) circumference (line 17)

(D) bushing (line 25)

PASSAGE 53 ACBDA ADBD

托福閱讀真題2

Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varèse(1 883-1965) called thus the liberation of sound...the right to make music with any and all sounds. Electronic music, for example — made with the aid of computers, synthesizers, and electronic instruments — may include sounds that in the past would not have been considered musical. Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and nonelectronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments. A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music — tom-toms, bongos, slapsticks, maracas—are widely used.

In the search for novel sounds, increased use has been made in Western music of microtones. Non-western music typically divides and interval between two pitches more finely than western music does, thereby producing a greater number of distinct tones, or microtones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters — closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well. Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium.

Because standard music notation makes no provision for many of these innovations, recent music scores may contain graphlike diagrams, new note shapes and symbols, and novel ways of arranging notation on the page.

1. What does the passage mainly discuss?

(A) The use of nontraditional sounds in contemporary music

(B) How sounds are produced electronically

(D) Several composers who have experimented with the electronic production of sound

2. The word wider in one 1 is closest in meaning to more impressive

(A) more distinctive

(B) more controversial

(D) more impressive

3. The passage suggests that Edgard Var è se is an example of a composer who

(A) criticized electronic music as too noiselike

(B) modified sonic of the electronic instruments he used in his music

(D) wrote music with environmental themes