GRE閱讀如何快速辨別干擾選項(xiàng)教你如何快速辨別干擾選項(xiàng)

雅思托?？荚囀菄?guó)際性英語(yǔ)標(biāo)準(zhǔn)化水平測(cè)試之一，參加考試和報(bào)班學(xué)習(xí)的學(xué)子眾多，那么GRE閱讀如何快速辨別干擾選項(xiàng)？教你如何快速辨別干擾選項(xiàng)??？下面是由小編為大家整理的相關(guān)信息，僅供參考，歡迎大家閱讀本文。

GRE閱讀常見錯(cuò)誤干擾選項(xiàng)類型介紹

GRE閱讀題中比較常見的錯(cuò)誤干擾選項(xiàng)主要有以下幾種：

1. 偏題項(xiàng)

這類選項(xiàng)比較隱蔽，其表現(xiàn)形式往往是內(nèi)容本身是正確的，但說偏了沒抓住重點(diǎn)，不是文章的主線?？忌苋菀赘_選項(xiàng)混淆而選擇它。

2. 反義項(xiàng)

有些題目本身比較長(zhǎng)，加上一些否定和雙重否定等，考生就容易理解錯(cuò)誤，而特別設(shè)置的部分反義項(xiàng)，就往往會(huì)等著考生自己被繞暈了以后自投羅網(wǎng)。

3. 錯(cuò)位項(xiàng)

還有些錯(cuò)誤選項(xiàng)，主題和修飾錯(cuò)位，或者把不相關(guān)的內(nèi)容拼湊在一起，看似哪邊都沾一點(diǎn)關(guān)系，其實(shí)本身卻是錯(cuò)位選項(xiàng)，也很容易影響考生的判斷。

4. 極端項(xiàng)

極端項(xiàng)其實(shí)是比較明顯的錯(cuò)誤干擾選項(xiàng)，常會(huì)使用一些代表主觀判斷的最高級(jí)詞匯比如best/most/least，唯一性詞匯比如only、alone或者比較級(jí)詞匯比如better、worse等。這些選項(xiàng)表現(xiàn)出一種極端的不容否定的態(tài)度。看似很有道理其實(shí)卻并正確。

5. 未提項(xiàng)

這種錯(cuò)誤選項(xiàng)陷阱也比較常見，故意給出一些看似很有聯(lián)系的新信息點(diǎn)，說得頭頭是道，考生如果因?yàn)槲恼缕^長(zhǎng)沒有閱讀全文，就會(huì)以為自己沒看仔細(xì)，其實(shí)這些所謂的信息都是一些根本沒有出現(xiàn)在文章中完全和題目無(wú)關(guān)的未提及選項(xiàng)。

6. 主觀項(xiàng)

這種錯(cuò)誤選項(xiàng)的制定思路是根據(jù)一些常識(shí)性的推斷，引導(dǎo)考生做出的判斷，其本身帶有很強(qiáng)的主觀性，而并不是客觀的事實(shí)，如果考生不加注意就很容易被帶歪思路。

GRE閱讀錯(cuò)誤選項(xiàng)真題練習(xí)

下面小編分享一篇GRE閱讀機(jī)經(jīng)真題文章，幫助大家加深理解：

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 womans 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 Sedgwicks New-England Tale (1822), manifested itself as the best-selling reading matter of the American public in the unprecedented sales of Susan Warners 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 womans fiction did not placate these antagonists; on the contrary, many clerical opponents of the novel thought that women were trying to take over the clergys 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 writers 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 living to be made from fulfilling an obligation to their audience. This obligation included both entertainment and instruction, which are not, says Baym, at odds with one another in these books, nor is entertainment the sweet coating on a didactic pill. Rather, the lesson itself is an entertainment: the central characters triumph over adversity is profoundly pleasurable to those readers who identify with her.

1. The passage is primarily concerned with

A. Summarizing the major contributions of two influential writers

B. Describing and commenting on a group of literary works

C. Summarizing the major events of a period of literary history

D. Contrasting two types of literary works from the same era

E. Arguing for the adopting of several neglected literary works into university curriculums

參考答案：B

2. The author of the passage cites Susan Warners Wide, Wide World most probably as an example of a womans novel that

A. Had more advanced artistic elements than many of its type

B. Attracted an excessive amount of critical attention

C. Was found to be inappropriately moralistic by many members of the clergy

D. Was significant as an indicator of the genres popularity

E. Signaled the gradual decline of the size of the genres audience

參考答案：D.

3. The author of the passage implies which of the following about the members of the clergy mentioned in the first paragraph?

A. They also opposed works of fiction that were outside the genre of womans fiction.

B. They opposed journalism as well as imaginative writing.

C. Their influence reached its pinnacle in the mid-nineteenth century.

D. They were unable to obtain the support of other critics for their views.

E. Their attacks on the genre of the novel did not extend to novels written by male writers.

參考答案：E.

4.Which of the following can be inferred from the passage concerning the majority of the nineteenth-century reviewers of womans fiction?

A. They considered the position taken by the clergy in regard to womans fiction self-serving.

B. They did not make fine distinctions between different authors.

C. They placed a higher value on plot than on social significance.

D. They subscribed to the view of writers as purveyors of popular entertainment rather than as artists.

E. They felt that the literary market was saturated with novels by and about women.

參考答案：C.

這篇長(zhǎng)篇閱讀的4道題目中，就有許多選項(xiàng)包含了上述提到的六種錯(cuò)誤選項(xiàng)，每道題目中都有1個(gè)或者數(shù)個(gè)選項(xiàng)存在問題，有些題目5個(gè)選項(xiàng)中就包括了幾種錯(cuò)誤。大家不妨結(jié)合正確答案，對(duì)比查看一下具體錯(cuò)誤選項(xiàng)類型。

學(xué)會(huì)快速辨識(shí)錯(cuò)誤選項(xiàng)提升解題速度正確率

之所以要特別列出閱讀中的錯(cuò)誤選項(xiàng)，是因?yàn)檫@種選項(xiàng)對(duì)于考生閱讀部分的正確率殺傷率極高。比起其它一目了然的數(shù)學(xué)或者填空題，GRE閱讀要解題首先就要讀文章，很多考生讀完文章，特別是長(zhǎng)篇文章后，本身思路已經(jīng)有些混亂，再被這些干擾選項(xiàng)禍害一下，很容易就會(huì)出現(xiàn)連續(xù)錯(cuò)誤。而許多考生對(duì)于GRE閱讀存在的畏懼情緒和心理陰影，其實(shí)也往往是由錯(cuò)誤選項(xiàng)導(dǎo)致的。

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