托福閱讀滿分修煉記

陳鈴1147由分享時(shí)間：2020-10-10 08:57:21

托福閱讀作為托?？荚囍械囊徊糠?，托福閱讀有沒有技巧?回答是有。但是托福閱讀中，技巧是一種輔助工具，最重要的是努力勤奮。下面小編就和大家分享托福閱讀滿分修煉記，來欣賞一下吧。

托福閱讀滿分修煉記

托福閱讀理解滿分的出現(xiàn)必須依賴于3個(gè)方面的訓(xùn)練：

1.托福詞匯

從某種意義上來講，詞匯量的大小是TOEFL閱讀理解高分的基礎(chǔ)和關(guān)鍵。如果詞匯量沒有達(dá)到基本要求(五千以上)，縱然你有"葵花寶典"在手，也只能命喪ETS的“毒招”之下。所以，以犧牲詞匯量為代價(jià)的技巧練習(xí)簡(jiǎn)直是一味巨毒無(wú)比的“五毒散”。

2.托福閱讀技巧

TOEFL的閱讀量非常大，一般的中國(guó)考生根本無(wú)法把文章全部讀完，所謂的“掃讀法”、“跳讀法”和“略讀法”也只能適用于少數(shù)類型的文章，根本不能解決本質(zhì)問題。那么，文章到底應(yīng)該怎么讀法呢?一句話，主動(dòng)地閱讀文章的關(guān)鍵部位。所謂主動(dòng)是指不能象一般的閱讀那樣完全被動(dòng)地接受信息，而應(yīng)該不斷的進(jìn)行思考和預(yù)測(cè);所謂關(guān)鍵部位，主要是每一段的開頭和結(jié)尾部分。由于TOEFL的閱讀理解文章全部選自于正式出版物，文章的邏輯結(jié)構(gòu)非常完整和嚴(yán)謹(jǐn)，而且出現(xiàn)的邏輯模式也是屈指可數(shù)。經(jīng)過系統(tǒng)的訓(xùn)練，考生的預(yù)測(cè)可以做到非常準(zhǔn)確的程度。這樣，通過閱讀文章的幾處關(guān)鍵部位，就能很快地把握整個(gè)文章的結(jié)構(gòu)和內(nèi)在的邏輯關(guān)系，也就解決了問題的70%。

3.托福解題訓(xùn)練

排除法恐怕是一直以來大多數(shù)學(xué)生在解閱讀理題目時(shí)使用最多的方法。事實(shí)上，這種方法具有致命的缺點(diǎn)：干擾大、費(fèi)時(shí)間。更有效和迅速的辦法是讀完題干之后，就在腦子反映出一個(gè)模糊的或者是不完整的答案，然后直接在選項(xiàng)中尋找接近的答案進(jìn)行判斷。這種能力必須在平時(shí)的訓(xùn)練和講解中逐漸養(yǎng)成和加強(qiáng)，決非什么技巧之類的東西可以替代。

除了上述三方面的訓(xùn)練之外，如果能夠?qū)σ恍┗镜谋尘爸R(shí)加以補(bǔ)充的話，更能確保閱讀理解的準(zhǔn)確率和速度。所以托福閱讀的真正提高并不是去學(xué)習(xí)一些技巧，而是在訓(xùn)練中養(yǎng)成一種無(wú)意識(shí)的使用技巧的習(xí)慣，做到實(shí)力與技巧巧妙的結(jié)合。

托福閱讀背景素材之虛擬現(xiàn)實(shí)法治療抑郁癥

阿凡達(dá)療法，是科學(xué)家受阿凡達(dá)的“化身”技術(shù)啟發(fā)，將虛擬現(xiàn)實(shí)用在抑郁癥治療上的一種新型技術(shù)。技術(shù)的關(guān)鍵是讓患者把一個(gè)虛擬的自己當(dāng)成自己的“化身”，讓虛擬成人安慰自己，從而擺脫抑郁癥的困擾。

Patients wore a virtual reality headset to see fromthe perspective of a life-size 'avatar' or virtual body. Seeing this virtual body in a mirror moving in thesame way as their own body typically produces theillusion that this is their own body. This is called'embodiment'.

患者頭戴一個(gè)虛擬現(xiàn)實(shí)頭盔后，可看到一個(gè)與自己大小一樣并動(dòng)作同步的虛擬形象，會(huì)把這個(gè)形象看做自己的“化身”，以他/她的視角來看待外物。

While embodied in an adult avatar, participants were trained to express compassiontowards a distressed virtual child.

在“化身”為成人阿凡達(dá)后，。研究人員讓患者通過這個(gè)“化身”安慰一個(gè)虛擬出來的悲傷男孩，

As they talked to the child it appeared to gradually stop crying and respond positively tothe compassion.

在患者與這名男孩交談后，男孩逐漸不再哭泣，對(duì)安慰作出積極回應(yīng)。

After a few minutes the patients were embodied in the virtual child and saw the adultavatar deliver their own compassionate words and gestures to them.

幾分鐘后，研究人員讓患者把這個(gè)虛擬男孩當(dāng)做自己的“化身”，讓虛擬成人安慰虛擬男孩。

This brief eight-minute scenario was repeated three times at weekly intervals, and patientswere followed up a month later. Of the 15 participants, nine reported reduced depressivesymptoms a month after the therapy.

這個(gè)過程持續(xù)8分鐘，每星期重復(fù)3次。一個(gè)月后，9名患者癥狀減輕，其中4名顯著減輕。

Virtual reality has also previously been used to treat psychological disorders includingphobias and post-traumatic stress disorder, but this research focused on a new applicationfor promoting emotional well-being.

虛擬現(xiàn)實(shí)技術(shù)此前已被用于治療多種心理障礙，如恐懼癥、創(chuàng)傷后應(yīng)激障礙等，但此次研究聚焦于改善患者心理健康這一新領(lǐng)域。

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