2019年9月12日雅思閱讀機經(jīng)預(yù)測
雅思閱讀考試前，在沖刺階段我們?nèi)绾螐?fù)習(xí)呢?今天小編為大家分享2019年9月12日雅思閱讀機經(jīng)預(yù)測內(nèi)容，大家可以參考一下，重點練習(xí)一下本套機經(jīng)中的題型解題思路和方法。希望本文分享的機經(jīng)預(yù)測能幫助到大家有效的備考。
2019年9月12日雅思閱讀機經(jīng)預(yù)測1
文章題目Sweet Trouble–Australia sugarcane industry
重復(fù)年份20150613 20131010 20110813 20090521
題材農(nóng)業(yè)
題型人名配對 4+判斷 6+選擇 3
文章大意澳大利亞的制糖工業(yè)面臨危機，政府鼓勵以前從事糖業(yè)的人從事其他行業(yè)。 但許多人不愿放棄，他們認(rèn)為制糖環(huán)保，有很多好處如保持水土。很多人為制糖修建水渠，但并沒有很好的收益，制糖業(yè)終會消失。
部分參考答案
配對題
甘蔗對環(huán)境的影響沒有那么大了。
甘蔗對環(huán)境的影響沒有別的農(nóng)作物嚴(yán)重。
判斷題
種甘蔗的成本和賣出的收益差不多。True
放棄種甘蔗的人去城市里了。NG
在甘蔗行業(yè)里，用甘蔗用作能源是將來的房展方向。False
選擇題
因為經(jīng)濟危機的影響，所以不種甘蔗了。
某個農(nóng)民一直沒有放棄種甘蔗
2019年9月12日雅思閱讀機經(jīng)預(yù)測2
文章題目The Grimme Fairy Tale
重復(fù)年份20150704 20140313
題材文學(xué)
題型判斷 6+單選 4+選詞填空 4
文章大意闡述了格林童話的出版歷史。格林兄弟寫下這些童話的靈感來源，不同時期 外界對于格林童話的反應(yīng)以及格林童話的第一版和再版變化。
部分答案參考： 判斷：
27. N the Grimme brother knew they would gain international fame, the lasting fame would shock the Grimmes
28. NG the Grimmes were inforced to do work of their own secret
29. Y the sales of Fairy Tale in England was higher than in German
30. NG
31. Y some parents still thought the Fiary Tale was not good for their children
32. N the fairy Tale author considered the man who made contribution to the story
of Cinderella as the original model
單選：
33.
A the flowering of children literature level in 1800s
34. A illustration the change of Fairy Tale in order to match with the modern times (refining & resoftening)
35. C
36. D another contributor of the Fiary Tale in Italy
填空：
37. F the reason why some people think the Fairy Tale belongs to German
38. H some violent stories
39. E
40. D
2019年9月12日雅思閱讀機經(jīng)預(yù)測3
文章題目Gesture
重復(fù)年份20150711 20120712 20100211 20071020 20070303
題材人文社科
題型小標(biāo)題 6+段落細(xì)節(jié)配對 5+選擇 3
文章大意講了手勢研究。開始用電話鈴聲作比喻說手勢為什么大家都看得懂，后面講 到手勢的個體差異，文化差異，包括各國的舉例。
參考閱讀：
Gestures have been studied throughout the centuries from different perspectivesDuring the Roman Empire, Quintilian studied in his Institution Oratoria how gesture may be used in rhetorical discourse. Another broad study of gesture was published by Englishman John Bulwer in 1644. Bulwer analyzed dozens of gestures and provided a guide on how to use gestures to increase eloquence and clarity for public speaking.] Andrea De Jorio published an extensive account of gestural expression in 1832. A peer reviewed journal Gesturehas been published since 2001 and was founded by Adam Kendon and Cornelia Müller. The International Society for Gesture Studies (ISGS) was founded in 2002.
Gesture has frequently been taken up by researchers in the field of dance studies and performance studies in ways that emphasize the ways they are culturally and
contextually inflected. Performance scholar, Carrie Noland, describes gestures as "learned techniques of the body" and stresses the way gestures are embodied corporeal forms of cultural communication.[11] But rather than just residing within one cultural context, she describes how gesture migrate across bodies and locations to create new cultural meanings and associations. She also posits how they might function as a form of "resistance to homogenization" because they are so dependent on the specificities of the bodies that perform them.
Gesture has also been taken up within queer theory, ethnic studies and their intersections in performance studies, as a way to think about how the moving body gains social meaning. José Esteban Mu?oz uses the idea of gesture to mark a kind of refusal of finitude and certainty and links gesture to his ideas of ephemera. Mu?oz specifically draws on the African-American dancer and drag queen performerKevin Aviance to articulate his interest not in what queer gestures might mean, but what they might perform. Juana María Rodríguez borrows ideas of phenomenology and draws on Noland and Mu?oz to investigate how gesture functions in queer sexual practices as a way to rewrite gender and negotiate power relations. She also connects gesture to Giorgio Agamben's idea of "means without ends" to think about political projects of social justice that are incomplete, partial, and legibile within culturally and socially defined spheres of meaning.
Within the field of linguistics, the most hotly contested aspect of gesture revolves
around the subcategory of Lexical or Iconic Co-Speech Gestures. Adam Kendon was the first linguist to hypothesize on their purpose when he argued that Lexical gestures do work to amplify or modulate the lexico-semantic content of the verbal speech with which they co-occur. However, since the late 1990s, most research has revolved around the contrasting hypothesis that Lexical gestures serve a primarily cognitive purpose in aiding the process of speech production As of 2012, there is research to suggest that Lexical Gesture does indeed serve a primarily communicative purpose and cognitive only secondary, but in the realm of socio-pragmatic communication, rather than lexico-semantic modification.
雅思閱讀考試復(fù)習(xí)忠告
相信讀者也已經(jīng)發(fā)現(xiàn)，這篇不成熟的文章，也是以總分總的形式寫出來的。沒辦法，筆者考慮到讀者們是人類，不得不采用這個亙古不變、經(jīng)典永流傳的寫作模式進(jìn)行論述，而你如果不對此抱有好感，我想，你就很像是外星人進(jìn)了雅思考場，做不對題，要怨出身啦。
我們的總結(jié)如下：
1、做題多少不是關(guān)鍵，勤于總結(jié)才是要害。要多去總結(jié)每篇文章每段話的主旨信息、文體結(jié)構(gòu)，文章的線索發(fā)展，把自己當(dāng)一個準(zhǔn)作者那樣要求，你一定會發(fā)現(xiàn)自己的眼睛變得越來越犀利，找答案也會找得更快更有頭緒。
2、鑒于雅思考試對我們的問題處理效率提出了極高的要求，我們也不應(yīng)該再只是死背單詞了。我們要想辦法提高自己單位時間的閱讀速度和整體做題速度，比如依靠前文提到的skim & scan，以及按照意群進(jìn)行閱讀的方法。
3、 我們應(yīng)該明確，一個有9000詞匯量的考生，未必能考出一個有3000詞匯量的考生的雅思成績的三倍，除非后者放水。這說明什么?說明我們不能一味追求詞匯的“廣度”。掌握一個單詞的真正意思，也就是一個單詞給我們帶來的“應(yīng)激”(以后希望有機會專門就此概念再寫點東西，這很有用)，比自我安慰的背過50個單詞，可能還有用。
4、別瞧不起詞法知識。全文通篇，我都沒有提到“語法”，一直在強調(diào)詞法，是為了告訴大家，雅思閱讀考試已經(jīng)很務(wù)實了，倘若這剩下的最后一點詞法知識你都不能勝任，那可以想見，以后的論文生活，對你來說就是酷刑一般。所以，每當(dāng)做完各類填空題，都檢查一下自己是否還存在些基本功方面的漏洞，及時修繕，才是提高填空題正確率的正道。
5、最后的一點忠告，讓雅思的每篇文章變成各位寫作的領(lǐng)路人，看看人家這文章是怎么寫出來的。堅持這樣做，你會發(fā)現(xiàn)，陌生的文章也將變得不再陌生，抽象的文章也將不再抽象，答案，就在你希望出現(xiàn)的地方。
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2019年9月12日雅思閱讀機經(jīng)預(yù)測
