GRE閱讀合理提速技巧精講

GRE閱讀合理提速技巧精講 ,做題更快正確率也不能丟,下面小編就和大家分享，來欣賞一下吧。

GRE閱讀合理提速技巧精講 做題更快正確率也不能丟

GRE閱讀控速提速方法：詞匯基礎(chǔ)打扎實(shí)

做GRE閱讀時(shí)，并不需要認(rèn)識(shí)文章里的所有單詞。如果章中一些名詞不認(rèn)識(shí)，可以去猜，練習(xí)猜詞的能力，畢竟考試中肯定會(huì)有詞不認(rèn)識(shí)，要根據(jù)上下文推測下。

但是，如果是一些重要的形容詞，名詞，動(dòng)詞，那么還是要熟悉才行。因?yàn)檫@些詞反映了作者的態(tài)度和文章轉(zhuǎn)折等結(jié)構(gòu)，所以要做到對(duì)這些詞熟練認(rèn)識(shí)，形成條件反射，一看到就能反應(yīng)出詞義。

建議可以去背下閱讀類單詞表，平時(shí)做閱讀時(shí)對(duì)于重要的可以推理作者態(tài)度的詞也總結(jié)背下來。

GRE閱讀控速提速方法：每天練習(xí)長難句

建議各位考生保持每天都練習(xí)一下長難句，以不看答案，自己分析為標(biāo)準(zhǔn)。每看完一句長難句，都做一下相關(guān)訓(xùn)練，對(duì)提高閱讀速度非常有幫助。看長難句最好每天都花一個(gè)小時(shí)，看的時(shí)候逐漸增加閱讀速度。

GRE閱讀控速提速方法：速度訓(xùn)練

很多教材都介紹了很多閱讀把握邏輯框架的技巧，比如not only后的跳過，but also后的重點(diǎn)讀，however后的要重點(diǎn)度之類的。建議大家不能盲目記這些技巧，最好親手總結(jié)適合自己的方法，畢竟很多時(shí)候gre細(xì)節(jié)題考的都是一些要”跳過的“插入語，或者for example之后的內(nèi)容。如果讀的時(shí)候直接跳過了，就會(huì)有問題。比如一篇反駁老觀點(diǎn)的閱讀，看到第一個(gè)詞many people，就可以掃過這句找however，因?yàn)閔owever肯定是指出他的不足和他對(duì)比，通過however的觀點(diǎn)，腦子里就可以推出many people 的觀點(diǎn)，這樣就可以略過不少內(nèi)容。同時(shí)，一定要邊讀邊動(dòng)腦子，而不是盲目吸收信息。大家都知道新gre是邏輯考試，不是簡答的語言考試，不要用做中學(xué)英語閱讀的那套。如果閱讀中遇到讀不懂的長難句，就仔細(xì)破解，找主謂賓，靜下心來破解。這樣把握了結(jié)構(gòu)做題的時(shí)候，遇到主旨題，細(xì)節(jié)題，作者態(tài)度題就可以直接解決，不用回頭看文章，然后遇到細(xì)節(jié)題，回去快速定位找下，畢竟文章理解了，定位會(huì)很快。

GRE閱讀控速提速方法：卡時(shí)間訓(xùn)練

可以從每篇文章6分鐘，5分鐘，4分鐘等逐漸減少時(shí)間的方法根據(jù)個(gè)人情況一步步訓(xùn)練。根據(jù)每篇文章分配的時(shí)間，來有取舍的讀，每篇短閱讀2分鐘讀完，能讀多少是多少，但是要把整體文章讀完。還要求宏觀讀全文，文章把握住邏輯結(jié)構(gòu)和觀點(diǎn)即可，細(xì)節(jié)不要太深究，加快節(jié)奏。

以上就是GRE閱讀控制解題速度和提速方法的介紹，希望大家都能在GRE閱讀考試中把握好考試時(shí)間，順利取得滿意的成績。

GRE閱讀練習(xí)

The transplantation of organs from one individual to another normally involves two major problems: (1) organ rejection is likely unless the transplantation antigens (a usually protein or carbohydrate substance (as a toxin or enzyme) capable of stimulating an immune response) of both individuals are nearly identical, and (2) the introduction of any unmatched transplantation antigens induces the development by the recipient of donor-specific lymphocytes that will produce violent rejection of further transplantations from that donor. However, we have found that among many strains of rats these “normal” rules of transplantation are not obeyed by liver transplants. Not only are liver transplants never rejected, but they even induce a state of donor-specific unresponsiveness in which subsequent transplants of other organs, such as skin, from that donor are accepted permanently. Our hypothesis is that (1) many strains of rats simply cannot mount a sufficiently vigorous destructive immune-response (using lymphocytes) to outstrip the liver’s relatively great capacity to protect itself from immune-response damage and that (2) the systemic unresponsiveness observed is due to concentration of the recipient’s donor-specific lymphocytes at the site of the liver transplant.

17. The primary purpose of the passage is to treat the accepted generalizations about organ transplantation in which of the following ways?

(A) Explicate their main features

(B) Suggest an alternative to them

(C) Examine their virtues and limitations

(D) Criticize the major evidence used to support them

(E) Present findings that qualify them

18. It can be inferred from the passage that the author believes that an important difference among strains of rats is the

(A) size of their livers

(B) constitution of their skin

(C) strength of their immune-response reactions

(D) sensitivity of their antigens

(E) adaptability of their lymphocytes

19. According to the hypothesis of the author, after a successful liver transplant, the reason that rats do not reject further transplants of other organs from the same donor is that the

(A) transplantation antigens of the donor and the recipient become matched

(B) lymphocytes of the recipient are weakened by the activity of the transplanted liver

(C) subsequently transplanted organ is able to repair the damage caused by the recipient’s immune-response reaction

(D) transplanted liver continues to be the primary locus for the recipient’s immune-response reaction

(E) recipient is unable to manufacture the lymphocytes necessary for the immune-response reaction

20. Which of the following new findings about strains of rats that do not normally reject liver transplants, if true, would support the authors’ hypothesis?

I. Stomach transplants are accepted by the recipients in all cases.

II. Increasing the strength of the recipient’s immune-response reaction can induce liver-transplant rejection.

III. Organs from any other donor can be transplanted without rejection after liver transplantation.

IV. Preventing lymphocytes from being concentrated at the liver transplant produces acceptance of skin transplants.

(A) II only

(B) I and III only

(C) II and IV only

(D) I, II, and III only

(E) I, III, and IV only

Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875-1948). Before Griffith, photography in dramatic films consisted of little more than (little more than: 和...無差別[一樣]) placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance. His appreciation of the camera’s possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.

Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since (ever since: adv.從那時(shí)到現(xiàn)在). These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.

Besides developing the cinema’s language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith’s introduction of the American-made multireel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historicophilosophical spectacle, reached the unprecedented length of four reels, or one hour’s running time (running time: (程序)執(zhí)行時(shí)間, 運(yùn)行時(shí)間). From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.

21. The primary purpose of the passage is to

(A) discuss the importance of Griffith to the development of the cinema

(B) describe the impact on cinema of the flashback and other editing innovations

(C) deplore the state of American cinema before the advent of Griffith

(D) analyze the changes in the cinema wrought by the introduction of the multireel film

(E) document Griffith’s impact on the choice of subject matter in American films

22. The author suggests that Griffith’s film innovations had a direct effect on all of the following EXCEPT:

(A) film editing

(B) camera work

(C) scene composing

(D) sound editing

(E) directing

23. It can be inferred from the passage that before 1910 the normal running time of a film was

(A) 15 minutes or less

(B) between 15 and 30 minutes

(C) between 30 and 45 minutes

(D) between 45 minutes and 1 hour

(E) 1 hour or more

24. The author asserts that Griffith introduced all of the following into American cinema EXCEPT:

(A) consideration of social issues

(B) adaptations from Tennyson

(C) the flashback and other editing techniques

(D) photographic approaches inspired by Victorian painting

(E) dramatic plots suggested by Victorian theater

25. The author suggests that Griffith’s contributions to the cinema had which of the following results?

I. Literary works, especially Victorian novels, became popular sources for film subjects.

II. Audience appreciation of other film directors’ experimentations with cinematic syntax was increased.

III. Many of the artistic limitations thought to be inherent in filmmaking were shown to be really nonexistent.

(A) II only

(B) III only

(C) I and II only

(D) II and III only

(E) I, II, and III

26. It can be inferred from the passage that Griffith would be most likely to agree with which of the following statements?

(A) The good director will attempt to explore new ideas as quickly as possible.

(B) The most important element contributing to a film’s success is the ability of the actors.

(C) The camera must be considered an integral and active element in the creation of a film.

(D) The cinema should emphasize serious and sober examinations of fundamental human problems.

(E) The proper composition of scenes in a film is more important than the details of their editing.

27. The author’s attitude toward photography in the cinema before Griffith can best be described as

(A) sympathetic

(B) nostalgic

(C) amused

(D) condescending

(E) hostile

答案：17-27：ECDAADAEBCD