托福閱讀得到高分三原則

陳鈴221147由分享時間：2020-08-10 19:02:26

托福閱讀得到高分原則有哪些,今天小編給大家?guī)砹送懈ｉ喿x得到高分三原則,希望能夠幫助到大家，下面小編就和大家分享，來欣賞一下吧。

托福閱讀得到高分三原則

“直”的原則

所謂“直”，是指托福閱讀出題思路直接，所有題目的答案幾乎都可以在文章中找到非常明顯的對應(yīng)點。這一特點告訴考生，在解題時，考生一定要根據(jù)原文內(nèi)容來解題，避免“小題大做”，人為地把題目想象得太復(fù)雜，否則就是自己給自己找麻煩。

就拿考生熟悉的細節(jié)題來說，托福閱讀細節(jié)題的解題要點有兩個要點：一是根據(jù)題干關(guān)鍵詞回原文定位答案范圍;二是將題目選項與原文語句相對照，正確選項往往是原文語句的同義替換。

因此，考生在解題時，一定要對照選項與原文語句之間的異同，找出與原文語句意思相似的選項，也就找到了正確答案。

“細”的原則

所謂“細”，是指考生在利用題干關(guān)鍵詞回原文定位答案范圍時一定要細心。我們知道，考生在解答托福閱讀考試題時，常用到的解題方法就是利用題干中出現(xiàn)的關(guān)鍵詞回原文定位答案范圍，然后根據(jù)定位到的內(nèi)容選出正確答案。

由于題干中有些關(guān)鍵詞(尤其是專有名詞)在原文中不止出現(xiàn)一次，因而考生一定要細心，找出原文中所有含該關(guān)鍵詞的句子，然后再從中選擇與題干要求接近的句子來定位答案范圍，進而選出正確答案。很多考生由于沒有注意到這一點，導(dǎo)致定位錯誤，進而與正確答案失之交臂，實在是非?？上А?/p>

“巧”的原則

所謂“巧”，是指考生在回原文定位答案范圍時應(yīng)該選擇恰當(dāng)?shù)念}干關(guān)鍵詞，并從托福閱讀考試的特點出發(fā)，巧妙而又地定位答案范圍。“巧”的原則具體體現(xiàn)在以下幾個方面：

1、用于定位的題干關(guān)鍵詞一般包括人名、地名、數(shù)字、關(guān)鍵名詞或動詞等，考生在回原文定位答案范圍時，可同時利用多個關(guān)鍵詞進行定位，原文中包含題干絕大多數(shù)關(guān)鍵詞的部分有可能是答案所在;

2、在利用關(guān)鍵詞回原文定位時，考生可根據(jù)原文中出現(xiàn)的特殊標(biāo)點符號(如破折號、連字符、引號、括號等)、數(shù)字、專有名詞等這些比較明顯的提示進行跳讀，題干的關(guān)鍵詞以及題目的答案范圍往往就出現(xiàn)在這些有明顯提示信息的表達附近;

3、由于閱讀部分的考查點經(jīng)常與轉(zhuǎn)折、比較、否定、因果等邏輯密切相關(guān)，因而考生在定位答案范圍時可根據(jù)這些重要的考點來進行定位。結(jié)合這三點，考生便能又快又準(zhǔn)地找到出題人設(shè)計答案所依據(jù)的句子，后再按照“直”的原則選擇答案。

從上面的分析可以看出，在托福閱讀考試中，這三個字的作用是相互關(guān)聯(lián)促進的。我們也要靈活使用，幫助自己迅速解答問題，才能完成托福閱讀備考的任務(wù)。

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

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

托福閱讀得到高分三原則