托福阅读分类题型.docx

托福阅读分类题型托福阅读考试中，大家除了平常的学习和记忆，掌握相当的词汇量以外，关于各种题型的分类和解法也应了如指掌，只有了解了这一层才干在考试中得心应手，做到胸有成竹。下面我就托福阅读题型分类及解法给大家作出整理，希望大家重视。 1 信息归类题 特点： (1)通常文章采纳对比写法。 (2)有无用的选项。 关键：排除无用选项。 同学们在复习时可以分类学习，这样可以培养对每一类题型的敏锐感以及加快解题速度。 2 指代题 问法：The word they/ their/ it/ its/ some in the passage refers to 技巧： (1)单复数 it找单数名词或名词性词组。 they找复数名词或名词性词组。 (2)在主从复合句, 并列句中, 后半句的代词主语优先指代前半句主语的核心词(有例外, 要从意义推断)。 (3)简单句中,代词优先指代主语核心词, 次之制代宾语核心词。 (4)代词所在句子找不到合适的指代, 优先指代前一句主语, 次之指代后一句宾语。 (5)一句话中, 相同的代词指代相同。 3 直接事实题 问法：According to the passage, what/ which/ why/ when? 技巧：定位原文, 细读。 4 infer题(必须要准确理解) 注意：既然是infer, imply, 就一定不是原文中明确说的。 技巧： (1)时间前后推理。 (2)排除法。 (3)不要加入自己的观点。 5 举例说明概述题 (例子的作用) 技巧： (1)重点不是例子本身, 而是举例子的目的及例子的服务对象。 (2)概述的同义改写就是答案。 6 EXCEPT罗列题 技巧：重视文中三个或三个以上的罗列 (碰到的话就做笔记记下来-Sissi如是说)。 定位：核心关键词 such as n1, n2, n3A, B, and/ or C. 7 插入句子题 技巧 (1)待插入的句子中, 代词 this, these their, it, such, he, another 这些通常是上一句提过的,所以才特指。 (2)因果, 转折等过渡词 therefore, so, however, as a result, consequently, on the contrary. (3)递进扩大词 furthermore, also, as well, too, other, in addition, moreover, besides, even, additionally. (4)结构配对词on the one hand. On the other handsomeothers. (5)关键同义词 重复出现的名词、副词、形容词。 8 句子要点题 问法：which of the following best expresses the essential information in the highlighted sentence. 错误选项： (1) 有新内容, 或有相反内容。 (2) 遗漏了原文中重要信息。 9 全文总结题 (1)注意段首句, 注意自己归纳总结。 (2)关注文章结构,特别是先总后分式。 10 词汇题 问法：The word/phrase XXX is closest in meaning to_ 技巧： (1)首先看是否熟悉, 如果在熟悉, 在选项中找同义或近义词, 并代入原文检验。 (2)如果不熟悉,将4个选项代入原文, 看上下文是否合理。 (3)看原词所在句子前后2句, 找重复对应。 (4)如果悬想中有2个悬想都在上下文中合理,选择在含义上与原词沾边的词。 (5)选项中不熟悉的词不轻易去选。 做题顺序： 看单词，看选项，原文验证。 3 4托福阅读背景资料 托福阅读备考中，关于一些常考的内容，我们也要了解一下具体的背景知识。这样能够辅助我们更好地来完成文章的阅读。下面我为大家整理了摄影术的发展，供大家参照。 The camera obscura is an optical device that projects an image of its surroundings on a screen. It is used in drawing and for entertainment and was one of the inventions that led to photography and the camera. The device consists of a box or room with a hole in one side. Light from an external scene passes through the hole and strikes a surface inside where it is reproduced rotated 180 degrees (thus upside-down) but with color and perspective preserved. The image can be projected onto paper and can then be traced to produce a highly accurate representation.The largest camera obscura in the world is on Constitution Hill in Aberystwyth Wales. Using mirrors as in the 18th-century overhead version it is possible to project a right-side-up image. Another more portable type is a box with an angled mirror projecting onto tracing paper placed on the glass top the image being upright as viewed from the back. As the pinhole is made smaller the image gets sharper but the projected image becomes dimmer. With too small a pinhole however the sharpness worsens due to diffraction. Some practical camera obscuras use a lens rather than a pinhole because it allows a largeraperture giving a usable brightness while maintaining focus. History The camera obscura has been known to scholars since the time of Mozi and Aristotle.The first surviving mention of the principles behind the pinhole camera or camera obscura belongs to Mozi a Chinese philosopher and the founder of Mohism. Mozi correctly asserted that the image in a camera obscura is flipped upside down because light travels in straight lines from its source. His disciples developed this into a minor theory of optics. The Greek philosopher Aristotle understood the optical principle of the pinhole camera.He viewed the crescent shape of a partially eclipsed sun projected on the ground through the holes in a sieve and through the gaps between the leaves of a plane tree. In the 4th century BCE Aristotle noted that sunlight travelling through small openings between the leaves of a tree the holes of a sieve the openings wickerwork and even interlaced fingers will create circular patches of light on the ground. Euclids Optics presupposed the camera obscura as a demonstration that light travels in straight lines.In the 4th century Greekscholar Theon of Alexandria observed that candlelight passing through a pinhole will create an illuminated spot on a screen that is directly in line with the aperture and the center of the candle. In the 6th century the Byzantine-Greek mathematician and architect Anthemius of Tralles (most famous for designing the Hagia Sophia) used a type of camera obscura in his experiments. In the 9th century Al-Kindi (Alkindus) demonstrated that light from the right side of the flame will pass through the aperture and end up on the left side of the screen while light from the left side of the flame will pass through the aperture and end up on the right side of the screen. Alhazen also gave the first clear description and early analysis and invented the camera obscura and pinhole camera. While Aristotle Theon of Alexandria Al-Kindi and Chinese philosopher Mozi had earlier described the effects of a single light passing through a pinhole none of them suggested that what is being projected onto the screen is an image of everything on the other side of the aperture. Alhazen was the first to demonstrate this with his lamp experiment where several different light sources are arranged across a large area. He was thus the first to successfully project an entire image from outdoors onto a screen indoors with the camera obscura. The Song Dynasty Chinese scientist Shen Kuo experimented with a camera obscura and was the first to apply geometrical andquantitative attributes to it in his book of 1088 AD the Dream Pool Essays. However Shen Kuo alluded to the fact that the Miscellaneous Morsels from Youyang written in about 840 AD by Duan Chengshi during the Tang Dynastymentioned inverting the image of a Chinese pagoda tower beside a seashore.In fact Shen makes no assertion that he was the first to experiment with such a device. Shen wrote of Chengs book: Miscellaneous Morsels from Youyang said that the image of the pagoda is inverted because it is beside the sea and that the sea has that effect. This is nonsense. It is a normal principle that the image is inverted after passing through the small hole. In 13th-century England Roger Bacon described the use of a camera obscura for the safe observation of solar eclipses.At the end of the 13th century Arnaldus de Villa Nova is credited with using a camera obscura to project live performances for entertainment.Its potential as a drawing aid may have been familiar to artists by as early as the 15th century; Leonardo da Vinci described the camera obscura in Codex Atlanticus. Johann Zahns Oculus Artificialis Teledioptricus Sive Telescopium which was published in 1685 contains many descriptions and diagrams illustrations and sketches of both the camera obscura and of the magic lantern. Giambattista della Porta is said to have perfected camera obscura. He described it as having a convex lens in later editions of his Magia Naturalis the popularity of which helped spread knowledge of it. He compared the shape of the human eye to the lens in his camera obscura and provided an easily understandable example of how light could bring images into the eye. One chapter in the Conte Algarottis Saggio sopra Pittura is dedicated to the use of a camera ottican painting. Camera obscura from a manuscript of military designs. 17th century possibly Italian. The 17th century Dutch Masters such as Johannes Vermeer were known for their magnificent attention to detail. It has been widely speculated that they made use of such a camera but the extent of their use by artists at this period remains a matter of considerable controversy recently revived by the HockneyFalco thesis. The term camera obscura itself was first used by the German astronomer Johannes Kepler in 1604.The English physician and author Sir Thomas Browne speculated upon the interrelated workings of optics and the camera obscura in his 1658 discourse The Garden of Cyrus thus: For at the eye the Pyramidal rayes from the object receive a decussation and so strike a second base upon the Retina or hinder coat the proper organ of Vision; wherein the pictures from objects are represented answerable to the paper or wall in the dark chamber; after the decussation of the rayes at the hole of the hornycoat and their refraction upon the Christalline humour answering the foramen of the window and the convex or burning-glasses which refract the rayes that enter it. Four drawings by Canaletto representing Campo San Giovanni e Paolo in Venice obtained with a camera obscura (Venice Gallerie dellAccademia) Early models were large; comprising either a whole darkened room or a tent (as employed by Johannes Kepler). By the 18th century following developments by Robert Boyle and Robert Hooke more easily portable models became available. These were extensively used by amateur artists while on their travels but they were also employed by professionals including Paul Sandby Canaletto and Joshua Reynolds whose camera (disguised as a book) is now in the Science Museum (London). Such cameras were later adapted by Joseph Nicephore Niepce Louis Daguerre and William Fox Talbot for creating the first photographs. 第 11 页 共 11 页