GRE阅读解题技巧错误答案快速辨别技巧

GRE阅读解题技巧错误答案快速辨别

技巧

GRE语文部分的阅读题都是选择题，而在每道题目的数个选项中，往往会有一两个考官精心设计加入的错误干扰选项。今天给大家带来了GRE阅读解题技巧错误答案快速辨别技巧,希望能够帮助到大家，一起来学习吧。

GRE阅读解题技巧错误答案快速辨别技巧

GRE阅读常见错误干扰选项类型介绍

GRE阅读题中比较常见的错误干扰选项主要有以下几种：

1. 偏题项

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*的主线。考生很容易跟正确选项混淆而选择它。

2. 反义项

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。

3. 错位项

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。

4. 极端项

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。

5. 未提项

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*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*中完全和题目无关的未提及选项。

6. 主观项

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。

GRE阅读错误选项真题练习

下面分享一篇GRE阅读机经真题*，帮助大家加深理解：

By far the most popular United States literature of its time was a body of now-neglected novels written between 1820 and 1870 by, for, and about women. According to Nina Baym, who has termed this genre “woman’s fiction,” the massive popularity of these novels claimed a place for women in the writing profession. The novels chronicle the experiences of women who, beset with hardships, find within themselves qualities of intelligence, will, resourcefulness, and courage sufficient to overcome their obstacles. According to Baym, the genre began with Catharine Sedgwick’s New-England Tale (1822), manifested itself as the best-selling reading matter of the American public in the unprecedented sales of Susan Warner’s Wide, Wide World (1850), and remained a dominant fictional type until after 1870. The critical, as opposed to popular, reception of these novels in their own time was mixed. Theoretical opposition by those who saw fiction as a demoralizing and corrupting influence was by no means dead in mid-nineteenth-century America, and popular successes naturally bore a significant proportion of the attack. The moralistic tone of much woman’s fiction did not placate these antagonists; on the contrary, many clerical opponents of the novel thought that women were trying to take over the clergy’s functions and hence attacked all the more fiercely. Similarly, some

male authors, disgruntled by the emergence of great numbers of women writers, expressed contempt for the genre.

On the other hand, the women had a powerfully ally--their publishers, who not only put these works into print but advertised them widely and enthusiastically. Some few reviewers wrote about these works with attention and respect, distinguishing between the works of the different authors and identifying individual strengths and weaknesses. These approving contemporary critics were particularly alert to each writer’s contribution to the depiction of American social life, especially to regional differences in manners and character types. On the whole, however, even these laudatory critics showed themselves uninterested in the stories that this fiction told, or in their significance.

Baym acknowledges that these novels are tell--with variations--a single familiar tale, and correctly notes that this apparent lack of artistic innovation has been partly responsible for their authors’ exclusion from the canon of classic American writers traditionally studied in university literature courses. Baym points out, however, that unlike such male contemporaries as Nathaniel Hawthorne, these women did not conceive of themselves as “artists,” but rather as professional writers with work to do and a