gre阅读用哪本书备考最好

gre阅读我最开始的系统训练是从官方材料开始的，因为我觉得逻辑训练的目的就是规范思考，那么我们就要从最为客观的官方材料开始打下最为扎实的基础。接下来就是今天休本站 带来的gre阅读用哪本书备考最好?

gre阅读用哪本书备考最好

阅读OG--150--36套--magoosh--微臣87篇(网传)一直以来，我以为阅读是我在G备考过程中的长项，但是考试的时候还是太慌张，所以现在觉得学术阅读能力真的是一个日积月累的工作，只靠短时间的突击会让你涨分，但是能力绝对不

是暴击可以得到的，而且尤为重要的是这项能力决定的是你的上限。G考察的不是语言能力，但是它对逻辑推理能力的考察却是通过语言这一手段来实现的。我们要深信的是尽管语言不同，但是人类的思维都是有迹可循的。我最开始的系统训练是从官方材料开始的，因为我觉得逻辑训练的目的就是规范思考，那么我们就要从最为客观的官方材料开始打下最为扎实的基础。

OG 和150 题的题，要精练，也就是起码要做三遍，我不建议在这时候就开始计时，第一遍做保证正确率和完整性，做完之后尽可能当日进行文章分析，文章分析都做些什么?

我认为有这样几个要点：

第一，长文章各段段意要进行简练概括，中篇文章每一句都要概括。

第二，作者的情感态度，是赞同还是反对还是保留意见;研究进程是处在混沌状态还是有新研究表明进展;介绍类文章的某个流程在哪个位置。

第三，根据题分析文章，总结套路，找对应考位。最后，经过分析我们所能得到的成果是盲写文章梗概，到这里，其实我们只完成对文章剖析的一半。另一半，是长难句分析仿写。从文章的大格局到每一句的句法，每个小词的用法，都是我们可以学习的地方，这件事，即使考后我也建议不要停，这是一条正路，因为我们的目的，是最后的学术文章。　　之后的材料，我用的是36套，36套是用来提高速度的不二选

择，前一部分可以不严格计时，但是从标准10道题的那一套开始就应该严格遵守考试时间练习。同样，36套也要至少做两遍，对每一篇文章都要做类似的分析，可以选择买陈虎平老师的那本参考书，不过不买影响也不大，我是最后十套基本没有参考那本书，一方面是套路很明显已经可以自己升华了，另一方面是如果细看那本书很浪费时间尽管我承认方法是很好。

然后做的材料是magoosh，我是买的账号，难度很大，一开始做阅读基本没有对的， 但是每一篇文章我都去认真分析并且有总结，最后考试之前是把所有错题也都做完了。期间一直穿插的是微臣或者XDF的各种线上班的题，时不时跟课，听一下别人是怎么解读文章的。其实还可以做的资料很多，NO题是我一直想做但是没有做的，LSAT也是一件利器，1014，Manhattan, 但是文章在精。

GRE阅读备考背景知识之迷惘的一代

笔者认为这种赛前加练的方式效果未免来得太慢，宽泛的阅读也很难坚持。此外笔者在网上搜索GRE考试和英文文学，居然没有什么实质性的备考资料，所以作者通过系列文章一边介绍英文文学的几个重点时期，一边讲解与之相关的GRE阅读文章，希望能够给各位同学备考GRE阅读带来更有针对性的辅导。

“迷惘的一代”(The Lost Generation)，又称迷失的一代，是美国文学的一个极具特点的文学时期，其中的一个代表文学人物是佐拉·尼尔·赫斯顿(Zora Neale Hurston, 1891-1960)，代表作品《他们的眼睛望着上帝》(Their Eyes Were Watching God，1937);这个作品也是GRE阅读中被引用的最多的文学作品之一。佐拉·尼尔·赫斯顿(Zora Neale Hurston，1891-1960)，是20世纪美国文学的重要人物之一。她是小说家、黑人民间传说收集研究家、人类学家。她也生在美国南方，是 Harlem 文艺复兴时期的活跃分子。她毕生为保持黑人文化传统而奋斗，收集出版了黑人民间故事集《骡与人》及《告诉我的马》。赫斯顿还写了四部小说：《他们眼望上苍》《约拿的葫芦藤》《摩西，山之人》《苏旺尼的六翼天使》。其中《他们眼望上苍》是她最受欢迎的作品，是黑人文学中第一部充分展示黑人女子内心女性意识觉醒的作品，在黑人女性形象的创造上具有里程碑式的意义，被公认是黑人文学的经典作品之一。

集女作家、民俗学家、人类学家于一身的佐拉·尼尔·赫斯顿一生致力于本民族的传统文化遗产的收集、整理和保护。她对自己的非洲裔美国人的身份非常骄傲和自豪，否认自己有既是美国人又是黑人的“双重意识”的困惑。她拒绝把黑人当成美国社会的“问题”，拒绝把黑人描写成种族歧视制度下产生的畸形儿。她在作品中深刻地揭示了当时黑人社区内存在的鄙视自己黑皮肤的黑人种族主义思想对黑人灵魂的腐蚀，力图唤醒黑人对自己身份的肯定和热爱。然而，哈莱姆文艺复兴的高潮过去以后，以理查德·赖特为代表的黑人“抗议文学”成为当时黑人文学的主流，赫斯顿及其作品被湮没在美国文学的尘埃里无人问津.直到20世纪60年代的黑人权利运动兴起，以及黑人民族主义意识的唤醒，赫斯顿才在一片荒冢中被重新发现。实际上，赖特式的“抗议”与赫斯顿式的“赞美”只是非裔美国人在美国社会求得生存的既矛盾又统一的两种策略。

GRE阅读长文章背景介绍：法国二月革命

看过这篇文章的同学, 一定会被这篇文章中的各种革命的日期弄得晕头转向. 的确, 大量的时间点和陌生的历史事件是本文最大的难点. 不过大家不用着急, 等我们介绍完这些革命的背景和特点, 大家能够对号入座以后, 读这篇文章就游刃有余了. 事实上, 这篇文章一共提到了4个发生在19世纪的法国巴黎的革命, 分别是(按时间排列):

1. July 1830, 常被称为 “七月革命”.

2. February 1848, 常被称为 “二月革命”.

3. June 1848, 常被称为 “六月起义”

4. May 1871, 有名的 “巴黎公社”运动.

(在考场上如果遇到了同样含有很多日期或人名的文章, 像这样在草稿纸上把它们都列出来是不错的方法 ^_^)

1. 法国七月革命:

时间: 1830年7月

目标: 反抗当时法国国王查理十世 (Charles X, 即Charles Philippe) 的统治

结果: 成功, 推翻了波旁 (Bourbon) 王朝的统治, “七月王朝” (July Monarchy) 开始

要聊法国七月革命, 必须从另一个更早的革命——1789年的法国大革命——聊起. 众所周知, 法国大革命推翻了统治法国多个世纪的绝对君主制与封建制度, 处死了当时的国王路易十六, 并在1792年建立了法兰西第一共和国. 可是不久之后, 拿破仑发动 “雾月政变” 上台, 成为法国第一执政, 实际为独裁者. 他随后又在1804年修改了宪法, 将法兰西第一共和国改为了法兰西第一帝国, 登基帝位.

拿破仑称帝并没能维持太久, 1814年, 拿破仑战败被流放, 路易十八重新上台. 拿破仑于1815年3月杀回巴黎, 试图重建帝国, 路易十八落荒而逃. 好景不长, 不到一百天后, 即同年6月, 拿破仑在滑铁卢战败, 路易十八得以复位, 波旁王朝得以复辟.

为什么要提这段历史呢? 原因是1830年7月爆发的七月革命, 要推翻的正是路易十八的继位者, 他的弟弟查理十世. 经历过法国大革命的巴黎人民无法忍受查理十世的专制统治, 终于在1830年7月爆发了起义, 将他推翻了.

七月革命是一次成功的革命, 而且革命在没有经过什么反抗的情况下便完成了. 七月革命之后, 路易·菲利浦 (Louis Philippe) 上台, 而因为革命发生在7月, 因此他的统治被称为 “七月王朝”. 有没有觉得这位的名字很眼熟? 没错, 这正是出现在文章第一句话里的名字: “In February 1848 the people of Paris rose in revolt against the constitutional monarchy of Louis Philippe.” 紧接着而来的1848年二月革命, 正是要推翻这位的统治.

2. 法国二月革命

时间: 1848年2月

目标: 反抗路易·菲利浦 (Louis Philippe)的统治

结果: 成功, 推翻了路易·菲利浦 (Louis Philippe)的统治, 法兰西第二共和国成立, 拿破仑三世任总统.

七月革命以后, 路易·菲利浦上台, “七月王朝”开始. “七月王朝”的统治基础较为薄弱, 面临着来自不同阶级的不满.

一方面, 拿破仑在当时是一个英雄一样的存在, 被普遍认为是国威的象征, 社会的改革者. 对拿破仑的崇拜, 加深了人民对路易·菲利浦政府的失望, 人民将之与拿破仑的功绩比较, 认为他在外交政策上过于软弱.

另一方面, 政府的贪污及专制令中产阶级也十分不满政府的统治. 共和主义者更希望推翻君主制, 成立共和政府.

在这样的背景下, 1848年2月, 工人和学生开始上街游行, 要求推行改革. 路易命令军队维持秩序, 但是军队却有了投向革命者的倾向. 路易采取了一系列的挽救措施试图保存王位, 但是革命者吸取了七月革命的教训, 坚决地要推翻君主制建立共和国. 最终, 路易·菲利浦不得不退位, 法兰西第二共和国成立, 而出任总统的正是拿破仑三世(拿破仑一世的侄子与继承人).

就这样, 二月革命(在一定程度上)推翻了七月革命的 “结果” — 路易·菲利浦, 重新建立了共和国. 而特别有意思的是, 又是一位拿破仑(三世)成了总统, 而且这个拿破仑在不久之后也学拿破仑一世称了帝, 再次把共和国变成了帝国. 历史总是惊人的相似啊.

读过文章的同学一定还记得, 文章中把成功的革命和失败的革命进行了一个对比: (第3段第1句) “Quite different is the outcome of successful insurrections like those of July 1830 and February 1848.” 正如阅读文章中所说, 以上介绍的1830年的七月革命和1848年的二月革命都是 “成功” 的革命, 而另外两个革命, 1848年的六月起义和1871年的巴黎公社运动的结果就没有那么幸运了.

GRE填空：解读埃涅阿斯纪文学背景

II. Literary Background: Roman epic and Homer

文学背景：罗马史诗和盲诗人荷马

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.

奥古斯都通过各种方法，尤其是想要在艺术当中给自己留下一个好的印象和记忆。

注释：broker: 做掮客，从事经纪业

Maecenas: 盖乌斯，米希纳斯;现在引申为慷慨资助文学或者艺术的人

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.

虽然有传言说奥古斯都给维吉尔一些压力，要求他如何如何写这首长诗，但是后来被证明其实不是这样，举了3个原因(开始很像阅读文章了。。。)

其实当时罗马的诗人有比较高的地位，不太可能变成政治宣传。

注释：countermand: 撤销取消，= revoke, rescind, repeal 等re-的前缀词汇

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.

注释：backdrop 背景幕

Actium: 在这个地方最终奥古斯都打败了安东尼

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!

维吉尔在Georgics里面提到他会写一个关于新的领导人的长诗，貌似有点像当时古罗马常见的政治军事长诗，往往主角就是一个军事家，同时也会是这个诗歌的赞助人。

注释：Parthia: 古代安息王国

panegyrics: 颂文

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.

这里话锋一转，说但是这样的推测是不可信的，因为当时这种政治歌颂的长诗文学造诣和政治观点都受到了局限，而且往往被这么明显歌颂的话，主人公也就是那个赞助人的高大形象反而会被削弱。(这里也很接近阅读文章的思路了)

注释：overt 明显的

umbrage 愤怒，恼火，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.

维吉尔在提到奥古斯都时非常聪明，他讲了古希腊的事情，讲的是古罗马的开创者的祖先，这样就比较隐晦。从风格上、技术上，维吉尔的诗歌都好像在模仿盲诗人荷马。

注释：BCE before Christian Era

invocation：对神的乞求和祷告

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.

这里就着重分析埃涅阿斯和奥德赛以及伊利亚特的相同点

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).