其實，雅思閱讀有四個層次：詞、句、段、文章。今天小編給大家帶來了細說無詞閱讀法在雅思閱讀中的運用，希望能幫助到大家，下面小編就和大家分享，來欣賞一下吧。

無詞勝有詞——細說無詞閱讀法在雅思閱讀中的運用

填空題目中哪些單詞一定不會是答案

1. 介詞： at , in , to , on ,for, by, with, among, between … ….

2. 連詞： and, but, however, as well, because, so, for, if, also, not only… but also…, such as, for example

3. 情態動詞： can , may, must, should, could, would, might, have to

4. 否定詞：not, no，還有文章中有without, unnecessary, exclude 【不包含】,

5. 冠詞：a, an, the

6. 代詞：it, he, she, they, their, we, us, I,

7. BE動詞 am, is, are

8. 助動詞：do, does, have, has

填空題目的做題順序

1. 題目是按照文章順序出的，所以要按照題目的順序做題

2. 先從題目中劃出關鍵詞【快，狠，準!】

? 快：快速定位文章中的段落或者句子

? 狠：要從題目中盡可能少劃出一些關鍵詞

? 準：要劃出能夠代表這個題目中的關鍵詞，往往滿地都是的，不同題目重復的單詞都不可能作為關鍵詞

3. 按照文章順序，通過關鍵詞，掃讀文章，找到對應的段落

? 根據前后題目的順序

? 根據每段段落前面的小標題---：代表著文章段落意思的總結詞匯

? 根據每段當中的第一句來判斷是否內容有提到：第一句：往往統領段落大意的句子【topic sentence主題句】

4. 掃讀文章，確定相對應的句子， 【通過你在題目中所劃的關鍵詞來判斷】

..關鍵詞的作用：幫助定位;關鍵詞本身不會是正確答案

5. 確定相應句子后，刪除不可能是答案的單詞

A.刪除“八大類不可能是答案的”單詞

B. 刪除題目中已經出現過的單詞

? 一模一樣的詞匯

? 詞性改變的詞匯【create---creativity; support --- supporting】單詞前面的拼寫不會改變，后半部分的拼寫會有所改變

? 同義詞：題目中的單詞和文章中的單詞中文意思相同【film—movie;】

? .上義詞：如果題目中的關鍵詞是一個概念詞，文章中的對應詞可能是這個概念的具體詞匯【fruit ---banana; entertainment --- clubing; media--- Internet】【題目中的關鍵詞是包含了文章中對應詞】

? .下義詞: 題目中的這個關鍵詞是一個具體詞，文章中的對應詞是一個概念詞【題目中的關鍵詞被包含在文章中的概念詞中】

C. 刪除文章中滿地都是的詞匯【高頻詞匯】

..可能是答案的情況： 這個重復出現的詞匯只有在某一個段落中反復出現

D.刪除其他題目中重復出現的詞匯

6. 在剩余的單詞中，根據答案特點來選擇內容

答案特點：

1. 在找到句子前，考生應該先猜測題目中所題寫的答案詞性

? 如果空格前面是a，an, the; 答案一定是名詞，而且文章中答案前可能也有對應的冠詞出現

? 如果空格前面有介詞, in ,at, on 答案一定是時間或者地方，而且文章中一定會有對應的介詞方式或者詞組

? 如果空格后面是一個名詞，答案往往會是形容詞，文章中你要去找對應的名詞前面的形容詞，【必須排除動詞，BE動詞】

? 如果空格的前面是一個動詞，答案通常就是副詞，副詞通常都是以-ly結尾的

2. 長單詞是答案的可能性比短單詞高

3. 特殊詞匯是答案的可能性是相當高的，特殊詞匯往往會通過斜體，或者是引號來強調其特殊性，例如 ” phone phrase”.

4. 根據題目中的句子結構來判斷答案的位置，通過一些已經刪除的詞匯來確定答案在文章對應句中所相對應的詞匯

三、“無詞閱讀”的巔峰境界

何謂“境界”?

“境界”，就是能看多遠。佛能夠看透物質世界，所以佛的境界無限遠。

閱讀的時候，如果誰能夠透過那些生詞和難句，把題目的答案直接挑出來，并且文章大致講什么還能明白，那么就達到了“無詞閱讀”的最高境界，才能感到“心曠神怡，寵辱皆忘，把酒臨風，其喜洋洋者矣”!

其實，“無詞閱讀法”并非是什么“都不懂”;相反，它是一種對閱讀的大徹大悟，徹底顛覆了我們傳統的“逐字逐句搞翻譯，段落文章看不懂”錯誤閱讀方法，保證讀者在存在大量生詞的情況下，還能夠通過快速閱讀掌握段落和文章的主旨。

那么“無詞閱讀法”的精髓在哪里呢?就在于把握兩種東西：方向和關系。

首先，方向是作者在論述一個事物時的基本態度，其重要性遠遠大于個別詞句的理解。例如：

Research studies lend strong support to the argument that there are benefits for families considering a change to a fairer or more equitable division of the pleasures and pains of family life. Greater equality in the performance of family work is associated with lower levels of family stress and higher self-esteem, better health, and higher marital satisfaction for mothers. There is also higher marital satisfaction for fathers, especially when they take more responsibility for the needs of their children – fathers are happier when they are more involved (Russell 1984).

這段話并不長，但是如果讓你在30秒鐘之內說出主旨是什么，恐怕比登天還難吧!其實不然!請看首句中有一個詞benefits是個正向詞，緊接著第二句話中lower levels of family stress, higher…, better health, higher… satisfaction等都是正向詞。第三句話中higher satisfaction, happier等也都是正向詞。這說明這段話作者的基本態度是正向的，那么段落主旨就是首句中的benefits，而第二和第三句話就在具體論述有哪些 benefits。至于self-esteem, marital等生詞不認識都無所謂了，因為本段落中，除了這些正向詞之外，其余的單詞的存在都是多余的。30秒足夠你“頓悟”了吧!

其次，關系是更為重要的，因為它的存在更加使得單詞變得多余。例如：

In business as a whole, there are a number of factors encouraging the prospect of greater equality in the workforce. Demographic trends suggest that the number of women going into employment is steadily increasing. In addition a far greater number of women are now passing through higher education, making them better qualified to move into management positions.

這段話中，首句a number of factors encouraging…是一個正向詞，說明在分析好的因素。第二句number…increasing和第三句higher education, better qualified都是正向詞，說明在具體論述第一句話中的好的因素。但是，二三句之間的一個In addition讓我們知道了這兩句話之間是一個“遞進”關系，那么其前后的方向應該是相同的。所以，當我們看完第二句話之后，發現這個“遞進”關系時，后面的內容根本不需要看了。至于prospect和demographic trends即使都是你的生詞，又怎能妨礙你抓住段落的主旨——a number of factors呢?

2016年2月20日雅思閱讀考試真題回憶——Passage1

所謂閱讀是中國考生的最強項。今天為大家帶來的是2016年2月20日雅思閱讀考試真題回憶的Passage1原文文本和題目回憶。

考試概述：

本次考試的文章是三篇舊的文章的變形，難度適中。第一篇講了照明工具的發展歷史，從火到燈的過程。第二篇講了塔斯馬尼亞的老虎，滅絕以后的相關專題討論。第三篇講了女性領導的特點以及他們與男性領導者的特征對比。

題型：每篇文章都有判斷題出現，且數量穩定;另外配對題和填空題依然是考試的重點;注意選考題型選擇題頻繁出現。

Passage1：照明發展史

題型解析：8道判斷題;5道填空題

講述了照明工具的發展史，從蠟燭到煤油燈再到愛迪生

Question:1-8判斷題

1. True

2. False

3. Not Given

4. True

5. True

6. Not given

7. False

8. Not given

Question:9-13 句子填空題

9. applications

10. bright

11. attention

12. air

13. filaments

雅思閱讀小范圍預測

Coastal sculpture 藝術

New Zealand famous writer Margaret Mahy

人物傳記

Solving an Arctic Mystery 人文社科

When did music begin? 藝術

New Zealand Home Textile Craft人文社科

Sweet Trouble–Australia sugarcane industry農業

The Grimme Fairy Tale

人文社科

Gesture 人文社科

Dust and American 環保

Birds intelligence 動物

Food Addictive 工業

Japan's ancient pottery 歷史

Fish communications 動物

Darkside of Technological Boom科技

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.