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托福阅读：训练内容
托福阅读训练一：词汇
与旧托福相比，新托福的阅读考试尽管有很大改变，但大多都是形式主义，考生只要词汇基础扎实，一样可取得理想成绩。而且一般托福的词汇比较多的出现首先是在阅读里， 如果考生能够一眼看过去就知道这个词什么意思，那么在阅读考试的主动权也就掌握在自己手里了，而现行托福阅读题对词汇量的要求约为8000左右，因此考生一定要配备应试新托福阅读第一兵器——词汇，要坚持把单词书完整“啃”下并彻底消化，打好词汇量基础。当然要把一整本词汇书“啃”下并消化，除了勤劳，还要注意单词的记忆技巧，不能光靠“蛮力”，那样容易产生疲倦感和厌恶感，反而产生负面效果。单词的记忆技巧主要有以下几种：
★ 谐音记忆 如：lethal可记成“离骚”
★ 联想记忆 如：battlefield(战场)可以联想为“打仗battle的场所field当然就是战场啦”。
★ 比较记忆 如：形近单词ethnical和ethical相比，ethnical比ethical多个字母n，这种情况下我们可以把ethnical中的n想成nation，“种族ethnical中包含了一个民族”。
★ 发音记忆 如：exacerbate的音标为[eks' s (:)be t]，遵循了发音规律，考生掌握了该单词字母组合的发音规律，边读边背，就可以很轻松的记住它了。
★ 词群记忆 如：在背foremost一词时，考生应同时想托福阅读中foremost的解释“leading”一词。
★ 拆分记忆 如：interchangeable可以拆为前缀inter- 、词根change ，后缀-able 。
★ 滚动记忆 如：如果背单词表，在第一天背了10个单词，那么第二天在背新的10个单词之前必须先复习第一天背过的10个单词;第三天在背新的10个单词前先复习前两天背过的20个单词，以此类
推，另外考生在背单词的过程中需要通过不断做题来复习阅读高频词，因为既然是阅读高频词，肯定在阅读的文章中是反复出现的。
托福阅读训练二：语法
除了词汇量较大以外，对很多考生来说，句子长并且结构复杂也是新托福阅读的障碍之一。
面对长难句，考生要想能够迅速确定答案就必须能够做到长句短读，快速把握句子主干和重点，因为考试时涉及答案的主要是句子的主干和重点。而要把握难句的主干和重点，先要弄清它们的类型，也就意味考生在准备新托福考试时必须配备第二大兵器——语法。
建议考生重点关注以下语法：
★ 主语从句
★ 定语(包含后置定语与定语从句)
★ 同位语(包含同位语从句)
★ 宾语从句
★ 表语从句
★ 状语从句
★ 并列结构
★ 插入结构
★ 独立主格
★ 倒装句
★ 强调句
★ 虚拟语气
托福阅读训练三：背景知识
同样的考题，如果考生熟悉并掌握了阅读文章的背景知识，做起题来就会非常轻松，做题的速度和准确率也会提高很多，因此建议考生在新托福备考期间要努力配备另一兵器——背景知识，也就是说考生备考中要要多读一些长文章，努力积累新托福阅读中的常考文章的背景知识，题材尽量广泛，因为天文、地理、医学、历史、文化、教育、艺术等内容，在托福考题中都会涉及。而新托
福阅读考试常考的背景有印第安题材的，动植物题材的(必考)，考古学(archaeology)题材的，美国历史题材的等等，推荐考生多读读《国家地理杂志》和《DISCOVERY》。
托福阅读训练四：阅读速度
前面曾提到新托福的阅读文章的字数从之前的350字左右增加到目前650-700字/篇，尽管时间也相应增加了，可相对来说时间还是比较紧张的，因此快速的阅读能力是非常重要的。在此建议考生在备考时必须要配备第四大兵器—— 阅读速度。考生在练习提高阅读速度时应努力做到：
★ 扩大眼睛扫描的宽度，训练自己一眼看过至少阅读到3-5个单词。
★ 快速泛读 ，不同领域的书籍，理解和掌握书中主要内容即可。拓宽自己的知识面
★ 计时阅读 ，养成计时阅读的习惯，计时阅读每次进行5-10分钟即可，不宜太长。
★ 在加快阅读速度的同时努力迅速总结每段大意。
托福阅读真题原题+题目
The term Hudson River school was applied to the foremost representatives ofnineteenth-century North American landscape painting. Apparently unknown during the goldendays of the American landscape movement, which began around 1850 and lasted until the late1860's, the Hudson River school seems to have emerged in the 1870's as a direct result of thestruggle between the old and the new generations of artists, each to assert its own style as therepresentative American art. The older painters, most of whom were born before 1835, practicedin a mode often self-taught and monopolized by landscape subject matter and were securelyestablished in and fostered by the reigning American art organization, the National Academy ofDesign. The younger painters returning home from training in Europe worked more with figuralsubject matter and in a bold and impressionistic technique; their prospects for patronage in theirown country were uncertain, and they sought to attract it by attaining academic recognition inNew York. One of the results of the conflict between the two factions was that what in previousyears had been referred to as the American, native, or, occasionally, New York school — the mostrepresentative school of American art in any genre — had by 1890 become firmly established inthe minds of critics and public alike as the Hudson River school.
The sobriquet was first applied around 1879. While it was not intended as flattering, it washardly inappropriate. The Academicians at whom it was aimed had worked and socialized in NewYork, the Hudson's port city, and had painted the river and its shores with varying frequency.Most important, perhaps, was that they had all maintained with a certain fidelity a manner oftechnique and composition consistent with those of America's first popular landscape artist,Thomas Cole, who built a career painting the Catskill Mountain scenery bordering the HudsonRiver. A possible implication in the term applied to the group of landscapists was that many ofthem had, like Cole, lived on or near the banks of the Hudson. Further, the river had long servedas the principal route to other sketching grounds favored by the Academicians, particularly theAdirondacks and the mountains of Vermont and New Hampshire.
1. What does the passage mainly discuss?
(A) The National Academy of Design
(B) Paintings that featured the Hudson River
(C) North American landscape paintings
(D) The training of American artists in European academies
(A) Figural painting
(B) Landscape painting
(C) Impressionistic painting
(D) Historical painting
3. The word struggle in line 5 is closest in meaning to
(A) connection
(B) distance
(C) communication
(D) competition
4. The word monopolized in line 7 is closest in meaning to
(A) alarmed
(B) dominated
(C) repelled
(D) pursued
5. According to the passage , what was the function of the National Academy of Design for the
painters born before 1835?
(A) It mediated conflicts between artists.
(B) It supervised the incorporation of new artistic techniques.
(C) It determined which subjects were appropriate.
(D) It supported their growth and development.
6. The word it in line 12 refers to
(A) matter
(B) technique
(C) patronage
(D) country
7. The word factions in line 13 is closest in meaning to
(A) sides
(B) people
(C) cities
(D) images
8. The word flattering in line 18 is closest in meaning to
(A) expressive
(B) serious
(C) complimentary
(D) flashy
9. Where did the younger generation of painters receive its artistic training?
(A) In Europe
(B) In the Adirondacks
(C) In Vermont
(D) In New Hampshire
PASSAGE 4 BBDBD CACA
托福阅读背景知识汇总之梦境的解释
对梦的解释不论古今中外都引起广泛兴趣及争论，大致可分脑神经生理学及精神分析学两学派：
1.脑神经生理学者克里克“F.Crick”是近代代表者。
他认为做事是为了整理记忆，梦并不是提醒我们什麽，而是通过快波睡眠忘记无用讯息，避免储存讯息过度饱和而造成混乱。做事时主要是大脑的脑干部份产生兴奋，发出讯号引起脑视觉区出现影像，前脑把传送到视觉区讯号勉强编成梦，若浪费精力去解释梦意义是毫无价值。
2.精神分析学者佛浴伊德“S.Freud”认为：人有根多欲望和想法被压抑在潜意识深处。入睡後，彼压抑的欲望和观念便会在梦中偷偷进入意识里，但它们是经过化装的，真实意义已经过象征化或符号化。对梦作分析可以了解压抑与问题所在“也可预先参考图二”。
从电脑学发掘“梦”的新理论
快波睡眠等于做梦吗?实验报告证明快波睡眠期约有百分之七十机会做梦。但如果说快波睡眠就是做梦期，在母体内的胎儿及新生儿，快波睡眠高达百分之五十五至百分百。为什麽人生经验几乎是零的胎儿及新生儿，脑中还有什麽压抑欲望或无用讯息须花费那麽多时间去做梦?不论克里克或佛洛伊德的理论都无法获得满意答案。纽曼“Snowman”和伊凡斯“Cleans”两位学者提出从电脑角度去胁助理解人脑做梦机制，他们把人脑入睡後不能感知外界讯息时比拟电脑需暂停正常运作始能输入新程式或修改旧程式，来解释快波睡眠期可能是人脑在膳录或修改程式的时刻。此新启发性理论可满意解释胎儿及新生儿需要那麽长的快波睡眠，因为他们脑中的蛋白质分子正忙著在其脑纹上膳录生存本能及生活所必需的大量程式。此电脑程式观点不仅能把佛洛伊德和克里克理论互相沟通，同时对于析解各种人脑之谜注前迈跨一步。
托福阅读之训练内容
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