如何为托福阅读中的精读和泛读挑选好的素材

如何为托福阅读中的精读和泛读挑

选好的素材

当阅读备考中，大家都日以继夜的训练阅读，但往往过于重视阅读技巧，忽视阅读素材的挑选。该如何选择好的素材呢?下面就和大家分享如何为托福阅读中的精读和泛读挑选好的素材!来欣赏一下吧。

如何为托福阅读中的精读和泛读挑选好的素材

精读素材包括两大主干：

第一是经典原著或简化版的经典原著

第二是经典系统教材

考生需要注意精读并不阅读量变少，相反，精读要求达到一定的数量，换言之，精读也必须尽量做到多而精。任何学习没有数量上的突破是难以提高的。随着考生掌握的词汇量和句型增加，可以加重泛读的数量。当词汇量到5,000以上的时候就需要扩大泛读的比例，同时要保持和发展精读经典的习惯。

然后，当考生达到词汇丰富的时候，可以进行大量的泛读。因为大量的泛读能够提高阅读速度和快速记忆单词的能力。在泛读材料选择中，我们需要遵循几个原则。第一，阅读素材需要是

经典的思想性名著，包括专业名著。这类阅读要“细嚼慢咽”，它不太强调耗费的时间，而重在理解的层次和思想的启发。往往这种经典名著的单词都是生涩难倒，通过泛读可以锻炼自己的猜词能力。第二，阅读素材最好以读诗歌散文的名篇和文学名著为主。这类阅读更多地给人启发。能够帮助我们的写作，让句式变得更加流利优美。读这类作品不能象国内语文教学和考试那样去碎尸万段地分解。这样很容易破坏整体感悟。

最后，无论是精读还是泛读，我们最大的目的是在最短时间内过滤大量无效信息、搜索捕捉目标信息，或迅速把握作者想传达的主旨。尤其是托福阅读而言，很多都是科普性质的*，需要考生快速找到最核心的资料和考点。与其用60分钟读懂一篇*

的98%，不如只用5分钟读懂该*的85%。通泛读和精读来锻炼筛选有价值信息的能力。要明确你泛读和精读的*是有价值的，这样你找出的信息才能真正帮助你在词汇和写作的方面的成长。小站君希望考生能够好好提高阅读能力，取得一个好的托福成绩。

托福阅读之略读、扫读技巧介绍

作为toefl 考试的第一个难关---Reading, 一直是中国考生”

听说读写”里最擅长，同时又是最容易失分的。所以这篇里边主要介绍下在做Reading题目的两个首要techniques, 也就是scanning and skimming.

作为First step的Scanning主要是根据key words定位到*中某一句或某一个词。而另外一个尤其重要的second step: skimming则需要可以跳着读。最直接的一个要求就是要找到连接词conj. words. 1st, Reading里最高频的And but以及这两词语的同义词; 2nd, because，so that表示原因结果的词语; 3rd, 做timing 的词语,ago, 1989, then, etc; Last but not least, 像你现在读的这句话里边用到的1st, 2nd, last 这些让你整个人看*舒服很多的词汇。这样做的目的就是化繁为简，把一段1000字左右的话simplify 为仅10个字不到的框架，了解到段落的main idea和大致结构，更重要的是可以把scanning出的key words 所在的意思和question里边要找的essential information意思和作用分析出来。Let’s take this paragraph as an example:

The majorityof three-dimensional representations, whether standing, seated, or kneeling,exhibit what is called frontality: they face straight ahead, neither twistingnor turning. When such statues are viewed in isolation, out of their originalcontext and without knowledge of their function, it is easy to criticize themfor their rigid attitudes that remained unchanged for three thousand

years.Frontality is, however, directly related to the functions of Egyptian statuaryand the contexts in which the statues were set up. Statues were created not fortheir decorative effect but to play a primary role in the cults of the gods,the king, and the dead. They

were designed to be put in places where thesebeings could manifest themselves in order to be the recipients of ritualactions. Thus it made sense to show the statue looking ahead at what washappening in front of it, so that the living performer of the ritual couldinteract with the divine or deceased recipient. Very often such statues wereenclosed in rectangular shrines or wall niches whose only opening was at thefront, making it natural for the statue to display frontality. Other statueswere designed to be placed within an architectural setting, for instance, infront of the monumental entrance gateways to temples known as pylons, or inpillared courts, where they would be placed against or between pillars: theirfrontality worked perfectly within the architectural context.

我猜很多人应该没耐心把这么长一段从头到尾看一遍吧，就算是现在spare times，let alone考试的时候时间那么紧张，更会觉得puzzled andconfused. So let’s make life easier. 看下下边highlight的部分：

The majority of three-dimensional representations, whetherstanding, seated, or kneeling, exhibit what is called frontality: they facestraight ahead, neither twisting nor turning. When such statues areviewed in isolation, out of their original context and without knowledge oftheir function, it is easy to