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1、GRE应对长阅读需训练记忆力 GRE应对长阅读需训练记忆力 ,这3个练习步骤让你考试中过目不忘,我们一起来看看吧，下面就和大家分享，来欣赏一下吧。GRE应对长阅读需训练记忆力 这3个练习步骤让你考试中过目不忘GRE阅读为何要训练记忆力?之所以要求大家培养短期记忆能力，主要还是为了顺利解答GRE阅读部分各类题目。GRE阅读*大多选自各类科学或者金融类杂志，篇幅较长，内容也比较深刻复杂，考生一遍看过往往难以留下足够的印象，之后解题如果还要返回再仔细看，往往会花费大量考试时间。众所周知GRE考试时间相当紧张，二次阅读会浪费大量时间。而如果考生能通过第一次阅读就把*内容和结构大致记住，解题时就能更有针
2、对性地找到问题涉及的*内容，提升答题速度和正确率，而这种记忆能力，就是我们提到的短期记忆能力。另外，短期记忆能力不止对阅读有用，对于一些题目较长的比如填空或者数学文字题来说也能起到很大作用。比如填空中的三空题，题目本身长度往往接近一篇短阅读，考生又需要同时兼顾三个空格中的选项保持整体意思的合理恰当，如果没有一定的记忆能力，填了这个空忘了前面或后面的一些关键要点，就很容易选错答案。数学中一些本身难度不高但文字表达特别复杂的WORD PROBLEM也是如此。总而言之，练好短期记忆能力，对于整场GRE考试的各类题型，都能起到一定的积极作用。训练GRE阅读记忆力3个步骤讲解那么，考生如何才能培养好GR
3、E考试需要的短期记忆能力呢?下面就为大家介绍具体步骤。第一步：先记住*框架1. 用3.5分钟读完一篇*。2. 在*每段结尾，一句话概括出该段主旨。3. 读完全文后，浏览每段主旨，做好归纳总结。4. 提炼并确定*整体主旨。上述步骤能帮助考生熟悉全文，加快解题速度。第二步：回顾检查记忆内容1. 把刚才看过的*翻页，暂时不去看。2. 在纸上写下刚才的每段主旨和*整体主旨。检查记忆的步骤是为了测试你实际记住了*里的多少内容，这也真是GRE阅读理解考察的能力。如果你刚开始练习的时候什么都没记住也没关系，但这个阶段请不要直接去看*。只要尽可能把你还记得的东西写下来即可。第三步：结合记忆答题1. 现在可以把
4、*翻回来重新看了。2. 如果题目涉及到具体细节，比如某段某行中有关于特定内容的描述说明等，就马上定位到*当中的相关部分找寻答案。3. 如果不是细节题，就直接答题。4. 能够确定答案的情况下果断答题并继续做后面的题。5. 不能确定答案的话再回到*里找，但要求迅速完成。6. 如果在上一步中无法解答题目，那么就做个标记，猜个答案然后继续做题。假如你还在为GRE阅读中的长篇*而头疼，或是经常遭遇看完*后面忘了前面的问题，那么上文中提到的内容，相信会给你带来不小的帮助。GRE阅读长难句中译英练习36. Is this what you intended to accomplish with your c
5、areers? Senator Robert Dole asked Time Warner executives last week. You have sold your souls, but must you corrupt our nation and threaten our children as well?37. The test of any democratic society, he wrote in a Wall Street Journal column, lies not in how well it can control expression but in whet
6、her it gives freedom of thought and expression the widest possible latitude, however disputable or irritating the results may sometimes be.38. During the discussion of rock singing verses at last months stockholders meeting, Levin asserted that music is not the cause of societys ills and even cited
7、his son, a teacher in the Bronx, New York, who uses rap to communicate with students.39. Much of the language used to describe monetary policy, such as steering the economy to a soft landing of a touch on the brakes ， makes it sound like a precise science. Nothing could be further from the truth.40.
8、 Economists have been particularly surprised by favorable inflation figures in Britain and the United States, since, conventional measures suggest that both economies, and especially Americas, have little productive slack.36.参考译文上星期参议员罗博特多尔质问时代华纳公司的高级管理人员们：难道这就是你们希望能够成就的事业?你们已经出卖了自己的灵魂，但是难道你们还非要腐化我们
9、的国家，威胁我们的孩子们吗?37.参考译文对任何一个民主社会的考验，他在华尔街杂志的一个专栏*中写到，不在于它能够多有效地控制各种意见的表达，而在于这个社会是否能给予思考和表达的尽可能广泛的自由，不管有时候这种结果是多么的富有争议或令人不快38.参考译文在-上个月的股东大会上关于摇滚歌词的讨论中，莱文宣称说：音乐不是社会问题的原因，他甚至还以他的儿子为例。他的儿子是纽约州布朗克斯的一个教师，并用说唱音乐与学生们进行沟通。39.参考译文有很多用于描述货币政策的词汇，例如轻踩刹车以操纵经济软着陆，使货币政策听起来像是一门精确的科学。没有什么比这更远离实际情况的了。40.参考译文经济学家们对英国和美
10、国的有利的通货膨胀数据尤其感到惊讶，因为传统的计量方法显示两国的经济，特别是美国的经济，几乎没有生产萧条的时候。GRE阅读练习每日一篇Although scientists observe that an organisms behavior falls into rhythmic patterns, they disagree about how these patterns are affected when the organism is transported to a new environment. One experimenter, Brown, brought oysters
11、from Connecticut waters to Illinois waters. She noted that the oysters initially opened their shells widest when it was high tide in Connecticut, but that after fourteen days their rhythms had adapted to the tide schedule in Illinois. Although she could not posit an unequivocal causal relationship b
12、etween behavior and environmental change, Brown concluded that a change in tide schedule is one of several possible exogenous influences (those outside the organism) on the oysters rhythms. Another experimenter, Hamner, however, discovered that hamsters from California maintain their original rhythm
13、s even at the South Pole. He concluded that endogenous influences (those inside the organism) seem to affect an organisms rhythmic behavior.17. All of the following could be considered examples of exogenous influences on an organism EXCEPT the influence of the(A) level of a hormone on a field mouses
14、 readiness for mating(B) temperature of a region on a bears hibernation(C) salt level of a river on a fishs migration(D) humidity of an area on a cats shedding of its fur(E) proximity of an owl on a lizards searching for food18. Which of the following statements best describes the conclusion drawn b
15、y Brown (lines 14-17)(A) A change in tide schedule is the primary influence on an oysters rhythms.(B) A change in tide schedule may be an important exogenous influence on an oysters rhythms.(C) Exogenous influences, such as a change in tide schedule, seldom affect an oysters rhythms.(D) Endogenous i
16、nfluences have no effect on an oysters rhythms.(E) Endogenous influences are the only influences on an oysters rhythms.19. The passage suggests that Browns study was similar to Hamners in which of the following ways?I. Both experimenters discovered that a new environment had a significant effect on
17、an organisms behavior rhythms.II. Both experimenters observed an organisms behavioral rhythms after the organism had been transported to a new environment.III. Both experimenters knew an organisms rhythmic patterns in its original environment.(A) I only(B) II only(C) I and II only(D) II and III only
18、(E) I, II, and III20. Which of the following, if true, would most weaken Browns conclusion?(A) The oyster gradually closed their shells after high tide in Illinois had passed.(B) The oysters behavioral rhythms maintained their adaptation to the tide schedule in Illinois throughout thirty days of obs
19、ervation.(C) Sixteen days after they were moved to Illinois, the oysters opened their shells widest when it was high tide in Connecticut.(D) A scientist who brought Maryland oysters to Maine found that the oysters opened their shells widest when it was high tide in Maine.(E) In an experiment similar
20、 to Browns, a scientist was able to establish a clear causal relationship between environmental change and behavioral rhythms.Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though on
21、ly the camera can disclose them. And they depict an individual photographers temperament, discovering itself through the cameras cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observe who counts for l
22、ittle; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in “taking” a picture. Acco
23、rdingly, the ideal of a photographer as observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequen
24、ce, one ideal of picture-taking or the other is always being rediscovered and championed.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photographys means. Whatever the claims that photography might make to be a form of personal expression on a par (on a
25、 par: adv.同等) with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgertons high-speed photographs of a bullet hitting it
26、s target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology be
27、cause a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modern equipment. These
28、 photographers have come to doubt the value of the camera as an instrument of “fast seeing.” Cartier-Bresson, in fact, claims that the modern camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates
29、 over time (over time: 随着时间的过去) with the wish to return to a purer pastwhen images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-cen
30、tury provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.21. According to the passage, interest among photographers in each of photographys two ideals can be described as(A) rapidly changing(B) cyclically recurring(C) steadi
31、ly growing(D) unimportant to the viewers of photographs(E) unrelated to changes in technology22. The author is primarily concerned with(A) establishing new technical standards for contemporary photography(B) analyzing the influence of photographic ideals on picture-taking(C) tracing the development
32、of camera technology in the twentieth century(D) describing how photographers individual temperaments are reflected in their work(E) explaining how the technical limitations imposed by certain photographers on themselves affect their work23. The passage states all of the following about photographs
33、EXCEPT:(A) They can display a cropped reality.(B) The can convey information.(C) They can depict the photographers temperament.(D) They can possess great formal beauty.(E) They can change the viewers sensibilities.24. The author mentions the work of Harold Edgerton in order to provide an example of(
34、A) how a controlled ambivalence toward photographys means can produce outstanding pictures(B) how the content of photographs has changed from the nineteenth century to the twentieth(C) the popularity of high-speed photography in the twentieth century(D) the relationship between photographic original
35、ity and technology(E) the primacy of formal beauty over emotional content25. The passage suggests that photographers such as Walker Evans prefer old-fashioned techniques and equipment because these photographers(A) admire instruments of fast seeing(B) need to feel armed by technology(C) strive for i
36、ntense formal beauty in their photographs(D) like the discipline that comes from self-imposed limitations(E) dislike the dependence of photographic effectiveness on the powers of a machine26. According to the passage, the two antithetical ideals of photography differ primarily in the(A) value that e
37、ach places on the beauty of the finished product(B) emphasis that each places on the emotional impact of the finished product(C) degree of technical knowledge that each requires of the photographer(D) extent of the power that each requires of the photographers equipment(E) way in which each defines
38、the role of the photographer27. Which of the following statements would be most likely to begin the paragraph immediately following the passage?(A) Photographers, as a result of their heightened awareness of time, are constantly trying to capture events and actions that are fleeting.(B) Thus the cul
39、t of the future, the worship of machines and speed, is firmly established in spite of efforts to the contrary by some photographers.(C) The rejection of technical knowledge, however, can never be complete and photography cannot for any length of time pretend that it has no weapons.(D) The point of honor involved in rejecting complex equipment is, however, of no significance to the viewer of a photograph.(E) Consequently the impulse to return to the past through images that suggest a handwrought quality is nothing more that a passing fad.答案：17-27：ABDCBBEDEECGRE应对长阅读需训练记忆力
