GRE閱讀提速方法跳讀細節(jié)技巧匯總指點

陳鈴1147由分享時間：2020-08-30 21:49:09

GRE閱讀提速方法跳讀細節(jié)技巧匯總指點，我們一起來看看吧，下面小編就和大家分享，來欣賞一下吧。

GRE閱讀提速方法跳讀細節(jié)技巧匯總指點

GRE閱讀盡量保證不重讀回讀

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得快速瀏覽(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，這四個字需要自己體會)。

GRE閱讀中需做好定位標記

除了大寫字母、時間年代、最高級、轉折標志詞、因果標志詞、列舉、讓步、強對比以外，還要標記出并列連接詞(如and)、分號、冒號、表示作者態(tài)度的詞(這個比較難，需要自己體會收集)，原因我會在下面的取舍中談到。我的做標記的小竅門：標記符號不要只用一種(如下劃線)，也不要過多，個人感覺最多三種(如括號、圓圈、下劃線)，分別標記原因、轉折和其他，不過我自己只用下劃線和括號。

GRE閱讀提速需學會取舍適當跳過

標準是：

a)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;

b)such as后的內容一律跳過，也用括號括起來，不過我會數(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;

c)for example舉例只要提煉關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論。

d)原因——標志詞常為BECause、since——一律跳過，括起來，只看結果。比較容易被忽略的是result in和result from，遇到這兩個，我在下面劃橫線做標記。

e)老觀點只把握關鍵詞、知道講的是什么就行，其他一律跳過。

f)冒號后一律跳過，冒號下做標記。

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

現(xiàn)在的標準是：上面這些全看，因為速度上來了，但看這些內容時仍然是“毫無感覺”地看，可以不用擔心它們會分散注意力了。

當這些內容都做標記后，文章結構就非常清楚了，哪兒是舉例、哪兒是結論、哪兒是原因、哪兒是轉折一目了然，定位非常容易。

反復閱讀文章培養(yǎng)閱讀直覺

反復閱讀已經(jīng)讀過的文章，5遍左右吧!慢慢地就會產(chǎn)生一種直覺，知道哪里略讀哪里重讀。

以上就是小編為大家介紹的GRE閱讀提速的一些技巧和細節(jié)經(jīng)驗，希望大家能夠參考學習。

新GRE閱讀長難句中譯英練習

51. Unlike most of the world's volcanoes, they are not always found at the boundaries of the great drifting plates that make up the earth's surface; on the contrary, many of them lie deep in the interior of a plate.

52. The relative motion of the plates carrying these continents has been constructed in detail, but the motion of the plates with respect to another cannot readily be translated into motion with respect to the earth's interior.

53. As the dome grows, it develops seed fissures (cracks); in at least a few cases the continent may break entirely along some of these fissures, so that the hot spot initiates the formation of a new ocean.

54. While warnings are often appropriate and necessary--the dangers of drug interactions, for example--and many are required by state or federal regulations, it isn't clear that they actually protect the manufacturers and sellers from liability if a customer is injured.

55. At the same time, the American Law Institute--a group of judges, lawyers, and academics whose recommendations carry substantial weight--issued new guidelines for tort law stating that companies need not warn customers of obvious dangers or bombard them with a lengthy list of possible ones.

51.[參考譯文]跟世界上的大多數(shù)火山不同的是，它們(熱點)并不總是在由構成地球表面巨大漂流板塊之間的邊界上出現(xiàn);相反，它們中有許多位于一個板塊較縱深的內部。

52.[參考譯文]攜帶這些大陸板塊的相對運動已經(jīng)能夠被詳細地表述出來，但是這些板塊相對于另一些板塊的運動還不能輕易地解釋為它們相對于地球內部的運動。

53.[參考譯文]隨著這個穹窿的增長，他會發(fā)展成一個裂縫，經(jīng)過幾次變化之后，大陸可能會沿著這個裂縫完全形成一個新的海洋地貌。

54.[參考譯文]盡管警告常常是適當而且必須的--比如對于藥物相互作用的危險提出警告--許多警告還是按州或聯(lián)邦政府規(guī)定要求給出的，然而(我們)并不清楚，如果顧客受到傷害時，這些警告是不是確實可以使得生產(chǎn)者和銷售者豁免責任。

55.[參考譯文]與此同時，美國法律研究所--由一群法官、律師和理論專家組成，他們的建議分量極重--發(fā)布了新的民事傷害法令指導方針，宣稱公司不必提醒顧客注意顯而易見的危險，也不必連篇累牘地一再提請他們注意一些可能會出現(xiàn)的危險。

GRE閱讀練習每日一篇

The transfer of heat and water vapor from the ocean to the air above it depends on a disequilibrium at the interface of the water and the air. Within about a millimeter of the water, air temperature is close to that of the surface water (surface water: n.[地]地表水), and the air is nearly saturated with water vapor. But the differences, however small, are crucial, and the disequilibrium is maintained by air near the surface mixing with air higher up, which is typically appreciably cooler and lower in water-vapor content. The air is mixed by means of turbulence that depends on the wind for its energy. As wind speed increases, so does turbulence, and thus the rate of heat and moisture transfer. Detailed understanding of this phenomenon awaits further study. An interacting—and complicating—phenomenon is wind-to-water transfer of momentum that occurs when waves are formed. When the wind makes waves, it transfers important amounts of energy—energy that is therefore not available to provide turbulence.

17. The primary purpose of the passage is to

(A) resolve a controversy

(B) describe a phenomenon

(D) confirm research findings

(E) classify various observations

18. According to the passage, wind over the ocean generally does which of the following?

I. Causes relatively cool, dry air to come into proximity with the ocean surface.

II. Maintains a steady rate of heat and moisture transfer between the ocean and the air.

III. Causes frequent changes in the temperature of the water at the ocean’s surface.

(A) I only

(B) II only

(D) II and III only

(E) I, II, and III

19. It can be inferred from the passage that the author regards current knowledge about heat and moisture transfer from the ocean to air as

(A) revolutionary

(B) inconsequential

(D) derivative

(E) incomplete

20. The passage suggests that if on a certain day the wind were to decrease until there was no wind at all which of the following would occur?

(A) The air closest to the ocean surface would become saturated with water vapor.

(B) The air closest to the ocean surface would be warmer than the water.

(D) The rate of heat and moisture transfer would increase.

(E) The air closest to the ocean would be at the same temperature as air higher up.

Extraordinary creative activity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will become accepted. According to this formulation, highly creative activity transcends the limits of an existing form and establishes a new principle of organization. However, the idea that extraordinary creativity transcends established limits is misleading when it is applied to the arts, even though it may be valid for the sciences. Differences between highly creative art and highly creative science arise in part from a difference in their goals. For the sciences, a new theory is the goal and end result of the creative act. Innovative science produces new propositions in terms of which diverse phenomena can be related to one another in more coherent ways. Such phenomena as a brilliant diamond or a nesting bird are relegated to the role of data, serving as the means for formulating or testing a new theory. The goal of highly creative art is very different: the phenomenon itself becomes the direct product of the creative act. Shakespeare’s Hamlet is not a tract about the behavior of indecisive princes or the uses of political power; nor is Picasso’s painting Guernica primarily a propositional statement about the Spanish Civil War or the evils of fascism. What highly creative artistic activity produces is not a new generalization that transcends established limits, but rather an aesthetic particular. Aesthetic particulars produced by the highly creative artist extend or exploit, in an innovative way, the limits of an existing form, rather than transcend that form.

This is not to deny that a highly creative artist sometimes establishes a new principle of organization in the history of an artistic field; the composer Monteverdi, who created music of the highest aesthetic value, comes to mind. More generally, however, whether or not (whether or not: 無論是...或..., 是否) a composition establishes a new principle in the history of music has little bearing on its aesthetic worth. Because they embody a new principle of organization, some musical works, such as the operas of the Florentine Camerata, are of signal historical importance, but few listeners or musicologists would include these among the great works of music. On the other hand, Mozart’s The Marriage of Figaro is surely among the masterpieces of music even though its modest innovations are confined to extending existing means. It has been said of Beethoven that he toppled the rules and freed music from the stifling confines of convention. But a close study of his compositions reveals that Beethoven overturned no fundamental rules. Rather, he was an incomparable strategist who exploited limits—the rules, forms, and conventions that he inherited from predecessors such as Haydn and Mozart, Handel and Bach—in strikingly original ways.

21. The author considers a new theory that coherently relates diverse phenomena to one another to be the

(A) basis for reaffirming a well-established scientific formulation

(B) byproduct of an aesthetic experience

(D) synthesis underlying a great work of art

(E) result of highly creative scientific activity

22. The author implies that Beethoven’s music was strikingly original because Beethoven

(A) strove to outdo his predecessors by becoming the first composer to exploit limits

(B) fundamentally changed the musical forms of his predecessors by adopting a richly inventive strategy

(D) manipulated the established conventions of musical composition in a highly innovative fashion

(E) attempted to create the illusion of having transcended the musical forms of his predecessors

23. The passage states that the operas of the Florentine Camerata are

(A) unjustifiably ignored by musicologists

(B) not generally considered to be of high aesthetic value even though they are important in the history of music

(D) often inappropriately cited as examples of musical works in which a new principle of organization was introduced

(E) minor exceptions to the well-established generalization that the aesthetic worth of a composition determines its importance in the history of music

24. The passage supplies information for answering all of the following questions EXCEPT:

(A) Has unusual creative activity been characterized as revolutionary?

(B) Did Beethoven work within a musical tradition that also included Handel and Bach?

(D) Who besides Monteverdi wrote music that the author would consider to embody new principles of organization and to be of high aesthetic value?

(E) Does anyone claim that the goal of extraordinary creative activity in the arts differs from that of extraordinary creative activity in the sciences?

25. The author regards the idea that all highly creative artistic activity transcends limits with

(A) deep skepticism

(B) strong indignation

(D) moderate amusement

(E) sharp derision

26. The author implies that an innovative scientific contribution is one that

(A) is cited with high frequency in the publications of other scientists

(B) is accepted immediately by the scientific community

(D) presents the discovery of a new scientific fact

(E) introduces a new valid generalization

27. Which of the following statements would most logically concluded the last paragraph of the passage?

(A) Unlike Beethoven, however, even the greatest of modern composers, such as Stravinsky, did not transcend existing musical forms.

(B) In similar fashion, existing musical forms were even further exploited by the next generation of great European composers.

(D) By contrast, the view that creativity in the arts exploits but does not transcend limits is supported in the field of literature.

(E) Actually, Beethoven’s most original works were largely unappreciated at the time that they were first performed.

答案：17-27：BAEAEDBDAEB

GRE閱讀提速方法跳讀細節(jié)技巧匯總指點相關文章：

1.在3個月之內準備托福,達到100+

GRE閱讀提速方法跳讀細節(jié)技巧匯總指點

相關文章

熱門文章