托福閱讀細節(jié)題定義
細節(jié)題又叫事實信息題，考察的是學生對閱讀文章中明確指出的基本信息的理解，一般在一篇文章中考察3至6題。從題目所占的比例來看，如果同學們想在閱讀部分拿高分，那么一定要掌握細節(jié)題的解題方法和技巧。
托福閱讀細節(jié)題定義
細節(jié)題可以說是能屈能伸的一種題型，它要容易，可以很容易，它要想難，可以非常難。
很多人復習到后期會發(fā)現(xiàn)，錯的最多的竟然這個細節(jié)題，所以它是非常令人糾結的一種題型。
細節(jié)題和詞匯題加起來可以構成整個托福閱讀考試題目的半壁江山，是我們取得托福閱讀高分的基礎。
細節(jié)題通常不要求我們去理解整篇文章的主旨大意，而是具體的信息，包括文中的一些事實，細節(jié)，定義及其它作者所呈現(xiàn)的信息。因此，同學們在做細節(jié)題時，不需要對整篇文章逐字逐句理解，只需要對文中與題目相關的一句或者幾句話進行理解便可。這一點也可以從細節(jié)題的題目問法中看出。細節(jié)題通常問到：
According to paragraph X, which of the following is true about Y?
The author’s description of X mentions which of the following?
According to paragraph X, Y did Z because… 等。
那么我們怎么知道具體的一個細節(jié)題考的是段落中的哪幾句話呢?此時，我們就需要根據(jù)題目中的關鍵詞幫助我們定位到原文相關的句子。關鍵詞指的是那些無法被改寫或者很難被改寫的詞和短語，這樣，我們就能快速找到原文的相應句子。所以，題目中的關鍵詞通常是在段落中出現(xiàn)次數(shù)較少、較顯眼和特殊的詞，包括專有名詞、大寫、斜體、帶引號的詞和數(shù)字等。例如tpo 1-1-2 中問到：where is the lower timberline mentioned in paragraph 1 likely to be found? 顯然，該題中的關鍵詞即為lower timberline，我們要尋找的信息是lower timberline出現(xiàn)在什么地方。有些同學可能會糾結lower timberline怎么去理解，其實，我們只需要在原文中找到一模一樣出現(xiàn)lower timberline的句子并理解整句話的意思就可以了，而不需要糾結個別詞或者短語的意思。
接下來，我們就回到第一段話中，從頭進行快速閱讀，然后找到相應的句子：In many semiarid areas, there is also a lower timberline where the forest passes into steppe or desert at its lower edge, usually because of a lack of moisture. 句子意思是：在很多半干旱的地區(qū)存在lower timberline，在這里，森林會變成干草原或者沙漠，由于缺乏水分。理解好了原句，我們就可以將四個選項與原文一一進行比較，發(fā)現(xiàn)答案是A. In an area that has little water. 此選項雖然與原句所用的詞不一樣，但是表達了同樣的意思，這是托福閱讀考察的一個重要技能，叫同義改寫。
綜上，我們知道了細節(jié)題的解題方法：題目中尋找關鍵詞，然后定位原文，最后找出對原句進行同義改寫的正確選項。
托福閱讀題目練習
托福閱讀題目練習：實用藝術和純藝術
托福閱讀復習中，大家也離不開一些真題的練習，這樣可以幫助我們更全面的備考閱讀，了解自己在備考中的不足。下面為大家整理了相關的練習題，供大家參考復習。
Although we now tend to refer to the various craftsaccording to the materials used to construct them-clay, glass, wood, fiber, and metal-it was oncecommon to think of crafts in terms of function, which led to their being known as the "applied arts." Approaching crafts from the point of view offunction, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to becontained, supported, and sheltered. These laws are universal in their application, regardlessof cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in itssides, it could hardly be considered a container in any traditional sense. Since the laws ofphysics, not some arbitrary decision, have determined the general form of applied-artobjects, they follow basic patterns, so much so that functional forms can vary only withincertain limits. Buildings without roofs, for example, are unusual because they depart from thenorm. However, not all functional objects are exactly alike; that is why we recognize a ShangDynasty vase as being different from an Inca vase. What varies is not the basic form but theincidental details that do not obstruct the object's primary function.
Sensitivity to physical laws is thus an important consideration for the maker of applied-
artobjects. It is often taken for granted that this is also true for the maker of fine-
art objects. Thisassumption misses a significant difference between the two disciplines. Fine-
art objects are notconstrained by the laws of physics in the same way that applied-
art objects are. Because theirprimary purpose is not functional, they are only limited in terms of the materials used tomake them. Sculptures must, for example, be stable, which requires an understanding of theproperties of mass, weight distribution, and stress. Paintings must have rigid stretchers sothat the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These areproblems that must be overcome by the artist because they tend to intrude upon his or herconception of the work. For example, in the early Italian Renaissance, bronze statues ofhorses with a raised foreleg usually had a cannonball under that hoof. This was done becausethe cannonball was needed to support the weight of the leg. In other words, the demands ofthe laws of physics, not the sculptor's aesthetic intentions, placed the ball there. That thisdevice was a necessary structural compromise is clear from the fact that the cannonballquickly disappeared when sculptors learned how to strengthen the internal structure of astatue with iron braces (iron being much stronger than bronze).
Even though the fine arts in the twentieth century often treat materials in new ways, the basicdifference in attitude of artists in relation to their materials in the fine arts and the applied artsremains relatively constant. It would therefore not be too great an exaggeration to say thatpractitioners of the fine arts work to overcome the limitations of their materials, whereas thoseengaged in the applied arts work in concert with their materials.
Paragraph 1: Although we now tend to refer to the various crafts according to the materialsused to construct them-clay, glass, wood, fiber, and metal-
it was once common to think ofcrafts in terms of function, which led to their being known as the "applied arts." Approachingcrafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supportsmust be functional. The applied arts are thus bound by the laws of physics, which pertain toboth the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of culturalbeliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it couldhardly be considered a container in any traditional sense. Since the laws of physics, not somearbitrary decision, have determined the general form of applied-
art objects, they follow basicpatterns, so much so that functional forms can vary only within certain limits. Buildingswithout roofs, for example, are unusual because they depart from the norm. However, not allfunctional objects are exactly alike; that is why we recognize a Shang Dynasty vase as beingdifferent from an Inca vase. What varies is not the basic form but the incidental details that donot obstruct the object's primary function.
托福閱讀中的熟詞僻義總結
issue v. &n. 流出; 出版，發(fā)行;問題
jar v. &n 震動;壇子
envision v.想象，預想
en-這個前綴可以表示“使……有能力”，vision意為視覺視野，讓你的眼前呈現(xiàn)出某種景象，自然就是想象預想。
literature n. 文獻;文學
liter詞根是文字的意思，和文字有關的記錄，就是文學，文獻。
lot n. 一塊地;命運，簽
fine adj. 細小的，美好的;v.罰款
這個詞請大家一定格外用心識記，“微小的，細微的”這一詞義在托福閱讀中考察過多次，這里也給大家補充一下，在托福閱讀中多次考到的可以表示“微小的，細小的”一義的還有minute、tiny等。
minute adj. 微小的，細小的
novel adj. 新穎的
nov這個詞根表達的含義是新，所以我們熟悉的小說novel一詞，就有了新穎的這一獨特詞義，這個詞也曾多次考察過托福閱讀詞匯題，各位童鞋備考時要多加關注。
casual 偶然的，隨便的
causal 原因的，因果關系的
pound v. 猛擊;亂敲
rear v. &n飼養(yǎng)，栽培;后面的
produce n. 產品(尤指農產品)
project v. &n使突出，伸出;放映，投射;方案，工程
pro-這個前綴表示“向前”，-ject-這個詞根表示“投擲，扔”，結合詞根詞綴的構成不難理解它的熟詞僻義考察。
relief n. 凸起，浮雕;(痛苦)減輕，安慰
provided conj. 倘若，在…條件下。
save conj. 除了
rent 斷口，裂縫
rift 裂縫， 「地質」斷裂
pronounced adj. 斷然的，顯著的
scale v. &n 攀登; 天平，刻度; 鱗; 規(guī)模，范圍;「音」音階
這個詞請大家重點關注，上述七個詞義在之前的托福考試中都曾多次考察過，詞義排名并不分先后。
school n. (魚)群;學派，流派
genre n. 類型，流派
score n. 「音樂」樂譜;刻痕;得分
screen v. &n 篩，過濾(器);掩蔽，屏風;屏幕
secure v. &adj. 得到;使安全;安全的
acquire 獲得
通常如果表示學習，習得某種技能或語言我們會用acquire這個詞，比如acquire a language/skill，它的名詞形式是acquisition。
season v. 調味
spot v. &n發(fā)現(xiàn)，認出，定位;斑點;場所
新托福閱讀真題分享
托福閱讀往期的考試內容，可以作為大家的背景知識來儲備，這些真題內容在接下來的考試中也有可能出現(xiàn)。因此大家掌握這些題目內容，對我們的考試也是有很大的幫助的。為大家整理了8月26日的托福閱讀考試題目，供大家參考。
托福閱讀考試日期：
2018年8月26日
新托福閱讀題目回憶：
題目：地球大氣環(huán)境
學科分類：Environment
主要內容：
一開始，地球的大氣層上充滿了氫氣和氦氣，然后由于氫氣和氦氣原子進行碰撞，而且他們的質量比較輕，所以它們就去外太空了，然后還有一種新的理論是由于一些星球的坍塌，氫氣和氦氣原子就在大氣層逐漸減少了，然后地球上很多火山噴發(fā)導致很多水蒸氣和二氧化碳被噴發(fā)出來，但是由于氣溫降低的時候，水蒸汽會凝結降水，然后二氧化碳會溶解在水里，所以大氣層中水蒸汽和二氧化碳都減少了。另外，由于當時的一些生物會進行光合作用，很多二氧化碳也減少了，沉降在了海底。另外，由于氮元素的化學性質比較穩(wěn)定，氮原子也比較重不容易逃逸，所以現(xiàn)在地球上的氮氣占很大一部分。
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托福閱讀細節(jié)題定義
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