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[阅读辅导] 新托福考试备考丛书阅读精选二

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发表于 2012-8-15 00:26:22 | 显示全部楼层 |阅读模式
  2)指代关系题(Reference): 考查读者认定代词与篇章中其他词语的指代关系的能力。# r' B8 _0 J; \% x( T2 Q
  例题1:! {6 C/ Y. p0 h
  Passage: “…These laws are universal in their application, regardless of cultural beliefs, geography, or climate. If pots have no bottoms or have large openings in their sides, they could hardly be considered containers in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits…”2 M! T; O: r  m* i" K
  The  word they in the passage refers to* K8 P" R* x, T& n3 A4 x
  A.applied-art objects2 x' E: r+ n; k+ U# x
  B.the laws of physics
- v. ], J0 y. a& z. o. w  Q6 ~  C.containers
8 }0 i, f9 e* E9 c  D.the sides of pots3 q2 K6 |& z$ d' \% b" ^+ M" D
  正确答案是A.' n: V1 }8 W  u! P/ X0 [
  例题2:8 J7 g# {) F0 r" x) y
  Passage:“…The first weekly newspaper in the colonies was the Boston Gazette,
; }' b1 r  x# V* d( V" w  established in 1719, the same year that marked the appearance of Philadelphia‘s first newspaper, the American Mercury, where the young Benjamin Franklin worked. By 1760 Boston had 4 newspapers and 5 other printing establishments; Philadelphia, 2 newspapers and 3 other presses; and New York, 3 newspapers. The distribution, if not the sale, of newspapers was assisted by the establishment of a postal service in 1710, which had a network of some 65 offices by 1770, serving all 13 colonies…“( F+ M; C% c7 ~/ H! W
  The  word which in the passage refers to: w! e  ^% x) H6 y2 f
  A.distribution
* @" q9 e' z6 m/ d0 l" [5 _  B.sale
3 ^3 q0 O7 P5 H  C.newspaper
$ o3 v5 I. s2 B. T  D.postal service3 Y( h3 E1 z0 X
  正确答案是D.
: ?5 N/ J3 H) S  K1 b- {  3)句子简化题(Sentence Simplification):考查读者认定文章中某一特定复杂句子所传2 `( w& M) q- f7 v; ]
  达的基本内容,并不受细枝末节的干扰,用简化的句子表达原句基本内容的能力。
9 x" T/ ^  f% c% X( L0 P! H  例题7 C/ @4 v1 ?% w8 c+ v! y2 h1 ]
  。 . . Although we now tend to refer to the various crafts according to the materials used to construct them—clay, glass, wood, fiber, and metal—it was once common to think of crafts in terms of function, which led to their being known as the “applied arts.” Approaching crafts from the point of view of function, we can divide them into simple categories:  containers, shelters, and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike; that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What varies is not the basic form but the incidental details that do not obstruct the object‘s primary function . . .
6 F: C0 x7 z- ]$ n, L9 o  The tested sentence is highlighted in the passage.
. x4 p  M( W7 i- Q' T  Which of the following best expresses the essential information in the highlighted sentence? Incorrect answer choices change the meaning in important ways or leave out essential information.5 J' V$ h: v9 x5 l' y
  A.Functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics.
: `# x0 J2 T- h! y  B.The function of applied-art objects is determined by basic patterns in the laws of physics.
* y" r$ N) W0 |: X6 m; h  M3 j( L  C.Since functional applied-art objects vary only within certain limits, arbitrary decisions cannot have determined their general form.* P. j9 y# Z/ b
  D.The general form of applied-art objects is limited by some arbitrary decision that is not determined by the laws of physics.
* m& N1 V* a1 {& D  b  正确答案是A! X, Y( R" K) a, B. u" S
  4) 插话题(Insert Text):考查读者将特定的一句话插入文章顺序相连的四个句子之间的
% t& u% A1 ^6 W" Q
: M7 M5 r7 x/ q/ s  能力。这个题型是国内考试常见的Cloze Test在语篇层次上的进一步发展,可谓技高一筹。要完成任务,读者必须深入理解各个句子间的词汇、语法和逻辑联系。这是新题型,有相当难度,考生应特别重视。
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 楼主| 发表于 2012-8-15 00:26:23 | 显示全部楼层

新托福考试备考丛书阅读精选二

</p>  例题:  y/ \: x! z: `
  Look at the four squares [■] that indicate where the following sentence could be added to the passage." G4 t* N' @; Q: ?! V
  All three of them have strengths and weaknesses, but none adequately answers all of the questions the paintings present.4 o4 \! f" A4 {
  Where would the sentence best fit?
8 }" }' a- R* j8 [  g* M  Click on a square to add the sentence to the passage.3 o6 S, s# ?5 U9 X4 Z. b* W. H
  Example of how boxes would appear in the passage text:
6 W6 B# ?" d1 A8 g) i+ S/ {  Scholars offer three related but different opinions about this puzzle. ■ One opinion is that the paintings were a record of the seasonal migrations made by herds. ■ Because some paintings were made directly over others, obliterating them, it is probably that a painting‘s value ended with the migration it pictured. ■ Unfortunately, this explanation fails to explain the hidden locations, unless the migrations were celebrated with secret ceremonies. ■  J: y; [) G7 Z
  正确答案是:最后一个方块处。
$ A- t5 \7 _4 h3 {+ O  D9 ~  5) 事实信息题(Factual Information):考查读者抓住文章中阐明的信息,并排除干扰
. j3 J$ P  ^! E6 g  回答问题的能力。读者的任务是在给出的选项中,选出一个与文章中某相应句子建
0 h2 [  u3 r$ V0 X7 \  立对应关系。此题型虽然有难度,数量也较大,但属于老题型。
. v! }  f9 _3 u' w# w' ?  例题:( [1 Q% K7 F. b
  Passage:…Sculptures must,  for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not crack, deteriorate, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demand of the laws of physics, not the sculptor‘s aesthetic intentions, placed the ball there. That this device was a necessary structural compromise is clear from the fact that the cannonball disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze)…7 @, I0 N$ N  W+ g7 |9 e
  According to paragraph 2, sculptors in the Italian Renaissance stopped using cannonballs in bronze statues of horses because
  {" D4 v' A- o( X" M2 ?  A.they began using a material that made the statues weigh less
% U- R$ ?" [) b# X: I5 R9 w( j  B.they found a way to strengthen the statues internally
0 U' x0 ]$ u: y  C.the aesthetic tastes of the public had changed over time
8 }: {" w, E5 y, I0 X) D* q. u  D.the cannonballs added too much weight to the statues
4 \+ @9 f' G8 i) j6 _1 x( E( a  正确答案是B.
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