一、答案基本阅读方法：文字对应法

将题干所问的事物(focus)回原文大致位置定位,然后看选项。如果某选项出现了和题干所问事物不在同一位置出现的词汇,那么该选项必然错误。

二、答案阅读方法：

(一) 纵向看选项：

若有共同之处,拿公共元素回文章定位。if the essay doesn‘t have the common element, the choice is wrong.

(二)明确六种题型：

1、主题题型 2、态度题 3、类比题 4、细节题 5、逻辑题 6、结构题。

(三)根据定位排除答案

熟练运用各种基本方法定位之后选项与定位所在处无关的必错。

(四)选项是复合句的情况

如果选项是主从复合句,先处理主句,再处理从句。

(五) 如果选项含有明确的最高级、唯一性、比较级

则如果选项正确,原文就必定有其相对应的说法(但在否定句和疑问句中还要注意句子的意思)。

三、解题步骤：

第一步：题目的定位一定要发现题目的focus

若focus关系到全文,则如下步骤：

1、 用特征词定位特征词包括：时间、地点状语,定语。

2、 若无特征词,则找focus首次出现的地方。

关键：先找到focus所在的一段(only)。

第二步：进行答案的通用排除

在看一遍后即有2~3个选项可排除。

依靠：

1、 排除法：如排除不含关键词的选项,排除完全和主态度相反的选项等。

2、 做题的感觉。

第三步：答案的定位

而后将答案与文章中对应句作同义改写,选意思最相近的。

注：所以在平时练习时要注意找出处。

答案直选法：原文重现 同义修改 定状不变即找到对应的句子后,与答案一起分析句子结构,主、谓、宾、补均可以变,只有定、状这些限制时间发生唯一性的标志不能变。

附：列举原则

一、如果原文出现了列举现象,则不光要注意列举对象,更要把握列举对象背后的共性。

注：这种共性一般出现在段落主题句中。

二、列举形式：

1、 名词的列举：同性质;

2、 句子的分散列举：肯定在同一段中共性：主语一致性,发生的同时性;

3、 重复式列举：将a,b,c,d...列举后,将某条(如a)再说一遍,则为重复。此时,若问有谁不同,则肯定选a.

以上就是新gre阅读解题步骤与技巧介绍了,各位考生可以集中式地运用这种方法多练习几个定位题目,做到熟练掌握这种解题方法,然后就可以轻松应对阅读题目了。

第一题是一个类比关系题,问白人文学与黑人音乐的关系可以和以下哪种关系类似,选项有照片和电影,油画各种。我不太确定我的选项就不分享了。第二题给定行数,问黑人音乐里面一个词组代表了什么,答案貌似在上文能找到。

关 于美国白人文学与african american艺术的。american poetryàmusic; europeàvisual包括4-5个题。文章里面提到了美国抽象主义(imagism ) 作家庞德 (ezra pound)。文章是新老观点对比。先提出以前的学者对待aa艺术的态度,然后出现庞德,最后出现庞德和一位黑人作家兰斯顿休斯 (langstonhughs)的关系。并在此出题, 请大家读文章的时候注意看下这个细节。

jazz music 欧洲音乐家(还是诗人什么的)和美国黑人音乐家的区别,一个是跟视觉有关的灵感,一个是跟音乐有关(黑人jazz啥的)的灵感来源。 追溯早期jazz的特点,有purist说jazz早期应该是free association,更强调创作的spontaneity,作者举例了几个critic的观点,反驳了purist的观点. p=p0$p+km

某学者pound的名字充满整篇文章,很长,有image和visual art什么的词好像. 个人觉得作者是持有点负面态度的.

1. 是一个类比关系题,问白人文学poetry与黑人音乐jazz music的关系可以和以下哪种关系类似,(5个比喻 )

a. 选项有照片和电影

b. 油画各种。 drawing和film,

c. 看play和听symphony。

d. 选芭蕾舞那个选项。 就好像是读懂了芭蕾剧的编排节奏和看芭蕾一样的关系。

2. 阅读第二道是什么ezra, pound 提出的有关 african american 和中世纪europe诗歌, 受到美学方面的影响的区别什么的。cde选项看似都是在复述原文,但实际上都有改动不是正确答案,我最后选择的是a。

3. 说作者的观点,

a. 对已经有的scholar的观点提出质疑。

b. 这两种诗歌的差别没有以往的学者所描述的那么大。

4. 问黑人音乐里面一个词组代表了什么,问line8-9里traditional xxx是什么意思.

5. 最后一段里的2个名词,b b hipop(记不起), 和一种poem,有什么作用.most critics have realized their similarities, 不选, 正确答案里那一段找得到.

6. 还有一题问哪个是对的 我选了作者认为欧洲和黑人艺术很少共同点 这个我觉得蛮定的哈。

7. 还有一题说了一大堆人命还是作品名,让你推断：我好像选的ab中的一个,选项记不住了,带有image什么的

会有些考生觉得新gre考试的阅读部分难度增加了,这主要是由于新gre阅读需要考生的逻辑反应一定要比以前更快,可能考生还是有点不习惯,或是没有准备充足。

有一定的词汇量

gre阅读所需掌握的单词要少的多,这些词往往都是些gre阅读专属词汇,且重复率很高,只需集中背记一下就可以解决基本问题。

对句子有基本的理解能力

gre阅读有很多阅读技巧,但它只是一种锦上添花的东西,要在你对文章的大意甚至对一些具体的内容有一定的理解的基础上才能发挥作用,而这个基础就体现在对句子的理解上。

熟悉考点和题型

gre阅读考了很多年,已经呈现出了明确、固定的出题点和试题类型,考生应该对它们有充分的了解。

智慧读原文

要靠读懂全文来做对题,对中国考生来说是一件很难的事情,即使把文章全部翻译成中文,也很难在如此短的时间内逐字逐句理解全文,更何况是生词连篇、复杂难懂的英文,所以我们要靠快速读文法,学会抓重点。

考点详细读,非出题点略读

这句话非常简单,然而,很多考生往往很难做到这一点,有的考生是不知道什么有用,不知道哪儿是出题点,也就不知道哪里详读哪里略读,只好全文都一样重点的读,其实也就等于全文都没读好。

选答案有方法、有技巧

gre阅读的答案的确是有一些特点的。有一些答案一看就是正确答案,说得客观严谨、小心翼翼,有的一看就是错的,这里面包含一些特定的规律。

选择答案其实也有一定的方法,到哪儿找答案(定位),怎么看选项(竖读、先读主干等),按照什么依据排除干扰选项,怎么确定自己选择的是不是对的(文字对应法),时间不够了怎么选等等。这些都需要考生在备考gre阅读中逐步了解,融会贯通。

此类题的思路是：要首先对原文的内容进行归纳和抽象,抽象的时候要注意,有态度的要把态度留下,把具体的名词都丢掉,最后形成的框架就是"对象+正评价/负评价/无评价+某事"。

还是来看一个例子,在n0.7第二套section 4里面,有这样一段话"it is one of nature’s great ironies that the availability of nitrogen in the soil frequently sets an upper limit on plant growth even though the plants’ leaves are bathed in a sea of nitrogen gas。"

我们把氮气(nitrogen)抽象为a,植物(plant)抽象为b,这句话的结构就是"b的周围有很多a,但b依然觉得a不够"。我们再到选项里看,很快会发现只有(c) that of shipwrecked sailors at sea in a lifeboat, with one flask of drinking water to share among them符合,置于这个的逻辑抽象,大家可以自己尝试一下如何抽象,同时也可以尝试下对其它错误选项同样也抽象。这种题目切记,不可先看选项,一定要"先抽象,再选项"。

1.题目类型固定或所涉及考点为已做标记范畴

1)问事物之间的关系,定位到同时标记这两个事物的地方。

2)问作者态度,定位到有态度词标记的地方。

3)问事物的缺陷,直接定位到标记缺陷处。

4)问文章大意类的主旨题定位与ts

5)问全文focus的特征,首先到ts处定位。

6)问文章结构、段落作用、行文方法类的主旨题定位于se。

7)问作者举某个例子的目的,或者作者引用一段文字为了说明什么,这类就写作用意提问的题目一般定位于例子或者引述文字的上文。

8)提干句以if结尾的改进型或取非题,定位在原文缺陷处或者有unless的句子。

9)如果题目为except题,可以先看看原文的标记中有没有列举内容;如果有,很可能是答案所在。

2.题干有特征词的题目

1)最高级、比较级、数字、以大写字母开头的专有名词、年代、特殊历史时期、引号、斜体字。

2)选项标志词与题干核心词双重定位

3)段落定位

以上就是gre阅读备考中的解题方法啦,大家要学以致用哦。

【版本一】

emily dickinson 作为一个卓越的十九世纪小说家,其长久以往一直作为文学评论家们的争论对象,很大一部分的原因是因为其偏离传统的性格：她并不像她同时代的作家那样循规蹈矩,而是经常在自己创造的体裁上面大下文章：比如一些缥缈的段间的下滑线,一些诡异的字体,如此云云。而评论家们的研究难度也因为迪金森一生仅出版了十篇诗篇而变得更加困难重重。然而,最近一位人士(为了方便论述以后称a)发现了迪金森生前的大量手稿,而准备予以出版。a是在进行一项对于迪金森的艺术评价的著作的前期准备中开始着手这项工作的。其中,他煞费苦心地研究了手稿,并以一个新的顺序重新排列了这些诗集,并且规范化了迪金森的换行。

手稿的出版激起了新的研究热浪。很多人,看了手稿后发现,迪金森不仅是位诗人,也是位书法家。她精心安排了诗歌在诗集中的出场顺序,以至于这些顺序本身便是暗含深意的。然而,a却不同意这一看法,认为这些出场顺序与迪金森诗歌的内涵并无联系。但是,另外一位同志,b,认为,迪金森那飘逸的书法,有时候并不是为了满足排版的需要而对某一行诗歌进行的刻意的缩进,实在是和诗歌有内涵联系的。此时,c就不同意了,他认为尽管迪金森书法飘逸,采用不同式的纸张,有的时候追求字体的格式,譬如把"tonight"的两个t都连起来写,但是这不过是和她同时代的作家一样的追求伎俩罢了,与迪金森诗歌的内涵的确没有什么太多的联系。同时他指出,向使迪金森多出版了两本诗集的话,她也会向规范化标准妥协的。这一点其实已经在迪金森生前得到了论证：她曾经同意过当地一家报纸出版她的诗歌,而同时忽略她那篇诗歌的特意的排版,以及她的诗歌中才特有的一些刻意的波折号。

【版本二】

有人在准备关于d的作品时整理了d的诗的手稿,引起了争论smith认为,手稿的字体体现了d的思想,因为blablabla而有人反对这个观点,因为别的诗人热经常写特别的字体。作者说,如果能够有更多的d的诗手稿,就可以得出比较明确的结论后两段研究除了文字,emily dickinson是否也用字体来表达诗歌的主题,有人认为有,有人认为没,没的其中一派说不止ed其他诗人也有很特殊的书写习惯,另一派说ed曾同意报纸(貌似吧)印刷她的诗歌,所以字体没影响。但还有人反对这个,认为如果emily生前有更多诗稿付梓,也会屈从于出版编辑将其特殊写法转为一般用法,并引用了一个情况。//说是有人按主题重新编排了她的未发表的诗。形成了主题。有人(simth)同意,有人不同意。因为书写的什么原因的。

【版本三】

dikens 的诗集。dikens生平发布的诗集很少,直到最近发现了一些那个年代的遗稿。有个研究dikens的人就把那些遗稿收集整理,按照xx顺序出版了。这一出版就招致了很多critics来评论dikens的作品。主要争论有两点：1....(不记得了) 2. 有一些人认为他的字体反映了他作品的主题,有很重要的研究价值,而他的字体风格不仅仅是由纸张啥的决定。令有人认为,他的风格和其他的作家一样,没有什么特别之处。

【版本四】

狄更斯引来热议,尤其是当富兰克林整理了他的一个什么诗集以后。然后后面全部都在说狄更斯的书法如何如何。大家看法不一,有的说是个书法家而不是语言家,有的说书法跟他的作品一点关系也没有哇~

【版本五】

关于那个女诗人的poetry那篇,其实比短的这篇人文历史的好理解,我觉得,段落也比较分明,就是选项的文字和题目都很长。

有一题问了两个相互不同观点的研究者,一个是smith另一个是在他之前紧接着出现的,有关诗人的字迹是否有文学意义的争论。还有一题在这之后,问了那个研究者(smith之前的那个)会赞同以下5个选项的那种观点。还有一题问了dickson的诗歌特别在什么地方,好像是选她的写作风格比较 unconventional之类的意思。

【版本六】

就是说她以前发表的诗歌很少,但是很多没有发表,发表的也是和18世纪传统的不同,他死翘翘了他们家什么亲戚整理那个,发现了一堆什么乱七八糟的稿子,那个什么本杰明就忍辱负重把他们全都编辑出来,

但是她写的字花里胡哨,有的人就说这是和她是个的议题相关的,有的人说不是,那个本杰明觉得不是,觉得不是的说比如很多诗人的t都写得很花

q1: 作者认为两个观点不同在哪? 【认为字体体现诗的意思】

q2: 第二类观点是什么?【字体不代表诗的意思】

q3：作者认为怎样可以解决争端?【有更多的诗被公布出来】

q4：文章没有提到那一点?【d的侄子leave the manuscript intact】

q5：那个手稿是怎样被发表的?【在一个编辑进行preliminary preparation for a scholar book about d】

会有些考生觉得新gre考试的阅读部分难度增加了,这主要是由于新gre阅读需要考生的逻辑反应一定要比以前更快,可能考生还是有点不习惯,或是没有准备充足。

1. 给定行数题

给定行数,顾名思义,就是在题目中已经明确的给出了所考查内容的行数,题目中所涉及的内容也是有关给定行数所述内容的作用或者相关内容。这就需要考生在做这类题时,根据题目中所提示的行数,回到原文中去定位。

但是有一点需要注意,像这类明确地给出行数地题,通常情况,答案都不在所给定地行数处,也不是给定行数内容地直接改写,因为出题者不会直接告诉你答案在哪,所以,在做这类题时,除了要根据它所提示的信息,还要结合所给行数的上下文的情况再做选择。

2. 写作用意题

这类题是针对文章某些内容的作用进行的提问,也就是题干中问到的这个具体事物在文章中出现时作者的用意是什么?

所有的gre阅读文章都是议论文,作者提到具体的事物大体上有几种关系：支持、证明、解释或反对某观点,也就是说具体的事物总是和观点发生联系的。通常情况,给定行数题和写作用意题是混合出现的。

1、词汇

很多考生在初学gre的时候往往会觉得最大的障碍就是单词,一般来说,阅读需要掌握的单词比考gre所需掌握的单词要少的多(四级以上词汇大约2000个),对词汇的掌握也没有模拟。

反义对词汇的要求深(即只要看到这个词能知道其大意和褒贬态度就可以了)。这些词往往都是些gre阅读专署词汇,且重复率很高,只需集中背记一下就可以解决基本问题。

2、句子

读句子,尤其是读长难句,比较容易入手的读法是先找句子的主、谓、宾成分,尤其是谓语动词,很多句子结构复杂,由很多从句组成,一句读下来可能会不解其义,开始读的候侯,如果能句子的主干读起,就能相对容易地把握句子的大意。

举个例子:after more than a century of investigation, the relation of these and other phenomena, known collectively as the solar-activity cycle, to terrestrial weather and climate remains unclear.

试着以寻找句子主干为目的来读上面这句话,这就好比将主谓宾加粗,突出了重点和层次,对句子领会起来就更容易些。

另外,ets将简单句子复杂化通常有其固定的模式, 比如:

1)合并简单句、变简单句为带有从句结构或并列从句结构或多层从句结构的句子;

2)通过否定、双重甚至多重否定增加理解上的困难;

3)将原本分开的句子组合、套用在某固定句式、词组里面;

4)加入插入语来打断读句子的思路;

5)通过将一些成分后置、倒装或者省略来增加难度。读者要想轻松的跳过这些难点,首先要对一些典型的句子进行结构分析,之后还需靠平时的阅读积累,通过一定量的练习熟悉这些句子的结构构成方式,当遇到难以理解的句子时及时总结,分析其结构,从根本上解决所遇障碍,长此以往,进步将不断。

• question type

  multiple-choice — select one answer choice

  description

  these are traditional multiple-choice questions with five answer choices, of which

• you must select one.

  
  

  tips for answering

  • read all the answer choices before making your selection, even if you think you know the correct answer in advance.
  • the correct answer is the one that most accurately and most completely answers the question posed; be careful not to be misled by answer choices that are only partially true or that only partially answer the question. also, be careful not to pick an answer choice simply because it is a true statement.
  • when the question asks about the meaning of a word in the passage, be sure the answer choice you select correctly represents the way the word is being used in the passage. many words have different meanings when used in different contexts.

  multiple-choice — select one or more answer choices

  description

  these questions provide three answer choices and ask you to select all that are correct; one, two or all three of the answer choices may be correct. to gain credit for these questions, you must select all the correct answers, and only those; there is no credit for partially correct answers.

  tips for answering

  • evaluate each answer choice separately on its own merits; when evaluating one answer choice, do not take the others into account.
  • a correct answer choice accurately and completely answers the question posed; be careful not to be misled by answer choices that are only partially true or that only partially answer the question. also, be careful not to pick an answer choice simply because it is a true statement.
  • do not be disturbed if you think all three answer choices are correct, since questions of this type can have up to three correct answer choices.

  select-in-passage

  description

  these questions ask you to click on the sentence in the passage that meets a certain description. to answer the question, choose one of the sentences and click on it; clicking anywhere on a sentence will highlight it. in longer passages, the question will usually apply to only one or two specified paragraphs, marked by an arrow ( #formatimgid_0# ); clicking on a sentence elsewhere in the passage will not highlight it.

  note: because these questions depend on the use of the computer, they do not appear on the paper-based test. equivalent multiple-choice questions are used in their place.

  tips for answering

  • evaluate each of the relevant sentences in the passage separately before selecting your answer. do not evaluate any sentences that are outside the paragraphs under consideration.
  • a correct answer choice must accurately match the description given in the question; do not select a sentence if any part of the description does not apply to it. however, note that the question need not fully describe all aspects of the sentence.
  s
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• sample questions

  questions 1 to 3 are based on this passage.

  reviving the practice of using elements of popular music in classical composition, an approach that had been in hibernation in the united states during the 1960s, composer philip glass (born 1937) embraced the ethos of popular music in his compositions. glass based two symphonies on music by rock musicians david bowie and brian eno, but the symphonies sound is distinctively his. popular elements do not appear out of place in glasss classical music, which from its early days has shared certain harmonies and rhythms with rock music. yet this use of popular elements has not made glass a composer of popular music. his music is not a version of popular music packaged to attract classical listeners; it is high art for listeners steeped in rock rather than theclassics.

  select only one answer choice.

  1. the passage addresses which of the following issues related to glasss use of popular elements in his classicalcompositions?
     1. how it is regarded by listeners who prefer rock to theclassics
     2. how it has affected the commercial success of glasssmusic
     3. whether it has contributed to a revival of interest among other composers in using popular elements in theircompositions
     4. whether it has had a detrimental effect on glasss reputation as a composer of classicalmusic
     5. whether it has caused certain of glasss works to be derivative inquality

  consider each of the three choices separately and select all thatapply.

  1. the passage suggests that glasss work displays which of the followingqualities?
     1. a return to the use of popular music in classicalcompositions
     2. an attempt to elevate rock music to an artistic status more closely approximating that of classicalmusic
     3. a long-standing tendency to incorporate elements from two apparently disparate musicalstyles
  2. select the sentence that distinguishes two ways of integrating rock and classicalmusic.

  explanation

  the passage describes in general terms how philip glass uses popular music in his classical compositions and explores how glass can do this without being imitative. note that there are no opposing views discussed; the author is simply presenting his or herviews.

  question 1: one of the important points that the passage makes is that when glass uses popular elements in his music, the result is very much his own creation (it is distinctively his). in other words, the music is far from being derivative. thus one issue that the passage addresses is the one referred to in answer choice e — it answers it in the negative. the passage does not discuss the impact of glasss use of popular elements on listeners, on the commercial success of his music, on other composers or on glasss reputation, so none of choices a through d iscorrect. the correct answer is choice e.

  question 2: to answer this question, it is important to assess each answer choice independently. since the passage says that glass revived the use of popular music in classical compositions, answer choice a is clearly correct. on the other hand, the passage also denies that glass composes popular music or packages it in a way to elevate its status, so answer choice b is incorrect. finally, since glasss style has always mixed elements of rock with classical elements, answer choice c is correct. thus the correct answer is choice a and choicec.

  question 3: almost every sentence in the passage refers to incorporating rock music in classical compositions, but only the last sentence distinguishes two ways of doing so. it distinguishes between writing rock music in a way that will make it attractive to classical listeners and writing classical music that will be attractive to listeners familiar with rock. thus the correct answer is the last sentence of thepassage.

recent studies of sediment in the north atlantic’s deepwaters reveal possible cyclical patterns in the history of earth’s climate. therock fragments in these sediments are too large to have been transported thereby ocean currents; they must have reached their present locations by travelingin large icebergs that floated long distances from their point of origin beforemelting.geologist gerard bond noticed that some of the sedimentgrains were stained with ironoxide, evidence that they originated in localeswhere glaciers had overrun outcrops of red sandstone. bond’s detailed analysisof deep-water sediment cores showed changes in the mix of sediment sources overtime: the proportion of these red-stained grains fluctuated back and forth fromlows of 5 percent to highs of about 17 percent, and these fluctuations occurredin a nearly regular 1,500-year cycle.bond hypothesized that the alternating cycles might beevidence of changes in ocean-water circulation and therefore in earth’sclimate. he knew that the sources of thered-stained grains were generallycloser to the north pole than were the places yielding a high 30 proportion ofclean grains. at certain times, apparently, more icebergs from the arcticocean in the far north were traveling south well into the north atlantic beforemelting and shedding their sediment. ocean waters are constantly moving, andwater temperature is both a cause and an effect of this movement. as watercools, it becomes denser and sinks to the ocean’s bottom.

during some periods,the bottom layer of the world’s oceans comes from cold, dense water sinking inthe far north atlantic. this causes the warm surface waters of the gulf streamto be pulled northward. bond realized that during such periods, the influx ofthese warm surface waters into northern regions could cause a large proportionof the icebergs that bear red grains to melt before traveling very far into thenorth atlantic. but sometimes the ocean’s dynamic changes, and waters from thegulf stream do not travel northward in this way. during these periods, surfacewaters in the north atlantic would generally be colder, permitting icebergsbearing red-stained grains to travel farther south in the north atlantic beforemelting and depositing their sediment.

the onset of the so-called little ice age (1300-1860),which followed the medieval warm period of the eighth through tenth centuries,may represent the most recent time that the ocean’sdynamic changed in this way. if ongoing climate-history studies support bond’shypothesis of 1,500-year cycles, scientists may establish a major natural rhythmin earth’s temperatures that could then be extrapolated into the future.because the midpoint of the medieval warm period was about a.d. 850, anextension of bond’s cycles would place the midpoint of the next warm intervalin the twenty-fourth century.

21.1. according to the passage, which of the following istrue of the rock fragments contained in the sediments studied by bond?

a. the majority of them are composed of red sandstone.

b. they must have reached their present location over 1,500 years ago.

c. they were carried byicebergs to their present location.

d. most of them were carried to their present location during a warm period inearth’s climatic history.

e. they are unlikely to have been carried to their present location during thelittle ice age.

21.2. in the final paragraph of the passage (lines 27-33),the author is concerned primarily with

a. answering a question about earth’s climatic history

b. pointing out a potential flaw in bond’s hypothesis

c. suggesting a new focus for the study of ocean sediments

d. tracing the general history of earth’s climate

e. discussing possibleimplications of bond’s hypothesis

21.3. according to the passage, bond hypothesized that whichof the following circumstances would allow red-stained sediment grains to reachmore southerly latitudes?

a. warm waters being pulled northward from the gulfstream

b. climatic conditions causing icebergs to melt relatively quickly

c. icebergs containing a higher proportion of iron oxide than usual 31

d. the formation of more icebergs than usual in the far north

e. the presence of coldsurface waters in the north atlantic

21.4. it can be inferred from the passage that in sedimentcores from the north atlantic’s deep waters, the portions that correspond tothe little ice age

a.. differ very little in composition from theportions that correspond to the medieval warm period

b. fluctuate significantly in composition between the portions corresponding tothe 1300s and the portions corresponding to the 1700s

c. would be likely tocontain a proportion of red-stained grains closer to 17 percent than to 5percent

d. show a much higher proportion of red-stained grains in cores extracted fromthe far north of the north atlantic than in cores extracted from further south

e. were formed in part as