IELTSのリーディングで時間内に解く方法とコツ【実践問題付き】

IELTSのリーディングで時間内に解く方法とコツ【実践問題付き】

こんにちは、SOLO IELTS TOEFLのルークです。

今日はリーディングの時間内の解き方について解説していきます。

パッセージ3の途中で時間切れになる人は参考にしてください

リーディングと時間

IETSLのリーディングは60分で3つのパッセージを解きます。各パッセージに使える時間は20分です。

各パッセージの分量は700-900語です。

この分量に対して時間内に答えるのはネイティブでも簡単ではありません。

パッセージの難易度は英検1級と同等です

時間内に解くコツ

IELTSリーディングを時間内に解くためのコツは以下の手順です。

  • コツ1:全体像の把握
  • コツ2:問を先にみる
  • コツ3:パッセージ内で答え探し

全体像を把握した後に各問の答えを探すようなイメージです

全体像の把握

英語の長文はパラグラフとその冒頭のキーセンテンスで成り立っています。

パラグラフというのは意味のまとまりです。

下記画像がの黄色がパラグラフ1、オレンジがパラグラフ2となります:

英語には各パラグラフに話題は1つだけというルールがあります

キーセンテンス

パラグラフの冒頭の文章をキーセンテンスといいます。

英語はパラグラフで言いたいことのまとめを冒頭の文章にもってくるというルールがあります。

つまり冒頭のセンテンスを読めばパラグラフの内容が分かるようになっています。

下記画像の赤字の部分がキーセンテンスです。

赤字を繋げていくと全体像を理解できるのです

参照: 全体像を把握する方法

問とキーワード

全体像を把握したら次は問を確認します。

聞かれている事を確かめることで、パッセージ内の答え探しができるためです。

いきなり読んでも、読み終えると内容を忘れてしまいます

例を見てみましょう。

上記の問をみてするべきことは、キーワードに線を引くことです。

問1を例にキーワードを確認してみましょう。

The emphasis is on students directing the learning Process.

他の単語はトピックとなりえないのでキーワードではありませんね。

参照: キーワード探しの「コツ」を練習

パラグラフリーディング

問のキーワードがわかったら今度はパラグラフ内で該当箇所を探します。

パラグラフを読んでいき問1-8に該当するたびに解答していきます。

例えば下記の画像のパラグラフでは”3″と”5″に該当する部分の解答があるので、その時点で解答してしまうのです。

分からない問題は飛ばして最後に余った時間を投入すると良いです

参照: パラグラフリーディングで時間内に問題を解く

前提としての英語力

時間内に解くためのテクニックを説明してきましたが、前提として必要な中高の英文法と単語力は必須です。

目安としては、英検2級のリーディングで9割、準1級のリーディングで7割ぐらいの正答です。

一般の人が独学でIELTS対策をしようとすると、英検やTOEICのように参考書も充実していないので何から学習に取り組めば良いか分からないはずです。

日本の人が慣れている英検に戻って基礎力を付けると良いです

実践練習

上記で説明したステップを元に練習問題を時間内に解いてみましょう。

You should spend about 20 minutes on Questions 1 – 13 which are based on Reading Passage 1.

Groucho Marx Arthur Sheekman

In a show-business career that spanned over seventy years, Groucho Marx successfully conquered every entertainment medium, becoming a star of the vaudeville stage, Broadway, motion pictures, radio and television. But, as the author of seven books, a play, two film screenplays and over one hundred magazine articles and essays, Groucho quietly conquered another medium, one in which he was as proud to work as any of the others. His writing is often overlooked in studies of his career, perhaps due to the quantity and variety of his other work.

Throughout his literary career, Groucho was dogged by the incorrect and unfair assumption by many critics and even by his biographer that he used a ghost writer. Most Hollywood celebrities who wrote books had professional writers do the actual work. The fact that Groucho publicly stated on many occasions that he abhorred ghost writers is clouded by his relationship with Arthur Sheekman. Friends for many years, Groucho and Sheekman had an unusual literary relationship. They worked in collaboration and each offered the other editorial help. For a brief time in the early 1940s, Groucho fronted for Sheekman, who was having trouble selling his work. By thus lending his name to another writer’s work, Groucho subjected all of his literary endeavors to suspicion from critics who simply refused to believe that an entertainer could write.

That some of Sheekman’s magazine pieces got into print under Groucho’s byline becomes apparent from reading the unedited correspondence between the two of them. The letters indicate that Groucho’s essays from this period fall into three categories: first, pieces written by Groucho with no input from Sheekman at all. In a July I, 1940, letter to Sheekman, Groucho asked, ‘Did you see that little piece wrote for Reader’s Digest? On March 17. 1941, he wrote, ‘My drool is coming out in next week’s Issue of This Week so cancel your subscription now.’ Clearly Sheekman could not have had anything to do with a piece that he was told to look for.

The second and probably largest category of Groucho’s essays of this period consists of those written by Groucho and sent to Sheekman for editorial assistance. On July 20, 1940, Groucho wrote: Tm enclosing a copy of the piece I wrote. Probably another page or so is needed to complete it, but our starting date [for filming Go West ] came and I just haven’t had time to finish it. Let me know what you think of it and be honest because any other kind of opinion would be of no value to me. I won’t attempt to influence you by telling you the reactions I’ve already had, so for the love of God tell me the truth.’ Shortly thereafter, on October 10, Groucho wrote: ‘1 received your suggestions on my piece – I’m glad you liked It, If you did – you’re probably right about the beginning. I’ll do it over again.’ By the time Groucho wrote to Sheekman on July 25. 1942, it appears that some sort of financial arrangement had been made regarding Sheekman’s suggestions. On that date Groucho also wrote: Tm writing an unfunny piece on insomnia and I’ll send it in a week or so, I hope, for you to read – I’d like your opinion, proofread — correcting all the glaring illiteracies and, otherwise, do a fine polishing job.’

The remainder of Groucho’s essays from this period comprise the third category, Sheekman compositions with varying degrees of input from Groucho. The level of Groucho’s contributions to the articles in the third category ranges from actually suggesting the topic and drawing up an outline to simply rewriting a few paragraphs for the purpose of injecting his own style into the piece. In a July 10, 1940, letter Groucho wrote: ‘I think you ought to try another political piece – a campaign thing – for This Week or some other magazine. This will be an extremely hot topic for the next few months and I think you should take advantage of it. If you’ll write to me, I’ll try to jot down a few items that you could complain about.’ Presumably, the chain of events would continue with Sheekman sending an essay to Groucho for his approval and whatever rewrites were needed. On May 29, 1940, Groucho wrote, ‘Received your piece and looked it over.’ In these letters to Sheekman, Groucho always referred to a piece as either ‘my piece’ or ‘your piece’. The letter continued, ‘I thought the piece was good … and I’ll send it to Bye and see if he can sell it… I’ll just rewrite a couple of paragraphs in your piece – not that I can improve them, but perhaps they’ll sound a little more like me.’ Groucho was concerned enough about this arrangement to take the care to at least make the piece somewhat his own.

Groucho really had no need for this entire enterprise. He gave the money to Sheekman and had no trouble getting his own work published. The principal reason for him submitting Sheekman’s work to magazines as his own was that it made Sheekman’s material easily marketable based on Groucho’s celebrity. Sheekman couldn’t have been altogether happy with the arrangement, but the reality was that he was periodically unemployed and the use of Groucho’s name brought in occasional paychecks. So it is not quite fair to call Sheekman Groucho’s ghost writer. A more apt description of their literary relationship at this time is that Groucho occasionally fronted for Sheekman and offered him the services of his literary agent, while each offered the other editorial advice. The reasons for some of their collaborative efforts not being credited as such remain unexplained, but Groucho was never shy about crediting his collaborators, and in every other case he did so.

Questions 1-4

Do the following statements reflect the claims of the writer of Reading Passage 1?

YES – if the statement agrees with the views of the writer
NO – if the statement contradicts the views of the writer
NOT GIVEN – if it is impossible to say what the writer thinks about this

1. Groucho’s work as a writer was sometimes better than his work in other media.
2. Groucho’s relationship with Sheekman cast doubt on his own abilities as a writer.
3. Money was occasionally a source of disagreement between Groucho and Sheekman.
4. Groucho occasionally regretted his involvement with Sheekman.

Questions 5-8

Complete the notes below. Choose NO MORE THAN THREE WORDS from the passage for each answer.

Write your answers in 5-8 on your answer sheet. Groucho’s essays in the early 1940s

Category 1Category 2Category 3
Sheekman had
5_________
Sheekman provided
6__________
mostly
7_________
Gucho added
8_________

Write the correct letter A-G in 9-13 on your answer sheet.

9. Groucho referred to his own inadequacy with regard to use of language.
10. Groucho explained his reason for amending an essay.
11. Groucho agreed that part of an essay needed revising.
12. Groucho drew Sheekman’s attention to an essay soon to be published.
13.Groucho suggested that an essay should adopt a negative point of view.

List of Letters Sent by Groucho to Sheekman
A July 1, 1940
B March 17, 1941
C July 20, 1940
D October 10, 1940
E July 25, 1942
F July 10, 1940
G May 29, 1940

解答と解説

  1. NOT GIVEN
  2. YES
  3. NO
  4. NOT GIVEN
  5. no input
  6. editorial assistance
  7. Sheekman compositions
  8. his own style
  9. E
  10. G
  11. D
  12. B
  13. F

本文中のどこに解答箇所があったか詳しく知りたい人は以下のリンクから復習してみてください。

各問の答えの該当箇所を説明しています。

参照: リーディング問題パッセージ1の解答箇所

日本人にとってリーディングは得点源?

リーディングは落としたくない。

できればライティングとスピーキングをカバーしたい。と考えている人も多いのではないでしょうか。

むしろ短期で伸ばすという観点ではリスニングとスピーキングの方が容易であります。

確かに事実としてリーディングのスコアが全モジュールで最も高いです。

こういったファクトから「IELTSリーディングは得点源!」と結論づける人がいます。

リーディングは確実に点数を伸ばせるモジュールではありますが、短期で伸びるモジュールではありません。

少なくとも半年単位で計画しましょう

英語の「今まで」と「これから」

最短で伸ばすならSolo

SoloはIELTSのスコアを最短で伸ばします。

自分だけで学習できる自信がない人は是非一度カウンセリングに来てみてね。

弊社のIELTSのプロ講師たちが待ってるよ。

Solo IELTS TOEFLサポートページ

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