托福閱讀刷題步驟

2023-09-30 15:16:59 來源：中國教育在線

現(xiàn)在留學(xué)的學(xué)生越來越多，留學(xué)可以開闊眼界，也能學(xué)習(xí)不一樣的教育體制，而且國外名校眾多，教育水平也一流。下面小編就來和大家說說“托福閱讀刷題步驟”這個問題

托福閱讀刷題步驟

為了幫助大家熟悉托福TPO閱讀，為大家?guī)硗懈PO閱讀該如何正確刷題一文，希望對大家托福備考有所幫助。

有懂得計(jì)劃安排的大學(xué)生童鞋問老師：剛剛接觸托福，有半年時間備考，要不要每天刷一套TPO閱讀題?

題，當(dāng)然是要刷的，但是要真正合理有效地備考，不是每天刷一套就行的。教學(xué)中，老師們只要讓童鞋講一下某個句子的具體意思或是做一點(diǎn)翻譯就會發(fā)現(xiàn)，很多時候同學(xué)就算題做對了，對文章內(nèi)容的理解還是存在各種各樣的偏差。

這些理解偏差，在句內(nèi)層面上主要是對某些多義詞在語境中意思的誤解，對特定句式、句型和固定表達(dá)的誤解、對邏輯關(guān)系的篡改等，在句間和段落層面上則是對層次、觀點(diǎn)展開順序的忽視以及由句內(nèi)理解偏差累積形成的對文章整體內(nèi)容把握的偏差?？赡芩鼈冊谀车李}、某篇文章里，沒有影響到做對題目，但是從閱讀的目的——獲取知識和信息——來講，還是非常有害的。況且，就算從考試得分角度來講或許也是跑得了初一跑不了十五，下次考試就造成丟分呢。所以，在做完題目，對完答案，搞明白具體錯題原因后，應(yīng)該至少還有兩件事情：

一是重新精讀文章，借助詞典搞清其中的生詞并收集常用意思及相關(guān)搭配，再借助譯文，檢驗(yàn)自己對每一句的理解，若發(fā)現(xiàn)理解錯的短語、句型，則去搜索更多同類例句，直到搞明白，再挑典型、簡明的例句收集。

以O(shè)G文章Applied Arts and Fine Arts為例，它的第一段前三句如下：

Paragraph 1:Although we now tend to refer to the various crafts according to the materialsused to construct them—clay, glass, wood, fiber, and metal—it was once commonto think of crafts in terms of function, which led to their being known as the"applied arts." Approaching crafts from the point of view offunction, 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. ...

這短短三句話就有很多“營養(yǎng)”可“吸”。首先是tend to do sth “傾向于做某事”、refer to sth “言及、指稱”，接下來是it is...to do sth這種it做形式主語的句式，還有in terms of sth “就某物而言”這個閱讀和口語中都非常有用的短語，以及which引導(dǎo)的非限制性定語從句提供補(bǔ)充性信息。細(xì)心的同學(xué)可能會發(fā)現(xiàn)，"applied arts."的句號在引號里面，可能生出疑問：不是應(yīng)該在外面嗎?不是的，這種結(jié)尾有引號的情況下，要把前面的標(biāo)點(diǎn)包進(jìn)去，SAT文法里就有考這個。

接下來的approach這里作動詞“應(yīng)對、處理”解。這個詞有很多文章可作，可以作動詞，本意是“(物理上)靠近、接近”，又可以指“(在性質(zhì)或特點(diǎn)上)接近”，還能指“(為求助或提供某事物)接近某人”(這個用法在SAT文法可汗診斷題Toshio Fukuda那篇文章第二段末尾就出現(xiàn)過);approach還可以作名詞，指“接近”、“通道”、“方法手段”等。后面的craft文中來看應(yīng)該是“手工藝制品”，它還可以指“艦、船”，比如aircraft、 spacecraft ，作動詞時指“精工制作”。

這句里還有from the point of view of “從某個觀點(diǎn)出發(fā)”，是不是也可以借鑒到寫作中去?最后還有個there is no way around the fact that的表達(dá)，每個單詞都認(rèn)識，但是放到一起就讓人郁悶，因?yàn)榇蠖鄶?shù)同學(xué)只知道noway是“沒門，沒辦法”，后面再加上“圍繞著這個事實(shí)”干嘛呀?其實(shí)根據(jù)上文和下一段開頭，或許隱約可以感覺到這里there is no way around the fact that是指后面從句里的內(nèi)容是“無可辯駁”的，不過感覺不到的話，就借助網(wǎng)絡(luò)或者詞典查出來吧。

另外一件需要做的事情，主要是關(guān)于觀點(diǎn)層次和句子作用分析的，其中句子作用重點(diǎn)關(guān)注“舉例”(做多了同學(xué)們就會明白為什么重點(diǎn)關(guān)注“舉例”了)。

我們繼續(xù)蹂躪那篇文章，用不同顏色標(biāo)記(紅色表示“文章級觀點(diǎn)層次”，藍(lán)色表示“段落級觀點(diǎn)層次”，黃色表示“舉例”)出觀點(diǎn)層次和句子作用，as is demonstrated below: (這里插一句，經(jīng)驗(yàn)之談，通常應(yīng)該先閱讀每段的首2末1句，整體判斷文章結(jié)構(gòu)和內(nèi)容;這篇文章實(shí)際有點(diǎn)“非主流”，不是常見的“總-分”或者“總-分-總”，而是“分-總”，大多數(shù)同學(xué)可以從尋找第一段的“段落級觀點(diǎn)層次”入手，聰明的同學(xué)或許已經(jīng)想到可以先看末段了解文章最終觀點(diǎn)，當(dāng)然單詞和句式不能理解錯。)

Applied Arts and Fine Arts

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 their 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 the 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 its sides, it could hardly be considered a container inany traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike;that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What varies is not the basic form but the incidental details that do not obstruct the object's primary function.

Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker offine-art objects. This assumption misses a significant difference between the two disciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art objectsare. Because their primary purpose is not functional, they are only limited interms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the sculptor's aesthetic intentions, placed the ball there. That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze).

Even though the fine arts in the twentieth century often treat materialsin new ways, the basic difference in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant. It would therefore not be too great an exaggeration to say that practitioners of the fine arts work to overcome the limitations of their materials, whereas those engaged in the applied arts work in concert with their materials.

細(xì)心的同學(xué)可能發(fā)現(xiàn)了的，同時也是需要說明的是：文章級別的觀點(diǎn)層次不一定總在“首2末1”范圍，畢竟寫文章的人是活的，段首可能多寫了一點(diǎn)鋪墊性或者過渡性語句;第二段出現(xiàn)了紅色和藍(lán)色重疊的內(nèi)容，原因是它們既是本段內(nèi)的觀點(diǎn)層次，又表達(dá)了文章級別的觀點(diǎn)層次;舉例總是依附于觀點(diǎn)層次，因?yàn)槟康氖侵С炙鼈兟铩?/p>

讀到這里，不知童鞋有沒有感覺到，每天一篇就已經(jīng)是不小的“食量”了，當(dāng)初自己想在備考早期就每天一套TPO地刷題是有點(diǎn)細(xì)思極恐的事情。要用好TPO閱讀文章，應(yīng)該像OG另一篇文章Feeding Habits of East AfricanHerbivores里的ruminants那樣，充分吸收每篇文章的營養(yǎng)，才能扎實(shí)地進(jìn)步。

OK，就先說這么多，2017剩下的就是各位童鞋“為中華之崛起而讀書”的日子了。各位爭取學(xué)好英文，師夷長技以制夷，以留學(xué)生的身份，從內(nèi)部對美帝進(jìn)行社會主義改造。

托福閱讀提分的五個步驟

閱讀部分是整個托?？荚嚨闹攸c(diǎn)，可以說雖然有單獨(dú)的閱讀考試但是對其他聽力、寫作部分的考驗(yàn)也是建立在閱讀能力的基礎(chǔ)上。如何提高閱讀能力，在閱讀部分取得高分也是眾多小伙伴平時重點(diǎn)關(guān)注的部分，在這里小編與大家分享一些小技巧，希望可以幫助童鞋們?nèi)〉煤贸煽儭?/p>

1.略讀

略讀時抓出文章的主題、時間、任務(wù)等重要信息能夠迅速掌握文章的大意和段落大意。然后再閱讀問題，根據(jù)問題迅速定位答案所在段落進(jìn)行精讀。

2.充分利用上下文語境

在考試過程中，我們通常不會也不可能認(rèn)識所有的單詞或看懂所有的句子，遇到這種情況，不要驚慌，學(xué)會從上下文已知信息中構(gòu)建完整的文章結(jié)構(gòu)，對句意進(jìn)行合理推測。

3.閱讀時隨手記筆記

閱讀時將每一段文章大意用1 3個詞標(biāo)記出來。對于長篇幅的文章就可以在略讀一遍之后迅速掌握文章整體大意，實(shí)際上這也是構(gòu)建基本大綱的過程。這個過程對于提高做題速度和正確率都有很大幫助。

4.學(xué)會猜題

對于托?？荚嚩裕e題也是不扣分的，考試的時候留白也是很不明智的。

5.閱讀

大量閱讀是準(zhǔn)備托?？荚囎詈唵巫钣行У姆绞?。無論是什么主題、什么題材都可以作為補(bǔ)充的閱讀素材。多多閱讀書、報(bào)紙、雜志、網(wǎng)站文章可以提高閱讀能力、擴(kuò)充知識面。

托福閱讀備考高效刷題3大核心思路

一說起托福閱讀備考，幾乎每個考生都會聯(lián)想到做練習(xí)上。的確，托福備考無論哪個題型都離不開做題積累經(jīng)驗(yàn)技巧，但刷題也需要講究方法細(xì)節(jié)。無腦題海的備考效率其實(shí)不算高。如何才能高效刷題提升托福閱讀實(shí)力?下面小編就為大家做具體講解。

刷題資料的選擇

現(xiàn)在我們有很多托?？荚囅嚓P(guān)的資料，從OG到TPO，再到機(jī)經(jīng)，似乎讓人無從下手。，可以從閱讀的水平來進(jìn)行選擇，比如如果分?jǐn)?shù)在20分以下，那么可以從OG文章的閱讀開始，再進(jìn)入TPO，如果在20分以上，可以從TPO中等難度的文章開始，如果在25分以上，可以從TPO和機(jī)經(jīng)中較難的文章開始，并結(jié)合平時的泛讀訓(xùn)練。而對于一些較新的閱讀題和文章，則應(yīng)該慎重選擇，因?yàn)楹芸赡茉谖恼聝?nèi)容和出題方面都有錯誤。

熟悉閱讀十大題型的解題思路和方法

進(jìn)入刷題階段后，我們必須要對閱讀考試的題型非常熟悉，并要了解相應(yīng)的解題思路和技巧，但同時要防止過分注重解題技巧，而忽略上文所提到的詞匯和語法方面的閱讀技能訓(xùn)練，這樣，就會本末倒置，閱讀能力得不到提高，分?jǐn)?shù)也是一樣。

學(xué)科背景知識的了解

在平時的刷題訓(xùn)練中，可以把文章重新洗牌，按照學(xué)科進(jìn)行歸類，做完題目后，精讀文章，掌握學(xué)科相關(guān)的詞匯，并從中找到學(xué)科背景知識的一些規(guī)律，這樣，在考試中可以做到融會貫通，遇到類似的學(xué)科知識不至于太陌生而不知所云。