雅思托福考試是國際性英(ying)語標(biao)準化水平測試之一，參(can)(can)加考試和報班學(xue)習的學(xue)子眾多，那么GRE閱(yue)(yue)讀(du)如何快(kuai)速辨(bian)別(bie)干擾選項？教(jiao)你如何快(kuai)速辨(bian)別(bie)干擾選項！？下面(mian)是由小編為大家(jia)整理的相關信息，僅供參(can)(can)考，歡迎大家(jia)閱(yue)(yue)讀(du)本文。

GRE閱讀常見錯誤(wu)干擾選項類型(xing)介紹

GRE閱(yue)讀題中比較常見(jian)的錯誤干擾選項主要有以下幾種(zhong)：

1. 偏題項

這(zhe)類(lei)選項比(bi)較隱蔽，其表現形(xing)式往往是(shi)(shi)內容本身是(shi)(shi)正確的，但說偏(pian)了沒抓住(zhu)重點，不是(shi)(shi)文章的主線(xian)。考生很容易跟正確選項混淆而選擇它。

2. 反義項

有(you)些題目本(ben)身比較(jiao)長，加上(shang)一(yi)些否(fou)定和雙(shuang)重(zhong)否(fou)定等，考(kao)生就容(rong)易理(li)解錯誤，而特別設置的部分反義項(xiang)，就往往會等著考(kao)生自己被繞暈了以后自投羅(luo)網。

3. 錯位項

還有些錯誤選項，主題和修飾錯位，或者把不相關的(de)內(nei)容拼湊在一(yi)起，看似哪邊都沾一(yi)點(dian)關系，其(qi)實本身卻是錯位選項，也很容易(yi)影響考生的(de)判斷(duan)。

4. 極端項

極端項(xiang)其實是比(bi)(bi)(bi)較明顯的(de)錯(cuo)誤(wu)干擾選(xuan)項(xiang)，常(chang)會使用一些代表(biao)主觀判斷(duan)的(de)最(zui)高(gao)級(ji)詞(ci)匯(hui)(hui)(hui)比(bi)(bi)(bi)如(ru)best/most/least，唯一性詞(ci)匯(hui)(hui)(hui)比(bi)(bi)(bi)如(ru)only、alone或者比(bi)(bi)(bi)較級(ji)詞(ci)匯(hui)(hui)(hui)比(bi)(bi)(bi)如(ru)better、worse等。這些選(xuan)項(xiang)表(biao)現(xian)出一種極端的(de)不容否定(ding)的(de)態度。看似很有道理其實卻(que)并正(zheng)確。

5. 未提項

這種錯誤選項陷(xian)阱(jing)也比較(jiao)常見，故(gu)意給出一些看似很有(you)聯系的新信息點，說得頭頭是道(dao)，考生如(ru)果因為(wei)文章篇幅較(jiao)長沒有(you)閱讀全文，就會(hui)以(yi)為(wei)自己(ji)沒看仔細，其(qi)實這些所謂的信息都是一些根本沒有(you)出現在文章中完(wan)全和題(ti)目無關的未提(ti)及選項。

6. 主觀項

這(zhe)種錯(cuo)誤選項的(de)制定思路(lu)是(shi)根(gen)據(ju)一(yi)些常識性的(de)推斷(duan)，引導考生做(zuo)出的(de)判(pan)斷(duan)，其本身(shen)帶(dai)有很(hen)(hen)強(qiang)的(de)主觀性，而并不是(shi)客觀的(de)事實(shi)，如果考生不加(jia)注意就很(hen)(hen)容(rong)易被帶(dai)歪思路(lu)。

GRE閱讀(du)錯誤選項真(zhen)題練習

下面小編分享(xiang)一篇GRE閱讀(du)機經真題文章，幫助大家加深(shen)理(li)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.

這篇長篇閱讀的(de)4道(dao)題目中，就(jiu)有(you)(you)許多(duo)選項包含了上(shang)述提到(dao)的(de)六(liu)種錯誤選項，每道(dao)題目中都有(you)(you)1個或者數(shu)個選項存在問題，有(you)(you)些(xie)題目5個選項中就(jiu)包括(kuo)了幾種錯誤。大家不妨結合正確(que)答案，對比查看一下具(ju)體錯誤選項類(lei)型。

學會快(kuai)速(su)辨識錯(cuo)誤(wu)選項提升解題速(su)度(du)正確率

之所(suo)以要特(te)別列(lie)出(chu)閱(yue)讀(du)(du)中的(de)錯(cuo)誤(wu)選(xuan)(xuan)項(xiang)，是(shi)因為這種選(xuan)(xuan)項(xiang)對于考生(sheng)(sheng)閱(yue)讀(du)(du)部分的(de)正確率(lv)殺傷率(lv)極高。比起其(qi)它一(yi)目了(le)然的(de)數學或者(zhe)填空(kong)題(ti)，GRE閱(yue)讀(du)(du)要解(jie)題(ti)首先就要讀(du)(du)文(wen)章，很多(duo)考生(sheng)(sheng)讀(du)(du)完文(wen)章，特(te)別是(shi)長篇文(wen)章后(hou)，本(ben)身思路已(yi)經有些混亂(luan)，再被這些干(gan)擾選(xuan)(xuan)項(xiang)禍害一(yi)下，很容易就會出(chu)現連(lian)續錯(cuo)誤(wu)。而許多(duo)考生(sheng)(sheng)對于GRE閱(yue)讀(du)(du)存(cun)在的(de)畏(wei)懼情緒(xu)和心(xin)理陰(yin)影，其(qi)實也往往是(shi)由錯(cuo)誤(wu)選(xuan)(xuan)項(xiang)導致的(de)。

關于“GRE閱讀(du)如(ru)何快(kuai)速(su)辨別(bie)干(gan)擾選項？教你如(ru)何快(kuai)速(su)辨別(bie)干(gan)擾選項！”以及相關內容，這(zhe)(zhe)篇文章(zhang)中國(guo)教育(yu)小編先介紹到這(zhe)(zhe)里(li)了，如(ru)果(guo)你還想(xiang)關注更(geng)多，那么可(ke)以繼續(xu)接著關注其他文章(zhang)了解。

>> 雅思 托(tuo)福 免費課(ke)程(cheng)學(xue)習，AI量身規劃(hua)讓(rang)英語學(xue)習不(bu)再困(kun)難<<