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HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME

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Re: Verbal: RC help! [#permalink]

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New post 24 Aug 2011, 08:13
Thanks Rhyme for the detailed info on the approach.
I think this is worth a try for everyone out there.

I would also request others who have followed this approach to post a few passages explaining their thought process. I am sure many people are still worried about the use of this technique for answering more general questions.
Rhyme has already explained one such question. But I would still want to have a few more samples explaining the method or approach to answer such questions.

Rhyme has already shown us the path. I cannot ask him to keep on explaining with more examples.
So I would really appreciate if others chip in with few more samples.

Thanks!
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Re: Verbal: RC help! [#permalink]

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New post 04 Sep 2011, 08:30
This technique is amazing.

Not sure what else to say. I was having difficulty with the MGMAT RC problem set questions until I began utilizing the method. My overall completion time for a set is down as well as my error rate.

Huge kudos for this!
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 09 Feb 2012, 01:50
Great style and thanks for the information. Even though the inital post is not fresh any more. I will try to practice this approach in my verbal prep periord over the next 3 weeks. THANKS!
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 09 Feb 2012, 21:10
Nice post... very well explanied how to deal with RC. Thanks
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 17 Feb 2012, 13:56
I was wondering how applicable this approach is to single dense paragraphs on the RC section.

I was looking at the 12th edition OG RC Q.50 and it's accompanying passage, and it's a killer of a one-paragraph only passage.

Any ideas on how best to tackle it?
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 23 Mar 2012, 13:34
dpvtank wrote:
I was wondering how applicable this approach is to single dense paragraphs on the RC section.

I was looking at the 12th edition OG RC Q.50 and it's accompanying passage, and it's a killer of a one-paragraph only passage.

Any ideas on how best to tackle it?


To answer my own question, I experimented with the approach with single paragraph passages, and the best technique I've found is to seek out a natural break in the flow of the passage to mentally make it into a separate paragraph. It helps tremendously.
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 18 Jun 2012, 01:27
Hi Rhyme,

Of late we have been having RC passages which are only 1 or 2 paragraphs instead of traditional 3 or 4 paras, do you think the mentioned strategy would still work, coz in a 1 paragraph passage, with this strat you study the whole passage.Also I tried your strat for a couple of passages versus traditional "full reading", my hit rate was high only in full reading with both same time duration, does your strat takes more time to evolve?
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 18 Sep 2012, 01:01
hey. should we follow the same approach with short-passages as well? As in short-passages , reading through one para and just reading the first line of second para , doesnt really helps. one ultimately has to go through the second one.
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 29 Oct 2012, 10:34
This is very good and frankly really smart, it focuses on the weaknesses of the test itself instead of just forcing you to dive in to the passage and squeeze your brain as hard as you can. Some strategy guides advice the same basic strategy.
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 01 Nov 2012, 07:47
Hi Rhyme, help me with the passage below:

Shaw’s defense of a theater of ideas brought him up against both his great bugbears—commercialized art on the one hand and Art for Art’s Sake on the other. His teaching is that beauty is a by-product of other activity; that the artist writes out of moral passion (in forms varying from political conviction to religious zeal), not out of love of art; that the pursuit of art for its own sake is a form of self-indulgence as bad as any other sort of sensuality. In the end, the errors of “pure” art and of commercialized art are identical: they both appeal primarily to the senses. True art, on the other hand, is not merely a matter of pleasure. It may be unpleasant. A favorite Shavian metaphor for the function of the arts is that of tooth-pulling. Even if the patient is under laughing gas, the tooth is still pulled.
The history of aesthetics affords more examples of a didactic than of a hedonist view. But Shaw’s didacticism takes an unusual turn in its application to the history of arts. If, as Shaw holds, ideas are a most important part of a work of art, and if, as he also holds, ideas go out of date, it follows that even the best works of art go out of date in some important respects and that the generally held view that great works are in all respects eternal is not shared by Shaw. In the preface to Three Plays for Puritans, he maintains that renewal in the arts means renewal in philosophy, that the first great artist who comes along after a renewal gives to the new philosophy full and final form, that subsequent artists, though even more gifted, can do nothing but refine upon the master without matching him. Shaw, whose essential modesty is as disarming as his pose of vanity is disconcerting, assigns to himself the role, not of the master, but of the pioneer, the role of a Marlowe rather than of a Shakespeare. “The whirligig of time will soon bring my audiences to my own point of view,” he writes, “and then the next Shakespeare that comes along will turn these petty tentatives of mine into masterpieces final for their epoch.”
“Final for their epoch”—even Shakespearean masterpieces are not final beyond that. No one, says Shaw, will ever write a better tragedy than Lear or a better opera than Don Giovanni or a better music drama than Der Ring des Nibelungen; but just as essential to a play as this aesthetic merit is moral relevance which, if we take a naturalistic and historical view of morals, it loses, or partly loses, in time. Shaw, who has the courage of his historicism, consistently withstands the view that moral problems do not change, and argues therefore that for us modern literature and music form a Bible surpassing in significance the Hebrew Bible. That is Shaw’s anticipatory challenge to the neo-orthodoxy of today.
1. The primary purpose of the passage is to discuss
(A) the unorthodoxy of Shaw’s views on the Bible
(B) the aesthetic merit of Shaw’s plays
(C) Shaw’s theory of art
(D) Shavian examples of the theater of ideas
(E) Shaw’s naturalistic and historical view of morals
2. The author sets off the word “pure” (line 9) with quotation marks in order to
(A) contrast it with the word “true,” which appears later (line 10)
(B) suggest that, in this context, it is synonymous with “commercialized” (line 9)
(C) underscore its importance
(D) strip away its negative connotations
(E) emphasize its positive connotations
3. According to the author, Shaw compares art to tooth-pulling (lines 12-14) in order to show that
(A) the moral relevance of a work of art must be extracted from the epoch in which it was created
(B) true art is painful to the senses
(C) even the best works of art go out of date
(D) pleasure is not the sole purpose of art
(E) all art has a lasting effect on its audience
4. According to the author, Shaw’s didacticism was unusual in that it was characterized by
(A) idealism
(B) historicism
(C) hedonism
(D) moralism
(E) religious zeal
5. It can be inferred from the passage that Shaw would probably agree with all of the following statements about Shakespeare EXCEPT:
(A) He wrote out of a moral passion.
(B) All of his plays are out of date in some important respect.
(C) He was the most profound and original thinker of his epoch.
(D) He was a greater artist than Marlowe.
(E) His Lear gives full and final form to the philosophy of his age.
6. Which of the following does the author cite as a contradiction in Shaw?
(A) Whereas he pretended to be vain, he was actually modest.
(B) He questioned the significance of the Hebrew Bible, and yet he believed that a great artist could be motivated by religious zeal.
(C) Although he insisted that true art springs from moral passion, he rejected the notion that morals do not change.
(D) He considered himself to be the pioneer of a new philosophy, but he hoped his audiences would eventually adopt his point of view.
(E) On the one hand, he held that ideas are a most important part of a work of art; on the other hand, he believed that ideas go out of date.
7. The ideas attributed to Shaw in the passage suggest that he would most likely agree with which of the following statements?
(A) Every great poet digs down to a level where human nature is always and everywhere alike.
(B) A play cannot be comprehended fully without some knowledge and imaginative understanding of its context.
(C) A great music drama like Der Ring des Nibelungen springs from a love of beauty, not from a love of art.
(D) Morality is immutable; it is not something to be discussed and worked out.
(E) Don Giovanni is a masterpiece because it is as relevant today as it was when it was created.
8. The passage contains information that answers which of the following questions?
I. According to Shaw, what is the most important part of a work of art?
II. In Shaw’s view, what does the Hebrew Bible have in common with Don Giovanni?
III. According to the author, what was Shaw’s assessment of himself as a playwright?
(A) I only
(B) III only
(C) I and II only
(D) II and III only
(E) I, II, and III
9. As it is revealed in the passage, the author’s attitude toward Shaw can best be described as
(A) condescending
(B) completely neutral
(C) approving
(D) envious
(E) adulatory
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 01 Nov 2012, 11:46
Hi Rhyme:

Can you please elaborate your way of problem solving in case of RC's. It will be of great help.
Thanks
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 03 Nov 2012, 08:53
Oh sounds great!!! but sounds quite bold approach...:-)

Will surely try it out on official Qs.

My problem with RC is timing because a lot of time is lost on reading the passage, resulting in dip in my accuracy too since I have to go through the question in a very hurried manner.

Let me give it a try because this will solve timing prob if it works for me.

Thanks!!
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 11 Dec 2012, 07:58
Sheer brilliance is all that comes to my head with this! 8-)
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 21 Dec 2012, 01:46
Hey Guys, Just chk out this website www(dot)rcprep(dot)com

It is by far the best simulator I've seen on the net and we can post our passages to..Anybody who has a list of passages with them can register and help people out.

FYI...Help me out too...
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 27 Dec 2012, 18:19
Hi, I've got a question... how can you tell when the new paragraph starts? On the test text paragraphs are not separated by new lines, so sometimes it's not clear for me where the new paragraph starts :( how can I read only the 1st sentence of each new paragraph when I can't even tell which those paragraphs are?

Could you explain, please? Cheers
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 28 Dec 2012, 05:49
I see. It seems I just have to train my eyes to spot these words so I can get my way around the text. Thanks!
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 04 Jan 2013, 03:08
Does this amazing technique works also for short passages?.

Surpringly, I've found more complicated to apply that technique to short passages, but for long passages it defenitely works!! :)
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 17 Jan 2013, 20:02
I wonder if any of the GMAC faculty monitor GMATClub's forums to see how students try and 'crack' their testing methods and rectify them in their tests. I guess this is where the questions that aren't marked on the official test that come into play. Since rhyme's method was established in 2006, I am just wondering if it is outdated? i.e. GMAC have become non the wiser to it.
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 30 Jan 2013, 23:27
karanamin wrote:
I wonder if any of the GMAC faculty monitor GMATClub's forums to see how students try and 'crack' their testing methods and rectify them in their tests. I guess this is where the questions that aren't marked on the official test that come into play. Since rhyme's method was established in 2006, I am just wondering if it is outdated? i.e. GMAC have become non the wiser to it.



I was wondering the same thing!
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME [#permalink]

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New post 12 Mar 2013, 01:23
Hi Rhyme:
Thanks so much for your very detailed and interesting thread. After read and apply your strategies, I feel they're really helpful for long passages. For short and having only one paragraph passages (frankly, they're much trickier than long passages), however, I'm quite perplexed at applying your method. Please recommend how your strategies - reading first paragraph and 1st sentence of each following paragraphs - could be applied effectively for that kind of passage.

Thank you in advance.
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Re: HOW TO DESTROY READING COMPREHENSION PASSAGES BY RHYME   [#permalink] 12 Mar 2013, 01:23

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