如何訓練托福閱讀速度
很多同學閱讀分數(shù)提不上去的一大原因就是因為閱讀速度太慢。托福閱讀篇幅較長，內(nèi)容偏學術，如果閱讀速度提不上去，肯定會影響閱讀成績。那么我們應該如何訓練托福閱讀速度?一起來看看吧!
如何訓練托福閱讀速度
一. 閱讀文章讀不懂，如何提升閱讀速度
托福閱讀文章還是有一定難度的，很多同學初次接觸托福都覺得托福文章讀不懂或者需要花費很久才能弄懂意思。那么讀不懂文章如何提升閱讀速度呢?從根本上講，閱讀讀不懂是因為詞匯量和語法基礎太差。所以建議先背托福詞匯，看一遍基礎語法知識。詞匯是閱讀的根基，沒有詞匯量做基礎，閱讀速度是不可能有很大提升的。托福閱讀要求大家有很快的閱讀速度，如果一篇閱讀中生詞太多，就算快速讀完也不知道文章的意思。除了背單詞之外，還要掌握基本的語法知識，英語句子結構與中文很不相同，掌握語法知識有助于大家理解文章中的長難句。所以總的來說，文章讀不懂要先將基本功練扎實。
二. 題目做太慢，如何提升做題速度
有的同學表示，閱讀文章能讀懂，但就是題目做的太慢，所以做閱讀總是超時。題目做的慢，其實是因為缺乏做題技巧，不能快速在原文中定位題目位置。閱讀打好基礎以后，要學習一些做題的技巧，比如小結題應該通讀文章段落找答案，推理題要根據(jù)文章意思推理得出，詞匯題要將選項帶入原句看是否通順……做題技巧是提升閱讀做題速度的高效方法。托福閱讀題目是按順序出題，基本上按照文章的文章結構對應題目，大家在做題的時候要快速定位題目位置，結合上下文快速選出答案。托福閱讀題目中很多選項似是而非非常具有迷惑性，一定要提高辨別能力，選擇最佳選項。
三. 課外練習很重要
托福閱讀速度考驗大家的英語基本功，提升閱讀速度也需要大家在利用空暇時間多練習。多刷題是有幫助的，除了刷題之外，大家還要多去閱讀英文報刊雜志。很多同學看到一篇冗長的托福閱讀時，心里的壓力感倍增，感覺似乎“不可能完成”。大家平時在課余時間多讀英文報刊雜志，就會習慣英語的長篇文章，能減少心理上的壓力感，也能提升自己的閱讀速度。而且大家在閱讀英文報刊雜志的過程中還能積累生詞，擴充知識面，可謂一舉多得，何樂而不為。
閱讀硬實力才是托福閱讀高分的關鍵
有托?？忌f，老托的閱讀要比新托簡單得多，甚至不看文章也能做對題。其實不然。我們知道，原來老托是350字一篇文章，10分鐘?，F(xiàn)在新托是700字左右一篇文章，20分鐘內(nèi)完成12-14題。按照時間比例來說，時間對考生是綽綽有余的。但是為什么眾多考生還是會有這樣的感覺呢?
問題就出在托福的題目上，現(xiàn)在新托福閱讀的題目四個選項長度呈不斷加長趨勢。有很多考生用在理解題目和選項的時間就遠遠超過答題時間。這樣的話就直接影響了后面題目的答題質(zhì)量。如果出現(xiàn)閱讀加試，很多考生就一個頭兩個大了。
這主要還是因為考生在準備新托福閱讀考試過程中太注重技巧的提煉，而忘記了學習英語最根本的還是在對語言的掌握上。因此在這里給大家提幾點復習新托福閱讀的幾點建議：
1. 如果基礎一般的同學，想要參加托福考試，最好提前3-4個月準備起來。一本好的詞匯書是必不可少的。其實背哪一本詞匯書不是重點所在，重要的是能夠持之以恒，每天對所背的詞匯進行復習和總結。因為你在做詞匯題時如果能遇到你熟悉的詞，可以節(jié)省你會到文章中去看上下文猜詞的時間。雖然不能保證背到就一定能考到，但是單詞可以幫助你更好的理解文章。曾經(jīng)有一名語言專家這樣說過：“Without grammar， little can be conveyed and without vocabulary， nothing can be conveyed.”足以說明詞匯的重要性。
2. 然后要從理解文章的結構開始理解文章。我們要明白，托?？荚嚨拈喿x文章都是北美校園基礎課程的文章，基本沒有做過改動。所以文章的結構就是完全按照美式作文的五段法，我們的考生只要用這樣的方式去分析每一篇文章，就會發(fā)現(xiàn)他們的結構是大同小異的。
3. 積累背景知識對我們來說相當?shù)闹匾?，因此我們在做新托福閱讀的題目的同時，也應該在空余的時候多閱讀課外讀物，原版雜志。譬如，國家地理，自然，今日美國等一些著名的原版雜志，這不僅可以擴充我們的背景知識，同時也可以補充我們在詞匯量上的不足。
4. 在復習的最后階段，做做模擬練習題是必不可少的。如果有條件的話，最好做一下?？架浖?。因為這樣可以模仿新托福機考的真實場景。比較推薦的?？架浖蠦arron， Kaplan以及一些比較權威的模考網(wǎng)站。當然在你報名時托福官方網(wǎng)站提供給你的那一套不完整的模考題也是很有參考價值的。
托福閱讀真題1
The mineral particles found in soil range in size from microscopic clay particles to large boulders. The most abundant particles — sand, silt, and clay — are the focus of examination in studies of soil texture. Texture is the term used to describe the composite sizes of particles in a soil sample, typically several representative handfuls.
To measure soil texture, the sand, silt, and clay particles are sorted out by size and weight. The weights of each size are then expressed as a percentage of the sample weight. In the field, soil texture can be estimated by extracting a handful of soil and squeezing the damp soil into three basic shapes; (1) cast, a lump formed by squeezing a sample in a clenched fist; (2) thread, a pencil shape formed by rolling soil between the palms; and (3) ribbon, a flatfish shape formed by squeezing a small sample between the thumb and index finger. The behavioral characteristics of the soil when molded into each of these shapes, if they can be formed at all, provide the basis for a general textural classification. The behavior of the soil in the hand test is determined by the amount of clay in the sample. Clay particles are highly cohesive, and when dampened, behave as a plastic. Therefore the higher the clay content in a sample, the more refined and durable the shapes into which it can be molded.
Another method of determining soil texture involves the use of devices called sediment sieves, screens built with a specified mesh size. When the soil is filtered through a group of sieves, each with a different mesh size, the particles become grouped in corresponding size categories. Each category can be weighed to make a textural determination. Although sieves work well for silt, sand, and larger particles, they are not appropriate for clay particles. Clay is far too small to sieve accurately; therefore, in soils with a high proportion of clay, the fine particles are measured on the basis of their settling velocity when suspended in water. Since clays settle so slowly, they are easily segregated from sand and silt. The water can be drawn off and evaporated, leaving a residue of clay, which can be weighed.?
1. What does the passage mainly discuss?
(A) Characteristics of high quality soil
(B) Particles typically found in most soils
(C) How a high clay content affects the texture of soil
(D) Ways to determine the texture of soil
2. The author mentions several representative handfuls in line 4 in order to show
(A) the range of soil samples
(B) the process by which soil is weighed
(C) the requirements for an adequate soil sample
(D) how small soil particles are weighted
3. The phrase sorted out in line 5 is closest in meaning to
(A) mixed
(B) replaced
(C) carried
(D) separated
4. It can be inferred that the names of the three basic shapes mentioned in paragraph 2 reflect
(A) the way the soil is extracted
(B) the results of squeezing the soil
(C) the need to check more than one handful
(D) the difficulty of forming different shapes
5. The word dampened in line 14 is closest in meaning to
(A) damaged
(B) stretched
(C) moistened
(D) examined
6. Which of the following can be inferred from the passage about a soil sample with little or no
clay in it?
(A) It is not very heavy.
(B) It may not hold its shape when molded.
(C) Its shape is durable
(D) Its texture cannot be classified
7. The word they in line 21 refers to
(A) categories
(B) sieves
(C) larger particles
(D) clay particles
8. It can be inferred from the passage that the sediment sieve has an advantage over the hand
test in determining soil texture because
(A) using the sieve takes less time
(B) the sieve can measure clay
(C) less training is required to use the sieve
(D) the sieve allows for a more exact measure
9. During the procedure described in paragraph 3, when clay particles are placed into water they
(A) stick to the sides of the water container
(B) take some time to sink to the bottom
(C) separate into different sizes
(D) dissolve quickly
10. The word fine in line 24 is closest in meaning to
(A) tiny
(B) many
(C) excellent
(D) various
11. All of the following words are defined in the passage EXCEPT
(A) texture (line 3)
(B) ribbon (line 10)
(C) sediment sieves (line 18)
(D) evaporated (line 25)
PASSAGE 27 DADBC BBDBA D
托福閱讀真題2
The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed art glass. Art glass was intended for decorative purposes and relied for its effect upon carefully chosen color combinations and innovative techniques.
France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846-1904). In the United States, Louis Comfort Tiffany (1843-1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.
The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid-1920's. It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant-garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement — that function should determine form — was not a new concept. Soon a distinct aesthetic code evolved: form should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.
1. What does paragraph 1 mainly discuss?
(A) Design elements in the Art Nouveau style
(B) The popularity of the Art Nouveau style
(C) Production techniques for art glass
(D) Color combinations typical of the Art Nouveau style
2. The word one in line 4 refers to
(A) century
(B) development
(C) style
(D) coloration
3. Paragraph 1 mentions that Art Nouveau glass was sometimes similar to which aspect of ancient buried glass ?
(A) The distortion of the glass
(B) The appearance of the glass surface
(C) The shapes of the glass objects
(D) The size of the glass objects
4. What is the main purpose of paragraph 2?
(A) to compare different Art Nouveau styles
(B) to give examples of famous Art Nouveau artists
(C) to explain why Art Nouveau glass was so popular in the United States
(D) to show the impact Art Nouveau had on other cultures around the world
5. The word prized in line 16 is closest in meaning to
(A) valued
(B) universal
(C) uncommon
(D) preserved
6. The word overtaken in line 20 is closest in meaning to
(A) surpassed
(B) inclined
(C) expressed
(D) applied
7. What does the author mean by stating that function should determine form (lines 23-24)?
(A) A useful object should not be attractive.
(B) The purpose of an object should influence its form.
(C) The design of an object is considered more significant than its function.
(D) The form of an object should not include decorative elements.
8. It can be inferred from the passage that one reason Functionalism became popular was that it
(A) clearly distinguished between art and design
(B) appealed to people who liked complex painted designs
(C) reflected a common desire to break from the past
(D) was easily interpreted by the general public
9. Paragraph 3 supports which of the following statements about Functionalism?
(A) Its design concept avoided geometric shapes.
(B) It started on a small scale and then spread gradually.
(C) It was a major force in the decorative arts before the First World War.
(D) It was not attractive to architects and designers.
10. According to the passage , an object made in the Art Nouveau style would most likely include
(A) a flowered design
(B) bright colors
(C) modern symbols
(D) a textured surface
PASSAGE 28 ACBBA ABCBA
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