GRE閱讀訓練解題技巧不可不學這5招

GRE閱讀訓練解題技巧不可不學這5招,我們一起來學習一下吧，下面小編就和大家分享，來欣賞一下吧。

GRE閱讀訓練解題技巧不可不學這5招

把握GRE閱讀題中文章的句子主干

對于語法知識有一定的要求，力求做到一句話只看一遍，充分利用自己的語法知識，時刻把握句子主干，修飾成分要毫無感覺地快速瀏覽。注意，這里的“毫無感覺”不是略讀，而是不希望過多的修飾成分或插入成分影響對句子主干的理解，這四個字還需要自己多練習體會。

在做GRE閱讀題時要做好標記

在GRE閱讀文章中，除了大寫字母、時間年代、最高級、轉(zhuǎn)折標志詞、因果標志詞、列舉、讓步、強對比以外，還要標記出并列連接詞(比如and)、分號、冒號、表示作者態(tài)度的詞(褒義貶義詞等)。這些內(nèi)容往往都意味著出題點和解題點，標記好可以有助于理清解題思路。

關(guān)于做標記的小竅門介紹：標記符號不要只用一種下劃線，也不要標記過多弄得到處都是，個人感覺最多三種，比如分別標記原因、轉(zhuǎn)折和其他即可。常用符號可以是下劃線或者括號等。

GRE閱讀題訓練要懂得取舍

GRE考試閱讀題解題技巧的訓練標準是

1. 讓步分句(如：帶although的分句、帶it is true的分句、帶do的分句等)一律跳過(但是用括號括起來)，只看后半個分句;

2. such as后的內(nèi)容一律跳過，也用括號括起來，最好數(shù)數(shù)列舉的個數(shù)，如果是4個，則必出題，其他個數(shù)不用管，出題了再回頭看;

3. for example舉例只要提煉關(guān)鍵詞的首字母就可以了，也要括起來，重點看后面或前面的結(jié)論。

4. 原因——標志詞常為because、since—— 一律跳過，括起來，只看結(jié)果。比較容易被忽略的是result in和result from，遇到這兩個，可以用下劃線做標記。

5. 老觀點只把握關(guān)鍵詞、知道講的是什么就行，其他一律跳過。

6. 冒號后一律跳過，冒號下做標記。

7. 分號后一律跳過，因為表示并列，內(nèi)容和前面大體一致，分號做標記，出題的話再回來看。

反復做GRE閱讀題

這是提高GRE閱讀速度的秘訣：反復閱讀已經(jīng)讀過的文章，建議3-5遍左右，慢慢就會養(yǎng)成一種直覺，知道哪里略讀哪里重讀。

GRE閱讀題中段首段尾要把握好

每段首句和全文末句一定仔細看。因為這往往是這段內(nèi)容的主旨和總結(jié)，也是比較常見的出題點。

上面就是為大家總結(jié)的一些新GRE閱讀題的解題技巧，希望大家能參考學習一下，在提高新GRE閱讀成績的同時還可以了解更多的GRE閱讀技巧。

GRE閱讀練習每日一篇

One of the questions of interest in the study of the evolution of spiders is whether the weaving of orb webs evolved only once or several times. About half the 35,000 known kinds of spiders make webs; a third of the web weavers make orb webs. Since most orb weavers belong either to the Araneidae or the Uloboridae families, the origin of the orb web can be determined only by ascertaining whether the families are related.

Recent taxonomic analysis of individuals from both families indicates that the families evolved from different ancestors, thereby contradicting Wiehle’s theory. This theory postulates that the families must be related, based on the assumption that complex behavior, such as web building, could evolve only once. According to Kullman, web structure is the only characteristic that suggests a relationship between families. The families differ in appearance, structure of body hair, and arrangement of eyes. Only Uloborids lack venom glands. Further identification and study of characteristic features will undoubtedly answer the question of the evolution of the orb web.

17. The primary purpose of the passage is to

(A) settle the question of whether orb webs evolved once or more than once

(B) describe scientific speculation concerning an issue related to the evolution of orb webs

(C) analyze the differences between the characteristic features of spiders in the Araneidae and Uloboridae families

(D) question the methods used by earlier investigators of the habits of spiders

(E) demonstrate that Araneidae spiders are not related to Uloboridae spiders

18. It can be inferred from the passage that all orb-weaving spiders belong to types of spiders that

(A) lack venom glands

(B) are included either in the Uloboridae or Araneidae families

(C) share few characteristic features with other spider types

(D) comprise less than a third of all known types of spiders

(E) are more recently evolved than other types of spiders

19. According to the passage, members of the Araneidae family can be distinguished from members of the Uloboridae family by all of the following EXCEPT:

(A) the presence of venom glands

(B) the type of web they spin

(C) the structure of their body hair

(D) the arrangement of their eyes

(E) their appearance

20. Which of the following statements, if true, most weakens Wiehle’s theory that complex behavior could evolve only once?

(A) Horses, introduced to the New World by the Spaniards, thrived under diverse climatic conditions.

(B) Plants of the Palmaceae family, descendants of a common ancestor, evolved unique seed forms even though the plants occupy similar habitats throughout the world.

(C) All mammals are descended from a small, rodentlike animal whose physical characteristics in some form are found in all its descendants.

(D) Plants in the Cactaceae and Euphorbiaceae families, although they often look alike and have developed similar mechanisms to meet the rigors of the desert, evolved independently.

(E) The Cuban anole, which was recently introduced in the Florida wilds, is quickly replacing the native Florida chameleon because the anole has no competitors.

“Popular art” has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930’s, for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high art. The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music—folk themes—in works clearly intended as high art. The case of Verdi is a different one: he took a popular genre—bourgeois melodrama set to music (an accurate definition of nineteenth-century opera)—and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.

As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally in the plots of these operas, a hero or heroine—usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up (call up: v.召喚, 使想起) feelings beyond those of the opera itself.

Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi’s characters, on the other hand, have genuine consistency and integrity, even if, in many cases, the consistency is that of pasteboard melodrama. The integrity of the character is achieved through the music: once he had become established, Verdi did not rewrite his music for different singers or countenance alterations or substitutions of somebody else’s arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness.

21. The author refers to Schubert and Brahms in order to suggest

(A) that their achievements are no less substantial than those of Verdi

(B) that their works are examples of great trash

(C) the extent to which Schubert and Brahms influenced the later compositions of Verdi

(D) a contrast between the conventions of nineteenth-century opera and those of other musical forms

(E) that popular music could be employed in compositions intended as high art

22. According to the passage, the immediacy of the political message in Verdi’s operas stems from the

(A) vitality and subtlety of the music

(B) audience’s familiarity with earlier operas

(C) portrayal of heightened emotional states

(D) individual talents of the singers

(E) verisimilitude of the characters

23. According to the passage, all of the following characterize musical drama before Verdi EXCEPT:

(A) arias tailored to a particular singer’s ability

(B) adaptation of music from other operas

(C) psychological inconsistency in the portrayal of characters

(D) expression of emotional states in a series of dramatic situations

(E) music used for the purpose of defining a character

24. It can be inferred that the author regards Verdi’s revisions to his operas with

(A) regret that the original music and texts were altered

(B) concern that many of the revisions altered the plots of the original work

(C) approval for the intentions that motivated the revisions

(D) puzzlement, since the revisions seem largely insignificant

(E) enthusiasm, since the revisions were aimed at reducing the conventionality of the operas’ plots

25. According to the passage, one of Verdi’s achievements within the framework of nineteenth-century opera and its conventions was to

(A) limit the extent to which singers influenced the musical compositions and performance of his operas

(B) use his operas primarily as forums to protest both the moral corruption and dogmatic rigidity of the political leaders of his time

(C) portray psychologically complex characters shaped by the political environment surrounding them

(D) incorporate elements of folklore into both the music and plots of his operas

(E) introduce political elements into an art form that had traditionally avoided political content

26. Which of the following best describes the relationship of the first paragraph of the passage to the passage as a whole?

(A) It provides a group of specific examples from which generalizations are drawn later in the passage.

(B) It leads to an assertion that is supported by examples later in the passage.

(C) It defines terms and relationships that are challenged in an argument later in the passage.

(D) It briefly compares and contrasts several achievements that are examined in detail later in the passage.

(E) It explains a method of judging a work of art, a method that is used later in the passage.

27. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth-century opera as

(A) an idealized but fundamentally accurate portrayal of bourgeois life

(B) a plot convention with no real connection to political reality

(C) a plot refinement unique to Verdi

(D) a symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariat

(E) a convention largely seen as irrelevant by audiences

答案：17-27：BDBDEAECABB