雅思阅读中的段落信息配对题的特点是：答案无序，题干非常短，出题范围非常大，同义表达非常多。许多“烤鸭”每每碰到，都无从下手。这类题目的形式是给出小小的几个短语，要求是问考生究竟文章中哪一个段落提到了这么一个小小的概念。

　　这一类考题被称为雅思阅读中难度最大的一类题，大家通常使用得很多的“定位词”技巧在这一类题目面前会显得束手无策，因为定位词很可能根本就不会出现。那么这一类题目应该怎么做呢？请看下面的例子：

　　剑桥雅思6 - Test3 - Passage 1 - Page 65  这是一篇讲电影发展史的文章在这篇文章中，第1-5题便是段落信息配对题，它的题干是这样的：

　　Which paragraph contains the following information?

　　1.the location of the first cinema

　　2.how cinema came to focus on stories

　　3.the speed with which cinema has changed

　　4.how cinema teaches us about other cultures

　　5.the attraction of actors in films

　　按照我们以前划出定位词的做法，很可能第一题便会划出first cinema，期待着能够在文中找到first cinema这个词，或者划出location这个词，期待能够找到location。但如果这样做的话，本文一直到末尾也没有提到两个短语。

　　在此，笔者推荐一种联想法，对关键词所在的类别进行联想，操作步骤如下：

　　首先判断出题干中让我们去寻找的核心概念是什么。在第一题中，核心概念便是location。

　　第二步便是开始联想，如果是自己写文章，那么我们自己会怎么去表达一个location。当然会说出一个地理位置来表示，比如中国、美国、伦敦、北京等地理概念。

　　有了这个思路之后，我们便可以回文中寻找出现过的地理概念，全文中只有两处，一处是A段落中的Paris，巴黎，一处是E段落中的America，美洲。只需再仔细阅读这两个地理名词所在的句子，便能知道，只有巴黎所在的句子中提到了电影院开设于此。所以第一题的答案便找到了，就在A段落。

　　同理，我们可以知道，第3题的核心概念是speed，即电影院改变的速度。

　　那么联想一下自己会怎么描述一样东西改变的速度，应该会写到“XX的改变真是快(慢)啊，10年一眨眼就过去了”云云。所以文中也理应出现“快、慢”或者时间词，于是回文中寻找。唯一出现了“快慢”以及时间的地方就只有J段落。仔细阅读该句话发现说的正是“一切发生得太快了”，于是我们便可以毫不犹豫地把第三题选上J。

　　以此类推，对于段落信息配对题，便使用这种联想法能够使你很快地揣测到需要去寻找的是什么样的一类词。

　　以下是上述例题在文章中的答案位置，考生可仔细思考总结。

　　A The Lumiere Brothers opened their Cinematographe, at 14 Boulevard des Capucines in Paris, to 100 paying customers over 100 years ago, on December 8, 1895. Before the eyes of the stunned, thrilled audience, photographs came to life and moved across a flat screen.

　　I Cinema might, for example, have become primarily a documentary form. Or it might have developed like television - as a strange, noisy transfer of music, information and narrative. But what happened was that it became, overwhelmingly, a medium for telling stories. Originally these were conceived as short stories - early producers doubted the ability of audiences to concentrate for more than the length of a reel. Then, in 1912, an Italian 2-hour film was hugely successful, and Hollywood settled upon the novel-length narrative that remains the dominant cinematic convention of today.

　　J And it has all happened so quickly. Almost unbelievably, it is a mere 100 years since that train arrived and the audience screamed and fled, convinced by the dangerous reality of what they saw, and, perhaps, suddenly aware that the world could never be the same again - that, maybe, it could be better, brighter, more astonishing, more real than reality.

　　E One effect of this realism was to educate the world about itself. For cinema makes the world smaller. Long before people travelled to America or anywhere else, they knew what other places looked like; they knew how other people worked and lived. Overwhelmingly, the lives recorded - at least in film fiction - have been American. From the earliest days of the industry, Hollywood has dominated the world film market. American imagery - the cars, the cities, the cowboys - became the primary imagery of film. Film carried American life and values around the globe.

　　G The 'star' was another natural consequence of cinema. The cinema star was effectively born in 1910. Film personalities have such an immediate presence that, inevitably, they become super-real. Because we watch them so closely and because everybody in the world seems to know who they are, they appear more real to us than we do ourselves. The star as magnified human self is one of cinema's most strange and enduring legacies.