托福聽力的Lecture題型是很多同學都感覺很難的的，那么如何贏得高分呢？下面就和出國留學網(wǎng)的小編來看看托福聽力Lecture題型解析。
其實很多老師都會告訴學生這些地方是重點，在聽聽力的時候，一旦聽到這些一定要非常注意，可是有很多學生卻抓不住這些點，即便他們知道這些方面是重點。首先我們先把這些點具體化，看在聽力中這些點是如何表現(xiàn)出來的：
文章開頭
文章的開頭之所以要很認真的聽，而且一定要聽到是因為文章的開頭關(guān)系到主旨大意題。托福聽力文章的開頭一般分為兩個方面：一種是開門見山式，即文章一開頭教授就會說”Today， we are going to talk about...”；一種是迂回式，即教授先說之前的課講了什么，比如“Last class， we talked about…” 中間會講很多內(nèi)容，但是這些都是上節(jié)課的內(nèi)容，教授在講完后會說“But， today， we are going to talk about…” 這時才是這節(jié)課的主要內(nèi)容。如何快速的進入聽力狀態(tài)，一是平常練習的時候，不管外界環(huán)境有多大的干擾，都要鍛煉自己瞬間進入聽力狀態(tài)，文章的前兩句話一定要聽懂。那么，主旨大意題就可以直接搞定。
列舉&舉例
列舉，即把事物或者特征或者例子一個個的舉出來。在托福聽力中的體現(xiàn)為對某個事物的特點的列舉，或者對事物的幾個方面的列舉，或者幾個不同的事物的列舉。比如聽力通常會出現(xiàn)first， second； on the one hand， on the other hand； first， then； some， others等。所以在聽到這些提示詞時，一定要認真聽，而且要記下來。列舉通常對應(yīng)多選題，根據(jù)近年來托福聽力的考試趨勢，多選題出現(xiàn)頻率越來越高，所以一定要重視聽力中出現(xiàn)的列舉。
舉例，通常會出現(xiàn)一個不同于文章主旨大意的內(nèi)容，這時一定要記住這個例子。舉例對應(yīng)功能題，所以在出現(xiàn)“for example”，“for instance”，“such as”，“l(fā)ike”等詞時要注意例子的具體名稱是什么，這樣在聽力題目中一旦出現(xiàn)例子至少不會覺得陌生，而且能夠根據(jù)筆記快速回憶起對應(yīng)的聽力中的內(nèi)容，準確答出題目。
轉(zhuǎn)折&強調(diào)&語氣變化處
轉(zhuǎn)折即文章中出現(xiàn)轉(zhuǎn)折的地方，常見的對應(yīng)標志詞有“however，but，while，yet”等。聽力過程中可能會出現(xiàn)很多這種轉(zhuǎn)折標志詞，但并不是每個轉(zhuǎn)折的地方都會出題，但是基本會有一道題目和轉(zhuǎn)折相關(guān)，所以為了保險起見，建議同學們每一個轉(zhuǎn)折點都認真聽，然后記下來。
強調(diào)&語氣變化處，相對于轉(zhuǎn)折來說標志詞沒那么明顯，所以在聽力過程中很容易被忽略。強調(diào)的標志詞有in fact，actually，really等。演講者在講這些詞的時候一般都會放慢語速，所以強調(diào)和語氣變化經(jīng)常一起出現(xiàn)，因此同學們在聽力時要特別注意。
下面以托福TPO 1-Part 1-Lecture 1為例解釋如何預(yù)測出題點。
Professor：
Ok， I’m going to begin this lecture by giving your next assignment. Remember I said that at some point during this semester I want you to attend an exhibit at the Fairy Street Gallery and then write about it？ Well， the exhibit that I want you to attend is coming up. It’s already started in fact， but it’ll be at the gallery for the next month， which should give you plenty of time to complete this assignment.
The name of the artist exhibiting there is Rose Frantzen. Frantzen’s work may be unfamiliar to you since she’s a relatively young artist. But she’s got a very unusual style， compared to some of the artists we’ve looked at this term. But anyway， Frantzen’s style is what she herself calls Realistic Impressionism. So you’ve probably studied both of these movements separately， separate movements， Realism and Impressionism， in some of your art history courses. So who can just sum these up？
Student：
Well， Impressionism started in the late 19th century. Um … the basic impressionist style was very different from earlier styles. It didn’t depict scenes or models exactly as they looked. Um … Impressionist painters tended to apply paint really thickly， and in big brushstrokes， so the texture of the canvas was rough.
Professor：
Good. What else？ What were the subjects？
Student：
Well， a lot of impressionist artists painted everyday scenes， like people on the streets and in cafes， uh， lots of nature scenes， especially landscapes.
Professor：
Good. So when you go to the exhibit， I really want you to take a close look at a certain painting. It’s a farm scene. And you will see it right as you enter the gallery. The reason I think this painting is so important is that it stresses the impressionist aspect of Frantzen’s style. It’s an outdoor scene， an everyday scene. It’s kind of bleak， but you can really see those broad brushstrokes and the blurry lines. The colors aren’t quite realistic. The sky is kind of， well an unnatural pinkish yellow. And the fence in the foreground is blue， but somehow the overall scene gives an impression of a cold， bleak winter day on a farm. So that’s the impressionist side of her work.
Oh， and speaking about farms， that reminds me. One interesting thing I read about Franzten is that when she first moved back to Iowa after living abroad， she often visited this place in her town called the Sales Barn. And the Sales Barn， it was basically this place where the local farmers bought and sold their cattle， their farm animals. And the reason Frantzen went there， and she later on would visit other places like dance halls， was to observe people and the ways that they moved. She really found that this helped her work—that it gave her an understanding of body movements and actions， how humans move， and stand still， what their postures were like， too.
So， what about Realism？ What are the elements of Realism we should be looking for in Frantzen’s work？