三天提高托福閱讀
托福閱讀想要快速的進行提升，一些科學(xué)的備考方法是必須要掌握的，本篇文章就為大家分享三天提高托福閱讀，希望對大家的成績提高有所幫助。
三天提高托福閱讀
1、詞匯復(fù)習建議
除了常規(guī)的詞匯背誦以外，以下三類材料都可以作為備考利器：
1)托福在線練習題(TPO1-48)里出現(xiàn)過的所有詞匯題及答案要記熟;
2)翻閱離考試日期至少8個月的詞匯機經(jīng)，用近期反復(fù)考察的詞匯做一次現(xiàn)有詞匯水平的檢驗;
3)考前一周的詞匯機經(jīng)，大大提高真實考試詞匯題的正確率。
除此以外，日常備考時還應(yīng)養(yǎng)成隨手翻閱Merriam-Webster的好習慣，畢竟是官方指定的參考字典。
2、長難句復(fù)習建議
托福閱讀長難句結(jié)構(gòu)的劃分跟考生的語法基礎(chǔ)息息相關(guān)，但無外乎是常見的四、五種語法點的交替出現(xiàn)，比如定語后置，倒裝句，虛擬語氣等。
所以長難句如何有效秒殺它呢?
先從句子簡化題入手，橫向練習，找出薄弱語法點，針對性復(fù)習。再在精讀過程中，總結(jié)長難句，練習意群斷句，進一步鞏固。
3、邏輯結(jié)構(gòu)復(fù)習建議
聽力有聽寫跟讀，閱讀有復(fù)述。看完一整段后，能否把段落起承轉(zhuǎn)合整理到85%的水平，關(guān)鍵就看能否抓住句間邏輯聯(lián)系。
在托福階段，邏輯基本以顯性的邏輯關(guān)聯(lián)詞作為代表，要熟記;
在此基礎(chǔ)上，要儲備常見的段落結(jié)構(gòu)，做到舉一反三，以不變應(yīng)萬變來面對新文章，新段落。
4、考前沖刺建議
學(xué)生常常都有這樣的困惑：TPO刷完了還有什么材料值得復(fù)習呢?
縱覽市面上所有的復(fù)習材料，在文章選取和題目設(shè)置上都有或多或少的硬傷。盲目地拿和真實考試有差距的題目進行練習，反而會打亂正確的解題思路，事倍功半。
苦刷TPO三百遍，更要來場全真?？简炓或?。暫不說題源文章很難觸及，市面上所有的模考軟件在評分標準上都有這樣那樣的缺陷，導(dǎo)致很多考生的實際分數(shù)和平時練習的分數(shù)有一定落差，而只有ETS才有最權(quán)威的算分機制，其他渠道皆無從得知。
利用?？季?，檢驗所學(xué)所得，查漏補缺，及時調(diào)整復(fù)習策略，是從被動的考試者轉(zhuǎn)變成主動學(xué)習者最關(guān)鍵的一步!
影響托福備考時長的四大因素
首先，托福考試準備的時間的長短取決于你的基礎(chǔ)，你是在什么基礎(chǔ)上準備呢?高中畢業(yè)的水平，CET4或6的水平，或者已經(jīng)考完了GRE了。而且這些考試有個共同的特點，不注重衡量你的聽力，寫作，最重要的是口語方面的水平?？赡苣愕拈喿x和詞匯都沒有問題，但是你的口語在什么基礎(chǔ)呢?聽力呢?作文呢?一般來說，如果能每天復(fù)習6個小時左右，2個月左右的復(fù)習是還是必要的。就算考完GRE，最好也要2個月，有英語六級水平大概3個月左右。只有英語四級水平的話4個月也差不多了，如果連英語四級水平都沒有，就要4個月甚至更多了。當然，這些時間都是非常粗略的。
其次，托?？荚嚋蕚涞臅r間取決于你有效的復(fù)習時間，注意是有效，你真正花在復(fù)習上的時間每天有多少時間呢，有些人每天能花出10個小時孜孜不倦的學(xué)習;有些人本身有工作，復(fù)習的時間也不長。有些人看似很忙，卻能抽出很多空閑的時間復(fù)習，整出來的有效時間甚至比那些看上去不是很忙的人還多。
另外，托?？荚嚋蕚涞臅r間取決于你想要的托?？荚嚪謹?shù)，還有很重要的是托?？荚噯雾椃謹?shù)。很多學(xué)校對托福考試單項成績都有要求，這就意味著不能一門考得特別低，尤其是口語。如果托?？荚嚪謹?shù)想上100分就得確保托福閱讀和聽力不能低，最好是拿高分，托?？谡Z不能太低，最好分數(shù)在20分以上，托福寫作可以拿個一般的分數(shù)。對托福單項分數(shù)規(guī)劃了之后，可以在制訂計劃時候更有目的性。如果你的目標只是80分，那么你應(yīng)該為自己的各個部分更好的規(guī)劃了，比如口語如果基礎(chǔ)不好只能拿15分左右，那么你得保證你別的部分補充口語的空缺。
最后，托?？荚嚋蕚涞臅r間取決于你的態(tài)度，態(tài)度其實就是你學(xué)習的動力，你如果有強烈的愿望去戰(zhàn)勝新托福，你的效率往往會很高，這樣能大大縮短復(fù)習時間。相反，你報著無所謂的態(tài)度，每天報著一本托福詞匯書，或者OG看，可能你也看不進多少。
托福閱讀真題1
Rent control is the system whereby the local government tells building owners how much they can charge their tenants in rent. In the United States, rent controls date back to at least World War II.
In 1943 the federal government imposed rent controls to help solve the problem of housing shortages during wartime. The federal program ended after the war, but in some locations, including New York City, controls continued. Under New York's controls, a landlord generally cannot raise rents on apartments as long as the tenants continue to renew their leases. In places such as Santa Monica, California, rent controls are more recent. They were spurred by the inflation of the 1970's, which, combined with California's rapid population growth, pushed housing prices, as well as rents, to record levels. In 1979 Santa Monica's municipal government ordered landlords to roll back their rents to the levels charged in 1978. Future rents could only go up by two-thirds as much as any increase in the overall price level.
In any housing market, rental prices perform three functions: (1) promoting the efficient maintenance of existing housing and stimulating the construction of new housing, (2) allocating existing scarce housing among competing claimants, and (3) rationing use of existing housing by potential renters.
One result of rent control is a decrease in the construction of new rental units. Rent controls have artificially depressed the most important long-term determinant of profitability — rents. Consider some examples. In a recent year in Dallas, Texas, with a 16 percent rental vacancy rate but no rent control laws, 11,000 new housing units were built. In the same year, in San Francisco, California, only 2,000 units were built. The major difference? San Francisco has only a 1.6 percent vacancy rate but stringent rent control laws. In New York City, except for government-subsidized construction, the only rental units being built are luxury units, which are exempt from controls. In Santa Monica, California, new apartments are not being constructed. New office rental space and commercial developments are, however. They are exempt from rent controls.
1. What does the passage mainly discuss?
(A) The construction of apartments in the United States.
(B) Causes and effects of rent control
(C) The fluctuations of rental prices
(D) The shortage of affordable housing in the United States.
2. The word They in line 9 refers to
(A) the tenants
(B) their leases
(C) places
(D) rent controls.
3. Which of the following was NOT a reason for the introduction of rent controls in Santa Monica,California?
(A) rapid population growth
(B) inflation
(C) economic conditions during wartime
(D) record-high housing prices
4. The phrase roll back in line 11 is closest in meaning to
(A) credit
(B) measure
(C) vary
(D) reduce
5. The word stimulating in line 15 is closest in meaning to
(A) experimenting with
(B) identifying
(C) estimating
(D) encouraging
6. It can be inferred that the purpose of rent control is to
(A) protect tenants
(B) promote construction
(C) increase vacancy rates
(D) decrease sales of rental units
7. The word depressed in line 19 is closest in meaning to
(A) saddened
(B) created
(C) lowered
(D) defeated
8. The information in the last paragraph supports which of the following statements?
(A) San Francisco has eliminated its rent control laws.
(B) Rent control leads to a reduction in the construction of housing units
(C) Luxury apartments are rarely built when there is rent control
(D) There is a growing need for government-subsidized housing.
9. According to the passage , which of the following cities does NOT currently have rent controls?
(A) Santa Monica
(B) Dallas
(C) San Francisco
(D) New York City
10. The word stringent in line 23 is closest in meaning to
(A) straightforward
(B) strict
(C) expanded
(D) efficient
11. According to the passage , which of the following is NOT exempt from rent control?
(A) Luxury apartments
(B) Commercial development
(C) Moderately priced apartments
(D) Office space.
PASSAGE 31 BDCDD ACBBB C
托福閱讀真題2
By 1776 the fine art of painting as it had developed in western Europe up to this time had been introduced into the American colonies through books and prints, European visitors and immigrants, and traveling colonists who brought back copies (and a few original) of old master paintings and acquaintance with European art institutions.
By the outbreak of the Revolution against British rule in 1776, the status of the artists had already undergone change. In the mid-eighteenth century, painters had been willing to assume such artisan-related tasks as varnishing, gilding teaching, keeping shops, and painting wheel carriages, houses, and signs. The terminology by which artists were described at the time suggests their status: limner was usually applied to the anonymous portrait painter up to the 1760's; painter characterized anyone who could paint a flat surface. By the second half of the century, colonial artists who were trained in England or educated in the classics rejected the status of laborer and thought of themselves as artists. Some colonial urban portraitists, such as John Singleton Copley, Benjamin West, and Charles Wilson Peale, consorted with affluent patrons. Although subject to fluctuations in their economic status, all three enjoyed sufficient patronage to allow them to maintain an image of themselves as professional artists, an image indicated by their custom of signing their paintings. A few art collectors James Bowdoin III of Boston, William Byrd of Virginian, and the Aliens and Hamiltons of Philadelphia introduced European art traditions to those colonists privileged to visit their galleries, especially aspiring artists, and established in their respective communities the idea of the value of art and the need for institutions devoted to its encouragement.
Although the colonists tended to favor portraits, they also accepted landscapes, historical works, and political engravings as appropriate artistic subjects. With the coming of independence from the British Crown, a sufficient number of artists and their works were available to serve nationalistic purposes. The achievements of the colonial artists, particularly those of Copley, West, and Peale, lent credence to the boast that the new nation was capable of encouraging genius and that political liberty was congenial to the development of taste — a necessary step before art could assume an important role in the new republic.
1. What does the passage mainly discuss?
(A) European influence on colonial American painting
(B) The importance of patronage to artist
(C) The changing status of artists in the American colonies in the eighteenth century
(D) Subjects preferred by artists in the American colonies in the eighteenth century.
2. The word outbreak in line 5 is closest in meaning to
(A) cause
(B) beginning
(C) position
(D) explanation
3. The word undergone in line 6 is closest in meaning to
(A) led to
(B) transformed
(C) preferred
(D) experienced
4. According to the passage , before the American Revolution the main task of limners was to
(A) paint wheel carriages
(B) paint portraits
(C) varnish furniture
(D) paint flat surfaces
5. It can be inferred from the passage that artists who were trained in England
(A) considered artists to be superior to painters
(B) barely painted portraitists
(C) were often very wealthy
(D) imitated English painters
6. The word consorted in line 14 is closest in meaning to
(A) made decisions
(B) studies
(C) agreed
(D) associated
7. The word sufficient in line 16 is closest in meaning to
(A) adequate
(B) temporary
(C) friendly
(D) expensive
8. According to the passage , artists such as Copley, West and Peal signed their paintings
(A) increased the monetary value of the paintings
(B) made it more difficult for other artists to copy the paintings
(C) supported the artists' image of professionalism
(D) distinguished colonial American artists from European artists
9. The author mentions James Bowdoin III and William Byrd in line 17 as examples of which of
the following?
(A) Art gallery owners who displayed only European art
(B) Art collectors who had a profound influence on American attitudes toward art
(C) Artists who gave financial support to other artists
(D) Patrons whose helped to encourage artisans to become artists
10. With which of the following would the author be most likely to agree?
(A) Countries that have not had a political revolution are unlikely to develop great art.
(B) The most successful art collectors are usually artists themselves.
(C) The value of colonial American paintings decreased after the Revolution.
(D) Colonial artists made an important contribution to the evolving culture of the new nation.
PASSAGE 32 CBDBA DACBD
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