托福考试看不懂题目

不要逐字的翻译，首先要找到主干，像一些分词介词要找到他的修饰成分，有的不翻译不会影响整个句子的。拿笔指着一句一句的读，慢一点就好啦。

在托福阅读考试中，有好的训练 方法 和一定量的解题技巧，可以为你的托福阅读得到高分。那具体这些解题技巧和方法我们应该如何应用到平时的练习中去呢?下面我就为大家整理了这些，希望可以帮助到大家，快来一起学习吧。

详解托福阅读的解题技巧和训练方法

1.每一篇 文章 第一次做时，尽量按照考试速度要求做。

2.做完后，接下来就要认真把文章读一遍，划出把文章里不懂的单词和长难句，查出单词意思，(借助语法知识)认真分析长难句，同时还要把错题(包括碰巧猜对的题目)认真分析，特别是OG和汉客笔记的题目(还有北极星最后几套ETS出的题目)，一定要把题目涉及的文章内容仔细看，甚至在文章中划出涉及考题的内容，培养对易出题的考点的感觉，甚至揣摩ETS的出题思路。等到这些工作都做完，这篇文章也就基本吃透了，这时再重新把文章读一遍，最好多读两遍。这个过程其实就是精读了。只要时间允许，做过一次的阅读文章最好都尽量精读，吃透它。光作对题只是一个浅显的要求，就像只顾吃饭，对材料认真分析、精读才是真正消化吸收。

3.等过了三五天，或者两三周以后，有空的话再把这篇文章看(做)一遍，作为巩固，复习，而且有时还会温故知新。

如果时间不足，OG的文章是一定要精读的，而且题目也要仔细研究，这是出题思路和考试最为接近的资料。这些原则在新托福阅读其实也是同样适用的，只要文章中出现如下内容，都要引起注意：举例证明，罗列式例举，转折(否定)，因果，下定义，比较级(最高级)，同位语(插入语)，数字年代，特殊标点(引号，破折号等)。

阅读具体的做题顺序

阅读最基本的做题顺序有两种：先读(全篇)文章再做题;先读题目再读文章(相应部分)然后做题

它们又能衍生变化出两种做题顺序：读一段文章，做相应的题目，然后再读一段，再做相应的题目;读文章各段首句，然后看题目，再找文章内相应部分做题

对于广大非牛来说，可能“读文章各段首句，然后看题目，再找文章内相应部分做题”会比较合适，读各段首句可以粗略掌握文章大意和结构，做题再看内容再做能大大降低“工作量”，但是这种做法不利于对全文的消化吸收，从而不利于做 总结 题，也可能会遗漏文章内的一些细节而导致做错细节题。而新托福目前反馈大都是顺序出题的，所以建议练习时就尽量往“读一段做相应题目，再读一段再做相应题目”这一顺序去靠拢，可以对文章有全面的把握，虽然总量上还是要读完全文，但是对大脑的短期记忆的负担要比通读全文再做题目小很多。

托福阅读题型破解

阅读一般来说是中国人的强项了，也是拿分的主力。如果你口语不牛， 作文 一般，还想考到100分，那么阅读应该保证在28分以上。(我认为对于多数人来说，要达到一百分，28，26，22，24这个结构是比较容易达到的。)

在IBT阅读中，甚至可以扩展到ETS所有考试的阅读题目中，如果要用一个词来概括的话，那就是paraphrase，意译。无论是题干还是正确选项，大都能在原文中找出一句话来与之相对应。即题目是原文的意译。这种意译是通过 同义词 来完成的。即题干中多用 近义词 来对原文中的 句子 进行替换，来达到提出问题或者提出正确答案的意思。准确把握意译，是多数题目中准确在原文中定位信息、或者在迷惑选项中选出正确的那个，都有着重要的作用。在后面的文章里我会结合实例解释这一点。

关于先看题目还是先看文章的问题。也就是做题时间安排的问题。在此问题上我与有的朋友也有过争执。我个人习惯是先用5—7分钟的时间通读全文，然后平均每个问题有1分钟的时间来回答。由于对问题的回答建立在了熟悉全文的基础上，每个问题又有足够的时间返回全文，每个选项都一一进行斟酌。我认为这样准确率比较高。但有的朋友本着居家过日子的心，认为1000多字的文章只出十几个题，必然有一些信息是没用的。这样通读全文就会浪费掉一些时间，不如先看题再回去找来的痛快。对此我不好妄加评论。每个人都应该通过考前大量的练习来制定出最为适合自己的方法。

关于复习的时间安排。我认为，弄完词汇以后，就应该着手突击一下阅读了。如今各种各样的模拟题犹如英语辅导班一样大量涌现。不会出现我们早期考生有题舍不得做的情况了。但也不能太急功近利，单词没弄好就硬上阅读，有时候会适得其反。用1周的时间大量的突击，也是对单词的一个巩固。找到感觉以后就可以开始下面的复习了。复习听力口语作文的日子里，每天一定要最少做3篇文章的题量，按照考试的时间要求，千万不可放松。做得多了，就可以把阅读当作一种放松了。ETS的阅读文章能教给我们各种学科的基础知识。(这与GRE有区别。托福的专业性文章还都处于一个启蒙的专业水平上，不像G那么变)阅读还可以教给我们一些老美的思路，老美看待问题的方式。阅读不会像你想象的那样痛苦的。

无论是OG还是Delta，都把阅读的题目分成十类，即：Understanding Facts and Details, IdentifyingNegative 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. 我将按顺序一一解释。

还有很重要的一点，做题的时候，无论考试还是练习，不光要分析对的选项为什么对，更要分析错的选项为什么错。有时候分析错误的原因更为重要。有助于你把握出题的思路，培养感觉。这是非常有用的。

托福阅读词汇实践出高分

有些人在复习托福阅读一开始就抱着词汇书背，我认为那样做背起来特别容易忘，而且还到实际中还不知道怎么用。其实不妨这样做，那一开始就做真题，就像摸考一样，然后在对答案的时候，遇到的不懂得单词，再看那些跟着每一套阅读真题的单词(有一些书就是跟着每套题的单词，全篇翻译都有的)，这时候再背单词，做一套，背一套，大概这样做上4、5套题，你的感觉就是，大体主要的单词也就是这些了，那你就提高到一个境界了。

而且复习托福阅读真题让你对真题书而有熟，是一举几得的事。我就是这么做的，是清华的一个家伙介绍给我的，真是不错，现在大概复习有1个多月了，错题数能控制在2个以内。当然另外，还要注意一点，那就是一个阅读的方法问题，我也想说一下，希望对大家有用。

托福阅读备考的方法

其实 快速阅读 的技巧在掌握文章的思路，使整篇文章的段落层次，清晰在大脑中展现。

在读第一段时，特别是第一句，往往给我们一个大致的思路，文章的论题是什么，作者想说什么?然后第二段的第一句，然后在想一想作者下面又想讲什么，这一段里有没有什么重要的细节。然后第三段，又讲了什么，这里面的重要细节又是什么。

几段下来，每次读的时候都要来个小小的总结。各个段落的目的是什么，主题又是什么?这样，在脑子里面形成一个作者思路图 ，在脑子里或者在草稿纸上画一个文章的结构思路题。

在回答问题前，花几秒钟总结一下文章大意，它的思路和主题。

再次提醒，TOEFL考察的是你的答题能力而非阅读能力。你不必完全掌握整篇文章，了解文章中的每一个细节。(其实，你也没有那么多时间)。相反，你应该只读文章段落的第1句，而快速浏览其余部分。当你"读"完这篇文章时，你就能对文章的结构思路有总体的把握。

答题。根据你对文章的整体思路来答题。将问题(或选项)定位到文章中具体的某个段落甚至具体的句子。因为你这样做完，你会觉得每一段的思路、脉络都会非常清晰，做题的时候，就可以很快找到出题点，而且对于偏离主题的题一眼就能看出，主题词就会显得格外明显。而实际中每一次的小结只需要几秒钟的一个停顿就可以，大家不妨试试，就会明白了。

需要注意的是，复习的时候，一定要看原文章，将文章通读，遇到忘了的单词，在重新回来查书上的解释，然后再背。这样背过的单词就不再是一个个孤立的单 词，而且也省去了枯燥背单词的时间，更主要的是，这样背过的单词，你会对这个词的用法很熟悉，不容易忘，或者就像有些人所说的，明明在单词表里觉得挺熟的 词，到了真正的阅读中，又会觉得很生疏，或者不能立刻反映出它的意思了。

托福阅读备考时大家要在做托福阅读真题的同时理解背诵单词，这样才能进一步加强托福阅读学习的质量，希望对大家有帮助。

托福阅读真题1

Glass fibers have a long history. The Egyptians made coarse fibers by 1600 ., and fibers survive as decorations on Egyptian pottery dating back to 1375 . During the Renaissance (fifteenth and sixteenth centuries .), glassmakers from Venice used glass fibers to decorate the surfaces of plain glass vessels. However, glassmakers guarded their secrets so carefully that no one wrote about glass fiber production until the early seventeenth century.

The eighteenth century brought the invention of spun glass fibers. R é ne-Antoine de R é a French scientist, tried to make artificial feathers from glass. He made fibers by rotating a wheel through a pool of molten glass, pulling threads of glass where the hot thick liquid stuck to the wheel. His fibers were short and fragile, but he predicted that spun glass fibers as thin as spider silk would be flexible and could be woven into fabric.

By the start of the nineteenth century, glassmakers learned how to make longer, stronger fibers by pulling them from molten glass with a hot glass tube. Inventors wound the cooling end of the thread around a yarn reel, then turned the reel rapidly to pull more fiber from the molten glass. Wandering tradespeople began to spin glass fibers at fairs, making decorations and ornaments as novelties for collectors, but this material was of little practical use; the fibers were brittle, ragged, and no longer than ten feet, the circumference of the largest reels. By the mid-1870's, however, the best glass fibers were finer than silk and could be woven into fabrics or assembled into imitation ostrich feathers to decorate hats. Cloth of white spun glass resembled silver; fibers drawn from yellow-orange glass looked golden.

Glass fibers were little more than a novelty until the 1930's, when their thermal and electrical insulating properties were appreciated and methods for producing continuous filaments were developed. In the modern manufacturing process, liquid glass is fed directly from a glass-melting furnace into a bushing, a receptacle pierced with hundreds of fine nozzles, from which the liquid issues in fine streams. As they solidify, the streams of glass are gathered into a single strand and wound onto a reel.

1. Which of the following aspects of glass fiber does the passage mainly discuss?

(A) The major developments in its production

(B) Its relationship with pottery making

(C) Important inventors in its long history

(D) The variety of its uses in modern industry

2. The word coarse in line 1 is closest in meaning to

(A) decorative

(B) natural

(C) crude

(D) weak

3. Why was there nothing written about the making of Renaissance glass fibers until the seventeenth century?

(A) Glassmakers were unhappy with the quality of the fibers they could make.

(B) Glassmakers did not want to reveal the methods they used.

(C) Few people were interested in the Renaissance style of glass fibers.

(D) Production methods had been well known for a long time.

4. According to the passage , using a hot glass tube rather than a wheel to pull fibers from molten

glass made the fibers

(A) quicker to cool

(B) harder to bend

(C) shorter and more easily broken

(D) longer and more durable

5. The phrase this material in line 16 refers to

(A) glass fibers

(B) decorations

(C) ornaments

(D) novelties for collectors

6. The word brittle in line 17 is closest in meaning to

(A) easily broken

(B) roughly made

(C) hairy

(D) shiny

7. The production of glass fibers was improved in the nineteenth century by which of the

following

(A) Adding silver to the molten glass

(B) Increasing the circumference of the glass tubes

(C) Putting silk thread in the center of the fibers

(D) Using yarn reels

8. The word appreciated in line 23 is closest in meaning to

(A) experienced

(B) recognized

(C) explored

(D) increased

9. Which of the following terms is defined in the passage ?

(A) invention (line 7)

(B) circumference (line 17)

(C) manufacturing process (line 24)

(D) bushing (line 25)

PASSAGE 53 ACBDA ADBD

托福阅读真题2

Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varèse(1 883-1965) called thus the liberation of sound...the right to make music with any and all sounds. Electronic music, for example — made with the aid of computers, synthesizers, and electronic instruments — may include sounds that in the past would not have been considered musical. Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and nonelectronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments. A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music — tom-toms, bongos, slapsticks, maracas—are widely used.

In the search for novel sounds, increased use has been made in Western music of microtones. Non-western music typically divides and interval between two pitches more finely than western music does, thereby producing a greater number of distinct tones, or microtones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters — closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well. Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium.

Because standard music notation makes no provision for many of these innovations, recent music scores may contain graphlike diagrams, new note shapes and symbols, and novel ways of arranging notation on the page.

1. What does the passage mainly discuss?

(A) The use of nontraditional sounds in contemporary music

(B) How sounds are produced electronically

(C) How standard musical notation has been adapted for nontraditional sounds

(D) Several composers who have experimented with the electronic production of sound

2. The word wider in one 1 is closest in meaning to more impressive

(A) more distinctive

(B) more controversial

(C) more extensive

(D) more impressive

3. The passage suggests that Edgard Var è se is an example of a composer who

(A) criticized electronic music as too noiselike

(B) modified sonic of the electronic instruments he used in his music

(C) believed that any sound could be used in music

(D) wrote music with environmental themes

4. The word it in line 12 refers to

(A) piano

(B) string

(C) blade

(D) music

5. According to the passage , which of the following types of instruments has played a role in

much of the innovation in western music?

(A) string

(B) percussion

(C) woodwind

(D) brass

6. The word thereby in line 20 is closest in meaning to

(A) in return for

(B) in spite of

(C) by the way

(D) by that means

7. According to the passage , Krzysztof Penderecki is known for which of the following practices?

(A) Using tones that are clumped together

(B) Combining traditional and nontradinonal instruments

(C) Seating musicians in unusual areas of an auditorium

(D) Playing Western music for non-Western audiences

8. According to the passage , which of the following would be considered traditional elements of

Western music?

(A) microtones

(B) tom-toms and bongos

(C) pianos

(D) hisses

9. In paragraph 3, the author mentions diagrams as an example of a new way to

(A) chart the history of innovation in musical notation

(B) explain the logic of standard musical notation

(C) design and develop electronic instruments

(D) indicate how particular sounds should be produced

PASSAGE 54 ACCBB DACD

书山有路勤为径，学海无涯苦作舟。

你看的太多了 休息下临近考试就不要拼命了 每天保证1套题练手就行 注意调节