為了幫助大家攻克托福閱讀。今天小編主要給大家分享托福閱讀到底怎么練，希望對(duì)你們有幫助!

托福閱讀到底怎么練,高效攻略助您輕松應(yīng)考

1.托福閱讀詞匯

從某種意義上說，詞匯量是托福閱讀理解高分的基礎(chǔ)和關(guān)鍵，如果你的詞匯不符合基本要求(超過5000)，即使有再多的錦囊妙計(jì)，也只能落入ETS的“毒招”之下，因此，以犧牲詞匯量為代價(jià)的技巧練習(xí)是完全不可取的。

2.托福閱讀技巧

托福的閱讀量如此之大，以至于一般的中國考生無法閱讀所有的文章。所謂的“掃讀”、“跳讀”和“略讀”只能適用于少數(shù)幾類文章，不能解決根本問題。那么，閱讀文章應(yīng)該怎么讀呢?一句話，主動(dòng)閱讀文章的關(guān)鍵部分。

所謂主動(dòng)是指不能像一般閱讀一樣完全被動(dòng)地接受信息，而是不斷地思考和預(yù)測。所謂的關(guān)鍵部分主要是每一段的開頭和文章結(jié)尾，由于托福閱讀理解文章全部選自官方出版物，文章的邏輯結(jié)構(gòu)非常完整和嚴(yán)謹(jǐn)，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)測會(huì)非常準(zhǔn)確，這樣，通過閱讀文章的幾個(gè)關(guān)鍵部分，就可以快速掌握整篇文章的結(jié)構(gòu)和內(nèi)部邏輯關(guān)系，也就解決了70%的問題。

3.解題訓(xùn)練

排除法可能是大多數(shù)考生在解決閱讀題時(shí)最常用的方法，事實(shí)上，這種方法有致命的缺點(diǎn):干擾大且耗時(shí)。一個(gè)更有效、更快捷的方法是在閱讀完問題后，在腦海中反映出一個(gè)模糊或不完整的答案，然后在選項(xiàng)中找到一個(gè)接近的答案來判斷。這種能力必須在平時(shí)的訓(xùn)練和講解中逐步養(yǎng)成和加強(qiáng)，它絕不是技巧之類可以替代的東西。

除了以上三個(gè)方面的訓(xùn)練，如果能補(bǔ)充一些基本的背景知識(shí)，閱讀理解的準(zhǔn)確性和速度就能得到更好的保證。

因此，托福閱讀理解的真正提高不是學(xué)習(xí)一些技巧，而是形成一種在訓(xùn)練中使用技巧的無意識(shí)習(xí)慣，并做到實(shí)力和技巧的巧妙結(jié)合。

托福閱讀練習(xí)題：文藝復(fù)興類

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real， individual people in a real， individual scene. They wanted to show the truth， the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period， artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique， a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example， only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years， artists in Europe made use of perspective drawing in their pictures. Nevertheless， there are a range of priorities that artists in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh， like some of the other painters of the Impressionist period， was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However， he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However， a strong two dimensional design is just as important as a feeling of depth， and perhaps more important.

1 The passage mainly discusses

(a) the difference between medieval and Renaissance art

(b) how the technique of perspective influenced the modern art

(c) the discovery of the technique of perspective

(d) the contribution of Renaissance artists

2 The word “eternal” in line 3 is closest in meaning to

(a) timeless

(b) infinite

(c) frequent

(d) constant

3 According to the passage， which is the main concern for medieval artists?

(a) the individual person and his/her possessions and surroundings

(b) real people， real scenes

(c) eternal timeless truth of the earth

(d) themes of religious stories

4 The discovery of perspective was the result of

(a) Renaissance artists’ to prove that the medieval artists could show level of reality

(b) the need to turn an object at an angle and draw more than one side of it

(c) the subject being shifted from religious stories to individual person and　surroundings.

(d) natural evolution of human senses

5 The word “it” in line 12 refers to

(a) the picture

(b) perspective

(c) angle

(d) the object

6 The word “Grammar ” in line 13 is closest in meaning to

(a) construction

(b) grammatical rules

(c) rules and regulations

(d) tones and volume

7 The author’s purpose to give the example in line14-15 is to

(a) explain how perspective work in painting

(b) support two-pointed perspective

(c) illustrate that there are exceptions about perspective

(d) point out that the technique of perspective though seems so natural is an invented technique

8 The following artists’ priorities in style shift away from perspective except

(a) Crivelli

(b) Cezanne

(c) Japanese artists

(d) Brunelleschi

9 The word ”Illusion” in line 25 is closest in meaning to

(a) deception

(b) photograph

(c) decoration

(d) illustration

10 It can be inferred from the passage that Renaissance artists

(a) embraced the medieval style of eternal truth

(b) needed to develop a new approach towards painting to show a new level of reality

(c) were inspired by vertical and horizontal surfaces in inventing the technique of perspective

(d) saw two dimensional design more important than a feeling of depth

參考答案：1.b 2.a 3.d 4.c 5.d 6.c 7.c 8.d 9.a 10.b

托福閱讀練習(xí)題：冰川國家公園

Glacier National park in Montana shares boundaries with Canada， an American Indian reservation， and a national forest. Along the North Fork of the Flathead River， the park also borders about 17，000 acres of private lands that are currently used for ranching， timber， and agriculture. This land is an important part of the habitat and migratory routes for several endangered species that frequent the park. These private lands are essentially the only ones available for development in the region.

With encouragement from the park， local landowners initiated a land-use planning effort to guide the future of the North Fork. The park is a partner in an interlocal agreement that calls for resource-managing agencies to work together and with the more than 400 private owners in the area. A draft plan has been prepared， with the objective of maintaining traditional economic uses but limiting new development that would damage park resources. Voluntary action by landowners， in cooperation with the park and the county， is helping to restrict small-lot subdivisions， maintain wildlife corridors， and minimize any harmful impact on the environment.

The willingness of local landowners to participate in this protection effort may have been stimulated by concerns that Congress would impose a legislative solution.

Nevertheless， many local residents want to retain the existing character of the area.

Meetings between park officials and landowners have led to a dramatically improved understanding of all concerns.

31. The passage mainly discusses

(A) the endangered species in Glacier National Park

(B) the protection of lands surrounding Glacier National Park

(C) conservation laws imposed by the state of Montana

(D) conservation laws imposed by Congress

32. Why are the private lands surrounding Glacier National Park so important?

(A) They function as a hunting preserve.

(B) They are restricted to government use.

(C) They are heavi

ily populated.

(D) They contain natural habitats of threatened species.

33. The word "ones" in line 6 refers to

(A) private lands

(B) endangered species

(C) migratory routes

(D) ranching， timber， agriculture

34. The word "initiated" in line 7 is closest in meaning to

(A) started

(B) requested

(C) purchased

(D) considered

35. The relationship between park officials and neighboring landowners may best be described as

(A) indifferent

(B) intimate

(C) cooperative

(D) disappointing

36. It can be inferred from the passage that a major interest of the officials of Glacier National Park is to

(A) limit land development around the park

(B) establish a new Park in Montana

(C) influence national legislation

(D) settle border disputes with Canada

37. In lines 15-16， the author implies that landowners might be responding to environmental concerns for which of the following reasons?

(A) They wish to stimulate economic growth.

(B) They wish to improve their public image.

(C) They have a tradition of cooperating with ththe government.

(D) They fear federal legislation.

38. The word "stimulated" in line 16 is closest in meaning to

(A) motivated

(B) anticipated

(C) substituted

(D) undermined

39. The word "retain" in line 17 is closest in meaning to

(A) preserve

(B) possess

(C) enjoy

(D) improve

40. Where in the passage does the author mention the purpose of the plan developed by local landowners and park officials?

(A) Lines 1-2

(B) Lines 4-6

(C) Lines 10-14

(D) Lines 15-17

如何闡述托福閱讀文章意思

例題：

…Although we now tend to refer to the various crafts according to the materials used to construct them-clay， glass， wood， fiber， and metal-it was once common 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 of function， 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 be contained， supported， and sheltered. These laws are universal in their application， regardless of cultural beliefs， geography， or climate. If a pot has no bottom or has large openings in its sides， it could hardly be considered a container in any traditional sense…

The passage discusses applied-art objects in relation to all of the following EXCEPT

A. the techniques used in their construction

B. the ways they have been classified

C. their function

D. the universality of the laws that govern them

[解析]

正誤判斷題實(shí)際上也是在考察考生理解文章主要信息的能力，從這一點(diǎn)來講是與Factual Information(事實(shí)信息題)相似的，兩種題型存在的差異就在于正誤判斷題是要求考生從四個(gè)選項(xiàng)中篩選出與文章不符或文章中沒有提到的信息。

仔細(xì)閱讀這一段，我們發(fā)現(xiàn)這一段主要是在討論1，在過去，人們常常是根據(jù)功能來區(qū)分手工藝術(shù)品的，從而產(chǎn)生了“applied arts(應(yīng)用藝術(shù)品)”這一概念;2，從功能的角度來區(qū)分手工藝術(shù)品，可以把它們分為收納物(container)、遮蔽物(shelter)、支撐物(support);3，應(yīng)用藝術(shù)品受到laws of physics的限定，不僅限定了制作這些藝術(shù)品的材料也限定了他們所收納的、遮蔽的、支撐的物體。這些laws是防止四海皆準(zhǔn)的，在任何文化信仰、世界的任何地方和任何一種氣候條件都是一樣的。比如如果一個(gè)沒有底的罐子或是一個(gè)在旁邊開口的罐子，就很難被定一位是收納物。

整個(gè)段落都沒有提及建造這些藝術(shù)品所使用的技術(shù)，所以A是文章中沒有提到的，為正確答案。

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