優弗留學解析托福閱讀怎樣不會看完就忘？

日期：2018-05-21 00:00:00 閱讀量：0 作者：a老師

優弗留學小編想問問大家是不是有過看完一段文章之后瞬間就不記得的情況？看完整篇文章之后腦子里更是空空的，導致答題找不到對應信息？

接下來優弗留學小編將要給大家分享的是優弗老師對這個問題進行的一個探討。有需要的同學趕快和優弗留學小編一起來了解一下吧！

之前在給同學們上課的時候，我發現很多同學在做閱讀或者聽力的時候，看完就忘，聽完就記不住。當然這與同學們的基礎有一定的關系。

同時，和我們看文章的主動記憶意識也是分不開的。記憶可以分為識記，保持和重現三個過程。當然，識記要求我們對于材料內容的理解，保持和重現則很大程度上依賴于我們的主動記憶意識。

我們在看文章的時候一般需要用到抽象記憶和形象記憶。針對于托福閱讀和聽力來講，亦是如此。今天邊老師重點和同學們說說抽象思維。

托福的閱讀其實和我們的寫作是一樣的，都有一個合理的框架。作者在講一個話題的時候，從哪幾個角度寫，每一段怎么樣展開，都是有設計的，不會雜亂無章。這要求我們做到什么呢？

1、重視標題及首段中的主旨句----這主要是讓我們了解文章在寫一個什么事物，什么現象，或者是什么原理，歷史等等。

2、重視每一段的第一句----托福閱讀和寫作一樣，foreigner一般都很喜歡總分的結構，先給出一個general point，再用相關的detail和example來解釋和證明。

絕大多數情況下，每一段的第一句就是這一段的核心意思。而且最后六選三的正確選項，肯定會有1-2個是對這些中心句的paraphrase。

抓住這些后，同學們其實就可以把文章的框架拿出來了。文章總體框架是我們必須要掌握的東西，很多同學們也懂得這個，但是在實戰的時候還是會說“臣妾做不到啊”。

不過同學們一定要做到，在閱讀的時候主動去提取文章的框架，不要看完下一段上一段講的是什么就還給作者了。抽象思維每個人的能力不同，但通過長期的堅持鍛煉都會有提升的。

3、重視作者展開每一段的寫作思路。段落的類型基本上可以分為兩種類型，單一型和復合型。

單一型

In addition to dairy farming and cultivating industrial crops, a third sector of the Dutch economy reflected the way in which agriculture was being modernized--horticulture.

In the sixteenth century, fruit and vegetables were to be found only in gardens belonging to wealthy people.

This changed in the early part of the seventeenth century when horticulture became accepted as an agricultural sector.

Whole villages began to cultivate fruit and vegetables.

The produce was then transported by water to markets in the cities, where the consumption of fruit and vegetables was no longer restricted to the wealthy.

像這一段，中心就是在討論17世紀荷蘭農業中的園藝業的情況。展開部分無非就是講園藝業怎樣從小眾變得普及，這種單一型的段落相互對來講比較好記好理解。

復合型

In the 1970s when the study of Australian archaeology was in an exciting phase of development, with the great antiquity of rock art becoming clear.

Lesley Maynard the archaeologist who coined the phrase "Panaramitee style," suggested that a sequence could be determined far Australian rock art in which a geometric style gave way to a simple figurative style (outlines of figures and animals), followed by a range of complex figurative styles that, unlike the pan-Australian geometric tradition tended to much greater regional diversity.

While accepting that this sequence fits the archaeological profile of Those sites, which were occupied continuously ever many thousands of years a number of writers have warned that the underlying assumption of such a sequence-a development from the simple and the geometric to the complex and naturalistic-obscures the cultural continuities in Aboriginal Australia in which geometric symbolism remains fundamentally important.

In this context the simplicity of a geometric motif may be more apparent than real. Motifs of seeming simplicity can encode complex meanings in Aboriginal Australia.

And has not twentieth-century art shown that naturalism does not necessarily follow abstraction in some kind of predetermined sequence?