托福閱讀高分策略之修辭目的題

修辭目的題（Rhetorical Purpose Questions）是托福閱讀考試中較難的題型之一，為了攻克此種題型，就必須掌握ETS設計此題的目的和著眼點，熟悉做題步驟，以不變應萬變。

一、修辭的定義

提到修辭，直接映入腦海的是比喻，擬人，排比等修辭手法；但是“修辭”中“修”指的是“修飾”，“辭”指的是語言，整體意思便為對語言的修飾，即為達到寫作目的而采取的語言表達。

二、托福閱讀修辭目的題考察重點

托福閱讀中的修辭目的題考察的重點為“結構”，包括文章的整體結構，段落與段落間的關系，段落的結構及段落內(nèi)部的結構。因此，在分析各種類型的修辭目的題時，應時刻把握結構的重要性，平時練習時強化結構的概念。

三、托福閱讀修辭目的題出題形式

修辭目的題的出題形式包括：

What is the function/purpose of paragraph X in the passage?

What is the relationship between paragraph X and Paragraph Y?

How does the author organize paragraph X?

What is the main purpose of paragraph X?

Why does the author mention X?

The author mentions X as an example of...

The author uses X to illustrate/make the point that...

The author mentions X in paragraph 3 in order to....

四、托福閱讀修辭目的題解題技巧

 A. 考察文章整體結構的修辭目的題

    此類修辭目的題的解題關鍵在于理解某一個段落在全文中起到的作用。

 B. 考察段落間關系的修辭目的題

    此類修辭目的題解題的關鍵在于把握各段主題及結構，進而理解兩個段落間的聯(lián)系，可以是提出問題和解決問題的關系，也可是否定舊觀點和提出新觀點的關系等等。

 C. 考察段落結構的修辭目的題

Example：（TPO 1 第一篇）

Paragraph 7: The proportion of empty space in a rock is known as its porosity. But note that porosity is not the same as permeability, which measures the ease with which water can flow through a material; this depends on the sizes of the individual cavities and the crevices linking them.

    11.  What is the main purpose of paragraph 7?

○To explain why water can flow through rock

○To emphasize the large amount of empty space in all rock

○To point out that a rock cannot be both porous and permeable

○To distinguish between two related properties of rock

本題旨在考察對某一段落整體大意的把握。本段只有兩句話，第一句話提出porosity（多孔性）的定義，第二句話利用一個非限制性定語從句詳細說明permeability（滲透性）的定義；但是第二句句子的主干就是 “porosity is not the same as permeability”， 即強調(diào)兩個概念的不同，因此正確選項為 D。

D. 考察段落內(nèi)部結構的修辭目的題

  考察段落內(nèi)部結構的修辭目的題所占比例最大。為確保正確率，首先要先了解托福閱讀典型的段落結構模式。

即    Topic sentence(thesis statement)

             ↓        

      Further explanation

             ↓ 

      Details/Examples

提問形式一般為，作者提出某個細節(jié)或例子的目的是什么？解題的關鍵在于找到該細節(jié)或例子對應說明的主題句是什么。通常最簡潔的方法是找原文中具體信息前面一句話！

Example: (OG  Applied Arts and Fine Arts)

Paragraph 2: 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. 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. 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

本題關鍵在于定位至原文后，發(fā)現(xiàn)關鍵詞for example，明顯的舉例詞組，因此對應的主題句就呼之欲出，即前一句話These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work. 因此正確選項為A。

                                                                                                                                                           撰寫人：王麗娜

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