2023年考研考博考博英語(yǔ)哈爾濱工業(yè)大學(xué)考試高頻考點(diǎn)參考題庫(kù)帶答案

2023年考研考博考博英語(yǔ)哈爾濱工業(yè)大學(xué)考試高頻考點(diǎn)參考題庫(kù)帶答案（圖片大小可自由調(diào)整）答案解析附后第1卷一.綜合題(共20題)1.單選題ThoughEnglishwasonthewholeprosperousandhopeful,thoughcomparisonwithherneighborssheenjoyedinternalpeace,shecouldnotevadethefactthattheworldofwhichsheformedapartwastombyhatredandstrifeasfierceasanyinhumanhistory.Menwerestillfarfromrecognizingthattworeligionscouldexistsidebysideinthesamesociety;theybelievedthatthetolerationofanotherreligiondifferentfromtheirown,andhencenecessarilyfalse,mustinevitablydestroysuchasocietyandbringthesoulsofallitsmembersintodangerofhell.Sothestrugglewentonwithincreasingfurywithineachnationtoimposeasinglecreeduponeverysubject,andwithinthegeneralsocietyofChristendomtoimposeituponeverynation.InEnglandtheReformers,orProtestants,aidedbythepoweroftheCrown,hadatthisstagetriumphed,butoverEuropeasawholeRomewasbeginningtorecoversomeofthegroundithadlostafterMartinLuther’srevoltintheearlierpartofthecentury.Itdidthisintwoways,bytheactivitiesofitsmissionaries,asinpartsofGermany,orbythemilitarymightoftheCatholicPowers,asintheLowCountries,wheretheDutchprovincesweresometimesneartheirlastextremityunderthepressureofSpanisharms.AgainstEngland,themostimportantofalltheProtestantnationstoreconquer,militarymightwasnotyetpossiblebecausetheCatholicPowersweretoooccupiedanddivided:andso,inthe1570’sRomebentherefforts,asshehaddoneathousandyearsbeforeinthedaysofSaintAugustine,towinEnglandbackbymeansofhermissionaries.ThesewereyoungEnglishmenwhohadeithernevergivenuptheoldfaith,orhavingdoneso,hadreturnedtoitandfeltcalledtobecomepriests.Therebeing,ofcourse,noCatholicseminariesleftinEngland,theywentabroad,atfirstquiteeasily,laterwithdifficultyanddanger,tostudyintheEnglishcollegesatDouaiorRome:theformerestablishedforthetrainingofordinaryorsecularclergy,theotherforthemembertheSocietyofJesus,commonlyknownasJesuits,anewOrderestablishedbySt.IgnatiusLoyolasomethirtyyearsbefore.Thesecularscamefirst;theyachievedasuccess,whicheventhemosteagercouldhardlyhaveexpected.Cool-mindedandwell-informedmen,likeCecil,hadlongsurmisedthattheconversionoftheEnglishpeopletoProtestantismwasfarfromcomplete;many-Cecilthoughteventhemajority-hadconformedoutoffear,self-interestor-possiblythecommonestreasonofall-sheerbewildermentattherapidchangesindoctrineandformsofworshipimposedontheminsoshortatime.Thusithappenedthatthemissionariesfoundawelcome,notonlywiththefamilieswhohadsecretlyofferedthemhospitalityiftheycame,butwithmanyotherswhomtheirfirsthostsinvitedtomeetthemorpassedthemonto.Theywouldandattheportsindisguise,asmerchants,courtiersorwhatnot,professingsomeplausiblebusinessinthecountry,andmakebydeviouswaysfortheirfirsthouseofrefuge.TheretheywouldadministertheSacramentsandpreachtothehouseholdsandtosuchoftheneighborsastheirhoststrustedandpresentlygoontosomeotherlocalitytowhichtheyweredirectedforfromwhichtheyreceivedacall.1.Themainideaofthispassageis（

）.2.Thereligiousstrifementionedinthepassageisbetween（

）.3.WhatwasMartinLuther'sreligion?4.ThroughwhatwaydidtheRomerecoversomeofthelostland?5.Whatdidthesecondparagraphmainlydescribe?問(wèn)題1選項(xiàng)A.thecontinuityofthereligiousstruggleinBritaininnewwaysB.theconversionofreligioninBritainC.thevictoryofthenewreligioninBritainD.Englandbecameprosperous問(wèn)題2選項(xiàng)A.ReformersandProtestantsB.CatholicpoursandJesuitsC.CatholicpowersandprotestantsD.MartinLutherandSt.Augustine問(wèn)題3選項(xiàng)A.BuddhismB.ProtestantismC.CatholicismD.Orthodox問(wèn)題4選項(xiàng)A.CivilandmilitarywaysB.Propagandaandaback,C.PersuasionandcriticismD.Religiousandmilitaryways問(wèn)題5選項(xiàng)A.TheactivitiesofmissionariesinBritain.B.TheconversionofEnglishpeopletoProtestantismwasfarfromcomplete.C.TheyounginBritainbegantoconverttoCatholicism.D.Mostfamiliesofferedhospitalitytomissionaries.2.單選題ThefirstancientOlympicswereheldin776B.C.ThegamesgottheirnamefromOlympia,theGreekcitywheretheytookplace.LikethesummerOlympicsoftoday,theancientOlympicswereheldeveryfouryears.ThousandsofpeoplefromallovertheGreekworldcametowatch.Themainstadiumheldabout45,000people.“Wehaveaccountsofvisitorsandpilgrimssettinguptentsallaroundthesite.”LisaCerratoofTuftsUniversitysaid.DuringthefirstOlympics,therewasonlyonecompetition-a200-meterrace.Butovertimethegamesgrewtoincludewrestling,racing,boxing,andothersports.Womenwerenotallowedtocompete,buttheyhadtheirownseparategames.“Theancientathletebecamecelebrities,justliketoday.Theyoftenlivedtherestoftheirlivesbeingtreatedtofreedinners.”Cerratosaid,“City-stateseventriedtostealawayeachother’sathletesbyofferingthemvariousawards.”TheancientOlympicsexisteduntilA.D.393.ButthemodemOlympicsarestillgoingstrong.1.WheredidtheancientGreeksholdtheirfirstOlympics?2.HowdidresearchersknowthatancientGreeksrushedtowatchtheOlympics?3.WhatdidwomendosincetheywerenotallowedtoparticipateintheOlympics?4.Theancientathletesmusthavefelthonoredwhenthey（

）.5.Itcanbeinferredfromthefourthparagraphthat（

）.問(wèn)題1選項(xiàng)A.InAthens.B.InOlympics.C.Inatown.D.Inastate.問(wèn)題2選項(xiàng)A.Thousandsofpeoplecametowatch.B.Themainstadiumwasnotbigenough.C.Manyofthemwerevisitorsandpilgrims.D.Theyhavefoundtherelatedrecordofevents.問(wèn)題3選項(xiàng)A.Theystayedathomedoingnothing.B.Theyorganizedprotestsinthecity.C.Theyhadtheirowngames.D.Theysetuptentsaroundthesite.問(wèn)題4選項(xiàng)A.completedina200-meterraceB.wrestledwitheachotherC.readtheaccountsofthegamesD.receivedthetreatmentoffreedinners問(wèn)題5選項(xiàng)A.city-statescompetedwitheachothertowintheOlympicsB.theancientathleteslikedtocelebratetheirvictoriesC.freedinnerswereofferedduringthecompetitionD.awardswereoftenstolentohonortheathletes3.單選題MaryBarton,particularlyinitsearlychapters,isamovingresponsetothesufferingoftheindustrialworkerintheEnglandofthe1840’s.Whatismostimpressiveaboutthebookistheintenseandpainstakingeffortmadebytheauthor,ElizabethGaskell,toconveytheexperienceofeverydaylifeinworking-classhomes.Hermethodispartlydocumentaryinnature:thenovelincludessuchfeaturesasacarefullyannotatedreproductionofdialect,theexactdetailsoffoodpricesinanaccountofateaparty,anitemizeddescriptionofthefurnitureoftheBartons’livingroom,andatranscription(againannotatedoftheballad“TheOldhamWeaver.”Theinterestofthisrecordisconsiderable,eventhoughthemethodhasaslightlydistancingeffect.Asamemberofthemiddleclass,Gaskellcouldhardlyhelpapproachingworking-classlifeasanoutsideobserverandareporter,andthereaderofthenovelisalwaysconsciousofthisfact.Butthereisgenuineimaginativere-creationinheraccountsofthewalkinGreenHeysFields,ofteaattheBartons’house,andofJohnBartonandhisfriend’sdiscoveryofthestarvingfamilyinthecellarinthechapter“PovertyandDeath.”Indeed,forasimilarlyconvincingre-creationofsuchfamiliesemotionsandresponses(whicharemorecrucialthanthematerialdetailsonwhichthemerereporterisapttoconcentrate),theEnglishnovelhadtowait60yearsfortheearlywritingofD.H.Lawrence.IfGaskellneverquiteconveysthesenseoffullparticipationthatwouldcompletelyauthenticatethisaspectofMaryBarton,shestillbringstothesescenesanintuitiverecognitionoffeelingsthathasitsownsufficientconviction.Thechapter“OldAlice’sHistory”brilliantlydramatizesthesituationofthatearlygenerationofworkersbroughtfromthevillagesandthecountrysidetotheurbanindustrialcenters.TheaccountofJobLegh,theweaverandnaturalistwhoisdevotedtothestudyofbiology,vividlyembodiesonekindofresponsetoanurbanindustrialenvironment:anaffinityforlivingthingsthathardens,byitsverycontrastwithitsenvironment,intoakindofcrankiness.Theearlychapters-aboutfactoryworkerswalkingoutinspringintoGreenHeysFields;aboutAliceWilson,rememberinginhercellarthetwig-gatheringforbroomsinthenativevillagethatshewillneveragainsee;aboutJobLgh,intentonhisimpaledinsects-capturethecharacteristicresponsesofagenerationtothenewandcrushingexperienceofindustrialism.Theotherearlychapterseloquentlyportraythedevelopmentoftheinstinctivecooperationwitheachotherthatwasalreadybecominganimportanttraditionamongworkers.1.Whichofthefollowingbestdescribestheauthor’sattitudetowardGaskell’suseofthemethodofdocumentaryrecordinMaryBarton?Accordingtothepassage,MaryBartonandtheearlynovelsofD.HLawrencesharewhichofthefollowing?2.WhichofthefollowingismostcloselyanalogoustoJobLeghinMaryBarton,asthatcharacterisdescribedinthepassage?3.Itcanbeinferredfromexamplesgiveninthelastparagraphofthepassagethatwhichofthefollowingwaspartof“thenewandcrushingexperienceofindusfrialism”(lines33-34)formany4.membersoftheEnglishworkingclassinthenineteenthcentury?5.ItcanbeinferredthattheauthorofthepassagebelievesthatMaryBartonmighthavebeenanevenbetternovelifGaskellhad（

）.6.Whichofthefollowingphrasescouldbestbesubstitutedforthephrase‘"thisaspectofMaryBarton"inline20-21withoutchangingthemeaningofthepassageasawhole?7.TheauthorofthepassagedescribesMaryBartonaseachofthefollowingEXCEPT問(wèn)題1選項(xiàng)A.UncriticalenthusiasmB.UnresolvedambivalenceC.QualifiedapprovalD.Resignedacceptance問(wèn)題2選項(xiàng)A.Depictionofthefeelingsofworking-classfamilies.B.Documentaryobjectivityaboutworking-classcircumstances.C.Richlydetaileddescriptionofworking-classadjustmenttourbanlife.D.Imaginativelystructuredplotsaboutworking-classcharacters.問(wèn)題3選項(xiàng)A.AnentomologistwhocollectedbutterfliesasachildB.Asmall-townattorneywhosehobbyisnaturephotography.C.Ayoungmanwholeavershisfamily’sdairyfarmtostarthisownbusiness.D.Acitydwellerwhoraisesexoticplantsontheroofofhisapartmentbuilding.問(wèn)題4選項(xiàng)A.ExtortionatefoodpricesB.GeographicaldisplacementC.HazardousworkingconditionsD.Alienationfromfellowworkers問(wèn)題5選項(xiàng)A.concentratedontheemotionsofasinglecharacterB.madenoattempttore-createexperiencesofwhichshehadnofirsthandknowledge.C.madenoattempttoreproduceworking-classdialects.D.managedtotranscendherpositionasanoutsider.問(wèn)題6選項(xiàng)A.theportrayaloftheparticularfeelingsandresponsesofworking-classcharactersB.theinfluenceofMaryBartononLawrence’searlyworkC.theplaceofMatyBartoninthedevelopmentoftheEnglishnovelD.theextentofthepovertyandphysicalsufferingamongEngland’sindustrialworkersinthel840’s問(wèn)題7選項(xiàng)A.insightfulB.lyricalC.vividD.poignant4.單選題In1923theinnovativeRussianfilmmakerDzigaVertovdescribedfilmmakingasaprocessthatleadsviewerstowarda“freshperceptionoftheworld.”Vertov’sdescriptionoffilmmakingshouldapplytofilmsonthesubjectofart.Yetfilmsonarthavenothadapowerfulandpervasiveeffectonthewaywesee.Publicationsonartflourish,butthesebooksandarticlesdonotnecessarilysucceedinteachingustoseemoredeeplyormoreclearly.Muchwritinginarthistoryadvancesthediscourseinthefieldbutisunlikelytoinformtheeyeofoneunfamiliarwithitspolemics.Films,however,withtheircapacitytopresentmaterialvisuallyandtoreachabroaderaudience,havethepotentialtoenhancevisualliteracy(theabilitytoidentifythedetailsthatcharacterizeaparticularstyle)moreeffectivelythanpublicationscan.Unfortunately,fewofthehundredorsofilmsonartthataremadeeachyearintheUnitedStatesarebroadcastnationallyonprime-timetelevision.Thefactthatfilmsonartarerarelyseenonprime-timetelevisionmaybeduenotonlytolimitationsondistributionbutalsototheshortcomingsofmanysuchfilms.Someoftheseshortcomingscanbeattributedtothefailureofarthistoriansandfilmmakerstocollaboratecloselyenoughwhenmakingfilmsonart.Theseprofessionalsareable,withintheirrespectivedisciplines,toincreaseourawarenessofvisualforms.Forclosecollaborationtooccur,professionalsineachdisciplineneedtorecognizethatfilmsonartcanbebotheducationalandentertaining,butthiswillrequirecompromiseonbothsides.Afilmmakerwhoiscreatingafilmabouttheworkofanartistshouldnotfollowthestandardssetbyrockvideosandadvertising.Filmmakersneedtoresisttheimpulsetomovethecameraquicklyfromdetailtodetailforfearofboringtheviewer,toframetheimageforthesakeofdramaalone,toadmusicforfearofsilence.Filmmakersareawarethatanartobjectdemandsconcentrationand,atthesametime,areconcernedthatitmaynotbecompellingenough-andsotheyhopetoprovidereliefbyinterposing“real”scenesthatbearonlyatangentialrelationshiptothesubject.Butaworkofartneedstobeexploredonitsownterms.Ontheotherhand,arthistoriansneedtotrustthatonecanindicateandanalyze,notsolelywithwords,butalsobydirectingtheviewer’sgaze.Thespecializedwrittenlanguageofarthistoryneedstoberelinquishedoratleasttemperedforthescreen.Onlyaneffectivecollaborationbetweenfilmmakersandarthistorianscancreatefilmsthatwillenhanceviewers’perceptionsofart.1.Thepassagesuggeststhatafilmmakerdesiringtoenhanceviewers’perceptionsofartshoulddowhichofthefollowing?2.TheauthorofthepassagereferstoVertovinthefirstparagraphmostprobablyinorderto3.Whichofthefollowingbestdescribestheorganizationofthepassage?4.Thepassageisprimarilyconcernedwith（

）.5.Theauthorwouldmostlikelyagreewithwhichofthefollowingstatementsaboutfilmandvisualliteracy?6.Accordingtothepassage,arthistoriansdesiringtoworkwithfilmmakerstoenhancethepublic’sappreciationofartneedtoacknowledgewhichofthefollowing?7.Whichofthefollowingwoulddescribetheauthor’smostlikelyreactiontoaclaimthatfilmsonartwouldmoresuccessfullypromotevisualliteracyiftheyfollowedthestandardssetforrockvideos?問(wèn)題1選項(xiàng)A.Relyonthepreciselanguageofarthistorywhendevelopingscriptsforfilmsonart.B.Relyondramaticnarrativeandmusictosetafilm’stoneandstyle.C.Recognizethataworkofartbyitselfcanbecompellingenoughtoholdaviewer’sattention.D.Dependmorestronglyonnarrationinsteadofcameramovementstoguidetheviewer’sgaze.問(wèn)題2選項(xiàng)A.provideanexampleofhowfilmscanbeusedtoinfluenceperceptionsB.presentevidencetosupporttheargumentthatfilmshavebeenusedsuccessfullytoinfluenceviewers’perceptionsC.introducethenotionthatfilmcaninfluencehowviewersseeD.contrastatraditionalviewoftheusesoffilmwithamoremodemview問(wèn)題3選項(xiàng)A.Anobservationaboutanunsatisfactorysituationisoffered,thereasonsforthesituationarediscussed,andthenwaystochangeitaresuggested.B.Twoopinionsregardingacontroversialphenomenonarecontrasted,supportingevidenceforeachispresented,andthenthetwoopinionsarereconciled.C.Criticismofapointofviewisdiscussed,thecriticismisanswered,andthenthecriticismisappliedtoanotherpointofview.D.Apointofviewisdescribed,evidencesupportingtheviewisprovided,andthenasummaryispresented.問(wèn)題4選項(xiàng)A.discussingwhyfilm’spotentialasamediumforpresentingarttothegeneralpublichasnotbeenfullyrealizedandhowfilmmightbemademoreeffectiveinthisregardB.discussingtheshortcomingsoffilmsonartandthetechnologicalinnovationsrequiredtoincreasetheimpactoffilmonvisualliteracyC.discussingtheadvantagesandthedisadvantagesofusingfilmsratherthanpublicationstopresentworksofarttothegeneralpublicD.presentinginformationtosupporttheviewthatfilmsonartmustfocusmoreoneducationandlessonentertainmentinordertoincreasevisualliteracy.問(wèn)題5選項(xiàng)A.Readingapublicationaboutaworkofartandthenseeingafilmaboutthesameworkisthemosteffectivewaytodevelopvisualliteracy.B.Anincreaseinaviewer’sawarenessofvisualformswillalsoleadtoanincreasedattentionspan.C.Filmhasagreatbutnotyetfullyexploitedcapacitytoincreaseviewers’awarenessofvisualforms.D.Afilmthatfocusesonthedetailsofaworkofartwillhinderthedevelopmentofvisualliteracy.問(wèn)題6選項(xiàng)A.Thearthistorian’sroleinthecreationofafilmonartislikelytobearelativelyminorone.B.Filmcanusenonverbalmeanstoachievesomeofthesameresultsthataspokenorwrittendiscoursecanachieve.C.Anin-depthanalysisofaworkofartisnotanappropriatetopicforafilmonart.D.Althoughsilencemaybeanappropriateback-groundwhenviewingaworkofartinamuseum,itisinappropriateinafilm.問(wèn)題7選項(xiàng)A.AmbivalenceB.IndifferenceC.SympathyD.Disdain5.翻譯題很多人認(rèn)為沒(méi)有兄弟姐妹的孩子很幸運(yùn)，因?yàn)樗麄兛梢缘玫轿镔|(zhì)享受和別人的注意。但是想一想獨(dú)生子女沒(méi)有隱私父母總是感覺(jué)自己有權(quán)知道發(fā)生在他或她生活中的一切。身為獨(dú)生子女的第二個(gè)缺點(diǎn)是缺少某些優(yōu)勢(shì)，而這恰恰是有兄弟姐妹的孩子所擁有的。獨(dú)生子女無(wú)法因?yàn)槭虑槌鲥e(cuò)而責(zé)備兄弟姐妹，或是索要哥哥姐姐以前曾被給予的特權(quán)。此外，獨(dú)生子女也失去了兄弟姐妹的陪伴。結(jié)果就是孤獨(dú)，以及在日后的生活中交朋友也會(huì)遇到麻煩，因?yàn)樗麄儚奈磳W(xué)過(guò)與兄弟或姐妹相處。6.單選題Communicationstechnologiesarefarfromequalwhenitcomestoconveyingthetruth.Thefirststudytocomparehonestyacrossarangeofcommunicationmediahasfoundthatpeoplearetwiceaslikelytotellliesinphoneconversationsastheyareinemails.Thefactthatemailsareautomaticallyrecorded-andcancomebacktohaunt（困擾）you—appearstobethekeytothefinding.JeffHancockofCornellUniversityinIthaca,NewYork,asked30studentstokeepacommunicationsdiaryforaweek.Inittheynotedthenumberofconversationsoremailexchangestheyhadlastingmorethan10minutes,andconfessedtohowmanyliestheytold.Hancockthenworkedoutthenumberofliesperconversationforeachmedium.Hefoundthatliesmadeup14percentofemails,21percentofinstantmessages,27percentofface-to-faceinteractionsandanastonishing37percentofphonecalls.Hisresultstobepresentedattheconferenceonhuman-computerinteractioninVienna,Austria,inApril,havesurprisedpsychologists.Someexpectedemailerstobethebiggestliars,reasoningthatbecausedeceptionmakespeopleuncomfortable,thedetachmentofemailingwouldmakeiteasiertolie.Othersexpectedpeopletoliemoreinface-to-faceexchangesbecausewearemostpracticedatthatformofcommunication.ButHancocksaysitisalsocrucialwhetheraconversationisbeingrecordedandcouldberereadandwhetheritoccursinrealtime.Peopleappeartobeafraidtoliewhentheyknowthecommunicationcouldlaterbeusedtoholdthemtoaccount,hesays.Thisiswhyfewerliesappearinemailthanonthephone.Peoplearealsomorelikelytolieinrealtime-inaninstantmessageorphonecall,say-thaniftheyhavetimetothinkofaresponse,saysHancock.Hefoundmanyliesarespontaneousresponsestoanunexpecteddemand,suchas:“Doyoulikemydress?”Hancockhopeshisresearchwillhelpcompaniesworkoutthebestwaysfortheiremployeestocommunicate.Forinstance,thephonemightbethebestmediumforsaleswhereemployeesareencouragedtostretchthetruth.But,givenresult,workassessmentwherehonestyisapriority,mightbebestdoneusingemail.1.Hancock’sstudyfocuseson（

）.2.Hancock’sresearchfindingsurprisedthosewhobelievedthat（

）.3.Accordingtothepassage,whyarepeoplemorelikelytotellthetruththroughcertainmediaofcommunication?4.AccordingtoHancockthetelephoneisapreferablemediumforpromotingsalesbecause（

）5.Itcanbeinferredfromthepassagethat（

）.問(wèn)題1選項(xiàng)A.Theconsequencesoflyinginvariouscommunicationsmedia.B.ThesuccessofcommunicationstechnologiesinconveyingideasC.PeoplearelesslikelytolieininstantmessagesD.People’shonestylevelsacrossarangeofcommunicationsmedia問(wèn)題2選項(xiàng)A.PeoplearelesslikelytolieininstantmessagesB.Peopleareunlikelytolieinface-to-faceinteractionsC.PeoplearemostlikelytolieinemailcommunicationD.Peoplearetwiceaslikelytolieinphoneconversations問(wèn)題3選項(xiàng)A.Theyareafraidofleavingbehindtracesoftheirlies.B.Theybelievethathonestyisthebestpolicy.C.TheytendtoberelaxedwhenusingthosemediaD.Theyaremostpractisedatthoseformsofcommunication問(wèn)題4選項(xiàng)A.salesmencantalkdirectlytotheircustomersB.salesmenmayfeellessrestrainedtoexaggerateC.salesmencanimpresscustomersasbeingtrustworthyD.salesmenmaypassoninstantmessageseffectively問(wèn)題5選項(xiàng)A.honestyshouldbeencouragedininterpersonalcommunicationsB.moreemployerswilluseemailstocommunicatewiththeiremployeesC.suitablemediashouldbechosenfordifferentcommunicationpurposesD.emailisnowthedominantmediumofcommunicationwithinacompany7.單選題Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotography’sfidelitytoappearancesanddependenceonamachineallowedittobeafineartasdistinctfrommerelyapracticalart.Throughoutthenineteenthcentury,thedefenseofphotographywasidenticalwiththestruggletoestablishitasafineart.Againstthechargethatphotographywasasoulless,mechanicalcopyingofreality;photographersassertedthatitwasinsteadaprivilegedwayofseeing,arevoltagainstcommonplacevision,andnolessworthyanartthanpainting.Ironically,nowthatphotographyissecurelyestablishedasafineart,manyphotographersfinditpretentiousorirrelevanttolabelitassuch.Seriousphotographersvariouslyclaimtobefinding,recording,impartiallyobserving,witnessingevents,exploringthemselves—anythingbutmakingworksofart.Inthenineteenthcentury,photography’sassociationwiththerealworldplaceditinanambivalentrelationtoart:lateinthetwentiethcenturyanambivalentrelationexistsbecauseofthemodernistheritageinart.Thatimportantphotographersarenolongerwillingtodebatewhetherphotographyisorisnotafineart,excepttoproclaimthattheirownworkisnotinvolvedwithart,showstheextenttowhichtheysimplytakeforgrantedtheconceptofartimposedbythetriumphofModernism:thebettertheart,themoresubversiveitisofthetraditionalaimsofart.Photographers’disclaimersofanyinterestinmakingarttellusmoreabouttheharriedstatusofthecontemporarynotionofartthanaboutwhetherphotographyisorisnotart.Forexample,thosephotographerswhosupposethat,bytakingpictures,theyaregettingawayfromthepretensionsofartasexemplifiedbypaintingremindusofthoseAbstractExpressionistpainterswhoimaginedtheyweregettingawayfromtheintellectualausterityofclassicalModernistpaintingbyconcentrationonthephysicalactofpainting.Muchofphotography’sprestigetodayderivesfromtheconvergenceofitsaimswiththoseofrecentart,particularlywiththedismissalofabstractartimplicitinthephenomenonofPopduringthe1960’s.Appreciatingphotographsisarelieftosensibilitiestiredofthementalexertionsdemandedbyabstractart.ClassicalmodernistpaintingthatisabstractartasdevelopedindifferentwaysbyPicasso,CandinskyandMatissepresupposeshighlydevelopedskillsoflookingandafamiliaritywithotherpaintingsandthehistoryofart,photography,likePoppainting,andreassuresviewersthatartisnothard:photographyseemstobemoreaboutitssubjectsthanaboutart.Photography,however,hasdevelopedalltheanxietiesandself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthepromotionofphotographasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographisadistinctiveandexaltedactivityinshort,anart.1.Inthepassage,theauthorisprimarilyconcernedwith（

）.2.Whichofthefollowingadjectivesbestdescribes‘theconceptofartimposedbythetriumphofModernism”astheauthorrepresentsitinthesecondparagraph？(Thesentenceinitalics.)3.TheauthorintroducesAbstractExpressionistpainters(inthethirdparagraph)inorderto（

）.4.Accordingtotheauthor,thenineteenth——centurydefendersofphotographymentionedinthepassagestressedthatphotographywas（

）.5.Accordingtothepassage,whichofthefollowingbestexplainsthereactionofseriouscontemporaryphotographerstothequestionofwhetherphotographyisanart?6.Accordingtothepassage,certainseriouscontemporaryphotographersexpresslymakewhichofthefollowingclaimsabouttheirphotographs?7.Itcanbeinferredfromthepassagethattheauthormostprobablyconsidersseriouscontemporaryphotographytobea（

）問(wèn)題1選項(xiàng)A.definingtheModernistattitudetowardartB.explaininghowphotographyemergedasafineartafterthecontroversiesofthenineteenthcenturyC.explainingtheattitudesofseriouscontemporaryphotographerstowardphotographyasartandplacingthoseattitudesintheirhistoricalcontextD.definingthevariousapproachesthatseriouscontemporaryphotographerstaketowardtheirartandassessingthevalueofeachofthoseapproaches問(wèn)題2選項(xiàng)A.paradoxicalB.mechanicalC.superficialD.dramatic問(wèn)題3選項(xiàng)A.provideanexampleofartistswho,likeseriouscontemporaryphotographers,disavowedtraditionallyacceptedaimsofmodemartB.callattentiontoartistswhoseworksoftenbearaphysicalresemblancetotheworksofseriouscontemporaryphotographersC.setforthananalogybetweentheAbstractExpressionistpaintersandclassicalModernistpaintersD.provideacontrasttoPopartistsandotherswhocreatedworksthatexemplifytheModernistheritageinart問(wèn)題4選項(xiàng)A.ameansofmakingpeoplefamiliarwithremotelocalesandunfamiliarthingsB.atechnologicallyadvancedactivityC.adeviceforobservingtheworldimpartiallyD.anartcomparabletopainting問(wèn)題5選項(xiàng)A.Thephotographers’beliefthattheirrelianceonanimpersonalmachinetoproducetheirartrequiresthesurrendersoftheauthorityoftheirpersonalvisionB.Thephotographers’fearthatseriousphotographymaynotbeacceptedasanartbythecontemporaryartpublicC.TheinfluenceofAbstractExpressionistpaintingandPopArtonthesubj