雅思阅读高分技巧之时间掌控
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争分夺秒考雅思 雅思阅读高分技巧之时间掌控
正确的时间分配可以帮助考生在考场上最大限度的发挥自己的实际水平，提高整体正确率。合理的时间安排，原则上是20分钟一篇。但是考生都有自己熟悉的话题和有把握的题材。所以，在正式开始做题之前，考生不妨可以通过标题浏览等方式Skim三篇文章，按照自己的实际情况对于三篇文章的难易程度进行定位，确定哪篇文章是自己把握性比较大的，对于这种比较有把握文章一定要保证时间充足，这样有助于整体正确率的提升。但是每一篇文章原则上最多不超过25分钟，否则考生是没有办法有效率的完成40道题目的。
在时间分配这一点上，要特别提醒那些基础比较好的考生。因为此类考生往往更加容易“栽跟头”。雅思阅读文章篇幅较长，之后还有四十道题目需要完成，这就要求考生精读和泛读相结合。需要提别提出的是，文章中的信息有主次之分，那些与考题相关的信息才是考生需要精读的内容。而基础较好的同学往往为了保证正确率会采取全篇精读的方式去完成题目，这样的话就没有办法保证在规定的时间内完成所有题目。
最后需要在时间安排上提醒考生们注意的是，要留取填写答题卡的时间。雅思考试第一场听力考试是有10分钟的时间留给考生填写答题卡的。但是在紧接着的第二场阅读考试中，填写答题卡的时间包含在一个小时考试时间里面。在此，雅思中国网海外考试研究中心的老师们建议考生，分篇填写。完成一篇之后就把填写在答题卡上，这样可以避免最后完全来不及填写答题卡的情况出现。
除去时间掌控之外，考生们在考场上还要注意的是考试的题型安排。正确的做题顺序可以帮助考生更加有效的完成题目。雅思学术类阅读现在官网上分为十大题型：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。这些题型绝大多数题目是细节型的题。一般来说，建议考生按照从大意题到细节题的做题顺序完成整篇试题。也就是说，在考试过程中，如果考生遇到“Headings”这种标准的大意题，当然是需要最先完成的。而其他细节题在考生对于文章大意有所了解的前提下去完成会很容易定位。在此需要特别说明的是最近很流行的细节配对题，一般建议考生安排在其他题目完成之后再去完成，这样考生对于文章的结构和各段的大意都有比较清晰的了解，在这个基础上再去完成细节配对题会节约很多定位的时间，而且正确率也会有所提升。
最后要提醒即将考试的“烤鸭”们的就是信心和情绪。良好的心理素质是在考场上正常发挥水平的重要保证。长期辛苦的备考之后，考生们有理由相信自己会在考场上取得满意的成绩。适当的自信也是阅读速度和解题正确率的保证。另外，有些考生如果碰到的文章是自己不熟悉的领域或不熟悉的题型就会大受“打击”，影响做题情绪。这个是完全没有必要的。要明白有时候文章当中那些生词往往根本不会影响考生做题，属于我们上文所提及的次要信息。所以千万不要让那些次要的内容影响了做题目的情绪，否则就是得不偿失了。
雅思阅读小范围预测
Coastal sculpture 艺术
New Zealand famous writer Margaret Mahy
人物传记
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人文社科
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Darkside of Technological Boom科技
Children's adults 文学
文章题目 Children's adults
重复年份 20151219 20140802 20111026
题材 文学
题型 选择 4+句子配对 4+判断 4+简答 1
文章大意 讲了儿童文学。探讨了从成人角度去写儿童文学的视角不同。
参考阅读：
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.
雅思阅读小范围预测
PassageOne
新旧情况 旧
题材 历史类
题目 俄罗斯芭蕾历史
题型
判断题 6 个
摘要题 7 个
整篇文章按照时间和人物顺序安排，第一段姜 17世纪俄罗斯对待芭蕾的态度。
第二段讲两任沙皇罗曼诺夫和彼得大帝对待芭蕾的不同。
第三、四段讲几位艺术家在俄罗斯的遭遇，其中有普希金，尼金斯基
(Nijinsky)
(类似参考文章)
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.
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