阅读
本次考试阅读部分笔者并没遇到原题。但直观感受，阅读难度相对填空略简单⼀点，⽂章好理解，题⽬也不会让⼈纠结。 逻辑单题：
1. ⼈们在A⼭林和B⼭林放⽕清除树⽊来获得耕地。⽆⼈机拍到⼲旱时期A的⽕情⽐B更严重。但是数据显⽰A的树⽊减少并不⽐B多。
问题：以下哪个可以解释数据的原因
参考答案：农民在A放⽕的区域树⽊并不多
2. 某地区的陶艺兴起可能是因为当地的农业变差。他们做了很好⼯艺的陶器，数量也远超出正常⽣活所需。但是研究发现他们附近地区的农业⼟壤条件⽐他们还差，这就给陶艺兴起的原因打了个问号。
问题：以下哪个可以加强农业差这个原因
参考答案：附近地区⼟壤条件是后来才变差的，以前那个时期很好。
短阅读：
对某作家的⽂学评论不能简单归类，因为她不仅受了surrealistic影响，还因为移民去了墨西哥，受到那⾥⼀些信仰的影响。要评论她需要从地理的⾓度去进⾏。
题⽬：为什么要⽤地理⾓度的⽅法去评论她
参考答案：因为对原有⽅法不满意；这是了解她⼼路历程的⽅法
2016年12⽉4⽇GRE真题回忆阅读部分(友版)
短阅读1：
Although vastly popular during its time, much nineteenth-century women’s fiction in the United States went unread by the twentieth-century educated elite, who were taught to ignore it as didactic. However, American literature has a tradition of didacticism going back to its Puritan roots, shifting over time from rmons and poetic transcripts into novels, which proved to be perfect vehicles for conveying social values. In the nineteenth century, critics reviled Poe for neglecting to conclude his stories with pithy moral tags, while Longfellow was canonized for his didactic ver.Although rhetorical changes favoring the anti-didactic can be detected as nineteenth-century American transformed itlf into a cular society, it was twentieth-century criticism, which placed aesthetic value above everything el, that had no place in its doctrine for the didacticism of others.
短阅读2：
In the early twentieth century, small magazines and the innovative graphics ud on them created the face of the avant-guard. It was a look that signaled progressive ideas and unconventionality becau it dispend with the cardinal rule of graphic design: to take an idea and make it visually clear, conci, and instantly understood. Instead, graphics produced by avant-guard artists exclusively for the avant-guard (as oppod to their advertising work) were usually difficult to decipher, ambiguous, or nonnsical. This overturning of convention, this assailing of standard graphic and typographic formats, was part of a arch for intellectual freedom. The impul toward liberation enabled avant-guardists to e with fresh eyes untried possibilities for arranging and relating words and images on paper.
短阅读3：
An alarming number of Mediterranean monk als, an endangered species, have recently died. Postmortem analysis showed the prence of an as yet unidentified virus, as well as evidence of a known bacterial toxin. Seawater samples from the area where the als died did contain unusually high concentrations of the toxic bacterium. Therefore, although both virus and bacterial toxins can kill als, it is more likely that the deaths were the result of the bacterial toxin.
Which of the following, if true, provides additional evidence to support the conclusion?
A：Virus are much more difficult to identify in postmortem analysis than bacteria are.
B：Mediterranean monk als are the only species of al in the area where the bacterium was found.
C：The bacterium is almost always prent in the water in at least small concentrations.
D：Nearly all the recent deaths were among adult als, but young als are far more susceptible to virus than are adult als.
E：Several years ago, a large number of monk als died in the same area as a result of exposure to a different bacterial toxin.
长阅读1：
Massive projectiles striking much larger bodies create various kinds of craters, including “multi-ring basins”—the largest geologic features obrved on planets and moons. In such collisions, the impactor is completely destroyed and its material is incorporated into the larger body. Collisions betw
een bodies of comparable size, on the other hand, have very different conquences: one or both bodies might be entirely smashed, with mass from one or both the bodies redistributed among new objects formed from the fragments. Such a titanic collision between Earth and a Mars-size impactor may have given ri to Earth’s Moon.
The Earth-moon system has always been perplexing. Earth is the only one of the inner planets with a large satellite, the orbit of which is neither in the equatorial plane of Earth nor in the plane in which the other planets lie. The Moon’s mean density is much lower than that of Earth but is about the same as that of Earth’s mantle. This similarity in density has long prompted speculation that the Moon split away from a rapidly rotating Earth, but this idea founders on two obrvations. In order to spin off the Moon, Earth would have had to rotate so fast that a day would have lasted less than three hours. Science offers no plausible explanation of how it could have slowed to its current rotational rate from that speed. Moreover, the Moon’s composition, though similar to that of Earth’s mantle, is not a preci match. Theorizing a titanic collision eliminates
postulating a too-rapidly spinning Earth and accounts for the Moon’s peculiar composition. In a titanic collision model, the bulk of the Moon would have formed from a combination of material from the impactor and Earth’s mantle. Most of the earthly component would have been in the form of melt
ed or vaporized matter. The difficulty inrecondensing this vapor in Earth’s orbit, and its subquent loss to the vacuum of outer space, might account for the obrved abnce in lunar rocks of certain readily vaporized compounds and elements.
Unusual features of some other planets might also be explained by such impacts. Mercury is known to have a high density in comparison with other rocky planets. A titanic impact could have stripped away a portion of its rocky mantle, leaving behind a metallic core who density is out of proportion with the original ratio of rock to metal. A massive, glancing blow to Venus might have given it its anomalously slow spin and reverd direction of rotation. Such conjectures are tempting, but, since no early planet was immune to titanic impacts, they could be ud indiscriminately to explain away in a cavalier fashion every unusual planetary characteristic. Still, we may now be beginning to discern the true role of titanic impacts in planetary history.
长阅读2：下⾯这篇⽂章为⾼频阅读，⼏乎每天都考到!!
Jane Austen’s relationship to Romanticism has long been a vexed one. Although her dates (1775-1817) place her squarely within the period, she traditionally has been studied apart from the male poets who work defined British Romanticism for most of the twentieth century. In the past her nove
ls were thought to follow an Augustan mode at odds with the Romantic ethos. Even with the advent of historicist and feminist criticism, which challenged many previous characterizations of Austen as detached from the major social, political, and aesthetic currents of her time, she continued to be distinguished from her male contemporaries. Jerome McCann, for example, insists that Austen does not espou the Romantic ideology. Anne Mellor declares that Austen, along with other “leading women intellectual and writers of the day”“did not,” participate in the Romantic “spirit of the age” but instead embraced an alternative ideology that Mellor labels “feminine Romanticism”.
To be sure, some critics throughout the years have argued for Austen’s affinities with one or more of the male Romantic poets. A special issue of the Wordsworth Circle (Autumn 1976) was devoted to exploring connections between Austen and her male contemporaries. Clifford Siskin in his historicist study of Romanticism argued that Austen does participate in the same major innovation, the naturalization of belief in a developing lf, as characterizes Wordsworth’s poetry and other key works from the period. Recently, three books have appeared (by Clara Tuite, William Galperin, and William Deresiewicz) that in various ways treat Austen as a Romantic writer and together signal a shift in the tendency to gregate the major novelist of the age from the major poets.
The prent essay eks to contribute to this goal of firmly integrating Austen within the Romantic
movement and canon. It does so by pointing out affinities between Austen and a writer with whom she has not commonly been associated, John Keats. Most comparisons of Austen and the Romantic poets have focud on Wordsworth and Byron, who works we know she read. Although Austen could not have read Keats’s poems, which only began to appear in print during the last years of her life, and there is no evidence that Keats knew Austen’s novels, a number of important similarities can be noted in the writers’ works that provide further evidence to link Austen with the Romantic movement, especially the period of cond-generation Romanticism when all of her novels were published.
