我之前曾经在公众号上写了一篇关于“GRE阅读中的词汇题”的文章,当时有很多小伙伴很积极的发表评论,大家普遍被这种题目折磨得非常痛苦。没看过的同学也可以先看一下之前这篇:
01
Matisse’s art, with its spectacular immediacy and its mysterious depths, poses confounding problems for analysis. When Hilary Spurling writes of The Piano Lesson that “the picture cannot be confined to any single source or meaning,” she might be writing of any of Matisse’s works. Picasso’s themes, with their collage of traditional signs and symbols, are far more susceptible to conventional iconographic analysis than anything in Matisse. Similarly, the cubism of Picasso and Braque, while rejecting traditional perspective, can nevertheless be studied as an inversion of traditional norms, using the same tools that one uses to study those norms. But the solutions that Matisse arrives at are always idiosyncratic and tend to be unrelated to any system of ideas. Intuition is his only system.
答案
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B
其次,susceptible就是“容易受……的”,不要去把“影响”那两个字加进去。
“prone to……”和“vulnerable to……”后面都必须根负面的动作,比如“容易受伤”“容易受攻击”,因为这两个词本来表达的是坏事。
而“open to……”和“amenable to……”是中性的,它们后面可以跟任何性感色彩的内容。
02
In A Fine Brush on Ivory, his appreciation of novelist Jane Austen, Richard Jenkyns remarks that in Austen scholarship, there are pressure that cause ordinary critical circumspection to break down. Principal among those pressures is the peculiar affection in which the person of Jane Austen is held by many readers. This affection is not altogether explained by admiration for her genius, nor is it entirely a symptom of nostalgia for her orderly, decorous, vanished world. The impulse to know personally this elusive, even mysterious, writer has led critics to approach her work in mostly biographical or historical ways, often in defiance of other critical fashions, especially the various formal approaches that have dominated modern literary criticism.
答案
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C
RJ这个人在对Austen scholarship的appreciation当中表示“Austen研究者们会面对一种压力,这种压力会打破研究者们平时所具有的谨慎”。
GRE阅读的词汇题绝不像TOEFL或IELTS词汇题那样“无脑”;在GRE词汇题当中,我们必须理解文章,绝不能直接选同义词。
在语境当中,我们必须学会利用情感色彩这个利器,保证原词与替换词的态度方向一致。