如何训练托福阅读速度

时间：2020-07-18 14:35:11 楚薇0由分享

很多同学阅读分数提不上去的一大原因就是因为阅读速度太慢。托福阅读篇幅较长，内容偏学术，如果阅读速度提不上去，肯定会影响阅读成绩。那么我们应该如何训练托福阅读速度?一起来看看吧!

如何训练托福阅读速度

一. 阅读文章读不懂，如何提升阅读速度

托福阅读文章还是有一定难度的，很多同学初次接触托福都觉得托福文章读不懂或者需要花费很久才能弄懂意思。那么读不懂文章如何提升阅读速度呢?从根本上讲，阅读读不懂是因为词汇量和语法基础太差。所以建议先背托福词汇，看一遍基础语法知识。词汇是阅读的根基，没有词汇量做基础，阅读速度是不可能有很大提升的。托福阅读要求大家有很快的阅读速度，如果一篇阅读中生词太多，就算快速读完也不知道文章的意思。除了背单词之外，还要掌握基本的语法知识，英语句子结构与中文很不相同，掌握语法知识有助于大家理解文章中的长难句。所以总的来说，文章读不懂要先将基本功练扎实。

二. 题目做太慢，如何提升做题速度

有的同学表示，阅读文章能读懂，但就是题目做的太慢，所以做阅读总是超时。题目做的慢，其实是因为缺乏做题技巧，不能快速在原文中定位题目位置。阅读打好基础以后，要学习一些做题的技巧，比如小结题应该通读文章段落找答案，推理题要根据文章意思推理得出，词汇题要将选项带入原句看是否通顺……做题技巧是提升阅读做题速度的高效方法。托福阅读题目是按顺序出题，基本上按照文章的文章结构对应题目，大家在做题的时候要快速定位题目位置，结合上下文快速选出答案。托福阅读题目中很多选项似是而非非常具有迷惑性，一定要提高辨别能力，选择最佳选项。

三. 课外练习很重要

托福阅读速度考验大家的英语基本功，提升阅读速度也需要大家在利用空暇时间多练习。多刷题是有帮助的，除了刷题之外，大家还要多去阅读英文报刊杂志。很多同学看到一篇冗长的托福阅读时，心里的压力感倍增，感觉似乎“不可能完成”。大家平时在课余时间多读英文报刊杂志，就会习惯英语的长篇文章，能减少心理上的压力感，也能提升自己的阅读速度。而且大家在阅读英文报刊杂志的过程中还能积累生词，扩充知识面，可谓一举多得，何乐而不为。

阅读硬实力才是托福阅读高分的关键

有托福考生说，老托的阅读要比新托简单得多，甚至不看文章也能做对题。其实不然。我们知道，原来老托是350字一篇文章，10分钟。现在新托是700字左右一篇文章，20分钟内完成12-14题。按照时间比例来说，时间对考生是绰绰有余的。但是为什么众多考生还是会有这样的感觉呢?

问题就出在托福的题目上，现在新托福阅读的题目四个选项长度呈不断加长趋势。有很多考生用在理解题目和选项的时间就远远超过答题时间。这样的话就直接影响了后面题目的答题质量。如果出现阅读加试，很多考生就一个头两个大了。

这主要还是因为考生在准备新托福阅读考试过程中太注重技巧的提炼，而忘记了学习英语最根本的还是在对语言的掌握上。因此在这里给大家提几点复习新托福阅读的几点建议：

1. 如果基础一般的同学，想要参加托福考试，最好提前3-4个月准备起来。一本好的词汇书是必不可少的。其实背哪一本词汇书不是重点所在，重要的是能够持之以恒，每天对所背的词汇进行复习和总结。因为你在做词汇题时如果能遇到你熟悉的词，可以节省你会到文章中去看上下文猜词的时间。虽然不能保证背到就一定能考到，但是单词可以帮助你更好的理解文章。曾经有一名语言专家这样说过：“Without grammar， little can be conveyed and without vocabulary， nothing can be conveyed.”足以说明词汇的重要性。

2. 然后要从理解文章的结构开始理解文章。我们要明白，托福考试的阅读文章都是北美校园基础课程的文章，基本没有做过改动。所以文章的结构就是完全按照美式作文的五段法，我们的考生只要用这样的方式去分析每一篇文章，就会发现他们的结构是大同小异的。

3. 积累背景知识对我们来说相当的重要，因此我们在做新托福阅读的题目的同时，也应该在空余的时候多阅读课外读物，原版杂志。譬如，国家地理，自然，今日美国等一些著名的原版杂志，这不仅可以扩充我们的背景知识，同时也可以补充我们在词汇量上的不足。

4. 在复习的最后阶段，做做模拟练习题是必不可少的。如果有条件的话，最好做一下模考软件。因为这样可以模仿新托福机考的真实场景。比较推荐的模考软件有Barron， Kaplan以及一些比较权威的模考网站。当然在你报名时托福官方网站提供给你的那一套不完整的模考题也是很有参考价值的。

托福阅读真题1

The mineral particles found in soil range in size from microscopic clay particles to large boulders. The most abundant particles — sand, silt, and clay — are the focus of examination in studies of soil texture. Texture is the term used to describe the composite sizes of particles in a soil sample, typically several representative handfuls.

To measure soil texture, the sand, silt, and clay particles are sorted out by size and weight. The weights of each size are then expressed as a percentage of the sample weight. In the field, soil texture can be estimated by extracting a handful of soil and squeezing the damp soil into three basic shapes; (1) cast, a lump formed by squeezing a sample in a clenched fist; (2) thread, a pencil shape formed by rolling soil between the palms; and (3) ribbon, a flatfish shape formed by squeezing a small sample between the thumb and index finger. The behavioral characteristics of the soil when molded into each of these shapes, if they can be formed at all, provide the basis for a general textural classification. The behavior of the soil in the hand test is determined by the amount of clay in the sample. Clay particles are highly cohesive, and when dampened, behave as a plastic. Therefore the higher the clay content in a sample, the more refined and durable the shapes into which it can be molded.

Another method of determining soil texture involves the use of devices called sediment sieves, screens built with a specified mesh size. When the soil is filtered through a group of sieves, each with a different mesh size, the particles become grouped in corresponding size categories. Each category can be weighed to make a textural determination. Although sieves work well for silt, sand, and larger particles, they are not appropriate for clay particles. Clay is far too small to sieve accurately; therefore, in soils with a high proportion of clay, the fine particles are measured on the basis of their settling velocity when suspended in water. Since clays settle so slowly, they are easily segregated from sand and silt. The water can be drawn off and evaporated, leaving a residue of clay, which can be weighed.?

1. What does the passage mainly discuss?

(A) Characteristics of high quality soil

(B) Particles typically found in most soils

(D) Ways to determine the texture of soil

2. The author mentions several representative handfuls in line 4 in order to show

(A) the range of soil samples

(B) the process by which soil is weighed

(D) how small soil particles are weighted

3. The phrase sorted out in line 5 is closest in meaning to

(A) mixed

(B) replaced

(D) separated

4. It can be inferred that the names of the three basic shapes mentioned in paragraph 2 reflect

(A) the way the soil is extracted

(B) the results of squeezing the soil

(D) the difficulty of forming different shapes

5. The word dampened in line 14 is closest in meaning to

(A) damaged

(B) stretched

(D) examined

6. Which of the following can be inferred from the passage about a soil sample with little or no

clay in it?

(A) It is not very heavy.

(B) It may not hold its shape when molded.

(D) Its texture cannot be classified

7. The word they in line 21 refers to

(A) categories

(B) sieves

(D) clay particles

8. It can be inferred from the passage that the sediment sieve has an advantage over the hand

test in determining soil texture because

(A) using the sieve takes less time

(B) the sieve can measure clay

(D) the sieve allows for a more exact measure

9. During the procedure described in paragraph 3, when clay particles are placed into water they

(A) stick to the sides of the water container

(B) take some time to sink to the bottom

(D) dissolve quickly

10. The word fine in line 24 is closest in meaning to

(A) tiny

(B) many

(D) various

11. All of the following words are defined in the passage EXCEPT

(A) texture (line 3)

(B) ribbon (line 10)

(D) evaporated (line 25)

PASSAGE 27 DADBC BBDBA D

托福阅读真题2

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed art glass. Art glass was intended for decorative purposes and relied for its effect upon carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846-1904). In the United States, Louis Comfort Tiffany (1843-1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid-1920's. It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant-garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement — that function should determine form — was not a new concept. Soon a distinct aesthetic code evolved: form should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

1. What does paragraph 1 mainly discuss?

(A) Design elements in the Art Nouveau style

(B) The popularity of the Art Nouveau style

(D) Color combinations typical of the Art Nouveau style

2. The word one in line 4 refers to

(A) century

(B) development

(D) coloration

3. Paragraph 1 mentions that Art Nouveau glass was sometimes similar to which aspect of ancient buried glass ?

(A) The distortion of the glass

(B) The appearance of the glass surface

(D) The size of the glass objects