大學英語四級閱讀練習

(PhotographyandArt)Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotograph’sfidelitytoappearancesanddependenceonamachineallowedittobeafineartasdistinctfrommerelyapracticalart.Throughoutthenineteenthcentury,thedefenceofphotographywasidenticalwiththestruggletoestablishitasafineart.Againstthechargethatphotographywasasoulless,mechanicalcopyingofreality,photographersassertedthatitwasinsteadaprivilegedwayofseeing,arevoltagainstcommonplacevision,andnolessworthyanartthanpainting.Ironically,nowthatphotographyissecurelyestablishedasafineart,manyphotographersfinditpretentiousorirrelevanttolabelitassuch.Seriousphotographersvariouslyclaimtobefinding,recording,impartiallyobserving,witnessingevents,exploringthemselves—anythingbutmakingworksofart.Theyarenolongerwillingtodebatewhetherphotographyisorisnotafineart,excepttoproclaimthattheirownworkisnotinvolvedwithart.ItshowstheextenttowhichtheysimplytakeforgrantedtheconceptofartimposedbythetriumphofModernism:thebettertheart,themoresubversiveitisofthetraditionalaimsofart.Photographers’disclaimersofanyinterestinmakingarttellusmoreabouttheharriedstatusofthecontemporarynotionofartthanaboutwhetherphotographyisorisnotart.Forexample,thosephotographerswhosupposethat,bytakingpictures,theyaregettingawayfromthepretensionsofartasexemplifiedbypaintingremindusofthoseAbstractExpressionistpainterswhoimaginedtheyweregettingawayfromtheintellectualausterityofclassicalModernistpaintingbyconcentratingonthephysicalactofpainting.Muchofphotography’sprestigetodayderivesfromtheconvergenceofitsaimswiththoseofrecentart,particularlywiththedismissalofabstractartimplicitinthephenomenonofPoppaintingduringthe1960’s.Appreciatingphotographsisarelieftosensibilitiestiredofthementalexertionsdemandedbyabstractart.ClassicalModernistpainting—thatis,abstractartasdevelopedindifferentwaysbyPicasso,Kandinsky,andMatisse—presupposeshighlydevelopedskillsoflookingandafamiliaritywithotherpaintingsandthehistoryofart.Photography,likePoppainting,reassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart.Photography,however,hasdevelopedalltheanxietiesandself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthepromotionofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—inshort,anart.1.Whatistheauthormainlyconcernedwith?Theauthorisconcernedwith[A].definingtheModernistattitudetowardart.[B].explaininghowphotographyemergedasafineart.[C].explainingtheattitudeofseriouscontemporaryphotographerstowardphotographyasartandplacingthoseattitudesintheirhistoricalcontext.[D].definingthevariousapproachesthatseriouscontemporaryphotographerstaketowardtheirartandassessingthevalueofeachofthoseapproaches.2.Whichofthefollowingadjectivesbestdescribes“theconceptofartimposedbythetriumphofModernism”astheauthorrepresentsitinlines12—13?[A].Objective[B].Mechanical.[C].Superficial.[D].Paradoxical.3.WhydoestheauthorintroduceAbstractExpressionistpainter?[A].Hewantstoprovideanexampleofartistswho,likeseriouscontemporaryphotographers,disavowedtraditionallyacceptedaimsofmodernart.[B].HewantstosetforthananalogybetweentheAbstractExpressionistpaintersandclassicalModernistpainters.[C].HewantstoprovideacontrasttoPopartistandothers.[D].Hewantstoprovideanexplanationofwhyseriousphotography,likeothercontemporaryvisualforms,isnotandshouldnotpretendtobeanart.4.Howdidthenineteenth-centurydefendersofphotographystressthephotography?[A].Theystressedphotographywasameansofmakingpeoplehappy.[B].Itwasartforrecordingtheworld.[C].Itwasadeviceforobservingtheworldimpartially.[D].Itwasanartcomparabletopainting.Vocabulary1.finearts美術(shù)(指繪畫，雕刻，建筑，詩歌，音樂等)2.assert主張，聲明，維護(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，無關(guān)的6.subversive破壞性的，顛覆性的7.disclaimer棄權(quán)者8.harry掠奪，折磨9.austerity嚴格，簡樸10.convergence聚合，集合點11.implicit含蓄的12.distinctive區(qū)別的，獨特的13.exalted高貴的，高尚的難句譯注1.Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotograph’sfidelitytoappearancesanddependenceonamachineallowedittobeafineartasdistinctfrommerelyapracticalart.[結(jié)構(gòu)簡析]此句為主謂語+賓語從句。Asdistinctfrom…句修飾fineart.[參考譯文]最早有關(guān)攝影和藝術(shù)關(guān)系的爭論點集中在攝影對表象的忠實和對機器的依賴能否使它成為藝術(shù)，有別于僅僅是實用的美術(shù)。2.Againstthechargethatphotographywasasoulless,mechanicalcopyingofreality,photographersassertedthatitwasinsteadaprivilegedwayofseeing,arevoltagainstcommonplacevision,andnolessworthyanartthanpainting.[結(jié)構(gòu)簡析]結(jié)構(gòu)是主謂賓從。句子長是因為介詞短語againstthecharge后接同位說明語thephotographywas…賓語從句中有三組表語：awayofseeing,arevolt,anart.[參考譯文]正隊這種指責：攝影是一種沒有靈魂的，對現(xiàn)實機械性復(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，是對平庸視覺的叛逆，和繪畫一樣有藝術(shù)價值。3.ItshowstheextenttowhichtheysimplytakeforgrantedtheconceptofartimposedbythetriumphofModernism:thebettertheart,themoresubversiveitisofthetraditionalaimsofart.[結(jié)構(gòu)簡析]句子結(jié)構(gòu)為主從句，which引導(dǎo)賓從作介詞to的賓語，賓從中imposedby…分詞短語修飾conceptofart,thebetter…themore是說明conceptofart.[參考譯文]這說明他們就是把現(xiàn)代主義勝利所強加的藝術(shù)概念視為合理的，其合理程度是：藝術(shù)越強，對藝術(shù)的傳統(tǒng)目的破壞得越大。4.Photographers’disclaimersofanyinterestinmakingarttellusmoreabouttheharriedstatusofthecontemporarynotionofartthanaboutwhetherphotographyisorisnotart.[結(jié)構(gòu)簡析]名詞disclaimer放棄，否認。上下文翻譯中可譯成動詞含義，否認拋棄創(chuàng)作藝術(shù)的興趣。[參考譯文]攝影師否認對創(chuàng)作藝術(shù)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)問題。5.Manyprofessionalsprivatelyhavebeguntoworrythatthepromotionofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—inshort,anart.[結(jié)構(gòu)簡析]復(fù)合句。句內(nèi)三個thatclause.第一個是worry的賓從;第二個是sofarthat的句型。第三個是forget之賓從。[參考譯文]許多專業(yè)攝影人員私下開始擔憂，強調(diào)攝影是對傳統(tǒng)藝術(shù)意圖的顛覆活動的做法有些過分了，(活動的宣傳走得太遠)以致使公眾忘記攝影是一種獨特的高尚活動——總之，是一種藝術(shù)。寫作方法與文章大意文章論及“攝影是否是藝術(shù)”問題，這樣采用對比手法。一開始就講述了19世紀攝影家為確立攝影是藝術(shù)而提出的種種依據(jù)，并把美術(shù)和攝影作比較，來反駁否定攝影的論點：忠于表象，以來機器，沒有靈魂……確立的藝術(shù)后，他們?yōu)閿[脫油畫那種矯飾的藝術(shù)意圖而努力推崇“藝術(shù)越佳，對藝術(shù)傳統(tǒng)意圖破壞越大”的論點。作者把這些攝影家和抽象表現(xiàn)主義畫家相提并論，把攝影和流行畫等同;和古典現(xiàn)代主義畫家和畫相對抗。最后結(jié)論是這種破壞傳統(tǒng)藝術(shù)意圖的活動不能走得太遠，因為攝影畢竟是藝術(shù)，否則……。答案詳解1.C.說明當代嚴肅的攝影家對攝影作為藝術(shù)的態(tài)度，并把他們這些態(tài)度放在歷史的進程來觀察。見文章大意。他們先為攝影是否是藝術(shù)而爭辯，后為否定其藝術(shù)而努力。重點放在主題上。A.界定顯得主義者對藝術(shù)的態(tài)度。B.解釋攝影是如何作為美術(shù)出現(xiàn)的。第一段涉及，見難句譯注2。D.界定當代嚴肅攝影家對待他們藝術(shù)所具有的各種觀點，并評定每種觀點的價值。這三項只是文內(nèi)提到的某些方面，不是主要的。2.D.矛盾的。見難句譯注3。A.客觀的。B.機械的。C.表面的。3.A.他要列舉這樣藝術(shù)家的例子，他們象當代嚴肅的攝影家一樣拋棄了傳統(tǒng)上被接受的現(xiàn)代藝術(shù)目的。見第三段第二句：“舉例說，這些認為通過拍照可以擺脫繪畫所表現(xiàn)的藝術(shù)的矯飾的攝影家，使我們想起了那些抽象表現(xiàn)主義繪畫的嚴肅的思想。”B.他想在抽象表現(xiàn)主義畫家和古典現(xiàn)代主義畫家之間找出相似點。C.他要在流行藝術(shù)家和其它藝術(shù)家之間作一個對比。D.他想解釋為什么嚴肅攝影，象其它當代視覺形式一樣不是藝術(shù)，而且也不應(yīng)當充作藝術(shù)。4.D.攝影是一種藝術(shù)，可以和油畫相比美。見難句譯注2。A.他們強調(diào)攝影是使人們快樂的手段。B.是記錄世界的藝術(shù)。C.攝影是公正觀察世界的工具。(TheContinuityoftheReligiousStruggleinBritain)ThoughEnglandwasonthewholeprosperousandhopeful,thoughbycomparisonwithherneighborssheenjoyedinternalpeace,shecouldnotevadethefactthattheworldofwhichsheformedapartwastornbyhatredandstrifeasfierceasanyinhumanhistory.Menwerestillforfromrecognizingthattworeligionscouldexistsidebysideinthesamesociety;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,theotherforthememberoftheSocietyofJesus,commonlyknownasJesuits,anewOrderestablishedbySt,IgnatiusLoyolasamethirtyyearsbefore.Thesecularscamefirst;theyachievedasuccesswhicheventhemosteagercouldhardlyhaveexpected.Cool-mindedandwell-informedmen,likeCecil,hadlongsurmisedthattheconversionoftheEnglishpeopletoProtestantismwasforfromcomplete;many—Cecilthoughteventhemajority—hadconformedoutoffear,self-interestor—possiblythecommonestreasonofall—sheerbewildermentattherapidchangesindoctrineandformsofworshipimposedontheminsoshortatime.Thusithappenedthatthemissionariesfoundawelcome,notonlywiththefamilieswhohadsecretlyofferedthemhospitalityiftheycame,butwithmanyotherswhomtheirfirsthostsinvitedtomeetthemorpassedthemonto.Theywouldlandattheportsindisguise,asmerchants,courtiersorwhatnot,professingsomeplausiblebusinessinthecountry,andmakebydeviousmayfortheirfirsthouseofrefuge.TheretheywouldadministertheSacramentsandpreachtothehouseholdsandtosuchoftheneighborsastheirhoststrustedandpresentlygoontosomeotherlocalitytowhichtheyweredirectedorfromwhichtheyreceivedacall.1.Themainideaofthispassageis[A].ThecontinuityofthereligiousstruggleinBritaininnewways.[B].TheconversionofreligioninBritain.[C].ThevictoryoftheNewreligioninBritain.[D].Englandbecameprosperous.2.WhatwasMartinLuther’sreligions?[A].Buddhism.[B].Protestantism.[C].Catholicism.[D].Orthodox.3.ThroughwhatwaydidtheRomerecoversomeofthelostland?[A].Civilandmilitaryways.[B].Propagandaandattack.[C].Persuasionandcriticism.[D].Religiousandmilitaryways.4.Whatdidthesecondparagraphmainlydescribe?[A].TheactivitiesofmissionariesinBritain.[B].TheconversionofEnglishpeopletoProtestantismwasfarfromcomplete.[C].TheyounginBritainbegantoconverttoCatholicism[D].Mostfamiliesofferedhospitalitytomissionaries.Vocabulary1.evade避開，回避2.creed教義，信條，主義3.theCrown原義皇冠，在英國代表王權(quán)，王室/君主4.lowCountries低地國，指荷蘭，盧森堡，比利時5.lastextremity最后階段，絕境，臨終。這里指那里人民臨近無可選擇只能信奉天主教。6.bendone’seffort竭盡全力7.seminary高等中學，神學院/校8.surmise猜度，臆測9.doctrine教義10.plausible貌似合理/公平的11.courtier朝臣12.devious繞來繞去的，迂回曲折的13.Sacrament圣禮，圣事/餐14.secular修道院外的，世俗的15.thesocietyofJesus天主教的耶酥會16.Douai杜埃(法國地名)17.Jesuit天主耶酥會會士難句譯注1.TheDouayBible杜埃圣經(jīng)(羅馬天主教會核定的英譯本圣經(jīng)，于1582年及1609——1610你年又羅馬天主教學者將新舊約分別從拉丁文譯成英語在杜埃出版，可見當時杜埃是天主教勢力的集中地之一。2.St.IgnatiusLoyola圣?羅耀拉1491——1556西班牙軍人及天主教教士，耶酥會的創(chuàng)始人。3.Cecil(WilliamCecil)西塞爾1520——1598，英國政治家，女王伊麗莎白的得力大臣。4.Menwerestillforfromrecognizingthattworeligionscouldexistsidebysideinthesamesociety;theybelievedthatthetolerationofanotherreligiondifferentfromtheirown.Andhencenecessarilyfalse,mustinevitablydestroysuchasocietyandbringthesoulsofallitsmembersintodangerofhell.[結(jié)構(gòu)簡析]用分號連接的兩個分句，分句中都有that是引導(dǎo)的賓從。[參考譯文]人們遠遠沒有意識到兩個宗教可以并存于同一個社會中;他們認為容忍不同于他們自己的宗教，因為也必然是錯誤的教派，不可避免的會破壞這樣一個社會，從而把所有的成員的靈魂帶進地獄的危險。5.AgainstEngland,themostimportantofalltheProtestantnationstoreconquer,militarymightwasnotyetpossiblebecausetheCatholicPowersweretoooccupiedanddivided:andso,inthe1570’sRomebentherefforts,asshehaddoneathousandyearsbeforeinthedaysofSaintAugustine,towinEnglandbackbymeansofhermissionaries[結(jié)構(gòu)簡析]themostimportantofalltheProtestantnationstoreconquer,這句話是同位語，說明England.Asshehaddoneathousand…，這里的as=justto義：就像，正如。[參考譯文]對付英國，需要重新征服的所有基督教國家中最重要的一國，動用軍事力量不可能。因為天主教大國們太忙，太分裂;因此羅馬于1570年代就像一千年前，在圣?奧古斯都統(tǒng)治時期它曾做過的那樣，竭盡權(quán)力想通過傳教方式把英國贏回來。寫作方法與文章大意這篇文章論及“羅馬教皇采用文武兩手政策在歐洲，特別在英國，恢復(fù)舊教——天主教?！辈捎靡话愕骄唧w的寫作手法?？梢哉f由大到小。大的歐洲背景，最后落實在英國的具體做法。重點在英國。答案祥解1.A.這篇文章的中心思想是“英國宗教斗爭以新的方式繼續(xù)進行。”B.英國宗教的轉(zhuǎn)變。C.新教在英國的勝利。D.英國變得繁榮。這三項都是文內(nèi)談到具體事情，不能作主題思想。2.B.新教，基督教。因為羅馬教皇推行的是天主教。這在第一段第四句明確點明：“在英國，宗教改革者，或者說基督教，在英國皇權(quán)的協(xié)助下，此時已取得勝利;而作為整個歐洲來說，羅馬教皇已經(jīng)開始恢復(fù)世紀初馬丁?路德反叛后所失去的一些地盤?！瘪R丁?路德是改革者，也就是基督教。A.佛教。C.天主教。D.東正教3.D.宗教和武力。第一段第五句說明：“教皇用兩種辦法進行恢復(fù)，一種就像在部分德國地區(qū)進行的那樣通過傳教士的活動，另一種象在低地國里進行的，通過天主教國家的軍事力量。那里荷蘭的幾個省份在西班牙的軍事壓力下，常常是被逼迫得幾乎走投無路了。A.civilandmilitaryways文武兩手，civil范圍太廣，特別指民事的，非宗教的，文職的。這里不合適。B.宣傳和抨擊。C.勸說和批評。都不對。4.A.傳教士活動在英國。第二段的開始就講到，“這些英國青年或者根本沒有放棄老的信仰，或者放棄以后又重新歸反舊教，應(yīng)召成為牧師。英國當然沒有剩下天主教神學院，他們就出國，開始很容易，后來，有困難甚至有危險，到杜?；蛄_馬英文學院就讀。前者專為培養(yǎng)一般或修道院外的牧師而建。后者是培養(yǎng)耶酥會教士，通稱天主耶酥會會士，是約三十年前圣?羅耀拉創(chuàng)建的一種神職?！痹诙虐W習的牧師先回來，他們?nèi)〉昧肆钊艘庀氩坏降某晒?。下面就是他?這樣指第一類修道士在英國活動情況)?！邦^腦冷靜，信息靈通人士，像西塞爾這種政治家，長期以來，一直猜度，英國人歸反基督教新教的過程遠遠沒有完成。許多人——因他們被在那么短的時期內(nèi)強加到他們身上的信仰形式，飛快變更的教義搞糊涂了?！盉.英國人歸反基督教的事情遠遠沒有完成。C.在英國青年開始歸反天主教。兩項選擇見上文解釋。都是傳教活動開始的原因。D.大多數(shù)家庭禮待傳教士。這是第二段最后幾行談到這些傳教士秘密來到英國后的情況。他們不僅受到老關(guān)系家庭歡迎。也受到第一次邀請他們的家庭歡迎。主人還把他們介紹給其它家庭。WakefieldMaster’sRealism)Moreover,insofarasanyinterpretationofitsauthorcanbemadefromthefiveorsixplaysattributedtohim,theWakefieldMasterisuniformlyconsideredtobeamanofsharpcontemporaryobservation.Hewas,formally,perhapsclericallyeducated,ashisLatinandmusic,hisBiblicalandpatristicloreindicate.Heis,still,celebratedmainlyforhisquicksympathyfortheoppressedandforgottenman,hissharpeyeforcharacter,areadyearforcolloquialvernacularturnsofspeechandahumoralternatelyrudeandboisterous,coarseandhappy.Hencedespitehisconsciousartistryasmanifestinhisfeelingforintricatemetricalandstanzaforms,heislookeduponasakindofmedievalSteinbeck,indignantlyangryat,uncompromisinglyandevenbrutallyrealisticinpresentingtheplightoftheagriculturalpoor.Thustakingtheplayandtheauthortogether,itismowfairlyconventionaltoregardtheformerasakindofultimatepointinthesecularizationofthemedievaldrama.HencemuchemphasisonitasdepictingrealisticallyhumblemannersandpastorallifeinthebleakhillsoftheWestRidingofYorkshireonatypicallycoldbightofDecember24th.Afterwhatareoftenregardedasalmost“documentaries”giveninthethreesuccessivemonologuesofthethreeshepherds,criticsgoontoaffirmthattherealismisthenintensifiedintoaburlesquemock-treatmentoftheNativity.Finallyasasortofepilogueorafter-thoughtindeferencetotheBiblicaloriginsofthematerials,theplayslidesbackintoanatavisticmoodofearlyinnocentreverence.Actually,asweshallsee,thefinalsceneisnotonlytheculminatingscenebutperhapstheraisond’etreofintroductory“realism.”Thereismuchonthesurfaceofthepresentplaytosupporttheconventionalviewofitsmoodofsecularrealism.Allthesame,the“realism”oftheWakefieldMasterisofaparadoxicalturn.Hiswideknowledgeofpeople,aswellasbooksindicatesnocloisteredcontemplativebutoneincloserelationtohistimes.Still,thatlifewasafterallapredominantlyreligiousone,atimewhichneverneglectedthebeliefthatmanwasarebelliousandsinfulcreatureinneedofredemption,Sodeeply(onecanhardlysay“naively”ofsosophisticatedawriter)andimplicitlyreligiousistheMasterthatheislessable(orlesswilling)topresentactualhistoryrealisticallythanistheauthoroftheBrome“AbrahamandIsaac”.HishistoricalsenseisevenlessrealisticthanthatofChaucerwhojustafewyearsbeforehaddoneforhisowntimecostumeromances,suchasTheKnight’sTale,TroilusandCressida,etc.MoreoverChaucerhadtheexcuseofhighlyromanticmaterialsfortakinglibertieswithhistory.1.WhichofthefollowingstatementsabouttheWakefieldMasterisNOTTrue?[A].HewasChaucer’scontemporary.[B].Heisrememberedastheauthoroffiveorsixrealistic