托福阅读得到高分三原则

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托福阅读得到高分原则有哪些,今天小编给大家带来了托福阅读得到高分三原则,希望能够帮助到大家，下面小编就和大家分享，来欣赏一下吧。

托福阅读得到高分三原则

“直”的原则

所谓“直”，是指托福阅读出题思路直接，所有题目的答案几乎都可以在文章中找到非常明显的对应点。这一特点告诉考生，在解题时，考生一定要根据原文内容来解题，避免“小题大做”，人为地把题目想象得太复杂，否则就是自己给自己找麻烦。

就拿考生熟悉的细节题来说，托福阅读细节题的解题要点有两个要点：一是根据题干关键词回原文定位答案范围;二是将题目选项与原文语句相对照，正确选项往往是原文语句的同义替换。

因此，考生在解题时，一定要对照选项与原文语句之间的异同，找出与原文语句意思相似的选项，也就找到了正确答案。

“细”的原则

所谓“细”，是指考生在利用题干关键词回原文定位答案范围时一定要细心。我们知道，考生在解答托福阅读考试题时，常用到的解题方法就是利用题干中出现的关键词回原文定位答案范围，然后根据定位到的内容选出正确答案。

由于题干中有些关键词(尤其是专有名词)在原文中不止出现一次，因而考生一定要细心，找出原文中所有含该关键词的句子，然后再从中选择与题干要求接近的句子来定位答案范围，进而选出正确答案。很多考生由于没有注意到这一点，导致定位错误，进而与正确答案失之交臂，实在是非常可惜。

“巧”的原则

所谓“巧”，是指考生在回原文定位答案范围时应该选择恰当的题干关键词，并从托福阅读考试的特点出发，巧妙而又地定位答案范围。“巧”的原则具体体现在以下几个方面：

1、用于定位的题干关键词一般包括人名、地名、数字、关键名词或动词等，考生在回原文定位答案范围时，可同时利用多个关键词进行定位，原文中包含题干绝大多数关键词的部分有可能是答案所在;

2、在利用关键词回原文定位时，考生可根据原文中出现的特殊标点符号(如破折号、连字符、引号、括号等)、数字、专有名词等这些比较明显的提示进行跳读，题干的关键词以及题目的答案范围往往就出现在这些有明显提示信息的表达附近;

3、由于阅读部分的考查点经常与转折、比较、否定、因果等逻辑密切相关，因而考生在定位答案范围时可根据这些重要的考点来进行定位。结合这三点，考生便能又快又准地找到出题人设计答案所依据的句子，后再按照“直”的原则选择答案。

从上面的分析可以看出，在托福阅读考试中，这三个字的作用是相互关联促进的。我们也要灵活使用，帮助自己迅速解答问题，才能完成托福阅读备考的任务。

托福阅读真题原题+题目

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacted against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art, Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

1. The passage primarily focuses on nineteenth-century arts and crafts in terms of which of the following?

(A) Their naturalistic themes

(B) Their importance in museum collections

(D) Their role in an industrialized society

2. According to the passage , before the nineteenth century, artisans were thought to be

(A) defenders of moral standards

(B) creators of cheap merchandise

(D) artists

3. It can be inferred from the passage that the Arts and Crafts Movement would have considered

all of the following to be artists EXCEPT

(A) creators of textile designs

(B) people who produce handmade glass objects

(D) metalworkers who create unique pieces of jewelry

4. The word revered in line 14 is closest in meaning to

(A) respected

(B) described

(D) created

5. According to paragraph 2, the handcrafted objects in the homes of middle- and working-class

families usually were

(A) made by members of the family

(B) the least expensive objects in their homes

(D) thought to symbolize progress

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

(A) exposed

(B) praised

(D) accepted

7. The author mentions all of the following as attributes of handcrafted objects EXCEPT

(A) the pride with which they were crafted

(B) the complexity of their design

(D) the quality of their materials

8. The word consistent in line 24 is closest in meaning to

(A) conservative

(B) considerable

(D) concrete

9. According to the passage , which of the following changes occurred at the same time as the

Arts and Crafts Movement?

(A) The creation of brighter and more airy spaces inside homes

(B) The rejection of art that depicted nature in a realistic manner

(D) An increase in the buying of imported art objects

10. Which of the following statements is supported by the passage ?

(A) Private collectors in the nineteenth century concentrated on acquiring paintings.

(B) The Arts and Crafts Movement in the United States, unlike the one in Britain, did not react

strongly against mechanized processes.

geometric designs.

(D) The Arts and Crafts Movement believed in the beneficial effect for people from being

surrounded by beautiful objects.

PASSAGE 50 DCCAC BBCAD

托福阅读真题原题+题目

Archaeological literature is rich in descriptions of pot making. Unlike modern industrial potters, prehistoric artisans created each of their pieces individually, using the simplest technology but demonstrating remarkable skill in making and adorning their vessels.

The clay used in prehistoric pot making was invariably selected with the utmost care: often it was traded over considerable distances. The consistency of the clay was crucial: it was pounded meticulously and mixed with water to make it entirely even in texture. By careful kneading, the potter removed the air bubbles and made the clay as plastic as possible, allowing it to be molded into shape as the pot was built up, When a pot is fired, it loses its water and can crack, so the potter added a temper to the clay, a substance that helped reduce shrinkage and cracking.

Since surface finishes provided a pleasing appearance and also improved the durability in day-to-day use, the potter smoothed the exterior surface of the pot with wet hands. Often a wet clay solution, known as a slip, was applied to the smooth surface. Brightly colored slips were often used and formed painted decorations on the vessel. In later times. Glazes came into use in some areas. A glaze is a form of slip that turns to a glasslike finish during high-temperature firing. When a slip was not applied, the vessel was allowed to dry slowly until the external surface was almost like leather in texture. It was then rubbed with a round stone or similar object to give it a shiny, hard surface. Some pots were adorned with incised or stamped decorations.

Most early pottery was then fired over open hearths. The vessels were covered with fast-burning wood; as it burned, the ashes would all around the pots and bake them evenly over a few hours. Far higher temperatures were attained in special ovens, known as kilns, which would not only bake the clay and remove its plasticity, but also dissolve carbons and iron compounds. Kilns were also used for glazing, when two firings were needed. Once fired, the pots were allowed to cool slowly, and small cracks were repaired before they were ready for use.

1. What does the passage mainly discuss?

(A) Why archaeologists study prehistoric pot making

(B) How early pottery was made and decorated

(D) The variety of decorations on Prehistoric pottery

2. The word meticulously in line 7 is closest in meaning to

(A) heavily

(B) initially

(D) completely

3. Which of the following was a process used by prehistoric potters to improve the texture of the clay?

(A) adding temper

(B) removing the water

(D) mixing the clay with plastic substances