GRE阅读提速方法跳读细节技巧汇总指点
GRE阅读提速方法跳读细节技巧汇总指点，我们一起来看看吧，下面小编就和大家分享，来欣赏一下吧。
GRE阅读提速方法跳读细节技巧汇总指点
GRE阅读尽量保证不重读回读
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得快速浏览(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，这四个字需要自己体会)。
GRE阅读中需做好定位标记
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(如and)、分号、冒号、表示作者态度的词(这个比较难，需要自己体会收集)，原因我会在下面的取舍中谈到。我的做标记的小窍门：标记符号不要只用一种(如下划线)，也不要过多，个人感觉最多三种(如括号、圆圈、下划线)，分别标记原因、转折和其他，不过我自己只用下划线和括号。
GRE阅读提速需学会取舍适当跳过
标准是：
a)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;
b)such as后的内容一律跳过，也用括号括起来，不过我会数数列举的个数，如果是4个，则必出题，其他个数不用管，出题了再回头看;
c)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。
d)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，我在下面划横线做标记。
e)老观点只把握关键词、知道讲的是什么就行，其他一律跳过。
f)冒号后一律跳过，冒号下做标记。
g)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。
现在的标准是：上面这些全看，因为速度上来了，但看这些内容时仍然是“毫无感觉”地看，可以不用担心它们会分散注意力了。
当这些内容都做标记后，文章结构就非常清楚了，哪儿是举例、哪儿是结论、哪儿是原因、哪儿是转折一目了然，定位非常容易。
反复阅读文章培养阅读直觉
反复阅读已经读过的文章，5遍左右吧!慢慢地就会产生一种直觉，知道哪里略读哪里重读。
以上就是小编为大家介绍的GRE阅读提速的一些技巧和细节经验，希望大家能够参考学习。
新GRE阅读长难句中译英练习
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.[参考译文]跟世界上的大多数火山不同的是，它们(热点)并不总是在由构成地球表面巨大漂流板块之间的边界上出现;相反，它们中有许多位于一个板块较纵深的内部。
52.[参考译文]携带这些大陆板块的相对运动已经能够被详细地表述出来，但是这些板块相对于另一些板块的运动还不能轻易地解释为它们相对于地球内部的运动。
53.[参考译文]随着这个穹窿的增长，他会发展成一个裂缝，经过几次变化之后，大陆可能会沿着这个裂缝完全形成一个新的海洋地貌。
54.[参考译文]尽管警告常常是适当而且必须的--比如对于药物相互作用的危险提出警告--许多警告还是按州或联邦政府规定要求给出的，然而(我们)并不清楚，如果顾客受到伤害时，这些警告是不是确实可以使得生产者和销售者豁免责任。
55.[参考译文]与此同时，美国法律研究所--由一群法官、律师和理论专家组成，他们的建议分量极重--发布了新的民事伤害法令指导方针，宣称公司不必提醒顾客注意显而易见的危险，也不必连篇累牍地一再提请他们注意一些可能会出现的危险。
GRE阅读练习每日一篇
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
(C) outline a theory
(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
(C) I and 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
(C) outdated
(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.
(C) The amount of moisture in the air closest to the ocean surface would decrease.
(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: 无论是...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
(C) tool used by a scientist to discover a new particular
(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
(C) embellished and interwove the melodies of several of the great composers who preceded him
(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
(C) among those works in which popular historical themes were portrayed in a musical production
(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?
(C) Is Mozart’s The Marriage of Figaro an example of a creative work that transcended limits?
(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
(C) marked indifference
(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
(C) does not relegate particulars to the role of data
(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.
(C) Thus, many of the great composers displayed the same combination of talents exhibited by Monteverdi.
(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
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