GRE閱讀怎樣更好更快速
GRE閱讀怎樣更好更快速?今天小編給大家?guī)砹薌RE閱讀怎樣更好更快速,希望能夠幫助到大家，下面小編就和大家分享，來欣賞一下吧。
GRE閱讀怎樣更好更快速
首先，我們必須首先腦子里面有狐貍/人/太極/蝎子，也就是我們已經(jīng)在成長過程中見過這些東西，然后我們才能在知道這個地形長的像它們。這就是背景知識。
我在上課的時候曾經(jīng)講了一個例子，就是讓大家背一組數(shù)字，如果數(shù)字是1234567，大家一定可以不費吹灰之力背下來。為什么呢?因為大家小時候都背過。但是如果你讓一個剛剛會說話的孩子背1234567，他/她要花費幾天甚至幾個月的時間。為什么呢?因為他/她沒有背景知識，也就是說他/她從來沒有見過這玩意兒，你讓他/她怎么認知呢?
同樣，在GRE閱讀中也是一樣。雖然官 方說明中明確了GRE閱讀不會因為大家的專業(yè)背景而造成做題困難，但是事實上，上過我的課的同學都知道：絕對有些題目文科生想罵娘，而另外一些題目理科生想撞墻。這就是因為背景知識的問題，當然這些造成不同專業(yè)學生得分不同的題目，大多數(shù)考察的都是人類正常邏輯。那為什么大家還做不出來呢?因為中國學生在大學期間是沒有邏輯學通識課的，而且中國人也恰恰是非常不講究邏輯思維的，這樣一場考試放在中國人面前顯然是為難了咱們。
邏輯是個舶來品，西方公元前五百多年的時候哲學始祖Thales發(fā)明了L備考指導(dǎo)US這個單詞，亞里士多德更是將其發(fā)展成了一門大學問，那時候的中國人還在互相掐架呢。現(xiàn)在的中外理科博士還都是PH. D.,知道哲學中的邏輯在西方多么重要了嗎?當然中國古代有個叫公孫龍的，也設(shè)計了一些邏輯學的詭辯術(shù)，不扯了。
大家都知道GRE是邏輯考試，SAT也是邏輯考試。但是大家有沒有想過自己在成長的過程中有沒有碰到過邏輯考試?
除了公務(wù)員考試的邏輯部分和刑偵人員考試，中國的一般性考試從來都不重視考察邏輯;而英美國家考大學的SAT是邏輯考試，考研究生的GRE,GMAT,和LSAT依然是邏輯考試。這就是中西方的差異了。
所以說大家在沒有一些足夠的邏輯背景的基礎(chǔ)下玩這種西方人的考試游戲，大家能不傻眼嗎?況且還有一堆單詞在分散大家的注意力。
GRE閱讀至少是弱化背景知識的，但是大家說正常的人類思維邏輯屬不屬于背景知識?基于寫作邏輯的英文語篇構(gòu)成模式(formal schema)屬不屬于背景知識?
而恰恰GRE閱讀是重點考察大家通常認為不重要的邏輯學背景知識和語篇構(gòu)成模式的背景知識。缺乏這兩個，GRE閱讀你碰一下，都是在浪費你的泡妞/吊哥時間。
所以說，我們在學習GRE閱讀的過程中，一定要站的高，以TOP-DOWN的思維方式學習。不要陷于字詞句的細節(jié)泥潭之中。細節(jié)題目可以先拋棄。
這是符合我們的人類思維的。那為什么同學們在平時學習的時候還是會被一個單詞一個句子所羈絆呢?
這就是市面上一些江湖培訓(xùn)機構(gòu)給大家?guī)淼膼汗?，他們在邏輯考試面前片面過分強調(diào)單詞的重要性，而非邏輯的重要性，市面上GRE單詞書滿天飛，但是講GRE語言邏輯(尤其語篇語言學)的書狗屁沒有。加之同學們急功近利，以為背了紅寶書/長難句上了考場肯定下筆如有神助。實際上每個背了單詞沒做練習題，思維混亂的學生，下來第一感受就是被虐了，想哭，想找個歪子樹泄憤，或者找男朋友狂揍。
GRE閱讀文章特點
一、GRE閱讀文章要求需有適合研究生層面的所謂強度(tension)，這種強度通過三個方面來實現(xiàn)，一是基本不采用線性(linear)文章，多數(shù)文章蜿蜒曲折，體現(xiàn)出GRE人文社科類文章所有傳到的世界本就是二律背反的哲學本質(zhì)。
二、GRE閱讀文章體裁固定，在篩選文章的過程中用一個軟件對文章體裁進行嚴格的限制，只要四類文章，Physical Science (自然科學)、Biol.ical Science(生物科學)、Arts(藝術(shù))、Humanities(人文科學)。GRE文章體裁的固定性為考生的復(fù)習框定了范圍，在有經(jīng)驗的老師的指導(dǎo)下學生可以減少復(fù)習的盲目性，提高復(fù)習效率。
三、GRE文章追求最大程度的公平性(fairness)。公平性是這樣一家第三方機構(gòu)生存的基礎(chǔ)。因此決定了GRE的文章的客觀公正性，文章不可能出現(xiàn)極端的觀點，非黑即白的闡釋，體現(xiàn)出美國研究生院要求學生具備最基本的批判性思維(critical thinking)的能力要求標準。
GRE閱讀怎樣在原文里找答案
GRE閱讀考查的范圍非常廣，不像填空、類比和反義那樣注重基礎(chǔ)和詞匯量，而GRE閱讀又與其他考試中的閱讀有很大區(qū)別，所以在技巧方法上也要區(qū)分對待。GRE閱讀中多見長句，對理解造成很大障礙，然而這一大特點也促使形成了解決GRE閱讀的一個制勝法寶——從原文中來，到原文中去。因為長句具有較高的難度，所以出題者會把很大的精力放在對句子本身的理解上，而不像其他考試中的閱讀那樣主要側(cè)重對文章內(nèi)容的理解。在實際解題過程中，我們?nèi)绻嬲斫獠⒄莆樟诉@一點，就能提高做題速度和準確性，因為實實在在能從原文中找到證據(jù)的答案必定是正確答案。
雖然答案是絕對忠于原文的，但它的出現(xiàn)往往都披著迷惑人的外衣，同時其他四個似是而非的選項也會對考生進行干擾。對原文中句子變形的方法多種多樣，變形后的句子所使用的句式和詞組搭配常常不同于原句，一般會是對原句的解釋和概括，但基本框架不變。一旦正確掌握了原句的復(fù)雜結(jié)構(gòu)，選擇出正確答案就不會困難了。以下幾個例子都來自考生容易選錯的題目：
Eg1. According to the passage, random failures in automatic control systems are "not merely trivial aberrations" because
(A) Automatic control systems are designed by engineers who have little practical experience in the field
(B) The failures are characteristic of systems designed by engineers relying too heavily on concepts in mathematics
(C) The failures occur too often to be taken lightly
(D) Designers of automatic control systems have too little training in the analysis of mechanical difficulties
(E) Designers of automatic control systems need more help from scientists who have a better understanding of the analytical problems to be solved before such systems can work efficiently
本題在原文中的定位為：Absurd random failures that plague automatic control systems are not merely trivial aberrations; they are a reflection of the chaos that results when design is assumed to be primarily a problem in mathematics. 這個句子中間用分號隔開，分號前的部分對應(yīng)著題干中的問題，分號后即是對前半句的解釋，也就是說這個句子本身就是一問一答型，答案就是后半句話，在選擇答案時我們只要看哪個選項是對這句話的變形即可。注意這半句話中chaos是一個關(guān)鍵詞，that 引導(dǎo)定語從句，而這個定語從句中又有一個關(guān)鍵短語：result in，這個短語是表示結(jié)果的，然后看它的賓語是mathematics，而這個名詞是不能被替換掉的，直接從五個選項中挑選，只有B說出了mathematics，無疑這就是正確答案了。解答本題時能看出mathematics這一重心之后，根本不需要自己進行任何總結(jié)和概括，看出哪個選項是對原句的變形就全部搞定了。我們再仔細看一下B答案，其中rely heavily on代替了原句中的chaos result in，而意義與先前保持一致。
Eg2. According to the passage, certain serious contemporary phot.raphers expressly make which of the following claims about their phot.raphs?
(A)Their phot.raphs could be created by almost anyone who had a camera and the time to devote to the activity.
(B)Their phot.raphs are not examples of art but are examples of the phot.raphers' impartial observation of the world.
(C)Their phot.raphs are important because of their subjects but not because of the responses they evoke in viewers.
(D)Their phot.raphs exhibit the same ageless principles of form and shading that have been used in painting.
(E) Their phot.raphs represent a conscious glorification of the mechanical aspects of twentieth-century life.
本題在原文中的定位為：Serious phot.raphers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. 注意anything but 是“決不”的意思，B答案就是對這句話的變形，只不過是把原文中所列出的幾種形式用examples概括罷了。在這個例子中還要注意的是原句中的anything but注定了其變形應(yīng)該表示否定，按照這種理解很容易選出正確答案。
Eg3. According to the passage, what did Hargrave and Green do in the laboratory?
(A) They compared the grazing rates of individual zooplankton species in the laboratory with the natural grazing rates of these species.
(B) They hypothesized about the population density of grazers in natural habitats by using data concerning the population density of grazers in the laboratory.
(C) They estimated the community grazing rates of zooplankton in the laboratory by using data concerning the natural community grazing rates of zooplankton.
(D) They estimated the natural community grazing rates of zooplankton by using data concerning the known population density of phytoplankton.
(E) They estimated the natural community grazing rates of zooplankton by using laboratory data concerning the grazing rates of individual zooplankton species.
本題在原文中的定位為：Studies by Hargrave and Green estimated natural community grazing rates by measuring feeding rates of individual zooplankton species in the laboratory and then computing community grazing rates for field conditions using the known population density of grazers. 原句比較復(fù)雜，并且使用and then介紹操作順序，在理解原句時要分清主要動作和次要動作，而選項中給出的句子都非常短，也就是要對原句進行壓縮，找出主要動作。理解了這種變形之后，不難發(fā)現(xiàn)正確答案為E。
GRE閱讀文章練習：英國女演員的地位
In the past, only men could become actors in some societies. In the ancient Greece and Rome and the medieval world, it was considered disgraceful for a woman to go on the stage, and this belief persisted until the 17th century, when in Venice it was broken. In the time of William Shakespeare, women's roles were generally played by men or boys.
When an eighteen-year Puritan prohibition of drama was lifted after the English Restoration of 1660, women began to appear on stage in England. Margaret Hughes is credited by some as the first professional actress on the English stage. This prohibition ended during the reign of Charles II in part due to the fact that he enjoyed watching actresses on stage. The first occurrence of the term actress was in 1700 according to the OED and is ascribed to Dryden.
In Japan, men (onnagata) took over the female roles in kabuki theatre when women were banned from performing on stage during the Edo period. This convention has continued to the present. However, some forms of Chinese drama have women playing all the roles.
In modern times, women sometimes play the roles of prepubescent boys. The stage role of Peter Pan, for example, is traditionally played by a woman, as are most principal boys in Britishpantomime. Opera has several "breeches roles" traditionally sung by women, usually mezzo-sopranos. Examples are Hansel in H?nsel und Gretel, Cherubino in The Marriage of Figaro and Octavian in Der Rosenkavalier.
Women in male roles are uncommon in film with the notable exceptions of the films The Year of Living Dangerously and I'm Not There. In the former film Linda Hunt played the pivotal role of Billy Kwan, for which she received the Academy Award for Best Supporting Actress. In the latter film Cate Blanchett portrayed Jude Quinn, a representation of Bob Dylan in the sixties, for which she was nominated for the Academy Award for Best Supporting Actress. Women playing men in live theatre is particularly common in presentations of older plays, such as those of Shakespeare, that have large numbers of male characters in roles where the gender no longer matters in modern times.
Having an actor dress as the opposite sex for comic effect is also a long-standing tradition in comic theatre and film. Most of Shakespeare's comedies include instances of overt cross-dressing, such as Francis Flute in A Midsummer Night's Dream. The movie A Funny Thing Happened on the Way to the Forum stars Jack Gilford dressing as a young bride. Tony Curtisand Jack Lemmon famously posed as women to escape gangsters in the Billy Wilder film Some Like It Hot. Cross-dressing for comic effect was a frequently used device in most of the thirty Carry On films. Dustin Hoffman and Robin Williams have each appeared in a hit comedy film (Tootsie and Mrs. Doubtfire, respectively) in which they played most scenes dressed as a woman.
Occasionally, the issue is further complicated, for example, by a woman playing a woman acting as a man pretending to be a woman, like Julie Andrews in Victor/Victoria, or Gwyneth Paltrow in Shakespeare in Love. In It's Pat: The Movie, film watchers never learn the gender of the andr.ynous main characters Pat and Chris (played by Julia Sweeney and Dave Foley). A few roles in modern films, plays and musicals are played by a member of the opposite sex (rather than a character cross-dressing), such as the character Edna Turnblad in Hairspray—played by Divine in the original film, Harvey Fierstein in the Broadway musical, and John Travolta in the 2007 movie musical. Linda Hunt won an Academy Award for Best Supporting Actress for playing Billy Kwan in The Year of Living Dangerously. Felicity Huffman was nominated for an Academy Award for Best Actress for playing Bree Osbourne (a male-to-female transsexual) in Transamerica.
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