托福閱讀?？荚~匯題解題技巧
iBT閱讀詞匯題指的是從語言環(huán)境(簡稱語境)中理解詞匯。語境在這里又稱上下文。英語單詞常常是一詞多義，詞匯題除了考察考生是否具備一定單詞量以外，還測試考生在一定語境下準(zhǔn)確理解詞義的能力。詞匯題是托福閱讀考試中出現(xiàn)頻率很高的一類題型，每篇閱讀會涉及到4-5個詞匯題。因此，閱讀要拿高分掌握這類題型的做題方法尤為重要。新托福的變化在于單詞的難度降低，而靈活性卻大大增加。新托福更側(cè)重考生的閱讀能力，而不是單純的考查某一個孤立的語言點。很多考生覺得這個題型在備考中的準(zhǔn)備量很大，需要記很多單詞，但在考試時還是有涉及不到的單詞。所以在這篇文章中，筆者將著重跟大家探討一下詞匯題的解題技巧。
托福閱讀?？荚~匯題解題技巧
詞匯題常見題目形式：
The word/phrase…in the passage is closest in meaning to…
The word/phrase…in the passage means…
The word/phrase… in paragraph…
Refers to… what is…?
或許，很多同學(xué)會說我的詞匯量非常有限，在考試中遇到這種詞匯題，如果不認(rèn)識就無計可施，只能靠第六感了。其實，托福閱讀中涉及到的詞匯題還是有一定的解題規(guī)律的，以下將分兩種類型進行講解：
一、熟悉的詞匯
當(dāng)所考詞匯是你認(rèn)識的詞時，分兩步：直接在所給的四個選項中找出相近詞;將選定的選項代入考察詞匯所在的原文語境中，驗證是否符合句意，以防止一詞多義的情況。
例如：TPO-5中的一篇文章Minerals and Plants中的第二題：
2. The word "exhibit" in the passage is closest in meaning to
A. fight off
B. show
C. cause
D. spread
解題過程：這是一道詞匯題。所考詞匯exhibit是高頻詞匯，它的基本意思是“展示、顯示”。因此，選項B
show是exhibit的同義詞;將其代入exhibit所在的語境中進行驗證，原句“Nitrogen-deficient plants exhibit many
of the symptoms just described.” 可提取主干(Plants exhibit
symptoms)，將選項B代入即“植物顯示癥狀”符合語境，因此，選項B正確。
二、不認(rèn)識的詞匯
遇到不認(rèn)識的詞匯，千萬不要歸因于自己詞匯量不足，無計可施進而放棄。托福閱讀中的詞匯題存在一定的推理規(guī)律，這時候要采取以下措施：找到考察詞匯所在的句子，尋找推理線索(95%的詞匯題都暗含線索)，由線索得出的關(guān)聯(lián)信息，分析句意或主干進行推理判斷及排除。
例如：TPO-3中第三篇文章 The Long-term Stability of Ecosystems中的第八題：
8. The word "guarantee" in the passage is closest in meaning to
A. increase
B. ensure
C. favor
D. complicate
解題過程：這是一道詞匯題?？疾煸~匯guarantee很多學(xué)生可能不太認(rèn)識，這時候千萬不要依靠第六感去猜，要回到原句中，查找線索。原句“Mathematical
models of ecosystems likewise suggest that diversity does not guarantee
ecosystem stability—just the opposite, in fact.” 存在兩處線索：1. suggest
that(表明)…可見此that句為觀點結(jié)論句;2.
likewise指“也、同樣”。由以上兩點線索可知：上一句肯定出現(xiàn)過相似的觀點結(jié)論句，只有這樣，此句才會說“同樣表明…”。此句的上一句為“In general,
diversity, by itself, does not ensure stability.” 由in
general可知這是典型的結(jié)論句，主干為“diversity does not ensure stability.”而考察句的結(jié)論為“diversity
does not guarantee ecosystem stability.” 由此推理可得出，選項B正確。
例二：本篇文章中第十題：
10. The word “pales” in the passage is closest in meaning to
A. increases proportionally
B. differs
C. loses significance
D. is common
解題過程：這是一道詞匯題?；氐皆渲校檎揖€索。原句“The destruction caused by the volcanic explosion
of Mount St. Helens, in the northwestern United States, for example, pales in
comparison to the destruction caused by humans.” 存在兩處線索：1. for
example表明此句是具體的實例，它的作用通常是用來進一步解釋證明作者的觀點;2. 由in comparison
to可知：此句存在對比關(guān)系，即自然因素造成的破壞與人類活動的破壞進行比較。作者的觀點句，即前一句為“Ecologists are especially
interested to know what factors contribute to the resilience of communities
because climax communities all over the world are being severely damaged or
destroyed by human activities.”
由because后半句可知：人類活動造成的破壞極其嚴(yán)重。所以，考察句所舉的實例中，自然因素造成的破壞與人類活動的破壞相比較，應(yīng)該是“不如、遜色”這樣的負(fù)向信息。因此，選項C中l(wèi)ose同樣顯示出了減弱、不如的負(fù)向信息，因此選項C正確。
托福閱讀題型舉例分析：詞匯題
無論是OG還是Delta，都把閱讀的題目分成十類，即：Understanding Facts and Details， Identifying Negative Facts， Locating Referents， Understanding Vocabulary in Context， Making Inferences， Determining Purposes， Recognizing Paraphrases (Simplifying sentences)， Recognizing Coherence (Sentence inserting)， Summarizing Important Ideas and Organizing information.
還有很重要的一點，做題的時候，無論考試還是練習(xí)，不光要分析對的選項為什么對，更要分析錯的選項為什么錯。有時候分析錯誤的原因更為重要。有助于你把握出題的思路，培養(yǎng)感覺。這是非常有用的。
詞匯題
這應(yīng)該是所有題型里面最不需要技術(shù)的一項，也是最需要技術(shù)的一項。所謂不需要技術(shù)就是說，只要你認(rèn)識這個單詞，馬上就能選出來，5秒鐘就搞定;說需要技術(shù)是因為萬一不認(rèn)識，就要考驗?zāi)愕脑~根，對上下文的理解還有RP了。不要過分信任你猜你猜你猜猜猜的技巧，我覺得這種題還是比較容易出錯的。有時候兩個選項代回去意思都說得通。所以單詞基礎(chǔ)非常重要。但考試的時候遇到不認(rèn)識的也別慌，該猜就猜。一般至少可以排除兩個選項，剩下兩個也別耽誤太長時間，一分鐘搞不定就當(dāng)斷即斷吧。50%的把握，不小了。關(guān)于猜詞技巧除了上下文，詞根也挺重要的。掌握一些常見的詞根還是挺有用的。前面單詞貼里面說得很多，就不多說了。還有時候你不認(rèn)識一個單詞，但你覺得它“好像”是某個意思，應(yīng)該大膽相信你自己。有時候潛意識是非常厲害的。
用OG的話說，如果一個單詞有多個意義，那么可能在題目中都會出現(xiàn)。要選擇符合文中意思的一項。但我還沒見過這樣的?；旧襄e誤的選項都不是該單詞的準(zhǔn)確意思。
這種題實戰(zhàn)練習(xí)作用不太大，就不舉真題例子了。記得選好了把你所選的單詞替換回去看看是不是能行得通。
托福閱讀真題1
The Native Americans of northern California were highly skilled at basketry, using the reeds,grasses, barks, and roots they found around them to fashion articles of all sorts and sizes — notonly trays, containers, and cooking pots, but hats, boats, fish traps, baby carriers, and ceremonialobjects.
Of all these experts, none excelled the Pomo — a group who lived on or near the coast duringthe 1800's, and whose descendants continue to live in parts of the same region to this day. Theymade baskets three feet in diameter and others no bigger than a thimble. The Pomo people weremasters of decoration. Some of their baskets were completely covered with shell pendants;others with feathers that made the baskets' surfaces as soft as the breasts of birds. Moreover, thePomo people made use of more weaving techniques than did their neighbors. Most groups madeall their basketwork by twining — the twisting of a flexible horizontal material, called a weft,around stiffer vertical strands of material, the warp. Others depended primarily on coiling — aprocess in which a continuous coil of stiff material is held in the desired shape with tightwrapping of flexible strands. Only the Pomo people used both processes with equal ease andfrequency. In addition, they made use of four distinct variations on the basic twining process,often employing more than one of them in a single article.
Although a wide variety of materials was available, the Pomo people used only a few. Thewarp was always made of willow, and the most commonly used weft was sedge root, a woodyfiber that could easily be separated into strands no thicker than a thread. For color, the Pomopeople used the bark of redbud for their twined work and dyed bullrush root for black in coiledwork. Though other materials were sometimes used, these four were the staples in their finestbasketry.
If the basketry materials used by the Pomo people were limited, the designs were amazinglyvaried. Every Pomo basketmaker knew how to produce from fifteen to twenty distinct patternsthat could be combined in a number of different ways.
1. What best distinguished Pomo baskets
from baskets of other groups?
(A) The range of sizes, shapes, and designs
(B) The unusual geometric
(C) The absence of decoration
(D) The rare materials used
2. The word fashion in line 2 is closest in meaning to
(A) maintain
(B) organize
(C) trade
(D) create
3. The Pomo people used each of the following materials to decorate baskets EXCEPT
(A) shells
(B) feathers
(C) leaves
(D) bark
4. What is the author's main point in the second paragraph?
(A) The neighbors of the Pomo people tried to improve on the Pomo basket weaving techniques.
(B) The Pomo people were the most skilled basket weavers in their region.
(C) The Pomo people learned their basket weaving techniques from other Native Americans.
(D) The Pomo baskets have been handed down for generations.
5. The word others in line 9 refers to
(A) masters
(B) baskets
(C) pendants
(D) surfaces
6. According to the passage , a weft is a
(A) tool for separating sedge root
(B) process used for coloring baskets
(C) pliable maternal woven around the warp
(D) pattern used to decorate baskets
7. According to the passage , what did the Pomo people use as the warp in their baskets?
(A) bullrush
(B) willow
(C) sedge
(D) redbud
8. The word article in line 17 is close in meaning to
(A) decoration
(B) shape
(C) design
(D) object
9. According to the passage . The relationship between redbud and twining is most similar to the
relationship between
(A) bullrush and coiling
(B) weft and warp
(C) willow and feathers
(D) sedge and weaving
10. The word staples in line 23 is closest in meaning to
(A) combinations
(B) limitations
(C) accessories
(D) basic elements
11. The word distinct in lime 26 is closest in meaning to
(A) systematic
(B) beautiful
(C) different
(D) compatible
12. Which of the following statements about Pomo baskets can be best inferred from the
passage ?
(A) Baskets produced by other Native Americans were less varied in design than those of the
Pomo people.
(B) Baskets produced by Pomo weavers were primarily for ceremonial purposes.
(C) There were a very limited number of basketmaking materials available to the Pomo people.
(D) The basketmaking production of the Pomo people has increased over the years.
PASSAGE 3 BDCBB CBDAD CA
托福閱讀真題2
The term Hudson River school was applied to the foremost representatives ofnineteenth-century North American landscape painting. Apparently unknown during the goldendays of the American landscape movement, which began around 1850 and lasted until the late1860's, the Hudson River school seems to have emerged in the 1870's as a direct result of thestruggle between the old and the new generations of artists, each to assert its own style as therepresentative American art. The older painters, most of whom were born before 1835, practicedin a mode often self-taught and monopolized by landscape subject matter and were securelyestablished in and fostered by the reigning American art organization, the National Academy ofDesign. The younger painters returning home from training in Europe worked more with figuralsubject matter and in a bold and impressionistic technique; their prospects for patronage in theirown country were uncertain, and they sought to attract it by attaining academic recognition inNew York. One of the results of the conflict between the two factions was that what in previousyears had been referred to as the American, native, or, occasionally, New York school — the mostrepresentative school of American art in any genre — had by 1890 become firmly established inthe minds of critics and public alike as the Hudson River school.
The sobriquet was first applied around 1879. While it was not intended as flattering, it washardly inappropriate. The Academicians at whom it was aimed had worked and socialized in NewYork, the Hudson's port city, and had painted the river and its shores with varying frequency.Most important, perhaps, was that they had all maintained with a certain fidelity a manner oftechnique and composition consistent with those of America's first popular landscape artist,Thomas Cole, who built a career painting the Catskill Mountain scenery bordering the HudsonRiver. A possible implication in the term applied to the group of landscapists was that many ofthem had, like Cole, lived on or near the banks of the Hudson. Further, the river had long servedas the principal route to other sketching grounds favored by the Academicians, particularly theAdirondacks and the mountains of Vermont and New Hampshire.
1. What does the passage mainly discuss?
(A) The National Academy of Design
(B) Paintings that featured the Hudson River
(C) North American landscape paintings
(D) The training of American artists in European academies
(A) Figural painting
(B) Landscape painting
(C) Impressionistic painting
(D) Historical painting
3. The word struggle in line 5 is closest in meaning to
(A) connection
(B) distance
(C) communication
(D) competition
4. The word monopolized in line 7 is closest in meaning to
(A) alarmed
(B) dominated
(C) repelled
(D) pursued
5. According to the passage , what was the function of the National Academy of Design for the
painters born before 1835?
(A) It mediated conflicts between artists.
(B) It supervised the incorporation of new artistic techniques.
(C) It determined which subjects were appropriate.
(D) It supported their growth and development.
6. The word it in line 12 refers to
(A) matter
(B) technique
(C) patronage
(D) country
7. The word factions in line 13 is closest in meaning to
(A) sides
(B) people
(C) cities
(D) images
8. The word flattering in line 18 is closest in meaning to
(A) expressive
(B) serious
(C) complimentary
(D) flashy
9. Where did the younger generation of painters receive its artistic training?
(A) In Europe
(B) In the Adirondacks
(C) In Vermont
(D) In New Hampshire
PASSAGE 4 BBDBD CACA
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