gre閱讀用哪本書備考最好
gre閱讀我最開始的系統訓練是從官方材料開始的，因爲我覺得邏輯訓練的目的就是規範思考，那麼我們就要從最爲客觀的官方材料開始打下最爲紮實的基礎。接下來就是今天休本站 帶來的gre閱讀用哪本書備考最好?
gre閱讀用哪本書備考最好
閱讀OG--150--36套--magoosh--微臣87篇(網傳)一直以來，我以爲閱讀是我在G備考過程中的長項，但是考試的時候還是太慌張，所以現在覺得學術閱讀能力真的是一個日積月累的工作，只靠短時間的突擊會讓你漲分，但是能力絕對不
是暴擊可以得到的，而且尤爲重要的是這項能力決定的是你的上限。G考察的不是語言能力，但是它對邏輯推理能力的考察卻是通過語言這一手段來實現的。我們要深信的是儘管語言不同，但是人類的思維都是有跡可循的。我最開始的系統訓練是從官方材料開始的，因爲我覺得邏輯訓練的目的就是規範思考，那麼我們就要從最爲客觀的官方材料開始打下最爲紮實的基礎。
OG 和150 題的題，要精練，也就是起碼要做三遍，我不建議在這時候就開始計時，第一遍做保證正確率和完整性，做完之後儘可能當日進行文章分析，文章分析都做些什麼?
我認爲有這樣幾個要點：
第一，長文章各段段意要進行簡練概括，中篇文章每一句都要概括。
第二，作者的情感態度，是贊同還是反對還是保留意見;研究進程是處在混沌狀態還是有新研究表明進展;介紹類文章的某個流程在哪個位置。
第三，根據題分析文章，總結套路，找對應考位。最後，經過分析我們所能得到的成果是盲寫文章梗概，到這裏，其實我們只完成對文章剖析的一半。另一半，是長難句分析仿寫。從文章的大格局到每一句的句法，每個小詞的用法，都是我們可以學習的地方，這件事，即使考後我也建議不要停，這是一條正路，因爲我們的目的，是最後的學術文章。 之後的材料，我用的是36套，36套是用來提高速度的不二選
擇，前一部分可以不嚴格計時，但是從標準10道題的那一套開始就應該嚴格遵守考試時間練習。同樣，36套也要至少做兩遍，對每一篇文章都要做類似的分析，可以選擇買陳虎平老師的那本參考書，不過不買影響也不大，我是最後十套基本沒有參考那本書，一方面是套路很明顯已經可以自己昇華了，另一方面是如果細看那本書很浪費時間儘管我承認方法是很好。
然後做的材料是magoosh，我是買的賬號，難度很大，一開始做閱讀基本沒有對的， 但是每一篇文章我都去認真分析並且有總結，最後考試之前是把所有錯題也都做完了。期間一直穿插的是微臣或者XDF的各種線上班的題，時不時跟課，聽一下別人是怎麼解讀文章的。其實還可以做的資料很多，NO題是我一直想做但是沒有做的，LSAT也是一件利器，1014，Manhattan, 但是文章在精。
GRE閱讀備考背景知識之迷惘的一代
筆者認爲這種賽前加練的方式效果未免來得太慢，寬泛的閱讀也很難堅持。此外筆者在網上搜索GRE考試和英文文學，居然沒有什麼實質性的備考資料，所以作者通過系列文章一邊介紹英文文學的幾個重點時期，一邊講解與之相關的GRE閱讀文章，希望能夠給各位同學備考GRE閱讀帶來更有針對性的輔導。
“迷惘的一代”(The Lost Generation)，又稱迷失的一代，是美國文學的一個極具特點的文學時期，其中的一個代表文學人物是佐拉·尼爾·赫斯頓(Zora Neale Hurston, 1891-1960)，代表作品《他們的眼睛望着上帝》(Their Eyes Were Watching God，1937);這個作品也是GRE閱讀中被引用的最多的文學作品之一。佐拉·尼爾·赫斯頓(Zora Neale Hurston，1891-1960)，是20世紀美國文學的重要人物之一。她是小說家、黑人民間傳說收集研究家、人類學家。她也生在美國南方，是 Harlem 文藝復興時期的活躍分子。她畢生爲保持黑人文化傳統而奮鬥，收集出版了黑人民間故事集《騾與人》及《告訴我的馬》。赫斯頓還寫了四部小說：《他們眼望上蒼》《約拿的葫蘆藤》《摩西，山之人》《蘇旺尼的六翼天使》。其中《他們眼望上蒼》是她最受歡迎的作品，是黑人文學中第一部充分展示黑人女子內心女性意識覺醒的作品，在黑人女性形象的創造上具有里程碑式的意義，被公認是黑人文學的經典作品之一。
集女作家、民俗學家、人類學家於一身的佐拉·尼爾·赫斯頓一生致力於本民族的傳統文化遺產的收集、整理和保護。她對自己的非洲裔美國人的身份非常驕傲和自豪，否認自己有既是美國人又是黑人的“雙重意識”的困惑。她拒絕把黑人當成美國社會的“問題”，拒絕把黑人描寫成種族歧視制度下產生的畸形兒。她在作品中深刻地揭示了當時黑人社區內存在的鄙視自己黑皮膚的黑人種族主義思想對黑人靈魂的腐蝕，力圖喚醒黑人對自己身份的肯定和熱愛。然而，哈萊姆文藝復興的高潮過去以後，以理查德·賴特爲代表的黑人“抗議文學”成爲當時黑人文學的主流，赫斯頓及其作品被湮沒在美國文學的塵埃裏無人問津.直到20世紀60年代的黑人權利運動興起，以及黑人民族主義意識的喚醒，赫斯頓纔在一片荒冢中被重新發現。實際上，賴特式的“抗議”與赫斯頓式的“讚美”只是非裔美國人在美國社會求得生存的既矛盾又統一的兩種策略。
GRE閱讀長文章背景介紹：法國二月革命
看過這篇文章的同學, 一定會被這篇文章中的各種革命的日期弄得暈頭轉向. 的確, 大量的時間點和陌生的歷史事件是本文最大的難點. 不過大家不用着急, 等我們介紹完這些革命的背景和特點, 大家能夠對號入座以後, 讀這篇文章就遊刃有餘了. 事實上, 這篇文章一共提到了4個發生在19世紀的法國巴黎的革命, 分別是(按時間排列):
1. July 1830, 常被稱爲 “七月革命”.
2. February 1848, 常被稱爲 “二月革命”.
3. June 1848, 常被稱爲 “六月起義”
4. May 1871, 有名的 “巴黎公社”運動.
(在考場上如果遇到了同樣含有很多日期或人名的文章, 像這樣在草稿紙上把它們都列出來是不錯的方法 ^_^)
1. 法國七月革命:
時間: 1830年7月
目標: 反抗當時法國國王查理十世 (Charles X, 即Charles Philippe) 的統治
結果: 成功, 推翻了波旁 (Bourbon) 王朝的統治, “七月王朝” (July Monarchy) 開始
要聊法國七月革命, 必須從另一個更早的革命——1789年的法國大革命——聊起. 衆所周知, 法國大革命推翻了統治法國多個世紀的絕對君主制與封建制度, 處死了當時的國王路易十六, 並在1792年建立了法蘭西第一共和國. 可是不久之後, 拿破崙發動 “霧月政變” 上臺, 成爲法國第一執政, 實際爲獨裁者. 他隨後又在1804年修改了憲法, 將法蘭西第一共和國改爲了法蘭西第一帝國, 登基帝位.
拿破崙稱帝並沒能維持太久, 1814年, 拿破崙戰敗被流放, 路易十八重新上臺. 拿破崙於1815年3月殺回巴黎, 試圖重建帝國, 路易十八落荒而逃. 好景不長, 不到一百天後, 即同年6月, 拿破崙在滑鐵盧戰敗, 路易十八得以復位, 波旁王朝得以復辟.
爲什麼要提這段歷史呢? 原因是1830年7月爆發的七月革命, 要推翻的正是路易十八的繼位者, 他的弟弟查理十世. 經歷過法國大革命的巴黎人民無法忍受查理十世的專制統治, 終於在1830年7月爆發了起義, 將他推翻了.
七月革命是一次成功的革命, 而且革命在沒有經過什麼反抗的情況下便完成了. 七月革命之後, 路易·菲利浦 (Louis Philippe) 上臺, 而因爲革命發生在7月, 因此他的統治被稱爲 “七月王朝”. 有沒有覺得這位的名字很眼熟? 沒錯, 這正是出現在文章第一句話裏的名字: “In February 1848 the people of Paris rose in revolt against the constitutional monarchy of Louis Philippe.” 緊接着而來的1848年二月革命, 正是要推翻這位的統治.
2. 法國二月革命
時間: 1848年2月
目標: 反抗路易·菲利浦 (Louis Philippe)的統治
結果: 成功, 推翻了路易·菲利浦 (Louis Philippe)的統治, 法蘭西第二共和國成立, 拿破崙三世任總統.
七月革命以後, 路易·菲利浦上臺, “七月王朝”開始. “七月王朝”的統治基礎較爲薄弱, 面臨着來自不同階級的不滿.
一方面, 拿破崙在當時是一個英雄一樣的存在, 被普遍認爲是國威的象徵, 社會的改革者. 對拿破崙的崇拜, 加深了人民對路易·菲利浦政府的失望, 人民將之與拿破崙的功績比較, 認爲他在外交政策上過於軟弱.
另一方面, 政府的貪污及專制令中產階級也十分不滿政府的統治. 共和主義者更希望推翻君主制, 成立共和政府.
在這樣的背景下, 1848年2月, 工人和學生開始上街遊行, 要求推行改革. 路易命令軍隊維持秩序, 但是軍隊卻有了投向革命者的傾向. 路易採取了一系列的挽救措施試圖保存王位, 但是革命者吸取了七月革命的教訓, 堅決地要推翻君主制建立共和國. 最終, 路易·菲利浦不得不退位, 法蘭西第二共和國成立, 而出任總統的正是拿破崙三世(拿破崙一世的侄子與繼承人).
就這樣, 二月革命(在一定程度上)推翻了七月革命的 “結果” — 路易·菲利浦, 重新建立了共和國. 而特別有意思的是, 又是一位拿破崙(三世)成了總統, 而且這個拿破崙在不久之後也學拿破崙一世稱了帝, 再次把共和國變成了帝國. 歷史總是驚人的相似啊.
讀過文章的同學一定還記得, 文章中把成功的革命和失敗的革命進行了一個對比: (第3段第1句) “Quite different is the outcome of successful insurrections like those of July 1830 and February 1848.” 正如閱讀文章中所說, 以上介紹的1830年的七月革命和1848年的二月革命都是 “成功” 的革命, 而另外兩個革命, 1848年的六月起義和1871年的巴黎公社運動的結果就沒有那麼幸運了.
GRE填空：解讀埃涅阿斯紀文學背景
II. Literary Background: Roman epic and Homer
文學背景：羅馬史詩和盲詩人荷馬
It was not just in his autobiography that Augustus sought to project a positive image. He did so also in the artistic, architectural, and urban planning projects that he commissioned and in the secular and religious ceremonials over which he presided. In addition he sought to capture the imaginations of the best poets, sometimes through the brokering[1] of his friend Maecenas[2] (whose name has become synonymous with enlightened patronage of the arts), and sometimes directly.
奧古斯都通過各種方法，尤其是想要在藝術當中給自己留下一個好的印象和記憶。
註釋：broker: 做掮客，從事經紀業
Maecenas: 蓋烏斯，米希納斯;現在引申爲慷慨資助文學或者藝術的人
The Aeneid is the most ambitiously “Augustan” of all these literary works. We know that Virgil was already in the imperial circle since his earlier work, the Georgics(discussed briefly below), is dedicated to Maecenas. The biographical tradition preserves a letter from Augustus to Virgil asking to see a section or outline of the Aeneid; we have an account of how Virgil later recited parts of the poem to the imperial family; the emperor is said to have countermanded[3] Virgil’s deathbed wish that his poem be burned (although few scholars today credit this story). It would be misleading, however, to regard the Aeneid as the product of external pressure. Poets at Rome had always enjoyed greater artistic freedom than other craftsmen who depended on explicit commissions[4] . In addition, there is no evidence of any centralized direction of thought or expression during this period. Moreover, propaganda implies a large audience, but the audience for serious non-dramatic literature at Rome was necessarily limited owing to the modest diffusion of literacy and (even more) of the sort of education necessary to appreciate its subtleties. Finally, and most important, the works of the major poets of the period simply do no read like propaganda.
雖然有傳言說奧古斯都給維吉爾一些壓力，要求他如何如何寫這首長詩，但是後來被證明其實不是這樣，舉了3個原因(開始很像閱讀文章了。。。)
其實當時羅馬的詩人有比較高的地位，不太可能變成政治宣傳。
註釋：countermand: 撤銷取消，= revoke, rescind, repeal 等re-的前綴詞彙
commissions：委任，命令
In fact, many of the ideas in the Aeneid had already found expression in Virgil’s earlier pre-Augustan works —— the Bucolics, a selection of ten pastoral poems that predate the Augustan settlement, and the Georgics, a fourbook didactic poem purporting to be a farming manual, that was published in 29 BCE but was actually begun several years before Actium[5] . Both works unfold agaisnt the backdrop[6] of the civil wars as endured by those who dwell on the land. Theirs is an experience of untold hardship, of suffering and personal loss. In the first Bucolic, for instance, a farmer laments that his property has been confiscated to be given as payment to a returning soldier; and in the Georgics the landscape has been damaged by the fighting and only hard work can render it fertile again. In both poems, though, there is hope. Another rustic in the first Bucolic expresses gratitude that an unnamed but godlike man has restored his land to him; the fourth (or “Messianic”) Bucolic prophesies the birth of a child, again unnamed, who will bring about a new cosmic order; and in the Georgics, as later in the Aeneid, it seems as if this savior is retrospectively identified as Augustus, the leader whose achievement have made possible agricultural (and social) renewal.
註釋：backdrop 背景幕
Actium: 在這個地方最終奧古斯都打敗了安東尼
It is noteworthy that, at the very midpoint of the Georgics (3.8-48), Virgil announces that his next work, which he imagines as his masterpiece, will be an epic about the new leader. He then uses an architectural metaphor to describe this future poem as a temple, on which will be represented Augustus’ actual and imagined triumphs over such foreign foes as Britain, Egypt, and Parthia[7] . These words seem to situate Virgil’s next work, the Aeneid, within the dominant tradition of poetry at Rome, nationalistic historical epic, i.e., long narrative poems that celebrated great events in Roman history, particularly military victories, and the statesmen and generals who accomplished them and who were often the poets’ patrons. Most major pre-Augustan leaders were the subjects of such panegyrics[8] —— although poor Cicero could not find a willing bard and had to write his own!
維吉爾在Georgics裏面提到他會寫一個關於新的領導人的長詩，貌似有點像當時古羅馬常見的政治軍事長詩，往往主角就是一個軍事家，同時也會是這個詩歌的贊助人。
註釋：Parthia: 古代安息王國
panegyrics: 頌文
The problem, however, was that such poems were both artistically and politically constraining. By now a well-worn form, historical epic offered little scope for artistic innovation. In addition, it posed very real risks, since praise poetry that was too overt[9] could diminish not only its author (who might appear sycophantic) but also its subject (who might inadvertently appear ridiculous and take umbrage[10] ). Finally, and perhaps most important, such poetry offered little opportunity for independent, much less critical, reflection about persons and power.
這裏話鋒一轉，說但是這樣的推測是不可信的，因爲當時這種政治歌頌的長詩文學造詣和政治觀點都受到了侷限，而且往往被這麼明顯歌頌的話，主人公也就是那個贊助人的高大形象反而會被削弱。(這裏也很接近閱讀文章的思路了)
註釋：overt 明顯的
umbrage 憤怒，惱火，冒犯
Virgil’s solution to this problem was brilliant. Rather than deliver on the promise he made in the Georgics, he turned to another, even older form of poetry, not the historical epic popular at Rome but the mythological epic of archaic Greece, in particular Homer’s Iliad and Odyssey. Of course, Roman literature had always depended on Greek precursors, and one of the earliest works in Latin had been an adaptation of the Odyssey by Livius Andronicus (third century BCE[11] ). Similarly, those Roman historical epics discussed above had all imitated Homer’s lofty[12] style and many of his poetic devices —— lengthy descriptive passages (ekphrasis), dramatic speeches, catalogues, battle narratives, invocations[13] to the muses, divine interventions, comparisons by simile, and the like. But Virgil went one step further: he adopted not just the style but also the setting and the time frame of Homer. The Aeneid begins not in Augustan Rome but over a millennium earlier in Troy, and its hero is not Augustus but his mythical ancestor Aeneas, one of the Trojans who managed to escape their city’s destruction and, after much wandering, arrived in Italy as fate and decreed.
維吉爾在提到奧古斯都時非常聰明，他講了古希臘的事情，講的是古羅馬的開創者的祖先，這樣就比較隱晦。從風格上、技術上，維吉爾的詩歌都好像在模仿盲詩人荷馬。
註釋：BCE before Christian Era
invocation：對神的乞求和禱告
The Aeneid is full of close verbal echoes of the Iliad and Odyssey, many of its scenes are closely modeled on specific Homeric episodes, and even the overarching[14] structure of the peom depends on these Greek models. Thus, the first six books, in which Aeneas escapes Troy, wanders through many lands, has a lover affair, and visits the underworld, correspond to the Odyssey, whose hero, Odysseus (Ulysses in Latin), has similar postwar adventures during a difficult journey home. Then, the next six books in which Aeneas must do battle to settle in Latium and to win the hand of the native princess Lavinia correspond to the Illiad, which focuses on Achilles, the preeminent hero of the Greeks when they fought at Troy to recover the abducted Helen.
這裏就着重分析埃涅阿斯和奧德賽以及伊利亞特的相同點
Upon closer examination, however, these correspondences are not exact. Indeed, it is precisely in the dissonances between Virgilian text and Homeric subtext that we can divine something of the Aeneid’s meaning and its originality. Thus, while Aeneas resembles the wandering Odysseus in the first half of the poem, he differs from that Greek hero since his difficult journey is not a homecoming, but an exile: having lost his home and wife at Troy, he must now move toward an unknown future in a western land that remains perpetually elusive. Similarly, in the second half of the poem, Aeneas may resemble Achilles in his military prowess; but he is motivated to fight not by the Homeric hero’s quest for individual glory (kudos) but rather by a deeper sense of responsibility to society and the gods (pietas, discussed further below).
