GRE写作名人素材库和新GRE Issue写作高分经验分享

　　我有五点想说：结构、逻辑、字数、句式、思想

　　结构：

　　我个人的结构一般都是五段。开头+三段展开+结尾升华。这个比较中规中矩，三段也基本能把想说的话都说完。

　　逻辑：

　　我认为逻辑主要在中间三段。开头只不过是引一下题，表一下态。具体操作我会在字数里面提到。结尾我认为主要就是升华一下。把讨论推倒一个高度。除非时间不够，我感觉结尾最好不要再把开头重写一遍，或者把前头论述简明总结一下。读文章的人智商是足以记得我们之前说了啥的，不用结尾提醒。

　　我在美国的一个华裔文科老师说过，中国人就应该把自己平时写作的结尾当成英文写作的开头，因为我们中文的结尾一般都是总结全文。而英文习惯一开头就总结全文，把全文脉络写出来，那样大家读着方便。而结尾，则是试图把自己的讨论上升到一个高度，或者开辟一个新话题，提出一个新问题等等。后两者也许适用于学术论文。但是上升到一个高度肯定适用于G。这点会在思想处提到。

　　说到中间三段的逻辑，我一般会有两种选择。一种是给三个支持论据，就是AAA形式。一种是两个支持一个让步，就是AAB形式。这个基本取材于新东方。下面阐述一下我的理解。

　　遇到一个话题，我们一般有两种反应。一种是：哎呀，说的太有道理/太扯淡了。一种是：这也得分情况讨论。前者适用于AAA。后者则是AAB。

　　AAA

　　AAA就是三段都是支持或者都是反对题目的。而AAA也分两种。一种是并列，一种是递进。如果三个原因没什么太强的关系，至少写个并列出来。比如，话题说，科技发展带来了很多社会问题。咱一拍大腿，说，太对了!然后写三个并列论证。开头先说，社会包括方方面面，比如日常生活啊、伦理道德啊、人际关系啊。

　　接着来个并列的AAA。

　　1，科技在日常生活方面带来的问题，比如环境污染，堵车，噪音啥的。

　　2，伦理道德方面，比如克隆，整容，变性，随便说说。

　　3，在人际关系方面，比如电脑游戏和电视减少了我们面对面的沟通，好不容易出个桌面游戏三国杀，结果网杀一出来，趁着杀人认识漂亮姑娘的机会又少了之类的。

　　这三个就是并列关系，因为互相没啥太大关系。但是并列也是一种逻辑啊，只不过是最简单的逻辑。这个好掌握，但是不高端。

　　高端一点的，就是AAA的递进。

　　比如我练过一个题目，说媒体对政府报道的越多，社会的福利越大。咱一拍大腿，说，太错了!然后写三个递进论证。

　　1，倘若这是一个集权政府，媒体报道什么都是由政府说了算，不能报道的都封掉了，那么报道的再多也没用，因为都是政府喜闻乐见的声音。

　　2，即便有了监控部门，确保媒体能够独立报道政府(递进让步一层)，如果群众教育程度不够，没有分辨是非的能力，或者群众不关心政治 ，那么报道越多，反而是过剩信息，越多可能会让群众越搞不懂现状。

　　3，即便有监控部门，然后群众教育水平也足以去伪存真，客观看待所有报道(递进让步二层)，倘若各政治团体以此为契机，利用媒体互相攻击对方，制造舆论，那么这样的报道越多，对社会福利反而越损害。

　　前不久看了个报道 说，美国政党竞选预算，百分之七八十用在挖竞争对手的负面新闻上面，只有百分之二十用来让选民知道自己政党的执政方针和理念。于是竞争变成，不是因为我好而选择我，而是因为对方太差，你只能选我。长此以往，政党更关注舆论压倒竞争对手，而不是发展国计民生，那么社会福利还是差。以上，便是AAA的递进一例。

　　AAB

　　还有个比较高端的，我考试用过的，就是AAB的。这个好些之处在于，很多题不是非黑即白的。有时候能想到2个A，想不到第三个A了，但是反面一想可能有思路，那何不在最后写个反面的情况，显得咱思绪周密，考虑全面，同时也是逻辑的体现。我考试遇到的题目是，社会发展主要是靠挑战权威推动的。

　　1，对啊，想想黑人民权运动。

　　2，对啊，想想巴菲特不相信被金融界奉为金科玉律的市场效益理论，而自己去找股票内在价值，最后还是首富啊。

　　3，但是啊，但是，如果人人都去挑战权威，发现问题，没有人解决问题怎么办?所以挑战权威能推动社会发展，但不是唯一动力。这就像煎鸡蛋，煎完正面煎反面。其实任何题目说得极端点都是错，大家可能注意到了我的B就是把题目说极端了，说极端了还不好批判么。

　　字数：

　　俗话说，有话则长，无话则短。我能搞出900字，除了打字快，写英文熟，主要还是有话说。(这可能还是靠平时读读书，而且也读读美国的新闻啥的，迫于无奈用中国例子可以，但是能用美国例子还是美国例子好。

　　像我们高考作文，一说到挑战权威，大家可能都会想到**，啊对不起，五四运动，然后大笔一挥，时值我党建党90周年，生米熟饭，当场拿下。

　　同理，美国人看作文，也比较喜欢看咱们写个马丁路德金和Rosa Parks民权运动，而不是辛亥革命或者百日维新。)我基本都是读一读文科课的要求读物，或者商科课上课讨论过的案例，套用的很好。学以致用嘛。

　　字数这点很多人会教我们投机取巧，比如车轱辘话来回说。但是我觉得，要是有话要说，不吐不快，那么光是一个例子就能二三百字。

　　我考试写巴菲特那个例子，解释金融界如何崇拜市场效益理论(efficient market hypothesis)，市场效益理论是个啥，巴菲特如何不信邪，自己去看资产负债表(balance sheet)，找内在价值(intrinsic value)，然后在大部分经纪人都盯着大屏幕看价格变动的时候，巴菲特办公桌上只有个计算器，然后这哥们成了首富，捐钱造福社会的同时，更重要的是挑战了权威的金融学说，推动金融股票市场估值的变革等等。具体还会在思想部分论述。

　　这里简论一下开头。开头就是引题，由于引题可以照抄，所以能一边写一边想。然后肤浅的说两句。比如我的考试开头就是。很多人表示，挑战权威能够推动社会发展。这句话很有道理，因为数不尽的例子告诉我们，在挑战权威之后，社会才能发现问题，从而才能解决问题，得到发展。因为权威也是人构成的，人就难免犯错，所以没有人挑战权威的话，就没有人纠错，那社会就停滞不前。

　　写到这里，基本都是照抄，不用动脑子的，后文可以一边写一边想。这时候我已经定，我的态度是有保留支持，就是AAB，而且我也想到了民权运动，还有想起了巴菲特。但是B还没来得及想。

　　那么接下来表态的时候，我就写：对于这一问题，我是赞同的，因为叹气社会的发展，无论是宏观的社会变革，还是一个学科变革引起的社会效益，都有很多是被挑战权威的人带起的。由于权威往往是权利掌握者，比如政府和法律，反抗需要付出一定代价爱，所以不是很多人有勇气和魄力去反抗。正因为如此，才显得他们的可贵，也才识得社会发展变得不容易。

　　然后就能引出下一段的民权运动了。以上就是我的开头。

　　句式：

　　可能有很多人表示写英文，咱已经输在起跑线上了。词汇干不过洋鬼子，我们就背他二三十个名句，语法上彻底压过他们。于是恨不得每一句话都是倒装，从句，写的越长越好。我老师告诉我，simple English is good English.写长了不仅容易出错，人家不容易读懂。毕竟写作是为了传达思想，除非水平到了，否则想写的艰深难懂，画虎不成反类犬。而且考场每次想写个难句都要想半天，时间不够了。我都是想到什么写什么，逻辑结构和思想为主，句式只是逻辑和思想的载体。当然如果都是主谓宾那也说不过去。其实水平到了，有些表达自然而然就用上了长句。这不是一朝一夕之功。毕竟各位考试在即，我个人认为，宁可句式不到，逻辑和思想要到。只要不出错，都是好英语。一家之言。

　　思想：

　　有人说考G之前准备几个万能例子，或者背几段轶事。我由于留学时候学了各种各样的课，模考的时候都能做到立刻唤醒沉睡已久的记忆，所以没有相关准备。现在大家时间所剩不多，我有两个诀窍和大家分享：1，把东西往自己熟悉领域拉。我是学经济的，所以巴菲特和股票那段属于我的本行，当然有话说。

　　大家仔细想想，挑战权威这事儿，干嘛不写伽利略呢，两个铁球同时落地，小学就学了。我的答案是，我不熟，无话则短。所以宁可写一个牵强点的巴菲特，我也要有话则长，然后最后给他说圆了。而另一个原因是，我不会拼伽利略嘛!

　　2，想想之前，尤其是上课(如果有留学背景的话)读过的文段和讨论过的话题。我之前那个美国竞选数据，就是一次市场营销课上的阅读材料。而有一次模拟有个关于什么分主次的事儿，我就把商科课学的波士顿咨询公司的一个矩阵分析公司的方法介绍了一遍，也写得很长。总之有东西想说，那么字数肯定上去了，思想也有了，只要这东西能和题目扯上关系，那么逻辑也有了。

　　Issue这也就差不多了。而最后说一下结尾升华，这也是思想的体现。结尾这个把握在于个人。我认为前头四段写得精彩，基本就妥了。结尾写得好只是锦上添花，写得一般决不至于前功尽弃。所以谨慎点可以写短点或者暗淡点。其实文章写到最后，自己肯定对题目有了更深的认识，有啥没来得及说的，结尾可以提出个问题，意味深长一把。

　　有啥新的发现，比如这个话题的两面是内在统一的呀，是不可分割的呀，总之有不吐不快的东西，都可以说一说。只要不要说得太含糊，都应该会激起读者欣赏的。

　　希望以上新GRE Issue写作高分经验分享能够给各位考生带来一些启发，大家可以参考他的写作备考方法，从结构、逻辑、字数、句式、思想五个方面来进行有针对性地提高，从而获得新GRE Issue写作高分。

　　da Vinci, Leonardo 1452 -- 1519

　　Painter, sculptor, inventor. Born April 15, 1452 near the village of Vinci, Italy. He was the illegitimate son of Ser Piero da Vinci, a prominent notary of Florence, who had no other children until much later. Ser Piero raised his son himself, a common practice at the time, arranging for Leonardo's mother to marry a villager. When Leonardo was 15, his father apprenticed him to Andrea del Verrocchio, the leading artist of Florence and a characteristic talent of the early Renaissance. A sculptor, painter, and goldsmith, Verrocchio was a remarkable craftsman, and his great skill and passionate concern for quality of execution, as well as his interest in expressing the vital mobility of the human figure, were important elements in Leonardo's artistic formation. Indeed, much in Leonardo's approach to art was evolutionary from tradition rather than revolutionary against it, although the opposite is often true of his results.

　　After completing his apprenticeship, Leonardo stayed on as an assistant in Verrocchio's shop, and his earliest known painting is a product of his collaboration with the master. In Verrocchio's Baptism of Christ (ca. 1475), Leonardo executed one of the two angels, a fact already recorded in the 16th century, as well as the distant landscape, and he added the final touches to the figure of Christ, determining the texture of the flesh. Collaboration on a major project by a master and his assistant was standard procedure in the Italian Renaissance. What is special is that Leonardo's work is not, as was usual, a slightly less skilled version of Verrocchio's manner of painting but an original approach altering it. It completely possesses all the fundamental qualities of Leonardo's mature style and implies a criticism of the early Renaissance. By changing hard metallic surface effects to soft yielding ones, making edges less cutting, and increasing the slight modulations of light and shade, Leonardo evoked a new flexibility within the figures. This "soft union," as Giorgio Vasari called it, is also present in the special lighting and is emphatically developed in the spiral turn of the angel's head and body and the vast depth of the landscape.

　　Apparently Leonardo had painted one extant work, the Annunciation in Florence, before this. It is much nearer to Verrocchio in the stability of the two figures shown in profile, the clean precision of the decorative details, and the large simple shapes of the trees, but it already differs in the creamier modeling of the faces. A little later is Leonardo's portrait of Ginevra de' Benci, the young wife of a prominent Florentine merchant, in which her oily face with softly contoured lips is seen against a background of mysteriously dark trees and a pond.

　　About 1478 Leonardo set up his own studio. In 1481 he received a major church commission for an altarpiece, the Adoration of the Magi. In this unfinished painting, Leonardo's new approach is far more developed. A crowd of spectators, with odd and varied faces, flutters around and peers at the main group of the Virgin and Child, and there is a strong sense of continuing movement. In the background the three horses of the kings prance among intricate architectural ruins. However, the painting also illustrates Leonardo's strong sense of the need for a countervailing order: he placed in the center of the composition the Virgin and Child, who traditionally in paintings of this theme had appeared at one side of the picture, approached by the kings from the other side. Similarly, the picturesque ruins are rendered in sharp perspective.

　　The simultaneous increase in both the level of activity and the organized system which controls it will climax later in Leonardo's Last Supper, and it shows us his basically scientific temperamentne concerned with not only adding to the quantity of accurate observations of nature but also subjecting these observations to newly inferred physical or mathematical laws. In their paintings earlier Renaissance artists had applied the rules of linear perspective, by which objects appear smaller in proportion as they are farther away from the eye of the spectator. Leonardo joined this principle to two others: perspective of clarity (distant objects progressively lose their separateness and hence are not drawn with outlines) and perspective of color (distant objects progressively tend to a uniform gray tone). He wrote about both of these phenomena in his notebooks.

　　The Adoration of the Magi was, as noted above, left unfinished. In his later career Leonardo often failed over a period of years to finish a work, essentially because he would not accept established answers. For example, in his project for a bronze equestrian statue he began his work by delving into such matters as the anatomy of horses and the method by which the heavy monument could be transported from his studio to its permanent location. In the case of the Magi altarpiece, however, the unfinished state may merely result from the fact that Leonardo left Florence in 1482 to accept the post of court artist to the Duke of Milan. In leaving, Leonardo followed a trend set by the leading Florentine masters of the older generation, Verrocchio and Antonio Pollaiuolo, who went to Venice and Rome to execute commissions larger than any available in their native Florence.

　　Leonardo presented himself to the Duke of Milan as skilled in many crafts, but particularly in military engineering, asserting that he had worked out improved methods for shooting catapults and diverting rivers. Such inventions, as well as the remarkable machinery that Leonardo produced in Milan for stage pageants, point to his profound interest in the laws of motion and propulsion, a further aspect of his interest in living things and their workings. Again, this preoccupation differs from older artists only in degree.

　　Leonardo's first Milanese painting is the altarpiece Virgin of the Rocks. It exists in two versions: the one in Paris is earlier and was executed by Leonardo; the one in London is later, and there is controversy as to whether Leonardo participated in its execution. A religious brotherhood in Milan commissioned an altarpiece from Leonardo in 1483, and it is also a matter of argument as to which version is the one commissioned. Some scholars believe that it is the London work and that the Paris version was painted while Leonardo was still in Florence. But this view requires some remarkable coincidences, and the more usual opinion is that the picture in Paris is the original one executed for the Milanese commission and that it was taken away by Leonardo's admirer the king of France and replaced in Milan by the second painting.

　　Although the Virgin of the Rocksis a very original painting, it makes use of a venerable tradition in which the Holy Family is shown in a cave. This setting becomes a vehicle for Leonardo's interests in depicting nature and in dimmed light, which fuses the outlines of separate objects. The artist once commented that one should practice drawing at dusk and in courtyards with walls painted black. The figures in the painting are grouped in a pyramid.

　　The other surviving painting of Leonardo's Milanese years is the Last Supper (1495-1497), commissioned by the duke for the refectory of the convent of S. Maria delle Grazie. Instead of using fresco, the traditional medium for this theme, Leonardo experimented with an oil-based medium, because painting in true fresco makes areas of color appear quite distinct. Unfortunately, his experiment was unsuccessful; the paint did not adhere well to the wall, and within 50 years the scene was reduced to a confused series of spots. What we see today is largely a later reconstruction, but the design is reliable and remarkable. The scene seems at first to be one of tumultuous activity, in response to the dramatic stimulus of Christ's words "One of you will betray me," which is a contrast to the traditional static row of figures. But the 12 disciples form four equal clusters around Christ, isolated as a fifth unit in the middle. Thus, Leonardo once again enriches the empirical observation of vital activity but simultaneously develops a containing formula and emphasizes the center. This blend of the immediate reality of the situation and the underlying order of the composition is perhaps the reason the painting has always been extraordinarily popular and has remained the standard image of the subject.

　　In its own time, the Last Supper was perhaps less well known than the project for a bronze equestrian statue of the previous Duke of Milan, on which Leonardo worked during most of his Milanese years. He wanted to show the horse leaping, a technical problem of balance in sculpture that was solved only in the 17th century. Numerous drawings of the project exist. Besides apparatus for pageants and artillery, architectural projects also occupied Leonardo in Milan. He and the great architect Donato Bramante, also a recent arrival at the court, clearly had a mutually stimulating effect, and it is hard to attribute certain innovative ideas to one of them rather than the other. The architectural drawings of Leonardo, very similar to the buildings of Bramante, mark the shift from the early Renaissance to the High Renaissance in architecture and show a new interest in and command of scale and grandeur within the basic harmonious geometry of Renaissance structure. No buildings can be attributed with certainty to Leonardo.

　　When Leonardo's patron was overthrown by the French invasion in 1499, Leonardo left Milan. He visited Venice briefly, where the Senate consulted him on military projects, and Mantua. He planned a portrait of Isabella d'Este, Duchess of Mantua, one of the most striking personalities and great art patrons of the age. The surviving drawing for this portrait suggests that the concept of the later Mona Lisa had already been formulated.

　　In 1500 Leonardo returned to Florence, where he was received as a great man. Florentine painters of the generation immediately following Leonardo were excited by his modern methods, with which they were familiar through the unfinished Adoration of the Magi, and he also now had a powerful effect on a still younger group of artists. Thus it was that a younger master passed on to Leonardo his own commission for the Virgin and Child with St. Anne, and the monks who had ordered it gave Leonardo a workroom. Leonardo's large preparatory drawing was inspected by crowds of viewers. This theme had traditionally been presented in a rather diagrammatic fashion to illustrate the family tree of Christ; sometimes this was done by representing Anne, the grandmother, in large scale with her daughter Mary on her knee and with Mary in turn holding the Christ Child. Leonardo sought to retain a reference to this conceptual pattern while drawing sinuous, smiling figures in a fluid organic interrelationship. Several varying designs exist, the last version being the painting of about 1510 in Paris; this variety suggests that Leonardo could not fuse the two qualities he desired: an abstract formula and the immediacy of life.

　　During his years in Florence (1500-1506), even though they were interrupted in 1502 by a term as military engineer for Cesare Borgia, Leonardo completed more projects than in any other period of his life. In his works of these years, the emphasis is almost exclusively on portraying human vitality, as in the Leda and the Swan (lost; known only through copies), a spiraling figure kneeling among reeds, and the Mona Lisa, the portrait of a Florentine citizen's young third wife, whose smile is mysterious because it is in the process of either appearing or disappearing.

　　Leonardo's great project (begun 1503) was the battle scene that the city commissioned to adorn the newly built Council Hall of the Palazzo Vecchio. In the choice of theme, the Battle of Anghiari, patriotic references and the wish to show off Leonardo's special skills were both apparently required. Leonardo depicted a cavalry battle of small skirmish won by Florentine troops in which horsemen leap at each other, churning up dust, in quick interlocking motion. The work today is known through some rapid rough sketches of the groups of horsemen, careful drawings of single heads of men which are extraordinarily vivid in suggesting immediate response to a stimulus, and copies of the entire composition. Leonardo began to paint the scene, experimenting with encaustic technique (the paint is fused into hot wax on the surface of the panel), but he was called back to Milan before the work was completed. A short time thereafter, the room was remodeled and the fragment was destroyed.

　　Both the Battle of Anghiari and the Mona Lisa contain their animation in neatly balanced designs. In the battle scene, the enemies are locked in tense symmetry; in the portrait, the crossed arms form the base of a pyramid capped by the head, which gives the lady her quality of classic rightness and prevents the less than full-length portrait from seeming incomplete and arbitrarily amputated at the lower edge.

　　Called to Milan in 1506 by the French governor in charge, Leonardo worked on an equestrian statue project, but he produced no new paintings; he was more intent on scientific observation. Most of his scientific concerns were fairly direct extensions of his interests as a painter, and his research in anatomy was the most fully developed. Verrocchio and other early Renaissance painters had attempted to render the human anatomy with accuracy, but Leonardo went far beyond any of them, producing the earliest anatomical drawings which are still considered valid today, although he occasionally confused animal and human anatomy and accepted some old wives' tales.

　　Leonardo began filling the notebooks with data and drawings, and the visual intensity that was always his starting point reveal his other scientific interests: firearms, the action of water, the flight of birds (leading to designs for human flight), the growth of plants, and geology. Leonardo's interests were not universal: theology, history, and literature moved him little. All his interests had in common a concern with the processes of action, movement, pressure, and growth; it has been rightly said that his drawings of the human body are less anatomical than physiological.

　　In 1513 Leonardo went to Rome, where he remained until 1516. He was much honored, but he was relatively inactive and remarkably aloof from its rich social and artistic life. He continued to fill his notebooks with scientific entries. The French king, Francis I, invited Leonardo to his court at Fontainebleau, gave him the titles of painter, architect, and mechanic to the king, and provided him with a country house at Cloux. Leonardo was revered for his knowledge and influence on younger artists more than for any work he produced in France. He died on May 2, 1519, at Cloux.

 

GRE写作名人素材库和新GRE Issue写作高分经验分享的延伸阅读——gre写作取得高分的三大技巧

 

　　1.必须研究范文

　　他们真的非常重要，因为那是最权威的辅导资料!不是简单的熟读和背诵，而是逐字逐句的体会作者的意思及修辞。还有提醒一点，ETS对范文的评论也都非常精彩，建议大家参考!这会非常有利于理解考试所考的重点。

　　2.必须要熟练

    重要的是形成惯性思维，考试时间真的是太紧张了，要想现场思考每句话的调理性真的是太难了，反正我没做到，写得时候手指不停的运转，远远超过了大脑运转的速度，只有有充分思维准备的人，才能驾轻就熟，运用自如。题目中提到politics，大脑中就应当出现Franklin Roosevelt， Lincoln， Gerhard Shroeder， Gandhi……; 提到ART，就该想到Rembrandt， Van Gogh， Starry night， night watch， Henmingway， the old man and the sea……; 提到Scandal，就该想到Nixon，watergate，bill clinton，sex sandal，Enran……总之，熟练是非常非常重要的!

    3.必须多修改

如果不勤修改自己的文章，就不知道自己原来的漏洞和不足在哪，闷头写，只能导致lose the stake! 当认真学习一段时间写作之后，再回头改第一篇习作，肯定会发现自己很多毛病，这说明： 我们在进步!