新航道小編之前帶來(lái)關(guān)于GRE閱讀方面的破解內(nèi)容，這次繼續(xù)帶來(lái)章老師GRE閱讀破解系列(三)，希望對(duì)各位準(zhǔn)備備考GRE考試的同學(xué)們有幫助，祝大家能考取一個(gè)好成績(jī)，早日被理想大學(xué)錄取。

  GRE閱讀入門第三講

  可以開始“上路子”的我們

  以下這個(gè)篇章真的好。

  篇幅短小，閱讀壓力極小。語(yǔ)流清晰，且詞匯難度不大。同時(shí)，也不是晦澀艱深的知識(shí)。

  The black experience, one might automatically assume, is known to every Black author. Henry James was pondering a similar assumption when he said: “You were to suffer your fate. That was not necessarily to know it.” This disparity between an experience and knowledge of that experience is the longest bridge an artist must cross. Don L. Lee, in his picture of the Black poet, “studying his own poetry and the poetry of other Black poets,” touches on the crucial point. In order to transform his own sufferings—or joys—as a Black person into usable knowledge for his readers, the author must first order his experiences in his mind. Only then can he create feelingly and coherently the combination of fact and meaning that Black audiences require for the re-exploration of their lives. A cultural community of Black authors studying one another’s best works systematically would represent a dynamic interchange of the spirit—corrective and instructive and increasingly beautiful in its recorded expression.

  黑人文學(xué)從來(lái)都是literature類篇章的寥寥幾個(gè)focus之一。文章大意就很簡(jiǎn)單，就是說(shuō)詩(shī)人把經(jīng)歷轉(zhuǎn)化成讀者可以明白的知識(shí)。文中最有趣味的一句話就是：“You were to suffer your fate. That was not necessarily to know it.”。意思就是，我們是在經(jīng)歷命運(yùn)之苦的，但是這些經(jīng)歷恐怕只是情感或者心理上的感受，而不是大腦可以辨認(rèn)的知識(shí)。

  這樣解釋，好像還是抽象了些?那舉個(gè)例子吧：疫情幾個(gè)月，我們被迫宅在家憋壞了，感到不開心，同時(shí)還可能胖了不少，穿衣服時(shí)難受、照鏡子時(shí)看著鏡中鼓脹的自己，都會(huì)感覺不開心。但是，這些不過(guò)是經(jīng)歷和體會(huì)，還不是知識(shí)。除非這些經(jīng)歷被提煉成知識(shí)性的描述，比如“受困于局限的空間而產(chǎn)生的被禁閉感，每日“房間——客廳”的單調(diào)和高頻重復(fù)讓生活欠缺了新鮮的刺激從而使人感到無(wú)聊，富余的精力得不到釋放，體型的變化讓我們對(duì)自己的認(rèn)同感和接受度降低”，等等，才是知識(shí)。

  經(jīng)歷是體驗(yàn)、感受、心里活動(dòng)，是沒有形態(tài)的，但是知識(shí)是有形態(tài)的，形態(tài)之一就是文字(或者話語(yǔ))，是可以被表述的。當(dāng)然，詩(shī)人不是用上面的方式而是用詩(shī)歌的方式來(lái)表述經(jīng)歷的。

  好了，懂了，我們做兩道推斷題(看到題干中的“infer”就是推斷題)：

  It can be inferred from the passage that the author considers poetry to be which of the following?

  題干中沒有什么玄機(jī)。

  (A) A means of diversion in which suffering is transformed into joy

  (真的么?這種選項(xiàng)也能干擾么?一定不會(huì)是答案。)

  (B) An art form that sometimes stifles creative energy

  (真的么?這種選項(xiàng)也能干擾么?一定不會(huì)是答案。)

  (C) A bridge between the mundane and the unreal

  (真的么?這種選項(xiàng)也能干擾么?一定不會(huì)是答案。)

  (D) A medium for conveying important information

  (poetry的文字形態(tài)可以把詩(shī)人的experience以knowledge的方式傳遞)

  (E) An area where beauty must be sacrificed for accuracy

  (真的么?這種選項(xiàng)也能干擾么?一定不會(huì)是答案。)

  上面這一題很簡(jiǎn)單，下面這一題有些難度。

  It can be inferred from the passage that the author would be LEAST likely to approve of which of the following?

  尤其注意題干中的LEAST

  (A) Courses that promote cultural awareness through the study of contemporary art

  (沒有直接找到依據(jù)去肯定這個(gè)選項(xiàng)?但是，也沒有找到絕對(duì)的依據(jù)去否定這個(gè)選項(xiàng)。不急，先看下面的選項(xiàng)。)

  (B) The development of creative writing courses that encourage mutual criticism of student work

  (文中的對(duì)應(yīng)的信息是“A cultural community of Black authors studying one another’s best works systematically would represent a dynamic interchange of the spirit”。)

  (C) Growing interest in extemporaneous writing that records experiences as they occur

  (如果只是即時(shí)的記錄經(jīng)歷，而不是把經(jīng)歷轉(zhuǎn)化為知識(shí)來(lái)傳遞，那可不是本文的意思喲。)

  (D) A shift in interest from abstract philosophical poetry to concrete autobiographical poetry

  (文章講到因?yàn)椤?strong>You were to suffer your fate. That was not necessarily to know it”所以抽象的哲學(xué)——題干中的concrete autobiographical——不一定是通識(shí)性的體驗(yàn)而為人所知，所以呢，詩(shī)人“transform his own sufferings—or joys—as a Black person into usable knowledge for his readers”。那第一步呢，就是“the author must first order his experiences in his mind.”。那experiences的可不就是具象的自傳體式——題干中的concrete autobiographical——的內(nèi)容么。)

  (E) Workshops and newsletters designed to promote dialogues between poets

  (文中的對(duì)應(yīng)的信息是“A cultural community of Black authors studying one another’s best works systematically would represent a dynamic interchange of the spirit”。)

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