托福閱讀學(xué)術(shù)類文章篇章和段落結(jié)構(gòu)詳細(xì)介紹

陳鈴1147由分享時(shí)間：2020-09-03 00:20:23

托福閱讀中大部分的文章都是學(xué)術(shù)類文章，比如常見(jiàn)的說(shuō)明文以及議論文等等。今天小編給大家?guī)?lái)托福閱讀學(xué)術(shù)類文章篇章和段落結(jié)構(gòu)詳細(xì)介紹,希望能夠幫助到大家，下面小編就和大家分享，來(lái)欣賞一下吧。

托福閱讀學(xué)術(shù)類文章篇章和段落結(jié)構(gòu)詳細(xì)介紹

托福閱讀學(xué)術(shù)類文章篇章結(jié)構(gòu)介紹

在學(xué)術(shù)性文章中，一般需要具備三個(gè)組成部分：

(1)Topic 話題：即文章的主角是什么。比如講解某個(gè)科學(xué)理論、研究某種社會(huì)現(xiàn)象，探討某個(gè)歷史事件;

在托福文章中，這種導(dǎo)入性信息往往出現(xiàn)在篇首位置?？忌梢愿鶕?jù)篇首段信息對(duì)整篇文章所要討論的核心內(nèi)容有所了解;

(2)Aspects 方面：即將篇首的話題延伸拓展為若干個(gè)方面進(jìn)行闡述說(shuō)明。若話題為某個(gè)科學(xué)論點(diǎn)，則方面可能分為若干個(gè)支持論據(jù);若話題為某種自然現(xiàn)象，則方面可能分為若干個(gè)內(nèi)外成因;若話題為某個(gè)歷史事件，則方面為幾段發(fā)展時(shí)期;

在托福閱讀文章中，往往依照各個(gè)方面之間的層次關(guān)系，將各個(gè)方面拆分為若干個(gè)獨(dú)立的自然段落，共同組成行文主體;

(3)Attitude態(tài)度：即文章的作者對(duì)于所討論話題持怎樣的態(tài)度?；蚴欠e極肯定，或是消極否定，或是保持中立。在托福閱讀文章中，態(tài)度往往是被較多的淡化甚至有可能省略不提。

Topic話題+ Aspects方面+ Attitude態(tài)度，這三要素加起來(lái)就是標(biāo)準(zhǔn)學(xué)術(shù)論文體的“T+A+A篇章結(jié)構(gòu)”。托福文章大都遵循這種結(jié)構(gòu)，考生通過(guò)篇首段落信息來(lái)把控整個(gè)文章話題及大致討論方向，再抓住文章的各個(gè)段落主旨，便可洞悉整個(gè)文章脈絡(luò)和邏輯結(jié)構(gòu)。

托福閱讀學(xué)術(shù)類文章段落結(jié)構(gòu)分析

學(xué)術(shù)性文章的自然段落，一般需要具備兩個(gè)組成部分：

(1) Topic Sentence 主旨句：表達(dá)段落的主旨，即本段想要表達(dá)的核心內(nèi)容是什么;

(2) Detail 細(xì)節(jié)：為了詳細(xì)說(shuō)明段落中心含義，所羅列的相關(guān)支持內(nèi)容，即本段通過(guò)哪些例證來(lái)闡明主旨句。

Topic Sentence主旨句+ Detail細(xì)節(jié)，這兩個(gè)要素加起來(lái)就是標(biāo)準(zhǔn)學(xué)術(shù)論文體的“TS+D段落結(jié)構(gòu)”。托福文章段落大都遵循這種結(jié)構(gòu)，考生通過(guò)段落主旨句就可以把握該段的中心含義。

當(dāng)考生們了解了這種TAA篇章結(jié)構(gòu)(Topic話題+ Aspects方面+ Attitude態(tài)度)和TS+D段落結(jié)構(gòu)(Topic Sentence主旨句+ Detail細(xì)節(jié))的行文規(guī)律后，對(duì)文章框架的把握就會(huì)做到心里有數(shù)，更有利于提高閱讀速度和定位有效信息的準(zhǔn)確度。

托福閱讀真題原題+題目

Archaeological literature is rich in descriptions of pot making. Unlike modern industrial potters, prehistoric artisans created each of their pieces individually, using the simplest technology but demonstrating remarkable skill in making and adorning their vessels.

The clay used in prehistoric pot making was invariably selected with the utmost care: often it was traded over considerable distances. The consistency of the clay was crucial: it was pounded meticulously and mixed with water to make it entirely even in texture. By careful kneading, the potter removed the air bubbles and made the clay as plastic as possible, allowing it to be molded into shape as the pot was built up, When a pot is fired, it loses its water and can crack, so the potter added a temper to the clay, a substance that helped reduce shrinkage and cracking.

Since surface finishes provided a pleasing appearance and also improved the durability in day-to-day use, the potter smoothed the exterior surface of the pot with wet hands. Often a wet clay solution, known as a slip, was applied to the smooth surface. Brightly colored slips were often used and formed painted decorations on the vessel. In later times. Glazes came into use in some areas. A glaze is a form of slip that turns to a glasslike finish during high-temperature firing. When a slip was not applied, the vessel was allowed to dry slowly until the external surface was almost like leather in texture. It was then rubbed with a round stone or similar object to give it a shiny, hard surface. Some pots were adorned with incised or stamped decorations.

Most early pottery was then fired over open hearths. The vessels were covered with fast-burning wood; as it burned, the ashes would all around the pots and bake them evenly over a few hours. Far higher temperatures were attained in special ovens, known as kilns, which would not only bake the clay and remove its plasticity, but also dissolve carbons and iron compounds. Kilns were also used for glazing, when two firings were needed. Once fired, the pots were allowed to cool slowly, and small cracks were repaired before they were ready for use.

1. What does the passage mainly discuss?

(A) Why archaeologists study prehistoric pot making

(B) How early pottery was made and decorated

(D) The variety of decorations on Prehistoric pottery

2. The word meticulously in line 7 is closest in meaning to

(A) heavily

(B) initially

(D) completely

3. Which of the following was a process used by prehistoric potters to improve the texture of the clay?

(A) adding temper

(B) removing the water

(D) mixing the clay with plastic substances

4. The word durability in line 13 is closest in meaning to

(A) quality

(B) endurance

(D) applicability

5. Prehistoric potters applied slips and glazes to their vessels in order to do which of the

following?

(A) Improve the appearance of the vessels

(B) prevent the vessels from leaking

(D) Give the vessels a leather like quality

6. Which of the following was a method used by some potters to give vessels a glassy finish?

(A) Smoothing them with wet hands

(B) Mixing the clay with colored solutions

(D) Rubbing them with a smooth hard object

7. The word incised in line 20 is closest in meaning to

(A) designed

(B) carved

(D) painted

8. The word they in ling 27 refers to

(A) kilns

(B) firings

(D) cracks

9. According to the passage , the advantage of kilns over open fires was that the kilns

(A) required less wood for burning

(B) reached higher temperatures

(D) baked vessels without cracking them

10. Look at the terms temper (line 10), glazes (line 16), kilns (line 24), and compounds (line 25).

Which of these terms is NOT defined in the passage ?

(A) temper

(B) glazes

(D) compounds

11. The passage mentions that when pottery is fired under burning wood, the ashes help

(A) prevent the clay from cracking

(B) produce a more consistently baked pot

(D) give the vessel a glasslike finish

PASSAGE 49 BCCBA DBCBD B

托福閱讀真題原題+題目

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacted against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art, Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

1. The passage primarily focuses on nineteenth-century arts and crafts in terms of which of the following?

(A) Their naturalistic themes

(B) Their importance in museum collections

(D) Their role in an industrialized society

2. According to the passage , before the nineteenth century, artisans were thought to be

(A) defenders of moral standards

(B) creators of cheap merchandise

(D) artists

3. It can be inferred from the passage that the Arts and Crafts Movement would have considered

all of the following to be artists EXCEPT

(A) creators of textile designs

(B) people who produce handmade glass objects

(D) metalworkers who create unique pieces of jewelry

4. The word revered in line 14 is closest in meaning to

(A) respected

(B) described

(D) created

5. According to paragraph 2, the handcrafted objects in the homes of middle- and working-class

families usually were

(A) made by members of the family

(B) the least expensive objects in their homes

(D) thought to symbolize progress

6. The word extolled in line 20 is closest in meaning to

(A) exposed

(B) praised

(D) accepted

7. The author mentions all of the following as attributes of handcrafted objects EXCEPT

(A) the pride with which they were crafted

(B) the complexity of their design

(D) the quality of their materials

8. The word consistent in line 24 is closest in meaning to

(A) conservative

(B) considerable

(D) concrete

9. According to the passage , which of the following changes occurred at the same time as the

Arts and Crafts Movement?

(A) The creation of brighter and more airy spaces inside homes

(B) The rejection of art that depicted nature in a realistic manner

(D) An increase in the buying of imported art objects

10. Which of the following statements is supported by the passage ?

(A) Private collectors in the nineteenth century concentrated on acquiring paintings.

(B) The Arts and Crafts Movement in the United States, unlike the one in Britain, did not react

strongly against mechanized processes.

geometric designs.

(D) The Arts and Crafts Movement believed in the beneficial effect for people from being

surrounded by beautiful objects.

PASSAGE 50 DCCAC BBCAD

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