GRE阅读6种常见错误选项形式类型讲解.doc

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1、GRE阅读6种常见错误选项形式类型讲解GRE阅读错误干扰选项快速辨析技巧讲解 ,6大扣分陷阱一眼就能看穿,下面小编就和大家分享，来欣赏一下吧。GRE阅读6种常见错误选项形式类型讲解GRE阅读中常见的的错误干扰选项主要有以下几类表现形式：1. 偏离题目大意这类选项比较隐蔽，其表现形式往往是内容本身是正确的，但说偏了没抓住重点，不是文章的主线。考生很容易跟正确选项混淆而选择它。不同于未提及项，这类选项在文中是有所涉及的，因此也更具有欺骗性，考生需要先明确题目所问问题才能避免被偏题项干扰思路。2. 直接取反义干扰有些题目本身比较长，加上一些否定和双重否定等，考生就容易理解错误，而特别设置的部分反义项

2、，就往往会等着考生自己被绕晕了以后自投罗网。这些选项的特点是和其它选项的意思完全相反，乍看之下非常显眼，但实际上却并非正确答案。小编建议大家仔细读题，把反义否定等关系搞清楚再解答。3. 错误引导拼凑还有些错误选项，主题和修饰错位，或者把不相关的内容拼凑在一起，看似哪边都沾一点关系，其实本身却是错位选项，也很容易影响考生的判断。这种选项同样具有很强的干扰性，可能选项中部分选取了文章内容，但之后引导出的结论却和文章完全没有关系，也是考验大家对于文章细节记忆能力的干扰项，最好的应对方法是阅读过程中多做标记定位，解题时适当参考就可以避免错位混淆。4. 使用极端词汇极端项其实是比较明显的错误干扰选项，常

3、会使用一些代表主观判断的最高级词汇比如best/most/least，唯一性词汇比如only、alone或者比较级词汇比如better、worse等。这些选项表现出一种极端的不容否定的态度。看似很有道理其实却并正确。这类选项由于标志明显，所以熟悉套路以后反而很容易发现，考生也会主动去注意那些极端词汇，稍加留意就不会中招了。5. 脑补未提及内容这种错误选项陷阱也比较常见，故意给出一些看似很有联系的新信息点，说得头头是道，考生如果因为文章篇幅较长没有阅读全文，就会以为自己没看仔细，其实这些所谓的信息都是一些根本没有出现在文章中完全和题目无关的未提及选项。这类选项同样很好辨认，看似涉及到了细节，但实

4、际上并没有在文章中提到，大家面对阅读要学会根据文章所提内容进行选择，千万不要自己想当然，只要能做到这点，那么这种类型的干扰错误选项就无用武之地了。6. 带入常识判断这种错误选项的制定思路是根据一些常识性的推断，引导考生做出的判断，其本身带有很强的主观性，而并不是客观的事实，如果考生不加注意就很容易被带歪思路。类似上文的未提项，这类主观项同样是建立在看似迎合实则错误引导考生思路的做法上的。大家在阅读过程中应学会以文章内容为主，不要想当然地去结合自己的经历经验进行联想。脚踏实地才能做好这类题目。记住错误干扰选项特征快速解题之所以要特别列出阅读中的错误选项，是因为这种选项对于考生阅读部分的正确率杀伤

5、率极高。比起其它一目了然的数学或者填空题，GRE阅读要解题首先就要读文章，很多考生读完文章，特别是长篇文章后，本身思路已经有些混乱，再被这些干扰选项祸害一下，很容易就会出现连续错误。而许多考生对于GRE阅读存在的畏惧情绪和心理阴影，其实也往往是由错误选项导致的。上文提到的这些GRE阅读中常见错误干扰选项，小编希望大家都能够有所了解。GRE阅读本身就是比较有难度又消耗时间的题型，考生如果能够结合本文内容提升阅读解题速度和正确率，那么对于提高GRE整体成绩将会有很大帮助。GRE阅读题目解析:十七世纪荷兰绘画P52In the late nineteenth century, art critics

6、 regarded seventeenth-century Dutch paintings as direct reflections of reality. The paintings were discussed as an index of the democracy of a society that chose to represent its class, action, and occupations exactly as they were, wide-ranging realism was seen as the great accomplishment of Dutch a

7、rt. However, the achievement of more recent study of Dutch art has been the recovery of the fact that such paintings are to be taken as symbolizing mortality, the renaissance of earthly life, and the power of God, and as message that range from the mildly moralizing to the firmly didactic. How expli

8、cit and consistent the symbolizing process was intended to be is a much thornier matter, but anyone who has more familiarity than a passing acquaintance with Dutch literature or with the kinds of images used in illustrated books (above all emblem books) will know how much less pervasive was the habi

9、t of investing ordinary objects than of investing scenes with meaning that go beyond their surface and outward appearance. In the mid-1960s, Eddy de Jongh published an extraordinary array of material especially from the emblem books and vernacular literature that confirmed the unreliability of takin

10、g Dutch pictures at surface value alone.The major difficulty, however, with the findings of critics such as de Jongh is that it is not easy to assess the multiplicity of levels in which Dutch viewers interpreted these pictures. De Jonghs followers typically regard the pictures as purely symbolic. No

11、t every object within Dutch paintings need be interpreted in terms of the gloss given to its equivalent representation in the emblem books. Not every foot warmer is to be interpreted in terms of the foot warmer in Rowmer Visschers Sinnepoppen of 1614, not every bridle is an emblem of restraint (thou

12、gh many were indeed just that).To maintain as Brown does, that the two children in Netschers painting A Lady Teaching a Child to Read stand for industry and idleness is to fail to understand that the painting has a variety of possible meanings, even though the picture undoubtedly carriers unmistakab

13、le symbolic meanings, too. Modern Art historians may well find the discovery of parallels between a painting and a specific emblem exciting, they may, like seventeenth-century viewers, search for the double that lie behind many paintings. But seventeenth-century response can hardly be reduced to the

14、 level of formula. To suggest otherwise is to imply a laboriousness of mental process that may well characterize modern interpretations of seventeenth-century Dutch Art, but that was, for the most part, not characteristic in the seventeenth century.1. The passage is primarily concerned with which of

15、 the following?A. Reconciling two different points of view about how art reflectsB. Criticizing a traditional method of interpretationC. Tracing the development of an innovative scholarly approachD. Describing and evaluating a recent critical approachE. Describing a long-standing controversy and how

16、 it was resolved2. The author of the passage mentions bridles in the highlighted portion of the passage most likely in order toA. Suggest that restraint was only one of the many symbolic meanings attached to bridlesB. Provide an example of an everyday, physical object that was not endowed with symbo

17、lic meaningC. Provide an example of an object that modern critics have endowed with symbolic meaning different from the meaning assigned it by seventeenth-century Dutch artistsD. Provide an example of an object with symbolic meaning that was not always used as a symbolE. Provide an example of an eve

18、ryday object that appears in a significant number of seventeenth century Dutch paintings3. Which of the following best describes the function of the last paragraph of the passage?A. It provides specific applications of the critical approach introduced in the preceding paragraphB. It present a caveat

19、 about the critical approach discussed in the preceding paragraphC. It presents the research on which a theory presented in the preceding paragraph is basedD. It refutes a theory presented in the preceding paragraph and advocates a return to a more traditional approachE. It provides further informat

20、ion about the unusual phenomenon described in the preceding paragraph4. The passage suggests which of the following about emblem books in seventeenth-century Holland?A. They confirm that seventeenth century Dutch painting depict some objects and scenes rarely found in daily life.B. They are more use

21、ful than vernacular literature in providing information about the symbolic content of seventeenth-century Dutch painting.C. They have been misinterpreted by art critics, such as de Jongh, who claim seventeenth century Dutch paintings contain symbolic meaningD. They are not useful in interpreting sev

22、enteenth-century Dutch landscape painting.E. They contain material that challenges the assumptions of the nineteenth-century critics about seventeenth-century Dutch painting.P521In the late nineteenth century, art critics regarded seventeenth-century Dutch paintings as direct reflections of reality.

23、十九世纪后期，艺术评论家们把十七世纪的荷兰绘画视为对现实的直接反映。2The paintings were discussed as an index of the democracy of a society that chose to represent its class, action, and occupations exactly as they were, wide-ranging realism was seen as the great accomplishment of Dutch art.在讨论中，绘画作为一个社会民主程度的指标，如实地反映了社会阶层，活动，和职业，包罗万

24、象的现实主义被视为荷兰艺术的巨大成就。3However, the achievement of more recent study of Dutch art has been the recovery of the fact that such paintings are to be taken as symbolizing mortality, the renaissance of earthly life, and the power of God, and as message that range from the mildly moralizing to the firmly did

25、actic.然而，更晚近的关于荷兰艺术的研究发现，这些画作被理解为象征死亡，世俗生命的复活，以及神的力量，也被解释为各种信息，从温和地道德教化到强硬地说教。(take A as B 把 A 理解 / 解释为 B)4How explicit and consistent the symbolizing process was intended to be is a much thornier matter, but anyone who has more familiarity than a passing acquaintance with Dutch literature or with t

26、he kinds of images used in illustrated books (above all emblem books) will know how much less pervasive was the habit of investing ordinary objects than of investing scenes with meaning that go beyond their surface and outward appearance.这种刻意为之的象征过程有多明显以及多稳定，是另一个更为棘手的问题，但任何对荷兰文学或图书(包括所有 emblem books

27、)中出现过的那些画面稍有了解的人，都会意识到，采用超越表象另有深意的画面，比采用常见实物的图片的情况更普遍。(抓狂，慢慢来。加粗部分为主干，will know 后面有个小倒装，还原为： will know how much less pervasive the habit of investing ordinary objects was than(the habit)of investing scenes with meaning that above 在 之上，超出某种范围。不知道用在这是什么意思，只能猜测，all emblem books 中都存在这种现象，即 use certain k

28、inds of images，所以把 above 意译为包括。这种译法我自己也不太相信。invest 投资，付出(时间、精力等)于某事物，授予(职位、地位或荣誉)。我不确定这是不是合乎规格的用法，只能猜测在文段中，是在书中 采用 图片的意思。emblem bookAn emblem book is a book collecting emblems (allegorical illustrations) with accompanying explanatory text, typically morals or poems. This category of books was popula

29、r in Europe during the 16th and 17th centuries.(https:/en.wikipedia.org/wiki/Emblem_book)百度说这东西叫 寓意画册，大家体会下。)5In the mid-1960s, Eddy de Jongh published an extraordinary array of material especially from the emblem books and vernacular literature that confirmed the unreliability of taking Dutch pictu

30、res at surface value alone.1960 年代中期，E d J 公布了一系列不寻常的材料 尤其是来自于 emblem books 和白话文学 证实了荷兰绘画不能只看表面价值。6The major difficulty, however, with the findings of critics such as de Jongh is that it is not easy to assess the multiplicity of levels in which Dutch viewers interpreted these pictures.然而，像 d J 这样的评论

31、者的研究发现的主要困难，在于难以评估荷兰观众对这些画作的解读的多种不同层次。7De Jonghs followers typically regard the pictures as purely symbolic.D J 的后继者们特别地把这些画视为纯象征性的。8Not every object within Dutch paintings need be interpreted in terms of the gloss given to its equivalent representation in the emblem books.不是荷兰绘画中出现的每种事物，都有必要解释为像 em

32、blem books 里那样有什么寓意。9Not every foot warmer is to be interpreted in terms of the foot warmer in Rowmer Visschers Sinnepoppen of 1614, not every bridle is an emblem of restraint (though many were indeed just that).不是每个暖脚炉都要解释为 1614 年 R V 的作品 S 中出现的暖脚炉，不是每副马笼头都象征着约束(尽管很多时候确实象征着约束)。10To maintain as Brow

33、n does, that the two children in Netschers painting A Lady Teaching a Child to Read stand for industry and idleness is to fail to understand that the painting has a variety of possible meanings, even though the picture undoubtedly carriers unmistakable symbolic meanings, too.正如 B 认为 N 的作品 A Lady Tea

34、ching a Child to Read 代表勤劳和懒惰，未能理解这幅画包含的其他可能的含义，尽管这幅画无疑也带有明显的象征意味。11Modern Art historians may well find the discovery of parallels between a painting and a specific emblem exciting, they may, like seventeenth-century viewers, search for the double that lie behind many paintings.当代艺术史学者可能也认为，发现一幅画和一种

35、特定的象征之间的对比关系很有趣，他们也许会像十七世纪的观众那样，寻找许多画背后的类比对象。12But seventeenth-century response can hardly be reduced to the level of formula.但十七世纪的观众的反应，很难概括成公式。13To suggest otherwise is to imply a laboriousness of mental process that may well characterize modern interpretations of seventeenth-century Dutch Art, b

36、ut that was, for the most part, not characteristic in the seventeenth century.否则就意味着一种更复杂的心理过程，也可以定义对十七世纪荷兰艺术的现代解读，但那很大程度上已经跟十七世纪没什么关系了。1. The passage is primarily concerned with which of the following?A. Reconciling two different points of view about how art reflectsB. Criticizing a traditional met

37、hod of interpretationC. Tracing the development of an innovative scholarly approachD. Describing and evaluating a recent critical approachE. Describing a long-standing controversy and how it was resolved选 D描述以及评估一种近期出现的批评方法。以前人们认为荷兰绘画的特点是写实，后来发现其中有很多象征意义，后者就是 recent critial approach，代表人物是 Eddy de Jo

38、ngh 以及后面出现的 Brown 。2. The author of the passage mentions bridles in the highlighted portion of the passage most likely in order toA. Suggest that restraint was only one of the many symbolic meanings attached to bridlesB. Provide an example of an everyday, physical object that was not endowed with sy

39、mbolic meaningC. Provide an example of an object that modern critics have endowed with symbolic meaning different from the meaning assigned it by seventeenth-century Dutch artistsD. Provide an example of an object with symbolic meaning that was not always used as a symbolE. Provide an example of an

40、everyday object that appears in a significant number of seventeenth century Dutch paintings选 D句 9： not every bridle is an emblem of restraint (though many were indeed just that)没啥解释的。3. Which of the following best describes the function of the last paragraph(句 10 - 13) of the passage?A. It provides

41、specific applications of the critical approach introduced in the preceding paragraphB. It present a caveat about the critical approach discussed in the preceding paragraphC. It presents the research on which a theory presented in the preceding paragraph is basedD. It refutes a theory presented in th

42、e preceding paragraph and advocates a return to a more traditional approachE. It provides further information about the unusual phenomenon described in the preceding paragraph选 B句 8 - 9 出现的三个 not every 已经提示我们，把画上出现的所有元素都视为象征是不可取的，进入第三段，作者进一步明确指出，这样看待作品可能产生的后果， fail to understand that the painting ha

43、s a variety of possible meanings, (句 10)。可以认为这是一种 caveat 警告，告诫。所以选 B 。4. The passage suggests which of the following about emblem books in seventeenth-century Holland?A. They confirm that seventeenth century Dutch painting depict some objects and scenes rarely found in daily life.B. They are more us

44、eful than vernacular literature in providing information about the symbolic content of seventeenth-century Dutch painting.C. They have been misinterpreted by art critics, such as de Jongh, who claim seventeenth century Dutch paintings contain symbolic meaningD. They are not useful in interpreting se

45、venteenth-century Dutch landscape painting.E. They contain material that challenges the assumptions of the nineteenth-century critics about seventeenth-century Dutch painting.选 E当你以为这是一道综合全局信息才能判断的题，其实它是一道细节题。题目所问的 emblem books 寓意画册，第一次出现在句 4：How explicit and consistent the symbolizing process was i

46、ntended to be is a much thornier matter, but anyone who has more familiarity than a passing acquaintance with Dutch literature or with the kinds of images used in illustrated books (above all emblem books) will know how much less pervasive was the habit of investing ordinary objects than of investin

47、g scenes with meaning that go beyond their surface and outward appearance.只要对荷兰文学和图书(包括 emblem books)中所采用的图片有基本的熟悉，就知道多数是象征性的，而不是写实的。回溯句 1：In the late nineteenth century, art critics regarded seventeenth-century Dutch paintings as direct reflections of reality.十九世纪的评论家认为荷兰画是对现实的直接反映，即写实的。综合两部分，可以确定

48、E 正确。GRE阅读题目解析:十八世纪英国文化权威P53Late-eighteenth-century English cultural authorities seemingly concurred that women readers should favor history, seen as edifying, than fiction, which was regarded as frivolous and reductive. Readers of Marry Ann Hanways novel Andrew Stewart, or the Northern Wanderer, le

49、arning that its heroine delights in David Humes and Edward Gibbons histories, could conclude that she was more virtuous and intelligent than her sister, who disdains such reading. Likewise, while the na?ve, novel-addicted protagonist of Jane Austens Northanger Abbey, Catherine Morland, finds history a chore, the s