爭分奪秒考雅思, 雅思閱讀高分技巧之時間掌控。今天小編給大家?guī)砹搜潘奸喿x高分技巧之時間掌控,希望能夠幫助到大家，下面小編就和大家分享，來欣賞一下吧

爭分奪秒考雅思 雅思閱讀高分技巧之時間掌控

正確的時間分配可以幫助考生在考場上最大限度的發(fā)揮自己的實際水平，提高整體正確率。合理的時間安排，原則上是20分鐘一篇。但是考生都有自己熟悉的話題和有把握的題材。所以，在正式開始做題之前，考生不妨可以通過標題瀏覽等方式Skim三篇文章，按照自己的實際情況對于三篇文章的難易程度進行定位，確定哪篇文章是自己把握性比較大的，對于這種比較有把握文章一定要保證時間充足，這樣有助于整體正確率的提升。但是每一篇文章原則上最多不超過25分鐘，否則考生是沒有辦法有效率的完成40道題目的。

在時間分配這一點上，要特別提醒那些基礎比較好的考生。因為此類考生往往更加容易“栽跟頭”。雅思閱讀文章篇幅較長，之后還有四十道題目需要完成，這就要求考生精讀和泛讀相結(jié)合。需要提別提出的是，文章中的信息有主次之分，那些與考題相關的信息才是考生需要精讀的內(nèi)容。而基礎較好的同學往往為了保證正確率會采取全篇精讀的方式去完成題目，這樣的話就沒有辦法保證在規(guī)定的時間內(nèi)完成所有題目。

最后需要在時間安排上提醒考生們注意的是，要留取填寫答題卡的時間。雅思考試第一場聽力考試是有10分鐘的時間留給考生填寫答題卡的。但是在緊接著的第二場閱讀考試中，填寫答題卡的時間包含在一個小時考試時間里面。在此，雅思中國網(wǎng)海外考試研究中心的老師們建議考生，分篇填寫。完成一篇之后就把填寫在答題卡上，這樣可以避免最后完全來不及填寫答題卡的情況出現(xiàn)。

除去時間掌控之外，考生們在考場上還要注意的是考試的題型安排。正確的做題順序可以幫助考生更加有效的完成題目。雅思學術類閱讀現(xiàn)在官網(wǎng)上分為十大題型：Multiple Choice;Short-answer questions;Sentence Completion;Notes, Summary or Table/Flow-chart Completion;Labelling a Diagram;Headings;Locating Information;Identification of Writer’s Views/Claims or of Information in a Text;Classification;Matching。這些題型絕大多數(shù)題目是細節(jié)型的題。一般來說，建議考生按照從大意題到細節(jié)題的做題順序完成整篇試題。也就是說，在考試過程中，如果考生遇到“Headings”這種標準的大意題，當然是需要最先完成的。而其他細節(jié)題在考生對于文章大意有所了解的前提下去完成會很容易定位。在此需要特別說明的是最近很流行的細節(jié)配對題，一般建議考生安排在其他題目完成之后再去完成，這樣考生對于文章的結(jié)構和各段的大意都有比較清晰的了解，在這個基礎上再去完成細節(jié)配對題會節(jié)約很多定位的時間，而且正確率也會有所提升。

最后要提醒即將考試的“烤鴨”們的就是信心和情緒。良好的心理素質(zhì)是在考場上正常發(fā)揮水平的重要保證。長期辛苦的備考之后，考生們有理由相信自己會在考場上取得滿意的成績。適當?shù)淖孕乓彩情喿x速度和解題正確率的保證。另外，有些考生如果碰到的文章是自己不熟悉的領域或不熟悉的題型就會大受“打擊”，影響做題情緒。這個是完全沒有必要的。要明白有時候文章當中那些生詞往往根本不會影響考生做題，屬于我們上文所提及的次要信息。所以千萬不要讓那些次要的內(nèi)容影響了做題目的情緒，否則就是得不償失了。

雅思閱讀小范圍預測

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New Zealand famous writer Margaret Mahy

人物傳記

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人文社科

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Children's adults 文學

文章題目 Children's adults

重復年份 20151219 20140802 20111026

題材 文學

題型 選擇 4+句子配對 4+判斷 4+簡答 1

文章大意 講了兒童文學。探討了從成人角度去寫兒童文學的視角不同。

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.

雅思閱讀小范圍預測

PassageOne

新舊情況 舊

題材 歷史類

題目 俄羅斯芭蕾歷史

題型

判斷題 6 個

摘要題 7 個

整篇文章按照時間和人物順序安排，第一段姜 17世紀俄羅斯對待芭蕾的態(tài)度。

第二段講兩任沙皇羅曼諾夫和彼得大帝對待芭蕾的不同。

第三、四段講幾位藝術家在俄羅斯的遭遇，其中有普希金，尼金斯基

(Nijinsky)

(類似參考文章)

The History of Russian Ballet

17th Century

Ballet in Russia was created by foreigners and yet it is most definitely "Russian". In the 17th century ballet was introduced into Russia by the second Romanov ruler Tsar Alexis Mikhailovich (1629-1676, reigned from 1645) for his wedding festivities.

Peter the Great (1672-1725, reigned from 1682) took a personal interest in dancing at his court by bringing in Western dances and taking part in them himself. With the help of his prisoners from the Swedish wars -- the Swedish officers -- he taught his courtiers.

18th Century

The dissemination of ballet in Russia and its deep rooted appeal to all Russians can be traced back to those nobles who, often living so far away from the capital, commanded their own entertainment, setting up ballet troupes often composed of serfs who had been trained at the Imperial School.

The formal beginning of Russian ballet can be traced back to a letter written in 1737 to the Empress Anne (1693-1740, reigned from 1730) by the teacher of gymnastics at the Imperial Cadet School.

雅思閱讀大范圍預測

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