其实，雅思阅读有四个层次：词、句、段、文章。今天小编给大家带来了细说无词阅读法在雅思阅读中的运用，希望能帮助到大家，下面小编就和大家分享，来欣赏一下吧。
1. 介词： at , in , to , on ,for, by, with, among, between … ….
2. 连词： and, but, however, as well, because, so, for, if, also, not only… but also…, such as, for example
3. 情态动词： can , may, must, should, could, would, might, have to
4. 否定词：not, no，还有文章中有without, unnecessary, exclude 【不包含】,
5. 冠词：a, an, the
6. 代词：it, he, she, they, their, we, us, I,
7. BE动词 am, is, are
8. 助动词：do, does, have, has
Ø 准：要划出能够代表这个题目中的关键词，往往满地都是的，不同题目重复的单词都不可能作为关键词
Ø 根据每段段落前面的小标题---：代表着文章段落意思的总结词汇
Ø 根据每段当中的第一句来判断是否内容有提到：第一句：往往统领段落大意的句子【topic sentence主题句】
4. 扫读文章，确定相对应的句子， 【通过你在题目中所划的关键词来判断】
Ø 一模一样的词汇
Ø 词性改变的词汇【create---creativity; support --- supporting】单词前面的拼写不会改变，后半部分的拼写会有所改变
Ø 同义词：题目中的单词和文章中的单词中文意思相同【film—movie;】
Ø .上义词：如果题目中的关键词是一个概念词，文章中的对应词可能是这个概念的具体词汇【fruit ---banana; entertainment --- clubing; media--- Internet】【题目中的关键词是包含了文章中对应词】
Ø .下义词: 题目中的这个关键词是一个具体词，文章中的对应词是一个概念词【题目中的关键词被包含在文章中的概念词中】
..可能是答案的情况： 这个重复出现的词汇只有在某一个段落中反复出现
答案特点：
Ø 如果空格前面是a，an, the; 答案一定是名词，而且文章中答案前可能也有对应的冠词出现
Ø 如果空格前面有介词, in ,at, on 答案一定是时间或者地方，而且文章中一定会有对应的介词方式或者词组
Ø 如果空格后面是一个名词，答案往往会是形容词，文章中你要去找对应的名词前面的形容词，【必须排除动词，BE动词】
Ø 如果空格的前面是一个动词，答案通常就是副词，副词通常都是以-ly结尾的
3. 特殊词汇是答案的可能性是相当高的，特殊词汇往往会通过斜体，或者是引号来强调其特殊性，例如 ” phone phrase”.
4. 根据题目中的句子结构来判断答案的位置，通过一些已经删除的词汇来确定答案在文章对应句中所相对应的词汇
何谓“境界”?
“境界”，就是能看多远。佛能够看透物质世界，所以佛的境界无限远。
阅读的时候，如果谁能够透过那些生词和难句，把题目的答案直接挑出来，并且文章大致讲什么还能明白，那么就达到了“无词阅读”的最高境界，才能感到“心旷神怡，宠辱皆忘，把酒临风，其喜洋洋者矣”!
其实，“无词阅读法”并非是什么“都不懂”;相反，它是一种对阅读的大彻大悟，彻底颠覆了我们传统的“逐字逐句搞翻译，段落文章看不懂”错误阅读方法，保证读者在存在大量生词的情况下，还能够通过快速阅读掌握段落和文章的主旨。
那么“无词阅读法”的精髓在哪里呢?就在于把握两种东西：方向和关系。
首先，方向是作者在论述一个事物时的基本态度，其重要性远远大于个别词句的理解。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).
这段话并不长，但是如果让你在30秒钟之内说出主旨是什么，恐怕比登天还难吧!其实不然!请看首句中有一个词benefits是个正向词，紧接着第二句话中lower levels of family stress, higher…, better health, higher… satisfaction等都是正向词。第三句话中higher satisfaction, happier等也都是正向词。这说明这段话作者的基本态度是正向的，那么段落主旨就是首句中的benefits，而第二和第三句话就在具体论述有哪些 benefits。至于self-esteem, marital等生词不认识都无所谓了，因为本段落中，除了这些正向词之外，其余的单词的存在都是多余的。30秒足够你“顿悟”了吧!
其次，关系是更为重要的，因为它的存在更加使得单词变得多余。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.
这段话中，首句a number of factors encouraging…是一个正向词，说明在分析好的因素。第二句number…increasing和第三句higher education, better qualified都是正向词，说明在具体论述第一句话中的好的因素。但是，二三句之间的一个In addition让我们知道了这两句话之间是一个“递进”关系，那么其前后的方向应该是相同的。所以，当我们看完第二句话之后，发现这个“递进”关系时，后面的内容根本不需要看了。至于prospect和demographic trends即使都是你的生词，又怎能妨碍你抓住段落的主旨——a number of factors呢?
2016年2月20日雅思阅读考试真题回忆——Passage1
所谓阅读是中国考生的最强项。今天为大家带来的是2016年2月20日雅思阅读考试真题回忆的Passage1原文文本和题目回忆。
考试概述：
本次考试的文章是三篇旧的文章的变形，难度适中。第一篇讲了照明工具的发展历史，从火到灯的过程。第二篇讲了塔斯马尼亚的老虎，灭绝以后的相关专题讨论。第三篇讲了女性领导的特点以及他们与男性领导者的特征对比。
题型：每篇文章都有判断题出现，且数量稳定;另外配对题和填空题依然是考试的重点;注意选考题型选择题频繁出现。
Passage1：照明发展史
讲述了照明工具的发展史，从蜡烛到煤油灯再到爱迪生
Question:1-8判断题
1. True
2. False
3. Not Given
4. True
5. True
6. Not given
7. False
8. Not given
9. applications
10. bright
11. attention
12. air
13. filaments
Coastal sculpture 艺术
New Zealand famous writer Margaret Mahy
人物传记
Solving an Arctic Mystery 人文社科
When did music begin? 艺术
New Zealand Home Textile Craft人文社科
Sweet Trouble–Australia sugarcane industry农业
The Grimme Fairy Tale
人文社科
Gesture 人文社科
Dust and American 环保
Birds intelligence 动物
Food Addictive 工业
Japan's ancient pottery 历史
Fish communications 动物
Darkside of Technological Boom科技
Children's adults 文学
重复年份 20151219 20140802 20111026
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.
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