书名：高考英语阅读模考100篇pdf/doc/txt格式电子书下载

推荐语：高中英语阅读专项训练，限时模考，各种题材体裁一一攻破！

作者：北京新东方优能中学高中英语组著

出版社：浙江教育出版社

出版时间：2019-07-01

书籍编号：30534767

ISBN：9787553687018

正文语种：中文

字数：894833

版次：

所属分类：教材教辅-中小学

版权信息

书名：高考英语阅读模考100篇

作者：北京新东方优能中学高中英语组

出版社：浙江教育出版社

出版时间：2019-07-01

ISBN：9787553687018

版权所有 · 侵权必究

音频下载链接：http://download.dogwood.com.cn/guonei/gkmk100.zip

前言　阅读理解方法

一、高考阅读理解的要求

阅读理解是高考英语试卷中分值较高的一种题型，其重要性不言而喻。根据教育部颁布的《普通高等学校招生全国统一考试大纲》的要求，阅读理解部分要求考生能读懂书、报、杂志中关于一般性话题的简短文段以及公告、说明、广告等，并能从中获取相关信息。考生应能：

（1）理解主旨和要义；（2）理解文中具体信息；（3）根据上下文推断生词的词义；

（4）作出判断和推理；（5）理解文章的基本结构；（6）理解作者的意图、观点和态度。

按照考试大纲中六种不同的能力要求，阅读理解的题型可以归为以下四类：

（1）主旨题（2）细节题（3）推理题（4）词义/句义题

这四类题型按考查频率由高到低的排序为：细节题、推理题、主旨题、词义/句义题。各种题型的解决方案很不一样。具体的解决方案将在“笔者推荐的解题流程”部分进行详细的阐述。

二、高考阅读理解的解题策略

高考阅读理解的目的不是将全文一字不差地全部读懂，而是在有限的时间内把题目全部做对。所以我们在平日做题训练时，不要把阅读当成精读，不要将其当成复习语法和单词的载体，可以把阅读当成泛读来读，重点应关注的是“信息的流动”。由于做题者关注信息流动的方式不同，因此就产生了不同的阅读策略。

目前常见的阅读理解解题策略主要分为三种：（1）读文章→做题目→回头查读文章；（2）读题目→读文章→做题目；（3）读主题→读题目→读全文→做题目。

笔者认为这三种做题思路没有本质上的区别，各有利弊。在平日训练时，应选择其中最适合自己的一种，大量练习，形成习惯，在高考之前达到炉火纯青的地步，使英语成绩保持在良好的水平，最终笑傲高考。

三、笔者推荐的解题流程

三种解题策略没有本质上的区别，笔者经过大量做题，对这三种解题策略进行了拆分组合，然后总结了一套行之有效的解题流程，在此推荐给同学们：

第一步：读文章标题和中文释义

标题即主题，所以如果文章有标题的话，读完标题，就知道了文章大致讲的是什么，阅读和做题时就有了一个心理预期。另外，文中经常会给出一些标注中文释义的单词，这些往往是对理解文章有帮助的单词或者是在其附近有命题的单词，扫读这些中文释义也有助于考生解题和猜测文章大意。

第二步：读题干，找关键词，确定题型

一些同学认为读文章之前先读题目就是通读所有题干和选项，然而这会浪费大量的时间。还有一些同学只是大概浏览一下题目，或者拿到文章就读。笔者的建议是：在读文章之前花一点时间读题目，但只读题干即可，首先要标出题干中的关键词，然后确定题目类型，这是答对题目的关键。

关键词即题干中核心性的信息词，根据这些信息词，我们就可以知道问题主要问的是什么，可以定位到文中的哪个具体位置，再细读这些相关语句，便可发现答案。

通过读题干，我们还可以确定题目属于四类题型中的哪一类。不同的题型有各自不同的特征及解题策略：

（1）细节题

若发现题干中有细节定位词即可将这种题型定为细节题。这种题型是高考中最常见的题型，得分率相对较高。考生在训练时应努力做到在这类题型中一分不扣。解答细节题的关键是找到定位词，返回文中找到原句或同义说法。答案通常在定位词所在句或前后各一句。常见的定位关键词有：（a）数字、大写字母、人名、地名、机构名、引文；（b）名词、动词、形容词；（c）比较级、极端词。

（2）推理题

若发现题干中有infer、indicate、suggest等词，或者所提问的内容作者并没有明确表达出来，一般可判定为推理题。推理题是得分率比较低的一类题型，原因在于同学们的推理存在问题：有时脱离文章，只选择符合自己观点的选项；有时推得过远，天马行空，没有方法可言。这两种做法都很容易掉进出题人的陷阱。笔者认为本没有纯粹考推理的试题存在，这类题目其实是介于细节题和主旨题之间的一类题目。推理的方向应该是“基于细节，同时有利于体现文章的主旨”。做推理题时一定要注意与主旨无关的答案必为错误答案，正确选项在文中必然能找到依据，而不能靠考生自己的主观臆断。

（3）词义/句义题

这类题型从形态上很好判断，考查得不多，每套试卷一般只有两道这样的题目。解决这类题目时，一定要注意上下文的逻辑关系，关注语境。不能因为认识某个单词，就不看上下文直接选择其含义，因为这个词在文中可能是一个熟词僻义；另外，也不能因为不认识单词而直接放弃，因为这个词可能和上下文中的某个词或短语构成同义或反义关系。句义题中有一部分其实就是在考查熟词僻义，还有一部分则考查上下文理解，可以将选项分别代入看哪个使文意最通顺。

（4）主旨题

若发现题干中有main idea、mainly、best title、talk about等表述时，可判断此题是主旨题。主旨题往往得分率也不高，原因在于同学们不知道到什么地方去找。对于主旨题而言，定位处很固定：记叙文往往要定位到文章的开头或者结尾，以结尾居多；说明文往往定位到文章的开头；议论文定位到开头或者结尾；新闻的主旨则往往在开头的导语部分。另外，还有一种结构型主旨题，就是将文章各段落的结构用易懂的图形标示出来，问哪一个最符合文章发展的脉络。看到这种题目的时候就要注意在阅读中把握文章的层次，可以边读边进行划分。段落之间主要存在“总—分—总”关系、并列关系以及转折关系。

第三步：阅读文章，标划重点信息

读过题干之后，就可以从头开始阅读文章，要记得我们的终极目的是把握文章主旨，做对题目，因此不要因为个别生词影响情绪。在读的过程中标注一些重点信息将利于做题时的定位，重点信息一般隐藏在文章的开头、结尾和中间段落的首尾句，要特别注意寻找题干关键词所在的句子，把它们标记出来。

第四步：比较选项与原文，找到答案

找到答案句，通过比较四个选项与答案句即可找到最佳答案。

四、做完之后，有效使用原汁原味的材料

笔者与许多同学交流后发现一个问题，很多同学在做完题目后，直接对答案，对完后便觉得任务完成，换下一篇接着做。对于一篇原汁原味的文章，只停留在做题阶段是远远不够的。做完题之后，建议大家重新阅读文章，这时可按照精读的要求来做，查一下不认识的词，试着逐字逐句地翻译文章，提高自己英汉互译的能力。阅读理解成绩的提高取决于两个因素：一是方法正确，二是能力提高。通过阅读来提高英语能力是一个非常正确的选择：首先，上下文语境能帮助大家更好地记住单词并掌握其用法；其次，练习自己翻译并与好的译文相比较，能提升同学们攻克长难句的能力。本书中每篇文章后除了有对题目的解析之外，均配有全面的生词总结以及对全文的逐句翻译，便于读者在做完题目后进行深度学习。此外，对于文章中一些地道的英文表达，也建议读者通过模仿的方式争取应用到写作当中。

本书特色

一、选材精，难度大

本着为同学们负责的态度，我们从历年的全国各地高考真题、权威高考模拟题以及四、六级考试的深度阅读题型中精心选出100篇经典文章，规定好每篇的练习时间，供大家进行模考练习。基础级的文章（难度指数一颗星）只占一小部分，大部分文章均与高考的平均难度持平（两颗星）或者高于高考的平均难度（三颗星）。这样做的目的是希望通过进阶式的训练，稳步提高同学们的解题能力。当高于高考难度的文章做起来都得心应手时，战胜高考难度的文章就易如反掌了。有些同学在刚开始阅读本书中的文章时会觉得难度较大，但当适应这一难度后，就会发现学校的期中、期末考试题的难度自己完全能应对，正确率已有大幅提高。

二、分文体，明重点

记叙文重在情节，说明文重在事实，议论文重在观点，应用文重在信息。笔者在教学与研究的过程中发现，不同文体的考查重点是不一样的。因此，我们在编撰的过程中对文章的文体进行了分类，目的就是让同学们进一步熟悉每类文体的风格和考查重点。相信经过大量的有效训练，读者会对每类文体的特点、考点了然于胸。

三、加批注，解析全

为了使同学们能有效地利用精选出来的文章，我们对每篇文章都进行了全文逐句翻译，方便读者看不懂时进行参考，并且有助于读者自己进行长难句翻译练习。为了帮助读者把握文章中的重要信息，我们对文章中的要点句进行了批注，方便读者检验自己是否关注到了应该关注的信息，也使大家能尽快找到答案的出处。此外，我们在每篇文章后面都总结了文章和题目中出现的疑难词汇，并附赠可通过网络下载的“高考英语阅读核心必背3000词”，帮助同学们突破单词关。

特别感谢

本书是许多人共同协作的成果，在这里逐一感谢。

首先，要感谢集团副总裁兼北京新东方学校校长李亮老师，没有他的激励，就不会有本书的出版。

然后，要感谢优能中学高考王牌教师，同时也作为本书的专家顾问参与指导的陶然老师，他无私奉献的强大高考习题库以及完美的排版指导给予本书莫大的支持。

同时，要感谢本书其他三位参与指导的专家顾问黄薇薇、高吉、李鹏，他们的智慧、思想以及教学经验为本书的编写，无论是整体还是细节，均提供了大量的灵感、思路、框架以及宝贵的建议和指导。

其次，要感谢新东方大愚文化的各位编辑对本书出版的帮助，对你们的专业和敬业致以真诚的谢意。

最后，要感谢本书编写团队的所有成员，是大家的齐心协力赋予了本书生命，感谢大家！

如果你期待明天，就必须脚踏实地；如果你渴望辉煌，就必须马不停蹄。祝愿所有高中生都能通过学习本书轻松掌握英语阅读的奥秘，在高考中取得满意的成绩！

北京新东方优能中学

高中英语组

第一部分　阅读理解模考题100篇

记叙文

Passage 1

长度：253 words　难度星级：★　建议用时：4 min

When Frida Kahlo’s paintings were on show in London, a poet described her paintings as “a ribbon（丝带） around a bomb.” Such comments seem to suggest Kahlo had a big influence on the art world of her time. Sadly, she is actually a much bigger name today than she was during her time.

Born in 1907 in a village near Mexico City, Kahlo suffered from polio（小儿麻痹症） at the age of seven. Her spine（脊柱） became bent as she grew older. Then, in 1925, her back was broken in several places in a school-bus accident. Throughout the rest of her life, the artist had many operations, but nothing was able to cure the terrible pain in her back. However, the accident had an unexpected side effect. While lying in her bed recovering, Kahlo taught herself to paint.

In 1929, she got married to Diego Rivera, another famous Mexican artist. Rivera’s strong influence on Kahlo’s style can be seen in her early works, but her later works from the 1940s, known today as her best works, show less influence from her husband.

Unfortunately, her works did not attract much attention in the 1930s and 1940s, even in her home country. Her first one-woman show in Mexico was not held until 1953. For more than a decade after her death in 1954, Kahlo’s works remained largely unnoticed by the world, but in the 1970s her works began to gain international fame at last.

1. What does the phrase “a much bigger name” in Paragraph 1 most nearly mean?

A. a far better artist

B. a far more gifted artist

C. a much stronger person

D. a much more famous person

2. The terrible pain Kahlo suffered was caused by ______.

A. polio

B. her bent spine

C. back injuries

D. the operations she had

3. Kahlo’s style had become increasingly independent since the ______.

A. 1930s

B. 1940s

C. 1950s

D. 1970s

4. What is the author’s attitude toward Kahlo?

A. Devotion.

B. Sympathy.

C. Worry.

D. Encouragement.

Passage 2

长度：392 words　难度星级：★　建议用时：4 min

An idea came to me, and I turned off the lights in the studio. In the darkness, I took off my shirt and took up the cello（大提琴）; it was the first time in my life I’d felt the instrument against my bare chest. I’d never thought about that; music scholars always talk about the resonating properties（共振） of various instruments, but surely the performer’s own body must have some effect on the sound. As I dug into the notes I imagined that my own chest and lungs were extensions of the sound box; I seemed to be able to change the sound by the way I sat, and by varying the muscular tightness in my upper body.

After improvising for a while, I started playing, still in the darkness. I heard the music through my skin. For the first time I didn’t think about how it would sound to anyone else, and slowly, joyfully, gratefully, I started to hear again. The notes sang out, first like a trickle, then like a fountain of cool water bubbling up from a hole in the middle of a desert. After an hour or so I looked up, and in the darkness saw the outline of the cat sitting on the floor in front of me, cleaning her paws and purring loudly. I had an audience again, humble as it was.

So that’s what I do now with my cello. At least once a day I find time to tune it, close my eyes and listen. It’s probably not going to lead to the kind of comeback I’d be thirsty for—years of playing badly have left scars on my technique—but I might eventually try giving a concert if I feel up to it. Occasionally I feel a stab of longing, and I wish I could give just one more concert on a great stage before my lights blink off, but that longing passes more quickly now. I take comfort in the fact that, unlike the way I felt before, I can enjoy playing for myself now. I feel relaxed and expansive when I play, as if I could stretch out my arms and reach from one end of the apartment to the other. A feeling of completeness and dignity surrounds me and lifts me up.

1. The writer put the cello against his bare chest to ______.

A. test music scholars’ ideas about the resonating properties

B. experience the effect of his body on the musical sound

C. reduce his muscular tightness in his upper body

D. check the function of the sound box

2. In Paragraph 2, the writer intends to ______.

A. explain his feelings of playing before a cat

B. identify specific pieces of music he played

C. express his feelings of playing against his body

D. describe the sound when he played against his body

3. From the last paragraph we can infer that the writer was ______.

A. optimistic

B. discouraged

C. nervous

D. enthusiastic

4. The passage is mainly about ______.

A. a musician playing the cello for an audience

B. a musician’s feelings when playing the cello

C. a musician finding joy in playing music in a new way

D. a musician’s desire to return to his former profession

Passage 3

长度：365 words　难度星级：★★　建议用时：4.5 min

Mark Rothko, one of the greatest painters of the twentieth century, was born in Daugavpils, Latvia in 1903. His family immigrated to the United States in 1913, after a 12-day voyage.

Mark moved to New York in the autumn of 1923 and found employment in the garment trade and settled down on the Upper West Side. It was while he was visiting someone at the Art Students League that he saw students painting a model. According to him, this was the start of his life as an artist. He was twenty years old and had taken some art lessons at school, so his initial experience was far from an immediate calling.

In 1936, Mark Rothko began writing a book, which he never completed, about the similarities in the children’s art and the work of modern painters. The work of modernists, which was influenced by primitive art, could, according to him, be compared to that of children in that “Child art transforms itself into primitivism, which is only the child producing a copy of himself.” In this same work, he said that “The fact that one usually begins with drawing is already academic. We start with color.”

It was not long before his multiform developed into the style he is remembered for. In 1949 Rothko exhibited these new works at the Betty Parsons Gallery. For reviewer Haro

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