下半年公共英語(yǔ)五級(jí)wsk閱讀理解強(qiáng)化試題

1、下半年公共英語(yǔ)五級(jí)wsk閱讀理解強(qiáng)化試題Passage Ten (Photography and Art)The earliest controversies about the relationship between photography and art centered on whether photographs fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the n

2、ineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision,

3、and no less worthy an art than painting.Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, explorin

4、g themselves-anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Mod

5、ernism: the better the art, the more subversive it is of the traditional aims of art.Photographers disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who s

6、uppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of

7、 painting. Much of photographys prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960s. Appreciating photographs is a relief to sensibilities tired of the mental exe

8、rtions demanded by abstract art. Classical Modernist painting-that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse-presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassure

9、s viewers that art is not hard; photography seems to be more about its subjects than about art.Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity su

10、bversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity-in short, an art.1. What is the author mainly concerned with? The author is concerned withA. defining the Modernist attitude toward art.B. explaining how

11、photography emerged as a fine art.C. explaining the attitude of serious contemporary photographers toward photography as art and placing those attitudes in their historical context.D. defining the various approaches that serious contemporary photographers take toward their art and assessing the valu

12、e of each of those approaches.2. Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in lines 12-13?A. Objective B. Mechanical. C. Superficial. D. Paradoxical.3. Why does the author introduce Abstract Expressionist pai

13、nter?A. He wants to provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art.B. He wants to set forth an analogy between the Abstract Expressionist painters and classical Modernist painters.C. He wants to provide a contrast to Po

14、p artist and others.D. He wants to provide an explanation of why serious photography, like other contemporary visual forms, is not and should not pretend to be an art.4. How did the nineteenth-century defenders of photography stress the photography?A. They stressed photography was a means of making

15、people happy.B. It was art for recording the world.C. It was a device for observing the world impartially.D. It was an art comparable to painting.Vocabulary1. fine arts 美術(shù)(指繪畫(huà)，雕刻，建筑，詩(shī)歌，音樂(lè)等)2. assert 主張，聲明，維護(hù)(權(quán)利)3. privileged 特殊的，享受特權(quán)的，特許的4. pretentious 狂妄的，做作的5. irrelevant 不相干的，無(wú)關(guān)的6. subversive 破壞性的

16、，顛覆性的7.disclaimer 棄權(quán)者8.harry 掠奪，折磨9.austerity 嚴(yán)格，簡(jiǎn)樸10.convergence 聚合，聚合點(diǎn)11.implicit 含蓄的12.distinctive 區(qū)別的，獨(dú)特的13.exalted 高貴的，高尚的難句譯注1. The earliest controversies about the relationship between photography and art centered on whether photographs fidelity to appearances and dependence on a machine allo

17、wed it to be a fine art as distinct from merely a practical art.結(jié)構(gòu)簡(jiǎn)析 此句為主謂語(yǔ)+賓語(yǔ)從句。As distinct from 句修飾fine art.參考譯文 最早有關(guān)攝影和藝術(shù)關(guān)系的爭(zhēng)論點(diǎn)集中在攝影對(duì)表象的忠實(shí)和對(duì)機(jī)器的依賴(lài)能否使它成為藝術(shù)，有別于僅僅是實(shí)用的美術(shù)。2. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a

18、privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.結(jié)構(gòu)簡(jiǎn)析 結(jié)構(gòu)是主謂賓從。句子長(zhǎng)是因?yàn)榻樵~短語(yǔ)against the charge 后接同位說(shuō)明語(yǔ)the photography was 賓語(yǔ)從句中有三組表語(yǔ)：a way of seeing, a revolt, an art.參考譯文 正隊(duì)這種指責(zé)：攝影是一種沒(méi)有靈魂的，對(duì)現(xiàn)實(shí)機(jī)械性復(fù)制，攝影工作者聲名攝影不是復(fù)制品，而是一種特殊的觀察方式，是對(duì)平庸視覺(jué)的叛逆，和繪畫(huà)一樣有藝術(shù)價(jià)值。3.

19、It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.結(jié)構(gòu)簡(jiǎn)析 句子結(jié)構(gòu)為主從句，which引導(dǎo)賓從作介詞to 的賓語(yǔ)，賓從中imposed by 分詞短語(yǔ)修飾concept of art, the better the more 是說(shuō)明concept of art.參考

20、譯文 這說(shuō)明他們就是把現(xiàn)代主義勝利所強(qiáng)加的藝術(shù)概念視為合理的，其合理程度是：藝術(shù)越強(qiáng)，對(duì)藝術(shù)的傳統(tǒng)目的破壞得越大。4. Photographers disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art.結(jié)構(gòu)簡(jiǎn)析 名詞disclaimer放棄，否認(rèn)。上下文翻譯中可譯成動(dòng)詞含義，否認(rèn)拋棄創(chuàng)作藝術(shù)的興趣。參考譯文 攝影師否認(rèn)對(duì)創(chuàng)作藝術(shù)

21、感性趣，他們告訴我們更多的是有關(guān)現(xiàn)代藝術(shù)概念的令人苦惱的情況，而不是攝影是不是藝術(shù)問(wèn)題。5. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity-in short, an art.結(jié)構(gòu)簡(jiǎn)析 復(fù)合句。句內(nèi)三個(gè)that clause. 第一個(gè)是worry的賓從;第二個(gè)是so far that 的句型。第三個(gè)是forget 之賓從。參考譯文 許多專(zhuān)業(yè)攝影人員私下開(kāi)始擔(dān)憂(yōu)，強(qiáng)調(diào)攝影是對(duì)傳統(tǒng)藝術(shù)意圖的顛覆活動(dòng)的做法有些過(guò)分了，(活動(dòng)的宣傳走得太遠(yuǎn))以致使公眾忘記攝影是一種獨(dú)特的高尚活動(dòng)-總之，是一種藝術(shù)。寫(xiě)作方法與文章大意文章論及“攝影是否是藝術(shù)”問(wèn)題，這樣采用對(duì)比手法。一開(kāi)始就講述了19世紀(jì)