托福閱讀考試推論題怎么做
托福閱讀考試推論題怎么做?在這篇文章中，編將解釋托福閱讀推理問題的關(guān)鍵點(diǎn)，并希望為大家提供一個(gè)完整的理解。
托福閱讀考試推論題怎么做
托福閱讀推理問題的類型和解決方案
推理題托福閱讀是基于文章信息讀取托福引進(jìn)隱含的主題，可分為普通推理的問題，而不是常見的推理問題。在標(biāo)題包含與原始內(nèi)容相同的關(guān)鍵字的意義上存在共同的推理問題，并且原始推理基于關(guān)鍵字;沒有共同元素的推理問題是源中的無線電纜。
托福閱讀推理問題
推斷的主題很難，但不是詞匯問題或客觀信息問題。通常，候選人只需在解決問題時(shí)找到原始文本。但是，即使推理問題可以位于原始文本中，候選人也找不到任何可以直接選擇的證據(jù)。因此，很難解決思維過程中的問題。候選人在思考時(shí)必須了解“等級(jí)”。他們不應(yīng)該在思考方面有局限性。文章中深層意義的深度還不夠，或者存在過度的“思想擴(kuò)張”。內(nèi)在選擇當(dāng)思考有限時(shí)，候選人傾向于直接從原始文本中選擇信息。這類信息是解決問題的常見障礙;如果思想擴(kuò)張?zhí)?，就?huì)增加自己的常識(shí)，這不利于解決問題，而且往往會(huì)回答錯(cuò)誤的問題。
托福閱讀推理問題的可選功能
這類問題的正確選擇的分析是利用定位信息詳盡提取的，這些信息一般不直接用原文本義表示，通常很含蓄廣義;錯(cuò)誤的選擇通常包含3情況：第一種是沒有文字的產(chǎn)地直銷的內(nèi)容，第二個(gè)是在原文中明確提到的內(nèi)容，三是不相關(guān)的選項(xiàng)，它可以是信息在別處出現(xiàn)。
托福閱讀之推理題備考方法
一、 推理題的標(biāo)志
推理題的題干中一般含有infer, imply, most likely, least likely, probably等詞，分為有共性的推理題和無共性的推理題兩大類。
二、 推理題的做法
對(duì)于無共性的推理題，也就是題干中無線索的，一般使用排除法，即根據(jù)各個(gè)選項(xiàng)的關(guān)鍵詞回原文定位，通過排除法得出正確答案。
對(duì)于有共性的推理題，也就是題干中有線索的，建議考生可以先圈定題干中的關(guān)鍵詞，根據(jù)關(guān)鍵詞回原文定位，然后進(jìn)行推理。推理題主要有下列思路：
1. 一般對(duì)比推理
ETS設(shè)計(jì)推理題的手段不多，根據(jù)兩個(gè)事物的對(duì)比特征出題是其中之一。問其中一個(gè)事物的特征時(shí)，只要將與之形成對(duì)比的另一個(gè)事物的特征否定掉就可以了。
例如：
It should be obvious that cetaceans, whales, porpoises, and dolphins are mammals. They breathe through lungs, not through gills, and give birth to live young. Their streamlined bodies, the absence of hind legs, and the presence of a fluke and blowhole cannot disguise their affinities with land-dwelling mammals. However, unlike the cases of sea otters and pinnipeds (seals, sea lions, and walruses whose limbs are functional both on land and at sea), it is not easy to envision what the first whales looked like.
Which of the following can be inferred from paragraph 1 about early sea otters?
A. It is not difficult to imagine what they looked like.
B. There were great numbers of them.
C. They lived in the sea only.
D. They did not leave many fossil remains.
2. 時(shí)間對(duì)比推理
這種思路常被考到。在這種推理中，一般有兩個(gè)形成對(duì)比的時(shí)間段，它們所具有的特征一般相反。當(dāng)題干問一個(gè)時(shí)間段的特征時(shí)，只要將與之相反的時(shí)間段的特征否定掉就可以了。
例：
Basic to any understanding of Canada in the 20 years after the Second World War is the country’s impressive population growth….
…It appeared that Canada was once more falling in step with the trend toward smaller families that had occurred all through the Western world since the time of the Industrial Revolution.
It can be inferred from the passage that before the Industrial Revolution
(A) families were larger.
(B) population statistics were unreliable.
(C) the population grew steadily.
(D) economic conditions were bad.
3.集合概念推理
集合概念推理也可以稱之為百分比推斷，它指的是在一個(gè)集合中，包含兩個(gè)相對(duì)的方面，共同構(gòu)成一個(gè)大的集合。一方所占的比例減少意味著另一方所占比例的增加;反之，一方所占的比例增加意味著另一方所占比例的減少。根據(jù)這一思路，可以由集合中一方的數(shù)量變化推斷另一方的消減。
例：
A folk culture is small, isolated, cohesive, conservative, nearly self-sufficient group that is homogeneous in custom and race, with a strong family or clan structure and highly developed rituals. …Unaltered folk cultures no longer exist in industrialized countries such as the United States and Canada….
By contrast, a popular culture is a large heterogeneous group, often highly individualistic and constantly changing.
What does the author imply about the United States and Canada?
(A) They value folk cultures.
(B) They have no social classes.
(C) They have popular cultures.
(D) They do not value individualism.
如何保證托福閱讀推理題的信息點(diǎn)不被遺漏
如何不錯(cuò)過托福推理題的信息點(diǎn)?托福閱讀推理題就是題目需要的信息都隱藏在文章中，但是沒有直接表露出來，需要考生自己從表面內(nèi)容中推理出。因此，我們?cè)谧鐾懈ｉ喿x推理題的時(shí)候不能錯(cuò)過每一個(gè)信息點(diǎn)，因?yàn)檫@些可能都是最后答案的重要憑證。
托福閱讀推理題的題干中常出現(xiàn)infer，imply，most likely(least likely) 或probably 等詞語。根據(jù)OG， 在IBT閱讀的3篇文章中，每篇會(huì)有0-2道這類問題，一次考試總共有3-4道推斷題。
一、推理題的兩大分類：有共性的推理題和無共性的推理題：
這里所謂的有共性推理題就是說題干中有和原文內(nèi)容相同的關(guān)鍵詞(也叫線索)。根據(jù)關(guān)鍵詞回原文定位，然后進(jìn)行推理。一般來說，大多數(shù)的推理題都屬于這類題目。對(duì)于無共性的推理題，也就是題干中無線索，一般使用排除法，即根據(jù)各個(gè)選項(xiàng)的關(guān)鍵詞回原文定位，通過排除法得出正確答案。返回原文找信息點(diǎn)，采用排除法是解決這兩類題型解決的共同策略。
二、托福閱讀推理題的三個(gè)具體的解題思路：
1、一般對(duì)比推理：根據(jù)兩個(gè)事情的對(duì)比特征，問其中一個(gè)事物的特征，只要將與之形成對(duì)比的另外一個(gè)事情的特征否定掉就可以。
2、時(shí)間對(duì)比推理：在這種推理中，一般有兩個(gè)形成對(duì)比的時(shí)間段，它們所具有的特征一般相反。當(dāng)題干問一個(gè)時(shí)間段的特征時(shí)，只要將與之相反的時(shí)間段的特征否定掉就可以了。
3、集合概念推理：一個(gè)大的集合的兩個(gè)方面形成對(duì)比，兩者之間存在著互補(bǔ)性關(guān)系，也就是一個(gè)的增加意味著另一個(gè)的減少。反之，相同。這個(gè)比較抽象，我們來看一個(gè)例子：
例如：Both the number and the percentageof people in the United States involved in nonagricultural pursuitsexpanded rapidly during the half century following the civil war，with some of the most dramatic increases occurring in the domainsof transportation， manufacturing， and trade and distribution.
What can be inferred from the passageabout the agricultural sector of the economy after the CivilWar?
(A) New technological developments hadlittle effect on farmers.
(B) The percentage of the totalpopulation working in agriculture declined.
(C) Many farms destroyed in the warwere rebuilt after the war.
(D) Farmers achieved new prosperitybecause of better rural transportation.
文中指出：非農(nóng)業(yè)人口的數(shù)量和比例都增加了。由此可知農(nóng)業(yè)人口的數(shù)量和比例下降，所以(B)為正確答案。
三、解答這類題目需要注意的信息點(diǎn)：
1.日期和數(shù)字。
2.關(guān)鍵詞：表示多少的副詞：many，some，much of，several，a few ，most…;情態(tài)動(dòng)詞：may，can ，could…;表示過去的：used to be，was，were ，at one time，previously ;表示不是唯一的：not only，notexclusively等。
托福閱讀模擬題及答案：文藝復(fù)興
The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t 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 medieval style couldn’t 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-pointed 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 painting”. 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 don’t meet on eye level.
For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a 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 Japanese 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 technically 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
(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 person 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 turn an object at an angle and draw more than one side of it
(c) the subject being shifted from religious stories to individual person and surroundings.
(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 “Grammar ” in line 13 is closest in meaning to
(a) construction
(b) grammatical rules
(c) rules and regulations
(d) tones and volume
7 The author’s 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 exceptions 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 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 inspired by vertical and horizontal surfaces in inventing the technique of perspective
(d) saw two dimensional design more important than a feeling of depth
參考答案：1.b 2.a 3.d 4.c 5.d 6.c 7.c 8.d 9.a 10.b
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