1、托福閱讀到底有多難 托福閱讀到底有多難?盤點(diǎn)閱讀出題形式和難題水平,今天給大家?guī)砹送懈ｉ喿x到底有多難，希望能夠幫助到大家，下面就和大家分享，來欣賞一下吧。托福閱讀到底有多難?盤點(diǎn)閱讀出題形式和難題水平托福閱讀考試基本模式介紹新托福閱讀考試分兩種模式：short format以及l(fā)ong format。前者歷時(shí)60分鐘，要求學(xué)生在規(guī)定時(shí)間里完成三篇閱讀約36-42道題目;而后者則將考試時(shí)間拉長(zhǎng)至100分鐘，按需完成60-70道題目。本來這對(duì)學(xué)生來說只是“小菜一碟”，但自從新托福將考試形式由筆試改為電腦操作，這對(duì)很多人來說無疑是“當(dāng)頭一棒”。也許對(duì)大多數(shù)人來說看幾個(gè)小時(shí)的網(wǎng)上新聞或是打上半天的游

2、戲都不是什么新鮮事兒，但面對(duì)屏幕做上一兩個(gè)小時(shí)的題目倒真不是隨便可以信手拈來的。建議各位正在準(zhǔn)備托福閱讀備考的同學(xué)，平時(shí)要養(yǎng)成習(xí)慣通過電腦來閱讀，至于閱讀的內(nèi)容將會(huì)在第四個(gè)點(diǎn)里再作詳細(xì)介紹。關(guān)于這一點(diǎn)的備考和寫作的備考策略是一致的，大家可以結(jié)合起來一起準(zhǔn)備。托福閱讀到底難在哪里?無論是short format還是longre format，托福閱讀考試強(qiáng)度上對(duì)考生的要求都是相當(dāng)大的，新托福閱讀部分每篇*字?jǐn)?shù)增至了700字左右。然而，在新托福閱讀當(dāng)中，對(duì)于初學(xué)者來說最難的不是單詞，而是要求在規(guī)定時(shí)間里完成規(guī)定的題數(shù)。新托福閱讀不同于cet4、cet6，與高考也有很大區(qū)別，因?yàn)閏et4、cet6與

3、高考的閱讀考試大都是提供約4-5篇*，然后出20道選擇題，要求考生根據(jù)所讀*答題。最大的不同在于這些考試都沒有要求做完每個(gè)科目考試所用的時(shí)間。因此很多同學(xué)在一開始做托福閱讀的時(shí)候，十分不適應(yīng)托福閱讀的時(shí)間限制，有的人甚至在考前都沒有克服這個(gè)問題。有的同學(xué)在考試前總是按一篇*來練，認(rèn)為自己在20分鐘內(nèi)(按總的時(shí)間平均分配到每篇閱讀*的用時(shí))完成12-14題綽綽有余。但問題在于托?？荚嚥⒎且黄黄獊砜迹菍?篇或5篇看作一個(gè)整體來考驗(yàn)學(xué)生對(duì)強(qiáng)度的適應(yīng)能力。因此建議考生在托福閱讀備考期間一定要養(yǎng)成3篇一練或者5篇一練的習(xí)慣，培養(yǎng)自己在規(guī)定時(shí)間里完成盡可能多的題數(shù)，并保證一定的正確率。托福閱讀題型趨

4、勢(shì)分析托?？荚囬喿x題型的主要特點(diǎn)在于題型中增加了詞匯解釋題、填表、插入句子和完成段落等。根據(jù)新托福閱讀測(cè)試的目的，考生需要在平時(shí)訓(xùn)練中著重培養(yǎng)和加強(qiáng)三種閱讀技能(即信息定位能力、速讀理解能力和研讀整理能力)，來幫自己適應(yīng)新題型。這一點(diǎn)表現(xiàn)出新托?？荚囬喿x明顯雅思化，因此增加題目并不意味著增加難度，其難度體現(xiàn)在考生對(duì)題型的熟悉程度?？梢哉f，新托福閱讀內(nèi)容的難度降低，便通過題型變化增加難度，因此閱讀理解部分并不需要過于擔(dān)心，關(guān)鍵是了解題型。備考托福閱讀知識(shí)面和信息量要提升大家都知道，做題基于托福閱讀讀*的基礎(chǔ)之上，因此增進(jìn)閱讀能力會(huì)對(duì)完成題目起到至關(guān)重要的作用。在備考階段，大家要多讀各類題材的*。

5、新托福閱讀測(cè)試的選材大多涉及自然科學(xué) (天文、地質(zhì)、生物學(xué)等)、人文和社會(huì)科學(xué)(文學(xué)、歷史、人類學(xué)、社會(huì)學(xué)等)以及藝術(shù)和商務(wù)等學(xué)科領(lǐng)域。多閱讀這些*，一方面可以了解相關(guān)的常識(shí)和背景知識(shí)，同時(shí)可借此機(jī)會(huì)熟悉不同學(xué)科的常用詞匯。各類書籍、報(bào)刊及網(wǎng)上*都可以選擇作為練習(xí)閱讀的材料，如果是選取帶有一定學(xué)術(shù)性的*或大學(xué)教材則是再好不過了。這一點(diǎn)大家可以結(jié)合適應(yīng)“機(jī)考”這一變化來共同實(shí)現(xiàn)更多地去選擇在電腦上閱讀*而非實(shí)際的報(bào)紙或雜志。關(guān)于托福閱讀出題形式和題型難度等信息就為大家介紹到這里，希望能幫助大家提升對(duì)閱讀的基本認(rèn)識(shí)和理解，為考試做更充分全面的準(zhǔn)備。如何探尋托福閱讀的規(guī)律如果你在新托福閱讀考試之前知

6、道了這個(gè)統(tǒng)計(jì)結(jié)果，即使在考試時(shí)你沒有完全聽懂對(duì)話的內(nèi)容，你也能得出正確的答案。雖然我們不能證明這些“規(guī)律”，但是對(duì)于歷年的考題卻從不例外。當(dāng)然，如果你對(duì)自己的聽力水平評(píng)價(jià)很高的話，你可以不冒這個(gè)險(xiǎn)。但是，至少它是一個(gè)替代的方案。以下是根據(jù)歷年考題統(tǒng)計(jì)得出的結(jié)論。當(dāng)然，如果你自己發(fā)現(xiàn)了其它的某些規(guī)律，也應(yīng)該把它總結(jié)出來。(a)當(dāng)兩個(gè)人談到吵或者安靜時(shí)，最后得出的結(jié)論總是：宿舍里讀書很吵，應(yīng)該去圖書館。而不會(huì)說搬到別的宿舍。(b)當(dāng)對(duì)話內(nèi)容涉及演出(音樂會(huì)或者電影)或者展覽時(shí)，最后肯定說它非常好。即使他(她)不會(huì)欣賞這些展覽或者演出，也會(huì)虛偽地說“it makes more sense next

7、time”。(c)當(dāng)談到住在校園里還是住在校外時(shí)，答案肯定是住在校園。(d)當(dāng)談到某門課老師講的如何時(shí)，回答肯定與“boring”相似;而當(dāng)談到課難不難時(shí)，肯定說難。(e)對(duì)話談到作業(yè)時(shí)，肯定都說作業(yè)很多，而且很難?？吹竭@些可以發(fā)現(xiàn)，只要在托福閱讀考試中細(xì)心，什么困難都不怕。托福閱讀素材：歐洲的巖洞藝術(shù)cave art in europe歐洲的巖洞藝術(shù)1.the earliest discovered traces of art are beads and carvings, and then paintings, from sites dating back to the upper pal

8、eolithic period. we might expect that early artistic efforts would be crude, but the cave paintings of spain and southern france show a marked degree of skill. so do the naturalistic paintings on slabs of stone excavated in southern africa. some of those slabs appear to have been painted as much as

9、28,000 years ago, which suggests that painting in africa is as old as painting in europe. but painting may be even older than that. the early australians may have painted on the walls of rock shelters and cliff faces at least 30,000 years ago, and maybe as much as 60,000 years ago.段落梗概：在發(fā)現(xiàn)的早期工藝品中，西班

10、牙與法國(guó)南部的巖洞畫顯示出了高超的技藝，在非洲南部發(fā)掘出的自然石板畫也是如此。而且通過考古發(fā)掘發(fā)現(xiàn)，非洲繪畫與歐洲繪畫一樣歷史久遠(yuǎn);歐洲人在巖石和懸崖斷面上作畫的歷史更久。2.the researchers peter ucko and andree rosenfeld identified three principal locations of paintings in the caves of western europe: (1) in obviously inhabited rock shelters and cave entrances;(2) in galleries immed

11、iately off the inhabited areas of caves;and (3) in the inner reaches of caves, whose difficulty of access has been interpreted by some as a sign that magical-religious activities were performed there.段落梗概：研究人員指出西歐洞畫的三個(gè)主要地點(diǎn)：(1)在明顯有遮蔽可供人類居住的巖石和洞穴入口處，(2)在居住的洞穴一出門的走廊上(3)在洞穴所能及的最深處3.the subjects of the p

12、aintings are mostly animals. the paintings rest on bare walls, with no backdrops or environmental trappings. perhaps, like many contemporary peoples, upper paleolithic men and women believed that the drawing of a human image could cause death or injury, and if that were indeed their belief, it might

13、 explain why human figures are rarely depicted in cave art. another explanation for the focus on animals might be that these people sought to improve their luck at hunting. this theory is suggested by evidence of chips in the painted figures, perhaps made by spears thrown at the drawings. but if imp

14、roving their hunting luck was the chief motivation for the paintings, it is difficult to explain why only a few show signs of having been speared. perhaps the paintings were inspired by the need to increase the supply of animals. cave art seems to have reached a peak toward the end of the upper pale

15、olithic period, when the herds of game were decreasing.段落梗概：繪畫的主題大部分都是動(dòng)物。在洞穴繪畫中，很少描繪人物。并猜測(cè)了原因。后石器時(shí)代的人們也相信畫人物像會(huì)引起傷害或死亡;人們?cè)谔剿魅绾翁岣叽颢C的命中率;或許是出于增加獵物的需求而畫的畫。4.the particular symbolic significance of the cave paintings in southwestern france is more explicitly revealed, perhaps, by the results of a study c

16、onducted by researchers patricia rice and ann paterson. the data they present suggest that the animals portrayed in the cave paintings were mostly the ones that the painters preferred for meat and for materials such as hides. for example, wild cattle (bovines) and horses are portrayed more often tha

17、n we would expect by chance, probably because they were larger and heavier (meatier) than other animals in the environment. in addition, the paintings mostly portray animals that the painters may have feared the most because of their size, speed, natural weapons such as tusks and horns, and the unpr

18、edictability of their behavior. that is, mammoths, bovines, and horses are portrayed more often than deer and reindeer. thus, the paintings are consistent with the idea that the art is related to the importance of hunting in the economy of upper paleolithic people. consistent with this idea, according to the investigators, is the fact that the art of the cultural period that followed the upper paleolithic also seems to reflect how people got their food. but in that period,