GRE阅读6种常见错误选项形式类型讲解

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，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。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，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 P52 In the late nineteenth century, art critics 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 art. 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 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 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 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 taking 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 Jongh’s followers typically regard the pictures as purely symbolic. Not 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 Visscher’s Sinnepoppen of 1614, not every bridle is an emblem of restraint (though many were indeed just that). To maintain as Brown does, that the two children in Netscher’s 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. 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 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 the following? A. Reconciling two different points of view about how art reflects B. Criticizing a traditional method of interpretation C. Tracing the development of an innovative scholarly approach D. Describing and evaluating a recent critical approach E. Describing a long-standing controversy and how it was resolved 2. The author of the passage mentions bridles in the highlighted portion of the passage most likely in order to A. Suggest that restraint was only one of the many symbolic