GRE阅读合理提速技巧精讲 ,做题更快正确率也不能丢,下面小编就和大家分享，来欣赏一下吧。
GRE阅读合理提速技巧精讲 做题更快正确率也不能丢GRE阅读控速提速方法：词汇基础打扎实
做GRE阅读时，并不需要认识文章里的所有单词。如果章中一些名词不认识，可以去猜，练习猜词的能力，毕竟考试中肯定会有词不认识，要根据上下文推测下。
但是，如果是一些重要的形容词，名词，动词，那么还是要熟悉才行。因为这些词反映了作者的态度和文章转折等结构，所以要做到对这些词熟练认识，形成条件反射，一看到就能反应出词义。
建议可以去背下阅读类单词表，平时做阅读时对于重要的可以推理作者态度的词也总结背下来。
GRE阅读控速提速方法：每天练习长难句
建议各位考生保持每天都练习一下长难句，以不看答案，自己分析为标准。每看完一句长难句，都做一下相关训练，对提高阅读速度非常有帮助。看长难句最好每天都花一个小时，看的时候逐渐增加阅读速度。
GRE阅读控速提速方法：速度训练
很多教材都介绍了很多阅读把握逻辑框架的技巧，比如not only后的跳过，but
also后的重点读，however后的要重点度之类的。建议大家不能盲目记这些技巧，最好亲手总结适合自己的方法，毕竟很多时候gre细节题考的都是一些要”跳过的“插入语，或者for
example之后的内容。如果读的时候直接跳过了，就会有问题。比如一篇反驳老观点的阅读，看到第一个词many
people，就可以扫过这句找however，因为however肯定是指出他的不足和他对比，通过however的观点，脑子里就可以推出many people
的观点，这样就可以略过不少内容。同时，一定要边读边动脑子，而不是盲目吸收信息。大家都知道新gre是逻辑考试，不是简答的语言考试，不要用做中学英语阅读的那套。如果阅读中遇到读不懂的长难句，就仔细破解，找主谓宾，静下心来破解。这样把握了结构做题的时候，遇到主旨题，细节题，作者态度题就可以直接解决，不用回头看文章，然后遇到细节题，回去快速定位找下，毕竟文章理解了，定位会很快。
GRE阅读控速提速方法：卡时间训练
可以从每篇文章6分钟，5分钟，4分钟等逐渐减少时间的方法根据个人情况一步步训练。根据每篇文章分配的时间，来有取舍的读，每篇短阅读2分钟读完，能读多少是多少，但是要把整体文章读完。还要求宏观读全文，文章把握住逻辑结构和观点即可，细节不要太深究，加快节奏。
以上就是GRE阅读控制解题速度和提速方法的介绍，希望大家都能在GRE阅读考试中把握好考试时间，顺利取得满意的成绩。
GRE阅读练习The transplantation of organs from one individual to another normally
involves two major problems: (1) organ rejection is likely unless the
transplantation antigens (a usually protein or carbohydrate substance (as a
toxin or enzyme) capable of stimulating an immune response) of both individuals
are nearly identical, and (2) the introduction of any unmatched transplantation
antigens induces the development by the recipient of donor-specific lymphocytes
that will produce violent rejection of further transplantations from that donor.
However, we have found that among many strains of rats these “normal” rules of
transplantation are not obeyed by liver transplants. Not only are liver
transplants never rejected, but they even induce a state of donor-specific
unresponsiveness in which subsequent transplants of other organs, such as skin,
from that donor are accepted permanently. Our hypothesis is that (1) many
strains of rats simply cannot mount a sufficiently vigorous destructive
immune-response (using lymphocytes) to outstrip the liver’s relatively great
capacity to protect itself from immune-response damage and that (2) the systemic
unresponsiveness observed is due to concentration of the recipient’s
donor-specific lymphocytes at the site of the liver transplant.
17. The primary purpose of the passage is to treat the accepted
generalizations about organ transplantation in which of the following ways?
(A) Explicate their main features
(B) Suggest an alternative to them
(C) Examine their virtues and limitations
(D) Criticize the major evidence used to support them
(E) Present findings that qualify them
18. It can be inferred from the passage that the author believes that an
important difference among strains of rats is the
(A) size of their livers
(B) constitution of their skin
(C) strength of their immune-response reactions
(D) sensitivity of their antigens
(E) adaptability of their lymphocytes
19. According to the hypothesis of the author, after a successful liver
transplant, the reason that rats do not reject further transplants of other
organs from the same donor is that the
(A) transplantation antigens of the donor and the recipient become
matched
(B) lymphocytes of the recipient are weakened by the activity of the
transplanted liver
(C) subsequently transplanted organ is able to repair the damage caused by
the recipient’s immune-response reaction
(D) transplanted liver continues to be the primary locus for the
recipient’s immune-response reaction
(E) recipient is unable to manufacture the lymphocytes necessary for the
immune-response reaction
20. Which of the following new findings about strains of rats that do not
normally reject liver transplants, if true, would support the authors’
hypothesis?
I. Stomach transplants are accepted by the recipients in all cases.
II. Increasing the strength of the recipient’s immune-response reaction can
induce liver-transplant rejection.
III. Organs from any other donor can be transplanted without rejection
after liver transplantation.
IV. Preventing lymphocytes from being concentrated at the liver transplant
produces acceptance of skin transplants.
(A) II only
(B) I and III only
(C) II and IV only
(D) I, II, and III only
(E) I, III, and IV only
Practically speaking, the artistic maturing of the cinema was the
single-handed achievement of David W. Griffith (1875-1948). Before Griffith,
photography in dramatic films consisted of little more than (little more than:
和...无差别[一样]) placing the actors before a stationary camera and showing them in
full length as they would have appeared on stage. From the beginning of his
career as a director, however, Griffith, because of his love of Victorian
painting, employed composition. He conceived of the camera image as having a
foreground and a rear ground, as well as the middle distance preferred by most
directors. By 1910 he was using close-ups to reveal significant details of the
scene or of the acting and extreme long shots to achieve a sense of spectacle
and distance. His appreciation of the camera’s possibilities produced novel
dramatic effects. By splitting an event into fragments and recording each from
the most suitable camera position, he could significantly vary the emphasis from
camera shot to camera shot.
Griffith also achieved dramatic effects by means of creative editing. By
juxtaposing images and varying the speed and rhythm of their presentation, he
could control the dramatic intensity of the events as the story progressed.
Despite the reluctance of his producers, who feared that the public would not be
able to follow a plot that was made up of such juxtaposed images, Griffith
persisted, and experimented as well with other elements of cinematic syntax that
have become standard ever since (ever since: adv.从那时到现在). These included the
flashback, permitting broad psychological and emotional exploration as well as
narrative that was not chronological, and the crosscut between two parallel
actions to heighten suspense and excitement. In thus exploiting fully the
possibilities of editing, Griffith transposed devices of the Victorian novel to
film and gave film mastery of time as well as space.
Besides developing the cinema’s language, Griffith immensely broadened its
range and treatment of subjects. His early output was remarkably eclectic: it
included not only the standard comedies, melodramas, westerns, and thrillers,
but also such novelties as adaptations from Browning and Tennyson, and
treatments of social issues. As his successes mounted, his ambitions grew, and
with them the whole of American cinema. When he remade Enoch Arden in 1911, he
insisted that a subject of such importance could not be treated in the then
conventional length of one reel. Griffith’s introduction of the American-made
multireel picture began an immense revolution. Two years later, Judith of
Bethulia, an elaborate historicophilosophical spectacle, reached the
unprecedented length of four reels, or one hour’s running time (running time:
(程序)执行时间, 运行时间). From our contemporary viewpoint, the pretensions of this film
may seem a trifle ludicrous, but at the time it provoked endless debate and
discussion and gave a new intellectual respectability to the cinema.
21. The primary purpose of the passage is to
(A) discuss the importance of Griffith to the development of the cinema
(B) describe the impact on cinema of the flashback and other editing
innovations
(C) deplore the state of American cinema before the advent of Griffith
(D) analyze the changes in the cinema wrought by the introduction of the
multireel film
(E) document Griffith’s impact on the choice of subject matter in American
films
22. The author suggests that Griffith’s film innovations had a direct
effect on all of the following EXCEPT:
(A) film editing
(B) camera work
(C) scene composing
(D) sound editing
(E) directing
23. It can be inferred from the passage that before 1910 the normal running
time of a film was
(A) 15 minutes or less
(B) between 15 and 30 minutes
(C) between 30 and 45 minutes
(D) between 45 minutes and 1 hour
(E) 1 hour or more
24. The author asserts that Griffith introduced all of the following into
American cinema EXCEPT:
(A) consideration of social issues
(B) adaptations from Tennyson
(C) the flashback and other editing techniques
(D) photographic approaches inspired by Victorian painting
(E) dramatic plots suggested by Victorian theater
25. The author suggests that Griffith’s contributions to the cinema had
which of the following results?
I. Literary works, especially Victorian novels, became popular sources for
film subjects.
II. Audience appreciation of other film directors’ experimentations with
cinematic syntax was increased.
III. Many of the artistic limitations thought to be inherent in filmmaking
were shown to be really nonexistent.
(A) II only
(B) III only
(C) I and II only
(D) II and III only
(E) I, II, and III
26. It can be inferred from the passage that Griffith would be most likely
to agree with which of the following statements?
(A) The good director will attempt to explore new ideas as quickly as
possible.
(B) The most important element contributing to a film’s success is the
ability of the actors.
(C) The camera must be considered an integral and active element in the
creation of a film.
(D) The cinema should emphasize serious and sober examinations of
fundamental human problems.
(E) The proper composition of scenes in a film is more important than the
details of their editing.
27. The author’s attitude toward photography in the cinema before Griffith
can best be described as
(A) sympathetic
(B) nostalgic
(C) amused
(D) condescending
(E) hostile
答案：17-27：ECDAADAEBCD
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