GRE阅读训练解题技巧不可不学这5招

GRE阅读训练解题技巧不可不学这5招,我们一起来学习一下吧，下面小编就和大家分享，来欣赏一下吧。

GRE阅读训练解题技巧不可不学这5招

把握GRE阅读题中文章的句子主干

对于语法知识有一定的要求，力求做到一句话只看一遍，充分利用自己的语法知识，时刻把握句子主干，修饰成分要毫无感觉地快速浏览。注意，这里的“毫无感觉”不是略读，而是不希望过多的修饰成分或插入成分影响对句子主干的理解，这四个字还需要自己多练习体会。

在做GRE阅读题时要做好标记

在GRE阅读文章中，除了大写字母、时间年代、最高级、转折标志词、因果标志词、列举、让步、强对比以外，还要标记出并列连接词(比如and)、分号、冒号、表示作者态度的词(褒义贬义词等)。这些内容往往都意味着出题点和解题点，标记好可以有助于理清解题思路。

关于做标记的小窍门介绍：标记符号不要只用一种下划线，也不要标记过多弄得到处都是，个人感觉最多三种，比如分别标记原因、转折和其他即可。常用符号可以是下划线或者括号等。

GRE阅读题训练要懂得取舍

GRE考试阅读题解题技巧的训练标准是

1. 让步分句(如：带although的分句、带it is true的分句、带do的分句等)一律跳过(但是用括号括起来)，只看后半个分句;

2. such as后的内容一律跳过，也用括号括起来，最好数数列举的个数，如果是4个，则必出题，其他个数不用管，出题了再回头看;

3. for example举例只要提炼关键词的首字母就可以了，也要括起来，重点看后面或前面的结论。

4. 原因——标志词常为because、since—— 一律跳过，括起来，只看结果。比较容易被忽略的是result in和result from，遇到这两个，可以用下划线做标记。

5. 老观点只把握关键词、知道讲的是什么就行，其他一律跳过。

6. 冒号后一律跳过，冒号下做标记。

7. 分号后一律跳过，因为表示并列，内容和前面大体一致，分号做标记，出题的话再回来看。

反复做GRE阅读题

这是提高GRE阅读速度的秘诀：反复阅读已经读过的文章，建议3-5遍左右，慢慢就会养成一种直觉，知道哪里略读哪里重读。

GRE阅读题中段首段尾要把握好

每段首句和全文末句一定仔细看。因为这往往是这段内容的主旨和总结，也是比较常见的出题点。

上面就是为大家总结的一些新GRE阅读题的解题技巧，希望大家能参考学习一下，在提高新GRE阅读成绩的同时还可以了解更多的GRE阅读技巧。

GRE阅读练习每日一篇

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.召唤, 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