閱讀36套分析總結(jié).docx

閱讀36套分析總結(jié)Exercise1P1 Immediately relevant to game theory are the sex ratios in certain parasitic wasp species that have a large excess of females. In these species, fertilized eggs develop into females and unfertilized eggs into males. A female stores sperm and can determine the sex of each egg she lays by fertilizing it or leaving it unfertilized. By Fishers genetic argument that the sex ratio will be favored which maximizes the number of descendants an individual will have and hence the number of gene copies transmitted, it should pay a female to produce equal numbers of sons and daughters. Hamilton, noting that the eggs develop within their hostthe larva of another insectand that the newly emerged adult wasps mate immediately and disperse, offered a remarkably cogent analysis. Since only one female usually lays eggs in a given larva, it would pay her to produce one male only, because this one male could fertilize all his sisters on emergence. Like Fisher, Hamilton looked for an evolutionarily stable strategy, but he went a step further in recognizing that he was looking for a strategy.第一句話提到一個(gè)現(xiàn)象，就是the sex ratios have a large excess of females；第二句話和第三句話是輔助說明這些種群里的基本背景。到這里還只是簡單地陳述，下面才提出解釋。第四句話提出Fishers genetic argument，即it should pay a female to produce equal numbers of sons and daughters因?yàn)橐a(chǎn)生最多的后代；第五句話，Hamilton offered a remarkably cogent analysis，表達(dá)了作者支持H的分析；第六句話就是H的分析；第七句話就是作者對H的評價(jià)，看上去是肯定的a step further。本文是解釋說明的文章，解釋為何蜂群的雌性較多，涉及到兩個(gè)人的理論，即F的和H的。這兩者的理論不是對立的，而是H在F的基礎(chǔ)上走得更遠(yuǎn)。作者對H持支持肯定態(tài)度。結(jié)構(gòu)上來看，先提出現(xiàn)象，闡述背景，提出F的理論，再提出H的分析，最后對H的分析做評價(jià)。1. The author suggests that the work of Fisher and Hamilton was similar in that both scientists(A) conducted their research at approximately the same time(B) sought to manipulate the sex ratios of some of the animals they studied(C) sought an explanation of why certain sex ratios exist and remain stable(D) studied game theory, thereby providing important groundwork for the later development of strategy theory(E) studied reproduction in the same animal speciesF和H的工作相似，為什么？從第七句可以看出，looked for an evolutionarily stable strategy，A沒有信息支持；B manipulate無從談起；C雖然有個(gè)stable，但說的是sex ratios，給個(gè)不確定；D后半句錯(cuò)了，F(xiàn)的可能還為以后提供基礎(chǔ)，H的無從談起；E the same animal species文章沒有提到F研究的是什么。綜上，答案應(yīng)該是C。For the following question, consider each of the choices separately and select all that apply2. The passage contains information that would answer which of the following questions aboutwasps?A How many eggs does the female wasp usually lay in a single host larva?B Can some species of wasp determine sex ratios among their offspring?C What is the approximate sex ratio among the offspring of parasitic wasps?本文信息和下列哪些有關(guān)？A，第六句有信息，說的是產(chǎn)1個(gè)雄蜂（由第二句知是不受精卵），但其他的卵多少不能確定，故A不能選；B，第二句及第六句可以看出，后代的性別是可以決定的，即是受精還是不受精，故B對；C，蜂的性別比例，由于雌蜂多少未知，所以比例也不知。綜上，答案是B。3. Which of the following is NOT true of the species of parasitic wasps discussed in the passage?(A) Adult female wasps are capable of storing sperm.(B) Female wasps lay their eggs in the larvae of other insects.(C) The adult female wasp can be fertilized by a male that was hatched in the same larva as herself.(D) So few male wasps are produced that extinction is almost certain.(E) Male wasps do not emerge from their hosts until they reach sexual maturity.選不對的。A，第三句有信息；B，第六句有信息；C，第六句；D，顯然不對，文章沒有談到extinction，而且almost certain也有點(diǎn)絕對；E，第五句有信息。E比較隱蔽，但是D錯(cuò)的太明顯了，所以此題也不是很難。答案是D?？键c(diǎn)總結(jié)：1題：七；2題：二、六；3題：三、五、六。重點(diǎn)在后半段，而且是H的理論，其實(shí)主要就是考H和F的區(qū)別及H的理論的一些內(nèi)容，而H的理論恰恰是作者大力支持的。所以，本文章的閱讀策略就是，一遍讀下來要知道F和H這兩個(gè)理論，而且知道作者贊揚(yáng)的是哪個(gè)，然后就詳讀H的理論。另外，文章的背景即二三句，雖然簡單，但是也必須要能理解。P2. Tocqueville, apparently, was wrong. Jacksonian America was not a fluid, egalitarian society where individual wealth and poverty were ephemeral conditions. At least to argues E. Pessen in his iconoclastic study of the very rich in the United States between 1825 and 1850. Pessen does present a quantity of examples, together with some refreshingly intelligible statistics, to establish the existence of an inordinately wealthy class. Though active in commerce or the professions, most of the wealthy were not self-made, but had inherited family fortunes. In no sense mercurial, these great fortunes survived the financial panics that destroyed lesser ones. Indeed, in several cities the wealthiest one percent constantly increased its share until by 1850 it owned half of the communitys wealth. Although these observations are true, Pessen overestimates their importance by concluding from them that the undoubted progress toward inequality in the late eighteenth century continued in the Jacksonian period and that the United States was a class-ridden, plutocratic society even before industrialization.第一句，開門見山，說T顯然是錯(cuò)的。這時(shí)我們不認(rèn)識Tocqueville這個(gè)詞，不過不用慌，就把它讀成T就是了。第二句，應(yīng)該是第一句的補(bǔ)充說明，說JA不是個(gè)流暢的、平等的社會，個(gè)人財(cái)產(chǎn)不是短暫的。第三句，至少對于P的between 1825 and 1850 的反傳統(tǒng)的美國極富之人的研究是這樣的。這就是第一段，看上去作者提出了P這個(gè)人和他的初步理論介紹。來看第二段。第四句，說P舉了例子。第五句，Though關(guān)鍵詞，我們只關(guān)注后半句，就是富人大部分是繼承得來的。第六句，說大財(cái)富吃小財(cái)富。第七句，說很少的人擁有很多的財(cái)富。第八句很長，但看到Although these observations are true我們就知道作者八成要批評P了。果然，作者說P過度估計(jì)了這些現(xiàn)象的重要性，因?yàn)椴黄降鹊倪^程在JA時(shí)代仍然繼續(xù)，而且工業(yè)化前美國本來就是個(gè)階級分化、富豪統(tǒng)治的國家。本文是駁論文，提出P的理論，然后提出質(zhì)疑。第一段起到引子的作用，第二段提出P的理論的事實(shí)基礎(chǔ)，然后駁斥之。4. According to the passage, Pessen indicates that all of the following were true of the very wealthy in the United States between 1825 and 1850 EXCEPT:(A) They formed a distinct upper class.(B) Many of them were able to increase their holdings.(C)Some of them worked as professionals or in business.(D) Most of them accumulated their own fortunes.(E) Many of them retained their wealth in spite of financial upheavals.除了哪項(xiàng)外都是P說的？A，第四句；B，第七句；C，第五句；D，第五句，但是原文說是繼承的而不是自己的，most也有絕對的意味，其它選項(xiàng)都是many，所以D不對；E，第六句。綜上，D錯(cuò)。5. Which of the following best states the authors main point?(A) Pessens study has overturned the previously established view of the social and economic structure of early nineteenth-century America.(B) Tocquevilles analysis of the United States in the Jacksonian era remains the definitive account of this period.(C) Pessens study is valuable primarily because it shows the continuity of the social system in the United States throughout the nineteenth century.(D) The social patterns and political power of the extremely wealthy in the United States between 1825 and 1850 are well documented.(E) Pessen challenges a view of the social and economic system in the United States from 1825 to 1850, but he draws conclusions that are incorrect.主旨題。A，overturned不對，原文未提到；B，T應(yīng)該是錯(cuò)的，而且也過于片面；C，valuable不對，作者持批判態(tài)度；D，不對，選項(xiàng)沒有涉及P的理論；E，對。答案是E?？键c(diǎn)分析：1：四五六七；2：主旨。本文重點(diǎn)在后半段，即P的理論的具體分析。P的理論是作者要駁斥的主題，所以題出在這上面也就不奇怪的。值得一提的是，T是什么東西我們還是不明白，但這一點(diǎn)也不影響解題。閱讀策略：詳讀P的理論基礎(chǔ)即后半段。擴(kuò)展分析：如果是我出題，首先可以考慮猜測T是個(gè)什么東西，和P的理論的聯(lián)系，或者作者對T持有什么態(tài)度；然后就是為什么P的理論不對，作者提出的駁斥為什么有道理，或者什么事實(shí)能支持或者削弱作者的駁斥等等。感覺上這個(gè)文章只出兩道題考的太淺了。P3. Anaerobic glycolysis is a process in which energy is produced, without oxygen, through the breakdown of muscle glycogen into lactic acid and adenosine tri- phosphate (ATP), the energy provider. The amount of energy that can be produced anaerobically is a function of the amount of glycogen presentin all vertebrates about 0.5 percent of their muscles wet weight. Thus the anaerobic energy reserves of a vertebrate are proportional to the size of the animal. If, for example, some predators had attacked a 100-ton dinosaur, normally torpid, the dinosaur would have been able to generate almost instantaneously, via anaerobic glycolysis, the energy of 3,000 humans at maximum oxidative metabolic energy production.第一句，說無氧glycolysis（糖原發(fā)酵）是這樣的過程，在沒有氧氣的條件下，分解肌肉中g(shù)lycogen（糖原，淀粉，但不明白也能猜到是某種能量物質(zhì)）成為乳酸和ATP，ATP就是能量提供者。第二句，無氧產(chǎn)生能量的量是g的存在量的函數(shù)，在脊椎動物中約0.5%的肌肉凈重。第三句，thus關(guān)鍵詞，說因此無氧能量與動物體型成正比。第四句，舉例，100噸的恐龍立刻無氧產(chǎn)生3k個(gè)人類的最大能量。本文是說明文。先介紹無氧g過程，再說能量與體型的關(guān)系，然后舉例。文章結(jié)構(gòu)相當(dāng)簡單。6. The passages suggestion that the total anaerobic energy reserves of a vertebrate are proportional to the vertebrates size is based on which of the following assumption?(A) larger vertebrates conserve more energy than smaller vertebrates(B) larger vertebrates use less oxygen per unit weight than smaller vertebrates(C) the ability of a vertebrate to consume food is a function of its size(D) the amount of muscle tissue in a vertebrate is directly related to its size(E) the size of a vertebrate is proportional to the quantity of energy it can utilize文章的關(guān)于能量與體型的比例是基于哪個(gè)假設(shè)？這是邏輯單題。很明顯，無氧能量與肌肉凈重有關(guān)，那么假設(shè)就是體型與肌肉凈重成正比。D對。此題太簡單。P4.Pa1 Extraordinary creative activity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will become accepted. According to this formulation, highly creative activity transcends the limits of an existing form and establishes a new principle of organization. However, the idea that extraordinary creativity transcends established limits in misleading when it is applied to the arts, even though it may be valid for the sciences. Pa2 Difference between highly creative art and highly creative science arise in part from a difference in their goals. For the sciences, a new theory is the goal and end result of the creative act. Innovative science produces new propositions in terms of which diverse phenomena can be related to one another in more coherent ways. Such phenomena as a brilliant diamond or a nesting bird are relegated to the role of data, serving as the means for formulating or testing a new theory. The goal of highly creative art is very different: the phenomenon itself becomes the direct product of the creative act. Shakespeares Hamlet is not a tract about the behavior of indecisive princes or the uses of political power; nor is Picassos painting Guernica primarily a propositional statement about the Spanish Civil War or the evils of fascism. What highly creative artistic activity produces is not a new generalization that transcends established limits, but rather an aesthetic particular. Aesthetic particulars produced by the highly creative artist extend or exploit, in an innovative way, the limits of an existing form, rather than transcend that form. Pa3 This is not to deny that a highly creative artist sometimes establishes a new principle of organization in the history of an artistic field; the composer Monteverdi, who created music of the highest aesthetic value, comes to mind. More generally, however, whether or not a composition establishes a new principle in the history of music has little bearing on its aesthetic worth. Because they embody a new principle of organization, some musical works, such as the operas of the Florentine Camerata, are of signal historical importance, but few listeners or musicologists would include these among the great works of music. On the other hand, Mozarts The Marriage of Figaro is surely among the masterpieces of music even though its modest innovations are confined to extending existing means. It has been said of Beethoven that he toppled the rules and freed music from the stifling confines of convention. But a close study of his compositions reveals that Beethoven overturned no fundamental rules. Rather, he was an incomparable strategist who exploited limitsthe rules, forms, and conventions that he inherited from predecessors such as Haydn and Mozart, Handel and Bachin strikingly original ways.本文是長閱讀。第一段第一句，非凡的原創(chuàng)活動就是革命，打傳統(tǒng)的臉并將被人們接受。第二句，根據(jù)這個(gè)定理，高度原創(chuàng)的活動能超越已經(jīng)存在事物的限制并創(chuàng)造新的規(guī)則。第三句，但是，創(chuàng)新高于傳統(tǒng)在藝術(shù)上有誤導(dǎo)性，雖然在科學(xué)上是這樣。第二段，第四句，創(chuàng)造性的科學(xué)和藝術(shù)的區(qū)別在于它們的目的。第五句，對科學(xué)而言，創(chuàng)新的理論是創(chuàng)新行為的目的和結(jié)果。第六句，創(chuàng)新的科學(xué)讓各種現(xiàn)象能更加緊密地關(guān)聯(lián)。第七句，這種現(xiàn)象像是寶石或者筑巢的鳥，歸并于數(shù)據(jù)的角色，作為形成或測試一個(gè)新理論的手段。第八句，藝術(shù)不同：現(xiàn)象本身就是創(chuàng)新行為的結(jié)果。第九句舉例，哈姆萊特和格爾尼卡，我們可以預(yù)見這里會出題。第十句，藝術(shù)的原創(chuàng)創(chuàng)造的不是超越傳統(tǒng)的新一代，而是美學(xué)的特例。第十一句，美學(xué)的特例擴(kuò)展或利用傳統(tǒng)的限制但并不超越。第三段，第十二句，這并不否認(rèn)有時(shí)候原創(chuàng)藝術(shù)會建立新秩序，比如Monteverdi。第十三句，但更常見的是作曲家建立新秩序和美學(xué)價(jià)值沒有關(guān)系。第十四句，因?yàn)橛行┳髌繁热鐃he Florentine Camerata 創(chuàng)造新的組織原則而在歷史上有重要價(jià)值，但沒有聽眾認(rèn)為這些作品偉大。第十五句，另一方面，Mozarts The Marriage of Figaro是偉大的作品雖然創(chuàng)新有限。第十六句，據(jù)說貝多芬顛覆了規(guī)則。第十七句，但更仔細(xì)的檢查說他沒有顛覆根本的。第十八句，或者說，他是個(gè)利用限制利用的很有創(chuàng)意的策略家。本文文章是駁論文，較長，但其實(shí)脈絡(luò)很清楚，要表達(dá)的觀點(diǎn)也很明確。第一段提出論點(diǎn)，第二段比較科學(xué)和藝術(shù)，第三段進(jìn)一步對藝術(shù)的進(jìn)行深入分析。For the following question, consider each of the choices separately and select all that apply7. The passage supplies information for answering which of the following questions?(A) Has unusual creative activity been characterized as revolutionary?(B) Did Beethoven work within a musical tradition that also included Handel and Bach?(C) Who besides Monteverdi wrote music that the author would consider to embody new principles of organization and to be of high aesthetic value?文章提到哪些？細(xì)節(jié)題。A，第一句給了解答；B，Beethoven是定位詞，快速定位于最后三句，也能解答；C，Monteverdi定位第十二句，這是個(gè)少數(shù)例子，后面沒有提到這樣的人。因此答案是A和B。8. The author regards the idea that all highly creative artistic activity transcends limits with(A) deep skepticism(B) strong indignation(C) marked indifference(D) moderate amusement(E) sharp derision作者態(tài)度分析。第三句有解答，misleading。B和E過度了，C和D明顯不對。答案是A。9. The author implies that an innovative scientific contribution is one that(A) is cited with high frequency in the publications of other scientists(B) is accepted immediately by the scientific community(C) does not relegate particulars to the role of data(D) presents the discovery of a new scientific fact(E) introduces a new valid generalization細(xì)節(jié)推斷，關(guān)于科學(xué)的，快速定位于第二段前半段。A，文章沒有提到引用；B，immediately純屬臆造；C，和原文內(nèi)容反了；D，a new scientific fact原文并沒有提到，而且這個(gè)選項(xiàng)沒有涉及新理論；E，是對的，和藝術(shù)形成對比。答案是E。10. Which of the following statements would most logically concluded the last paragraph of thepassage?(A) Unlike Beethoven, however, even the greatest of modern composers, such as Stravinsky, didnot transcend existing musical forms.(B) In similar fashion, existing musical forms were even further exploited by the next generationof great European composers.(C) Thus, many of the great composers displayed the same combination of talents exhibited by Monteverdi.(D) By contrast, the view that creativity in the arts exploits but does not transcend limits is supported in the field of literature.(E) Actually, Beethovens most original works were largely unappreciated at the time that they were first performed.哪項(xiàng)邏輯地推斷最后一段？最后一段的意思主要就是，原創(chuàng)既建立新規(guī)則又本身富有美學(xué)價(jià)值的不是沒有，但是很少。A，不對，因?yàn)锽eethoven也沒有真正超越限制；B，原文關(guān)于Beethoven最后一句的改寫，next generation指的是貝多芬；C,不對，這樣的人應(yīng)該很少；D，不對，藝術(shù)也是這樣，沒有相反的對比；E，看上去沒有什么問題，好像有道理，但是過于片面，最后一段不止是貝多芬。答案是B，B最概括，沒有涉及具體的人物或者作品。考點(diǎn)總結(jié)：本文三段都有考察，第一段考作者態(tài)度，第二段是科學(xué)和藝術(shù)的創(chuàng)新對比，考科學(xué)的，第三段是重點(diǎn)考察段，考作者的根據(jù)和論證。閱讀策略：第一段很重要?？辞宄撕?，整篇文章的結(jié)構(gòu)就一目了然了。事實(shí)上，本文結(jié)構(gòu)非常整齊。所以說不要被長閱讀的長度嚇倒。P5. Great comic art is never otherworldly, it does not seek to mystify us, and it does not deny ambiguity by branding as evil whatever differs from good. Great comic artists assume that truth may bear all lights, and thus they seek to accentuate contradictions in social action, not gloss over or transcend them by appeals to extra social symbols of divine ends, cosmic purpose, or laws of nature. The moment of transcendence in great comic art is a social moment, born out of the conviction that we are human, even though we try to be gods. The comic community to which artists address themselves is a community of reasoning, loving, joyful, compassionate beings, who are willing to assume the human risks of acting rationally. Without invoking gods or demons, great comic art arouses courage in reason, courage which grows out of trust in what human beings can do as humans.第一句，說偉大的連環(huán)畫藝術(shù)不是超世俗的，不是迷惑我們，也不否認(rèn)模棱兩可，通過將和好的不一樣的刻畫為邪惡的。第二句，偉大的連環(huán)畫家們認(rèn)為，真理能經(jīng)受任何考驗(yàn)，他們試圖削弱社會行為的抵觸，不是通過呼吁額外的神的旨意，宇宙的目的或者自然的本質(zhì)的社會象征來超越它們。第三句，在偉大的連環(huán)畫中，超越的時(shí)刻是社會的時(shí)刻，從我們都是人的信念而來，雖然我們試圖成神。第四句，這個(gè)連環(huán)畫藝術(shù)的群體，其中藝術(shù)家自認(rèn)為是一個(gè)理性、關(guān)愛、歡樂和激情的人們，認(rèn)定人們有理性行為的風(fēng)險(xiǎn)。第五句，沒有喚醒神或者惡魔，連環(huán)畫喚醒理性中的勇氣，它從相信人們作為人類能做的事情的信仰而產(chǎn)生。整篇文章較為抽象，是藝術(shù)類的立論文。初讀下來，沒有發(fā)現(xiàn)句子之間有什么聯(lián)系，也沒有發(fā)現(xiàn)明顯的主題句。而且，就算翻譯了一遍，還是很難理解那些話到底是個(gè)什么意思。不過沒有關(guān)系，考場上不必糾結(jié)于細(xì)節(jié)，先看題，也許題目壓根沒考難點(diǎn)。11. Select the sentence in the passage that suggests that great comic art can be characterized as optimistic about the ability of humans to act rationally.關(guān)鍵詞定位，optimistic和act rationally，我們看到第四句里有joying還有act rationally，但是第四句話說的是comic community和artists，而不是art。緊跟著的第五句應(yīng)該就是了，雖然沒看出來怎么和關(guān)鍵詞聯(lián)系的。PS：GRE里面那種一看和原文一模一樣的八成有問題。12. It can be inferred from the passage that the author admires great comic artists primarily for their(A) ability to understand the frequently subtle differences between good and evil(B) ability to reconcile the contradictions in human behavior(C) ability to distinguish between rational and irrational behavior(D) insistence on confronting the truth about the human condition(E) insistence on condemning human faults and weaknesses從文章可以推斷，作者欣賞連環(huán)畫主要因?yàn)槭裁?？作者態(tài)度一般在后面，最后一句很明顯提到了勇氣。但是看選項(xiàng)發(fā)現(xiàn)沒有直接和勇氣掛鉤的。那么這個(gè)勇氣是什么勇氣？最后一句話說了，是對人類能力的信任的勇氣。雖然每個(gè)選項(xiàng)都有一個(gè)詞和原文掛鉤，但是總的來看還是D比較符合。13. Which of the following is the most accurate description of the organization of the passage?(A) A sequence of observations leading to a prediction(B) A list of inferences drawn from facts stated at the beginning of the passage(C) A series of assertions related to one general subject(D) A statement of the major idea, followed by specific examples(E) A succession of ideas moving from specific to general哪項(xiàng)最準(zhǔn)地描述了文章組織？A，沒有預(yù)測；B，第一句不能說是一個(gè)事實(shí)，后面的也不一定就是從中衍生的，至少沒有看到第一句和第二句的明顯聯(lián)系；C，對；D，沒有例子；E，沒有從特殊到一半的過程。答案是C。本文比較特殊，短但是難懂。事實(shí)上不需要理解太深也能做出來，這說明對文章結(jié)構(gòu)的把握比對文章的理解更加重要。Exercise2P1. By 1950, the results of attempts to relate brain processes to mental experience appeared rather discouraging. Herring suggested that different modes of sensation, such as pain, taste, and color, might be correlated with the discharge of specific kinds of nervous energy. However, subsequently developed methods of recording and analyzing nerve potentials failed to reveal any such qualitative diversity. Although qualitative variance among nerve energies was never rigidly disproved, the doctrine was generally abandoned in favor of the opposing view, namely, that nerve impulses are essentially homogeneous in quality and are transmitted as common currency throughout the nervous system. According to this theory, it is not the quality of the sensory nerve impulses that determines the diverse conscious sensations they produce, but rather the different areas of t