托福阅读细节题题型解析
细节题又叫事实信息题，考察的是学生对阅读文章中明确指出的基本信息的理解，一般在一篇文章中考察3至6题。从题目所占的比例来看，如果同学们想在阅读部分拿高分，那么一定要掌握细节题的解题方法和技巧。
托福阅读细节题题型解析
细节题可以说是能屈能伸的一种题型，它要容易，可以很容易，它要想难，可以非常难。
很多人复习到后期会发现，错的最多的竟然这个细节题，所以它是非常令人纠结的一种题型。
细节题和词汇题加起来可以构成整个托福阅读考试题目的半壁江山，是我们取得托福阅读高分的基础。
细节题通常不要求我们去理解整篇文章的主旨大意，而是具体的信息，包括文中的一些事实，细节，定义及其它作者所呈现的信息。因此，同学们在做细节题时，不需要对整篇文章逐字逐句理解，只需要对文中与题目相关的一句或者几句话进行理解便可。这一点也可以从细节题的题目问法中看出。细节题通常问到：
According to paragraph X, which of the following is true about Y?
The author’s description of X mentions which of the following?
According to paragraph X, Y did Z because… 等。
那么我们怎么知道具体的一个细节题考的是段落中的哪几句话呢?此时，我们就需要根据题目中的关键词帮助我们定位到原文相关的句子。关键词指的是那些无法被改写或者很难被改写的词和短语，这样，我们就能快速找到原文的相应句子。所以，题目中的关键词通常是在段落中出现次数较少、较显眼和特殊的词，包括专有名词、大写、斜体、带引号的词和数字等。例如tpo 1-1-2 中问到：where is the lower timberline mentioned in paragraph 1 likely to be found? 显然，该题中的关键词即为lower timberline，我们要寻找的信息是lower timberline出现在什么地方。有些同学可能会纠结lower timberline怎么去理解，其实，我们只需要在原文中找到一模一样出现lower timberline的句子并理解整句话的意思就可以了，而不需要纠结个别词或者短语的意思。
接下来，我们就回到第一段话中，从头进行快速阅读，然后找到相应的句子：In many semiarid areas, there is also a lower timberline where the forest passes into steppe or desert at its lower edge, usually because of a lack of moisture. 句子意思是：在很多半干旱的地区存在lower timberline，在这里，森林会变成干草原或者沙漠，由于缺乏水分。理解好了原句，我们就可以将四个选项与原文一一进行比较，发现答案是A. In an area that has little water. 此选项虽然与原句所用的词不一样，但是表达了同样的意思，这是托福阅读考察的一个重要技能，叫同义改写。
综上，我们知道了细节题的解题方法：题目中寻找关键词，然后定位原文，最后找出对原句进行同义改写的正确选项。
托福阅读题目练习
托福阅读题目练习：实用艺术和纯艺术
托福阅读复习中，大家也离不开一些真题的练习，这样可以帮助我们更全面的备考阅读，了解自己在备考中的不足。下面为大家整理了相关的练习题，供大家参考复习。
Although we now tend to refer to the various craftsaccording to the materials used to construct them-clay, glass, wood, fiber, and metal-it was oncecommon to think of crafts in terms of function, which led to their being known as the "applied arts." Approaching crafts from the point of view offunction, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to becontained, supported, and sheltered. These laws are universal in their application, regardlessof cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in itssides, it could hardly be considered a container in any traditional sense. Since the laws ofphysics, not some arbitrary decision, have determined the general form of applied-artobjects, they follow basic patterns, so much so that functional forms can vary only withincertain limits. Buildings without roofs, for example, are unusual because they depart from thenorm. However, not all functional objects are exactly alike; that is why we recognize a ShangDynasty vase as being different from an Inca vase. What varies is not the basic form but theincidental details that do not obstruct the object's primary function.
Sensitivity to physical laws is thus an important consideration for the maker of applied-
artobjects. It is often taken for granted that this is also true for the maker of fine-
art objects. Thisassumption misses a significant difference between the two disciplines. Fine-
art objects are notconstrained by the laws of physics in the same way that applied-
art objects are. Because theirprimary purpose is not functional, they are only limited in terms of the materials used tomake them. Sculptures must, for example, be stable, which requires an understanding of theproperties of mass, weight distribution, and stress. Paintings must have rigid stretchers sothat the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These areproblems that must be overcome by the artist because they tend to intrude upon his or herconception of the work. For example, in the early Italian Renaissance, bronze statues ofhorses with a raised foreleg usually had a cannonball under that hoof. This was done becausethe cannonball was needed to support the weight of the leg. In other words, the demands ofthe laws of physics, not the sculptor's aesthetic intentions, placed the ball there. That thisdevice was a necessary structural compromise is clear from the fact that the cannonballquickly disappeared when sculptors learned how to strengthen the internal structure of astatue with iron braces (iron being much stronger than bronze).
Even though the fine arts in the twentieth century often treat materials in new ways, the basicdifference in attitude of artists in relation to their materials in the fine arts and the applied artsremains relatively constant. It would therefore not be too great an exaggeration to say thatpractitioners of the fine arts work to overcome the limitations of their materials, whereas thoseengaged in the applied arts work in concert with their materials.
Paragraph 1: Although we now tend to refer to the various crafts according to the materialsused to construct them-clay, glass, wood, fiber, and metal-
it was once common to think ofcrafts in terms of function, which led to their being known as the "applied arts." Approachingcrafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supportsmust be functional. The applied arts are thus bound by the laws of physics, which pertain toboth the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of culturalbeliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it couldhardly be considered a container in any traditional sense. Since the laws of physics, not somearbitrary decision, have determined the general form of applied-
art objects, they follow basicpatterns, so much so that functional forms can vary only within certain limits. Buildingswithout roofs, for example, are unusual because they depart from the norm. However, not allfunctional objects are exactly alike; that is why we recognize a Shang Dynasty vase as beingdifferent from an Inca vase. What varies is not the basic form but the incidental details that donot obstruct the object's primary function.
托福阅读中的熟词僻义总结
托福阅读考试中，也经常会考到一些比较熟词僻义，真的对这些内容，我们大家在平时要做好积累工作，可以辅助我们更好地解答这类内容。为大家汇总了考试中常见的这些词汇内容，供大家参考。
issue v. &n. 流出; 出版，发行;问题
jar v. &n 震动;坛子
envision v.想象，预想
en-这个前缀可以表示“使……有能力”，vision意为视觉视野，让你的眼前呈现出某种景象，自然就是想象预想。
literature n. 文献;文学
liter词根是文字的意思，和文字有关的记录，就是文学，文献。
lot n. 一块地;命运，签
fine adj. 细小的，美好的;v.罚款
这个词请大家一定格外用心识记，“微小的，细微的”这一词义在托福阅读中考察过多次，这里也给大家补充一下，在托福阅读中多次考到的可以表示“微小的，细小的”一义的还有minute、tiny等。
minute adj. 微小的，细小的
novel adj. 新颖的
nov这个词根表达的含义是新，所以我们熟悉的小说novel一词，就有了新颖的这一独特词义，这个词也曾多次考察过托福阅读词汇题，各位童鞋备考时要多加关注。
casual 偶然的，随便的
causal 原因的，因果关系的
pound v. 猛击;乱敲
rear v. &n饲养，栽培;后面的
produce n. 产品(尤指农产品)
project v. &n使突出，伸出;放映，投射;方案，工程
pro-这个前缀表示“向前”，-ject-这个词根表示“投掷，扔”，结合词根词缀的构成不难理解它的熟词僻义考察。
relief n. 凸起，浮雕;(痛苦)减轻，安慰
provided conj. 倘若，在…条件下。
save conj. 除了
rent 断口，裂缝
rift 裂缝， 「地质」断裂
pronounced adj. 断然的，显着的
scale v. &n 攀登; 天平，刻度; 鳞; 规模，范围;「音」音阶
这个词请大家重点关注，上述七个词义在之前的托福考试中都曾多次考察过，词义排名并不分先后。
school n. (鱼)群;学派，流派
genre n. 类型，流派
score n. 「音乐」乐谱;刻痕;得分
screen v. &n 筛，过滤(器);掩蔽，屏风;屏幕
secure v. &adj. 得到;使安全;安全的
acquire 获得
通常如果表示学习，习得某种技能或语言我们会用acquire这个词，比如acquire a language/skill，它的名词形式是acquisition。
season v. 调味
spot v. &n发现，认出，定位;斑点;场所
新托福阅读真题分享
托福阅读往期的考试内容，可以作为大家的背景知识来储备，这些真题内容在接下来的考试中也有可能出现。因此大家掌握这些题目内容，对我们的考试也是有很大的帮助的。为大家整理了8月26日的托福阅读考试题目，供大家参考。
托福阅读考试日期：
2018年8月26日
新托福阅读题目回忆：
题目：地球大气环境
学科分类：Environment
主要内容：
一开始，地球的大气层上充满了氢气和氦气，然后由于氢气和氦气原子进行碰撞，而且他们的质量比较轻，所以它们就去外太空了，然后还有一种新的理论是由于一些星球的坍塌，氢气和氦气原子就在大气层逐渐减少了，然后地球上很多火山喷发导致很多水蒸气和二氧化碳被喷发出来，但是由于气温降低的时候，水蒸汽会凝结降水，然后二氧化碳会溶解在水里，所以大气层中水蒸汽和二氧化碳都减少了。另外，由于当时的一些生物会进行光合作用，很多二氧化碳也减少了，沉降在了海底。另外，由于氮元素的化学性质比较稳定，氮原子也比较重不容易逃逸，所以现在地球上的氮气占很大一部分。
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