4.13 二战720（一战680......） 一些语文狗。

raistlin422

Q51，V35.

首先说说考试本身的verbal部分，之前TX说语法偏难，而且抓不住考点，逻辑偏难。这一度也困扰了我很长时间。但今天亲身体验才发现其实难度和prep相当，模式也一样，完全没有更难，当然也没有更加简单。所以说CDer将prep，语法笔记，OG弄好之后，会觉得做起真题的语法来很习惯，没有很怪的的感觉。逻辑、阅读亦同理。


下面奉上Verbal狗（数学完全不记得了，但大家一定要好好看jj，我遇上不下10个寂静原题，直接导致了我数学满分。。。）：
逻辑
1.有一题是strengthen：讲某国有两座桥，N和W，N要repair，于是只能走W。这个国家觉得过路费收的比原来少了，于是要在W桥上比原来基础上多收20%的费用。原文说此举不会影响到驾车人的选择，问strengthen。我选的是“开车的对这点涨价没所谓。”
2.。。。。记不得了，想起来再补充。。。。
阅读
第一篇是ROI那篇，两段。题目非常简单。。。大家可以放心。
第二篇是那篇有关照相技术的。第一段说这种P技术由于它的手法很艺术使得照相本身也成为了一种艺术，其中有一个Hand的类比题（不是新题型），文中Hand指的是艺术家对其画作在最终阶段的加工，Hand就是那个量变到质变的过程。第二段讲这种技术在十九世纪很流行，非常受上流社会欢迎。提到了三个代表性人物，他们的作品虽有不同，但在本质上是相似相通的（此处有题，答案就选这个“similar”）本段最后是让步，虽说P技术很好，但它也有缺陷，阻止了什么什么的发展（没记住，不重要）。
第三篇是Red book和Green book的，长文章。第一段说了两个书，R是记录确定濒危的动物，没确定濒危就假定其很安全；G是记录确定安全的，没确定就假定其不安全（这里有道类比题，问哪一项和RB的内容有可比性，答案不确定。）之后本段说要判断哪种好，要case-by-case的去研究才能决定。第二段就讲了一个在马来西亚的case-by-case的研究案例，其结论就是G要比R更好。
第四篇是简历的，短文章。第一段说简历有个人信息会被不法分子利用，但政府说民众并没有意识到问题的严重性。第二段讲了一个教授的一个努力，旨在提高大家的警惕，本段大部分都在描述这个教授是怎么进行这项工作，怎么筛选简历的（有一道细节题问教授如何做，答案是用关键词区分简历和接受如何写简历的文章。）最后说这个教授的工作卓有成效，一年之后教授就找不到有机密个人信息的简历了。


我prep两套分别做了三遍，第一套710，760，770.第二套760，760，770.第三遍是在我准备二战的时候做的。理论上讲一战680一定是失常了，究其原因，我觉得是因为我前一天晚上只睡了2个小时。。。所以，要考试的童鞋们，睡眠很重要，一定要给自己减压，要知道GMAT是考智商的，据说失眠以后人的智商就只有70%了。。。另外，模考成绩和真实考试有正负30分的差距是正常的。也许我再考一次能上760，也可能也就700. 所以prep的成绩要客观对待，认清自己才是最重要的。
寂静这东西数学很重要，但其他的我觉得就不是很有帮助了。如果是立志要上700的童鞋，一分耕耘一分收获的努力修炼内功是最最重要的。相信努力一定会有回报，踏踏实实，每个中国考生都能上700，美国人多笨啊~~~


最后，祝CDer们都能取得好成绩！

Budaphin

呼唤楼主，我昨天一战也拿了一样的一战分，而lz的二战分就是我之后的目标+，所以想知道从一战到二战lz是怎么计划的？：
之间间隔多久?
继续用了哪些材料?
情绪、心态、状态方面如何调整的呢~~
（PREP是不是值得做多几遍，直到拿到高分呢？）

非常期待lz回复，感激不尽了~

leanncx

首先说说考试本身的verbal部分，之前TX说语法偏难，而且抓不住考点，逻辑偏难。这一度也困扰了我很长时间。但今天亲身体验才发现其实难度和prep相当，模式也一样，完全没有更难，当然也没有更加简单。所以说CDer将prep，语法笔记，OG弄好之后，会觉得做起真题的语法来很习惯，没有很怪的的感觉。逻辑、阅读亦同理。


看了这段。。顿觉欣慰~~~楼主恭喜~！

Leohhb

谢谢同学写出对语法的看法啊！！

conniequan

“美国人多笨啊！”
哈哈哈

冷咖啡

lz...............赤果果的耍人啊

逻辑
1.
2. 不记得了...............

raistlin422

不太一样，主旨内容都不一样。文字也要更简单，没那么多专业词汇。。。。考试文章中的专业词汇完全不用理会，不影响做题。

另外，ROI那篇就看整理版的狗狗就行了，很全面。其他几篇整理过的那个都不免有些问题。我这个应该比较准确。不过大家上考场还是要仔细读文章，仔细读题才是~~~

超然成风

Pictorialism is the name given to a photographic movement in vogue from around 1885 following the widespread introduction of the dry-plate process. It reached its height in the early years of the 20th century, and declined rapidly after 1914 after the widespread emergence of Modernism. The terms "ictorialism" and "ictorialist" entered common use only after 1900.
Pictorialism largely subscribed to the idea that art photography needed to emulate the painting and etching of the time. Most of these pictures were black & white or sepia-toned. Among the methods used were soft focus, special filters and lens coatings, heavy manipulation in the darkroom, and exotic printing processes. From 1898 rough-surface printing papers were added to the repertoire, to further break up a picture's sharpness. Some artists "etched" the surface of their prints using fine needles. The aim of such techniques was to achieve what the 1911 Encyclopedia Britannica termed, in discussing Pictorialism, "personal artistic expression".
Despite the aim of artistic expression, the best of such photographs paralleled the impressionist style then current in painting. Looking back from the present day, we can also see close parallel between the composition and picturesque subject of genre paintings and the bulk of pictorialist photography.

The 1911 Encyclopedia Britannica noted that: "as a distinct movement pictorial photography is essentially of British origin", although in its later phases there was a strong influence on American photography. The Brotherhood of the Linked Ring and The New American School were notable organised U.S. tendencies in Pictorialism around 1900. An American circle of photographers later renounced pictorialism altogether and went on to found Group f/64, which espoused the ideal of unmanipulated, or straight photography.
One of the most important publications that promoted Pictorialism was Alfred Stieglitz's "Camera Work" 1903 - 1917. Each publication had up to 12 plates that were reproduced in Photogravure, Halftone or Collotype. These plates are now collected and very sought after in the art world. Most of the photographers that made up the issues were members of the Photo-Secession, a group that promoted photography as art and soon moved away from the ideals of pictorialism.
By the year of 1910, when Albright Gallery bought 15 photographs from Stieglitz' 291 Gallery, a major victory was won in the battle for establishing photography as art. Pictorialism, which had served to open the museum doors for photography, was now already regarded as a vision of the past by the spearheading photographers of that time. Stieglitz, always craving for the new, was quoted around 1910 saying "It is high time that the stupidity and sham in pictorial photography be struck a solarplexus blow." and "Claims of art won't do. Let the photographer make a perfect photograph. And if he happens to be a lover of perfection and a seer, the resulting photograph will be straight and beautiful - a true photograph."[1]
The new and proceedingly modern America needed a new representation in art. This necessarily meant the end for pictorialism as major form of art, although the contemporary American portraitist Sally Mann revisited the pictorialist style in her 2003 book What Remains.

rolandgarros

刚考完就回来发帖，真是好人啊~~~

comely123

多谢LZ的详细回忆！！