美国法学院入学考试(LSAT)阅读笔记(2).docx

美国法学院入学考试（LSAT）阅读笔记LSAT考试阅读笔记：文章套路新老观点对比型a结构：老观点驳斥老观点新观点b特点：喜新厌旧、标新立异c判断标志：喜新厌旧的语言特征：古老的时间状语，traditionally，old，was （it was once believed），recently（可能是老观点），usually标新立异的语言特征：most，many，frequently如果发现重要的转折词则可以确定为新老观点对比型d新观点出现的位置：一段中部或二段开头e主题句：说明新观点的句子要特别注意主题句，对于内容性的主题句尤其应当如此现象解释型a结构：现象解释b现象：自然科学中的现象；社会科学中的史实，由人物、时间、事件构成c解释：会存在多种解释，其中正确的解释是文章的主题句；有的文章也许没有正确理论（主题句），但仍属于现象解释型问题解决型a结构：提问解决b提问：疑问性问题：文章一开始就是问句，有疑问词或问号；或者以“question”，“puzzle”等词的形式出现。着重看如何回答。任务性问题：以“difficulty”，“task”，“challenge”等词的形式出现。着重看如何完成。c解决：往往有多种解决方案，各有评价；往往是负评价负评价正确的解决方案（通常在最后）d主题句：说明正确的解决方案的核心句就是主题句；但也有些文章都是大负小正的评价，此时看过程不看结果，无主题句就无内容型的主题题。结论解释型a总分结构b特征：开始先说观点，标志性强，通常是判断句，以系动词，情态动词，自由褒贬词为标志；此时可看文章各段的开头c主题句：如开头的判断句是文章的总论，它就是主题句5后三种套路的区分看文章开头的后半部分：描述原因的是现象解释型；讲述改进方法，解决问题的是问题解决型；更具体的描述是结论解释型做题注意1慎重对待含有强调性的语言（最高级、唯一性和比较级的选项）2长选项竖读法：纵向比较所有选项，尤其是开头，找到其中相同的语言部分。如果某几个选项中相同的语言部分对这个题有用，则先看这几个选项；否则，先看其他选项或者这几个选项的差异部分。例：参见类比题例3文字定位法：文（主题词）题干（主题词）文（主题词）例题讲解book 1， reading 6， p150 in recent years the early music movement（关键词）， which advocates performing a work as it was performed at the time of its composition， has taken on the character of a crusade， particularly as it has moved beyond the sphere of medieval and baroque music and into music from the late eighteenth and early nineteenth centuries by composers such as mozart and beethoven granted（表示让步结构）， knowledge about the experience of playing old music on nowobsolete instruments has been of inestimable（） value to scholars nevertheless（）， the early music approach to performance raises profound and troubling questions（大负小正）early music advocates assume that composers write only for the instruments available to them， but evidence suggests that composers of beethovens stature imagined extraordinarily high and low notes as part of their compositions， even when they recognized that such notes could not be played on instruments available at the time（in the score of beethovens first piano concerto， there is a “wrong” note， a high fnatural where the melody obviously calls for a high fsharp， but pianos did not have this high an fsharp when beethoven composed the concerto because beethoven once expressed a desire to revise his early works to exploit the extended range of pianos that became available to him some years later， it seems likely that he would have played the fsharp if given the opportunity）（例子，长度超过5行就要读） to use a piano exactly contemporary with the works composition would require playing a note that was probably frustrating（负） for beethoven himself to have had to play（评论）in addition（表示与上段并列）， early music advocates often inadvertently divorce music and its performance from the life of which they were， and are， a part（the discovery that haydns and mozarts symphonies were conducted during their lifetimes by a pianist who played the chords to keep the orchestra together has given rise to early music recordings in which a piano can be heard obtrusively in the foreground， despite evidence indicating that the orchestral piano was virtually inaudible to audiences at eighteenthcentury concerts and was dropped as musically unnecessary when a better way to beat time was found）（例子）（and although in the early nineteenth century the first three movements （sections） of mozarts and beethovens symphonies were often played faster， and the last movement slower than today， this difference can readily be explained by the fact that at that time audiences applauded at the end of each movement， rather than withholding applause until the end of the entire work as a result（）， musicians were not forced into extra brilliance in the finale in order to generate applause， as they are now）（例子） to restore the original tempo of these symphonies represents an irrational denial of the fact that our concepts of musical intensity and excitement have quite simply， changed（评价）（结论解释型）13 it can be inferred from the passage that by “a piano exactly contemporary” （line 30） with the composition of beethovens first piano concerto， the author means the kind of piano that was属于直接事实题designed to be inaudible to the audience when used by conductors of orchestras跨区型错误，用文章其它部分讲的内容来解答定位部分（line 30）的问题，必然错误incapable of playing the high fnatural that is in the score of beethovens original ver