如何回答托福阅读考试中的目的题

>>托福阅读：如何回答托福阅读考试中的目的题

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意图题的发问方法通常为：

Why does the author mention/include/use …?

The author …in order to …

The author uses the example to ?

…for … purpose?

这种标题通常问的是作者举某个比如，说某句话的意图是什么，判别好题干是榜首步。通常的阅读文章的思路，作者在举比如的时分的首要意图都是为了证明自个的观念，所以在做这类题意图时分，真实的解题要害在于，所问比如前方的观念，咱们来看一道例题：

The first generation to experience these changes did not adopt the new attitudes easily. The factory clock became the symbol of the new work rules. One mill worker who finally quit complained revealingly about "obedience to the ding-dong of the bell-just as though we are so many living machines." With the loss of personal freedom also came the loss of standing in the community. Unlike artisan workshops in which apprentices worked closely with the masters supervising them, factories sharply separated workers from management. Few workers rose through the ranks to supervisory positions, and even fewer could achieve the artisan’s dream of setting up one’s own business. Even well-paid workers sensed their decline in status.

4. In paragraph 4, the author includes the quotation from a mill worker in order to

○ Support the idea that it was difficult for workers to adjust to working in factories

○ To show that workers sometimes quit because of the loud noise made by factory machinery

○ Argue that clocks did not have a useful function in factories

○ Emphasize that factories were most successful when workers revealed their complaints

标题问，作者为何引证工人的话。工人的话“One mill worker who finally quit complained revealingly about "obedience to the ding-dong of the bell-just as though we are so many living machines."”在文章的第三句呈现，作为和比如相同的意图，来撑持本段的观念句，即榜首句，The first generation to experience these changes did not adopt the new attitudes easily.(榜首代阅历这些改变的人没有容易的习惯新的观念)。所以正确选项应该为观念句的同义更换。正确答案挑选A，即撑持一种观念，关于工人来说很难调整在工厂作业。B 选项里边的工人退出(workers sometimes quit)没有说到，C 选项里边的clocks did not have a useful function(挂钟不能发扬有用效果)不对，最终D 选项里边说到当工人诉苦的时分工厂最成功，显然是不正确的。

可是不是一切的作者意图题，都只是阶段的榜首句话。每个阶段的topic sentence 方位不相同，或许说，每个比如对应的topic sentence 方位不相同。咱们再来看一个比如，

Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker of fine-art objects. This assumption misses a significant difference between the two disciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintingsmust have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the sculptor’s aesthetic intentions, placed the ball there. That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze).

6. Why does the author discuss the bronze statues of horses created by artists in the early Italian Renaissance?

○ To provide an example of a problem related to the laws of physics that a fine artist must overcome

○ To argue that fine artists are unconcerned with the laws of physics

○ To contrast the relative sophistication of modern artists in solving problems related to the laws of physics

○ To note an exceptional piece of art constructed without the aid of technology

在这道标题傍边，咱们需求先断定比如的方位，即加了暗影的当地。这个题意图特征是，命题点是一个十分长的天然段，通常这种比较长的天然段通常会有阶段分层或许段中的转机，这样的话咱们需求断定比如地点的方位在哪一层或许是在转机前仍是转机后。咱们先来剖析一下这个阶段的布局：

Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker of fine-art objects. This assumption misses a significant difference between the two disciplines.

这句话对前面的内容作了否定，即：这种假定无视了两个规则之间的重要不同。

Fine-art objects are not constrained by the laws of physics in the same way that applied art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work.

这句才是比如真实对应的中心句，作者举比如是为了证明这个观念

For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had...

在这个阶段傍边，比如所对应的topic sentence 变成了第八句，即These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work.(这些都是艺术家有必要战胜的疑问...)

依据要害句的同义更换，咱们挑选榜首个选项作为正确答案，即To provide an example of a problem related to the laws of physics that a fine artist must overcome (举一个关于艺术家有必要跨过的关于物理学规则的比如)。

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