GRE閱讀解題的排除法
GRE閱讀如何解題才能又好又快，有哪些技巧呢。下面小編就和大家分享GRE閱讀解題的排除法，希望能夠幫助到大家，來欣賞一下吧。
GRE閱讀：解題的排除法
1. 精確定位排除法
如果前兩種方法均不可以使用的話，我們就只能將選項(xiàng)精確的在文中定位，找出選項(xiàng)和閱讀文章中的對(duì)應(yīng)關(guān)系，注意選項(xiàng)中的同義代換與原文是否對(duì)應(yīng)。有時(shí)會(huì)出現(xiàn)這樣的情況，選項(xiàng)中有四個(gè)是和題目的關(guān)鍵詞定位在一個(gè)段內(nèi)的，但其中一個(gè)選項(xiàng)卻定位在了另一個(gè)段落內(nèi)，那么這個(gè)選項(xiàng)就是答案。
注意：正確答案一般是作者在文中明確反對(duì)過的，或者是根本未提到，再或者就是定位的段落未提到的(選項(xiàng)的關(guān)鍵詞落在別的段落)說法。
2.強(qiáng)對(duì)比排除法：
如果題目中是關(guān)于A的提問，但是原文中沒有直接給出與A相關(guān)的描述。不過，文中出現(xiàn)了與B相關(guān)的特征描述，而B呢正好是與A形成強(qiáng)烈對(duì)比的對(duì)象。那么我們只需要把B的特征取非就可以得到答案了。一般文章中會(huì)出現(xiàn)unlike，in contrast to, compared with,閱讀的過程中遇到該類別的關(guān)鍵詞注意要做筆記。
3.無關(guān)信息排除法:
如果某一個(gè)選項(xiàng)和文章大意沒有關(guān)系或者根本沒有提到過，那么它一定就是正確答案了。因此，在閱讀的過程中要留意文章每段的中心意思，理出文章的寫作思路，以此來作為細(xì)節(jié)判斷的依據(jù)。
GRE閱讀文章如何復(fù)習(xí)
宏觀中的“必讀”與“不讀”
所謂宏觀，即使明確文章結(jié)構(gòu)。再清楚一點(diǎn)說，即使我們要知道主題句的所在位置以及每段大意。
讓我們今天來了解一下什么是主題句，的閱讀文章中主題句通常會(huì)以什么形式出現(xiàn)。和中國考生自己寫作文不一樣的是，美國人的閱讀文章中從來都不出現(xiàn)"I think that, in my opinion, as far as I am considered"此類語言做主題句。通常來說美國人的主題句有兩種形式：
主題句兩種形式：
1. 判斷句(含情態(tài)動(dòng)詞，系動(dòng)詞，正負(fù)褒貶詞的句子);
2. 概括文章將來結(jié)構(gòu)。
比如一個(gè)句子：Your minds changed my attitude. 這句話中并沒有情態(tài)動(dòng)詞和系動(dòng)詞，因此這句話自然不是判斷句，也就不是主題句。但只要在這句話中加入一個(gè)正負(fù)褒貶詞，即一個(gè)詞表明作者的態(tài)度或觀點(diǎn)的詞即是判斷句了。
比如，Your minds successfully changed my attitude即是判斷句了。另外，如果一個(gè)句子不是判斷句，只要它能夠概括文章將來結(jié)構(gòu)，及文章后面會(huì)從哪幾個(gè)方面來說明，也是主題句。
比如，People are living longer now. 這句話一定不是主題句，而如果這句話是，People are living longer now since the improvement of food condition and the development of medical technoly.這句話即是主題句了。因?yàn)樗爬宋恼潞竺鏁?huì)從哪幾個(gè)方向來進(jìn)行說明。
掌握好了主題句判斷方法，很多文章學(xué)生便可以很快把握文章的結(jié)構(gòu)框架，幫助后面文章的理解。比如一篇文章的開頭是，Mycorrhizal fungi infect more plants than do any other fungi and are necessary for many plants to thrive, but they have escaped widespread investigation until recently for two reasons. First, the symbiotic association is so well-balanced that the roots of host plants show no damage even when densely infected. Second, the fungi cannot as yet be cultivated in the absence of a living root. 第一句是明顯的判斷句，即為主題句。
而主題句也同時(shí)概括了文章的將來結(jié)構(gòu)，即會(huì)從“M真菌影響力很強(qiáng)”和“M真菌過去由于兩個(gè)原因沒有得到廣泛研究”。
下面馬上看到了first和second，我們即知道這兩個(gè)很難讀懂的句子無非是兩個(gè)原因使得M真菌沒有得到廣泛研究而已，具體是哪兩個(gè)原因，我們幾乎可以忽略不讀。
微觀中的“必讀”與“不讀”
所謂微觀，即使明確句子結(jié)構(gòu)。再清楚一點(diǎn)說，即使我們要知道句子主干大意及和上下文的關(guān)系。
說到可以不讀的內(nèi)容，很多同學(xué)都會(huì)想到插入語可以不用讀?？墒裁词遣迦胝Z呢?兩個(gè)逗號(hào)之間的內(nèi)容一定是插入語嗎?今天，讓我們重點(diǎn)來了解一下插入語。首先，我們知道并不是兩個(gè)逗號(hào)之間的內(nèi)容一定是插入語，很多同學(xué)會(huì)被傳統(tǒng)的老師所誤導(dǎo)，誤認(rèn)為判斷插入語只要看是不是逗號(hào)間內(nèi)容在解釋逗號(hào)前內(nèi)容即可，可是如果插入語不讀的話，你有時(shí)如何知道這是對(duì)逗號(hào)前內(nèi)容的解釋呢?其實(shí)，插入語有兩種形式：
插入語兩種形式：
1. 對(duì)主語說明
________,which / who / n. / prep. / -ing / -ed……,________.
2. 對(duì)主語舉例
________,such as / especially……,________.
因此，我們只要看到第一個(gè)逗號(hào)之后緊跟著which / who / 介詞 / 動(dòng)名詞 / 動(dòng)詞的過去分詞 / such as / especially 的情況或兩個(gè)逗號(hào)間僅有純粹的名詞時(shí)，那這從第一個(gè)逗號(hào)開始到后面最臨近的標(biāo)點(diǎn)符號(hào)(逗號(hào)或句號(hào))間內(nèi)容一定是插入語，往往可忽略不讀。而我們唯一重點(diǎn)需要讀的只有句子的“主、謂、賓?！?/p>
準(zhǔn)備復(fù)習(xí)時(shí)的“讀”與“不讀”
很多同學(xué)都會(huì)痛苦，復(fù)習(xí)閱讀進(jìn)步不大，甚至有的時(shí)候反而比開始時(shí)錯(cuò)的還多。我認(rèn)為，這主要是學(xué)生的復(fù)習(xí)方法不得當(dāng)導(dǎo)致的。很多同學(xué)在復(fù)習(xí)準(zhǔn)備閱讀時(shí)，通常會(huì)一天一篇文章的做題，這不僅不能幫助你歸納掌握GRE閱讀技巧，相反是在浪費(fèi)時(shí)間。
最好的復(fù)習(xí)閱讀的方式是開始并不直接讀文章做題，在已經(jīng)掌握了一定量的單詞，并強(qiáng)化訓(xùn)練了長難句的基礎(chǔ)后，保證集中突破強(qiáng)化復(fù)習(xí)。即，每天精讀6-8篇文章，大概持續(xù)2周左右。所謂精讀即清楚了解文章中微觀的每一句話的意思及在全文中作用，以及完全明白每一個(gè)選項(xiàng)。這樣有助于幫助學(xué)生總結(jié)歸納文章和出題規(guī)律。
GRE閱讀文章練習(xí)：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 andrynous 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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