我們?yōu)閺V大要考GMAT的同學總結(jié)了GMAT閱讀題型解題方法，現(xiàn)在是GMAT閱讀最后一種題型，即寫作意圖題的解題方法，希望能對大家有所幫助。
該題型主要考察考生對文章中具體細節(jié)信息的功能與目的的識別能力，很多考生往往在閱讀中總是被細節(jié)部分的內(nèi)容本身所糾纏，而忽略了作者運用這些細節(jié)內(nèi)容的理由。在閱讀時，理解作者提出某些內(nèi)容的意圖要比記住這些內(nèi)容本身更重要，有些寫作意圖題作者在文章中并沒有說出他提出某個內(nèi)容是為了支持某個主張或為了某種意圖，遇到此種情況，考生需要自己推斷這些目的或是意圖。
例：Cartier-Bresson has expressed his passion for portrait photography by characterizing it as“a duel without rules, a delicate rape.”Such metaphors contrast quite sharply with Richard Avedon’s conception of a sitting. While Cartier-Bresson reveals himself as an interloper and opportunist, Avedon confesses---perhaps uncomfortably---to a role as diagnostician and (by implication) psychic healer: not as someone who necessarily transforms his subjects, but as someone who reveals their essential nature.
The author of the passage quotes Cartier-Bresson in order to
(A) refute Avedon’s conception of a portrait sitting
(B) provide one perspective of the portraiture encounter
(C) support the claim that portrait sittings are, more often than not, confrontational encounters
(D) show that a portraiture encounter can be either brief or extended
(E) distinguish a sitting for a photographic portrait from a sitting for a painted portrait.
在文中，作者指出了Cartier-Bresson的觀點與Avedon觀點不同，因而我們可以從文中提供的兩種觀點來判定出本題的正確選項為(B)，作者援引Cartier-Bresson的目的是為了引出有關(guān)創(chuàng)作肖像作品時的另外一種“畫者與被畫者”之間新的互動觀點。
該題型主要考察考生對文章中具體細節(jié)信息的功能與目的的識別能力，很多考生往往在閱讀中總是被細節(jié)部分的內(nèi)容本身所糾纏，而忽略了作者運用這些細節(jié)內(nèi)容的理由。在閱讀時，理解作者提出某些內(nèi)容的意圖要比記住這些內(nèi)容本身更重要，有些寫作意圖題作者在文章中并沒有說出他提出某個內(nèi)容是為了支持某個主張或為了某種意圖，遇到此種情況，考生需要自己推斷這些目的或是意圖。
例：Cartier-Bresson has expressed his passion for portrait photography by characterizing it as“a duel without rules, a delicate rape.”Such metaphors contrast quite sharply with Richard Avedon’s conception of a sitting. While Cartier-Bresson reveals himself as an interloper and opportunist, Avedon confesses---perhaps uncomfortably---to a role as diagnostician and (by implication) psychic healer: not as someone who necessarily transforms his subjects, but as someone who reveals their essential nature.
The author of the passage quotes Cartier-Bresson in order to
(A) refute Avedon’s conception of a portrait sitting
(B) provide one perspective of the portraiture encounter
(C) support the claim that portrait sittings are, more often than not, confrontational encounters
(D) show that a portraiture encounter can be either brief or extended
(E) distinguish a sitting for a photographic portrait from a sitting for a painted portrait.
在文中，作者指出了Cartier-Bresson的觀點與Avedon觀點不同，因而我們可以從文中提供的兩種觀點來判定出本題的正確選項為(B)，作者援引Cartier-Bresson的目的是為了引出有關(guān)創(chuàng)作肖像作品時的另外一種“畫者與被畫者”之間新的互動觀點。