細(xì)說(shuō)無(wú)詞閱讀法在雅思閱讀中的運(yùn)用

其實(shí)，雅思閱讀有四個(gè)層次：詞、句、段、文章。今天小編給大家?guī)?lái)了細(xì)說(shuō)無(wú)詞閱讀法在雅思閱讀中的運(yùn)用，希望能幫助到大家，下面小編就和大家分享，來(lái)欣賞一下吧。

無(wú)詞勝有詞——細(xì)說(shuō)無(wú)詞閱讀法在雅思閱讀中的運(yùn)用

填空題目中哪些單詞一定不會(huì)是答案

1. 介詞： at , in , to , on ,for, by, with, among, between … ….

2. 連詞： and, but, however, as well, because, so, for, if, also, not only… but also…, such as, for example

3. 情態(tài)動(dòng)詞： can , may, must, should, could, would, might, have to

4. 否定詞：not, no，還有文章中有without, unnecessary, exclude 【不包含】,

5. 冠詞：a, an, the

6. 代詞：it, he, she, they, their, we, us, I,

7. BE動(dòng)詞 am, is, are

8. 助動(dòng)詞：do, does, have, has

填空題目的做題順序

1. 題目是按照文章順序出的，所以要按照題目的順序做題

2. 先從題目中劃出關(guān)鍵詞【快，狠，準(zhǔn)!】

? 快：快速定位文章中的段落或者句子

? 狠：要從題目中盡可能少劃出一些關(guān)鍵詞

? 準(zhǔn)：要?jiǎng)澇瞿軌虼磉@個(gè)題目中的關(guān)鍵詞，往往滿地都是的，不同題目重復(fù)的單詞都不可能作為關(guān)鍵詞

3. 按照文章順序，通過關(guān)鍵詞，掃讀文章，找到對(duì)應(yīng)的段落

? 根據(jù)前后題目的順序

? 根據(jù)每段段落前面的小標(biāo)題---：代表著文章段落意思的總結(jié)詞匯

? 根據(jù)每段當(dāng)中的第一句來(lái)判斷是否內(nèi)容有提到：第一句：往往統(tǒng)領(lǐng)段落大意的句子【topic sentence主題句】

4. 掃讀文章，確定相對(duì)應(yīng)的句子， 【通過你在題目中所劃的關(guān)鍵詞來(lái)判斷】

..關(guān)鍵詞的作用：幫助定位;關(guān)鍵詞本身不會(huì)是正確答案

5. 確定相應(yīng)句子后，刪除不可能是答案的單詞

A.刪除“八大類不可能是答案的”單詞

B. 刪除題目中已經(jīng)出現(xiàn)過的單詞

? 一模一樣的詞匯

? 詞性改變的詞匯【create---creativity; support --- supporting】單詞前面的拼寫不會(huì)改變，后半部分的拼寫會(huì)有所改變

? 同義詞：題目中的單詞和文章中的單詞中文意思相同【film—movie;】

? .上義詞：如果題目中的關(guān)鍵詞是一個(gè)概念詞，文章中的對(duì)應(yīng)詞可能是這個(gè)概念的具體詞匯【fruit ---banana; entertainment --- clubing; media--- Internet】【題目中的關(guān)鍵詞是包含了文章中對(duì)應(yīng)詞】

? .下義詞: 題目中的這個(gè)關(guān)鍵詞是一個(gè)具體詞，文章中的對(duì)應(yīng)詞是一個(gè)概念詞【題目中的關(guān)鍵詞被包含在文章中的概念詞中】

C. 刪除文章中滿地都是的詞匯【高頻詞匯】

..可能是答案的情況： 這個(gè)重復(fù)出現(xiàn)的詞匯只有在某一個(gè)段落中反復(fù)出現(xiàn)

D.刪除其他題目中重復(fù)出現(xiàn)的詞匯

6. 在剩余的單詞中，根據(jù)答案特點(diǎn)來(lái)選擇內(nèi)容

答案特點(diǎn)：

1. 在找到句子前，考生應(yīng)該先猜測(cè)題目中所題寫的答案詞性

? 如果空格前面是a，an, the; 答案一定是名詞，而且文章中答案前可能也有對(duì)應(yīng)的冠詞出現(xiàn)

? 如果空格前面有介詞, in ,at, on 答案一定是時(shí)間或者地方，而且文章中一定會(huì)有對(duì)應(yīng)的介詞方式或者詞組

? 如果空格后面是一個(gè)名詞，答案往往會(huì)是形容詞，文章中你要去找對(duì)應(yīng)的名詞前面的形容詞，【必須排除動(dòng)詞，BE動(dòng)詞】

? 如果空格的前面是一個(gè)動(dòng)詞，答案通常就是副詞，副詞通常都是以-ly結(jié)尾的

2. 長(zhǎng)單詞是答案的可能性比短單詞高

3. 特殊詞匯是答案的可能性是相當(dāng)高的，特殊詞匯往往會(huì)通過斜體，或者是引號(hào)來(lái)強(qiáng)調(diào)其特殊性，例如 ” phone phrase”.

4. 根據(jù)題目中的句子結(jié)構(gòu)來(lái)判斷答案的位置，通過一些已經(jīng)刪除的詞匯來(lái)確定答案在文章對(duì)應(yīng)句中所相對(duì)應(yīng)的詞匯

三、“無(wú)詞閱讀”的巔峰境界

何謂“境界”?

“境界”，就是能看多遠(yuǎn)。佛能夠看透物質(zhì)世界，所以佛的境界無(wú)限遠(yuǎn)。

閱讀的時(shí)候，如果誰(shuí)能夠透過那些生詞和難句，把題目的答案直接挑出來(lái)，并且文章大致講什么還能明白，那么就達(dá)到了“無(wú)詞閱讀”的最高境界，才能感到“心曠神怡，寵辱皆忘，把酒臨風(fēng)，其喜洋洋者矣”!

其實(shí)，“無(wú)詞閱讀法”并非是什么“都不懂”;相反，它是一種對(duì)閱讀的大徹大悟，徹底顛覆了我們傳統(tǒng)的“逐字逐句搞翻譯，段落文章看不懂”錯(cuò)誤閱讀方法，保證讀者在存在大量生詞的情況下，還能夠通過快速閱讀掌握段落和文章的主旨。

那么“無(wú)詞閱讀法”的精髓在哪里呢?就在于把握兩種東西：方向和關(guān)系。

首先，方向是作者在論述一個(gè)事物時(shí)的基本態(tài)度，其重要性遠(yuǎn)遠(yuǎn)大于個(gè)別詞句的理解。例如：

Research studies lend strong support to the argument that there are benefits for families considering a change to a fairer or more equitable division of the pleasures and pains of family life. Greater equality in the performance of family work is associated with lower levels of family stress and higher self-esteem, better health, and higher marital satisfaction for mothers. There is also higher marital satisfaction for fathers, especially when they take more responsibility for the needs of their children – fathers are happier when they are more involved (Russell 1984).

這段話并不長(zhǎng)，但是如果讓你在30秒鐘之內(nèi)說(shuō)出主旨是什么，恐怕比登天還難吧!其實(shí)不然!請(qǐng)看首句中有一個(gè)詞benefits是個(gè)正向詞，緊接著第二句話中l(wèi)ower levels of family stress, higher…, better health, higher… satisfaction等都是正向詞。第三句話中higher satisfaction, happier等也都是正向詞。這說(shuō)明這段話作者的基本態(tài)度是正向的，那么段落主旨就是首句中的benefits，而第二和第三句話就在具體論述有哪些 benefits。至于self-esteem, marital等生詞不認(rèn)識(shí)都無(wú)所謂了，因?yàn)楸径温渲校诉@些正向詞之外，其余的單詞的存在都是多余的。30秒足夠你“頓悟”了吧!

其次，關(guān)系是更為重要的，因?yàn)樗拇嬖诟邮沟脝卧~變得多余。例如：

In business as a whole, there are a number of factors encouraging the prospect of greater equality in the workforce. Demographic trends suggest that the number of women going into employment is steadily increasing. In addition a far greater number of women are now passing through higher education, making them better qualified to move into management positions.

這段話中，首句a number of factors encouraging…是一個(gè)正向詞，說(shuō)明在分析好的因素。第二句number…increasing和第三句higher education, better qualified都是正向詞，說(shuō)明在具體論述第一句話中的好的因素。但是，二三句之間的一個(gè)In addition讓我們知道了這兩句話之間是一個(gè)“遞進(jìn)”關(guān)系，那么其前后的方向應(yīng)該是相同的。所以，當(dāng)我們看完第二句話之后，發(fā)現(xiàn)這個(gè)“遞進(jìn)”關(guān)系時(shí)，后面的內(nèi)容根本不需要看了。至于prospect和demographic trends即使都是你的生詞，又怎能妨礙你抓住段落的主旨——a number of factors呢?

2016年2月20日雅思閱讀考試真題回憶——Passage1

所謂閱讀是中國(guó)考生的最強(qiáng)項(xiàng)。今天為大家?guī)?lái)的是2016年2月20日雅思閱讀考試真題回憶的Passage1原文文本和題目回憶。

考試概述：

本次考試的文章是三篇舊的文章的變形，難度適中。第一篇講了照明工具的發(fā)展歷史，從火到燈的過程。第二篇講了塔斯馬尼亞的老虎，滅絕以后的相關(guān)專題討論。第三篇講了女性領(lǐng)導(dǎo)的特點(diǎn)以及他們與男性領(lǐng)導(dǎo)者的特征對(duì)比。

題型：每篇文章都有判斷題出現(xiàn)，且數(shù)量穩(wěn)定;另外配對(duì)題和填空題依然是考試的重點(diǎn);注意選考題型選擇題頻繁出現(xiàn)。

Passage1：照明發(fā)展史

題型解析：8道判斷題;5道填空題

講述了照明工具的發(fā)展史，從蠟燭到煤油燈再到愛迪生

Question:1-8判斷題

1. True

2. False

3. Not Given

4. True

5. True

6. Not given

7. False

8. Not given

Question:9-13 句子填空題

9. applications

10. bright

11. attention

12. air

13. filaments

雅思閱讀小范圍預(yù)測(cè)

Coastal sculpture 藝術(shù)

New Zealand famous writer Margaret Mahy

人物傳記

Solving an Arctic Mystery 人文社科

When did music begin? 藝術(shù)

New Zealand Home Textile Craft人文社科

Sweet Trouble–Australia sugarcane industry農(nóng)業(yè)

The Grimme Fairy Tale

人文社科

Gesture 人文社科

Dust and American 環(huán)保

Birds intelligence 動(dòng)物

Food Addictive 工業(yè)

Japan's ancient pottery 歷史

Fish communications 動(dòng)物

Darkside of Technological Boom科技

Children's adults 文學(xué)

文章題目 Children's adults

重復(fù)年份 20151219 20140802 20111026

題材 文學(xué)

題型 選擇 4+句子配對(duì) 4+判斷 4+簡(jiǎn)答 1

文章大意 講了兒童文學(xué)。探討了從成人角度去寫兒童文學(xué)的視角不同。

參考閱讀：

CHILDREN’S LITERATURE

A Stories and poems aimed at children have an exceedingly long history:

lullabies, for example, were sung in Roman times, and a few nursery games and

rhymes are almost as ancient. Yet so far as written-down literature is concerned,while there were stories in print before 1700 that children often seized on when they had the chance, such as translations of Aesop’s fables, fairy-stories and popular ballads and romances, these were not aimed at young people in particular.Since the only genuinely child-oriented literature at this time would have been a 　　few instructional works to help with reading and general knowledge, plus the odd Puritanical tract as an aid to morality, the only course for keen child readers was to read adult literature. This still occurs today, especially with adult thrillers or romances that include more exciting, graphic detail than is normally found in the literature for younger readers

B By the middle of the 18th century there were enough eager child readers, and enough parents glad to cater to interest, for publishers to specialize in children’s books whose first aim was pleasure rather than education or morality. In Britain, a London merchant named Thomas Boreham produced Cajanus, The Swedish Giant in 1742, while the more famous John Newbery published A Little Pretty Pocket Book in 1744. Its contents—rhymes, stories, children’s games plus a free gift (‘A ball and a pincushion’)— in many ways anticipated the similar lucky-dip contents of children’s annuals this century. It is a tribute to Newbery’s flair that he hit upon a winning formula quite so quickly, to be pirated almost immediately in America.

C Such pleasing levity was not to last. Influenced by Rousseau, whose Emile (1762)decreed that all books children save Robinson Crusoe were a dangerous diversion, contemporary critics saw to it that children’s literature should be instructive and uplifting. Prominent among such voices was Mrs. Sarah Trimmer, whose magazine The Guardian of Education (1802) carried the first regular reviews of children’s books. It was she who condemned fairy-tales for their violence and general absurdity; her own stories, Fabulous Histories (1786)described talking animals who were always models of sense and decorum

D. So the moral story for children was always threatened from within, given the way children have of drawing out entertainment from the sternest moralist. But the greatest blow to the improving children’s book was to come from an unlikely source indeed: early 19th-century interest in folklore. Both nursery rhymes, selected by James Orchard Halliwell for a folklore society in 1842, and collection of fairy-stories by the scholarly Grimm brothers, swiftly translated into English in 1823, soon rocket to popularity with the young, quickly leading to new editions, each one more child-centered than the last. From now on younger children could expect stories written for their particular interest and with the needs of their own limited experience of life kept well to the fore

E What eventually determined the reading of older children was often not the availability of special children’s literature as such but access to books that contained characters, such as young people or animals, with whom they could more easily empathize, or action, such as exploring or fighting, that made few demands on adult maturity or understanding

F The final apotheosis of literary childhood as something to be protected from unpleasant reality came with the arrival in the late 1930s of child-centered bestsellers intend on entertainment at its most escapist. In Britain novelist such as Enid Blyton and Richmal Crompton described children who were always free to have the most unlikely adventures, secure in the knowledge that nothing bad could ever happen to them in the end. The fact that war broke out again during her books’ greatest popularity fails to register at all in the self-enclosed world inhabited by Enid Blyton’s young characters. Reaction against such dreamworlds was inevitable after World War II, coinciding with the growth of paperback sales, children’s libraries and a new spirit of moral and social concern. Urged on by committed publishers and progressive librarians, writers slowly began to explore new areas of interest while also shifting the settings of their plots from the middle-class world to which their chiefly adult patrons had always previously belonged.

G Critical emphasis, during this development, has been divided. For some the most important task was to rid children’s books of the social prejudice and exclusiveness no longer found acceptable. Others concentrated more on the positive achievements of contemporary children’s literature. That writers of these works are now often recommended to the attentions of adult as well as child readers echoes the 19th-century belief that children’s literature can be shared by the generations, rather than being a defensive barrier between childhood and the necessary growth towards adult understanding.