Professional Documents
Culture Documents
President Clinton��s decision on Apr.8 to send Chinese Premier Zhu Rongji packing
without an agreement on China��s entry into the World Trade Organization seemed to
be a massive miscalculation. The President took a drubbing from much of the press,
which had breathlessly reported that a deal was in the bag. The Cabinet and Whit
House still appeared divided, and business leaders were characterized as furious
over the lost opportunity. Zhu charged that Clinton lacked ��the courage�� to
reach an accord. And when Clinton later telephoned the angry Zhu to pledge a
renewed effort at negotiations, the gesture was widely portrayed as a flip-flop.
In fact, Clinton made the right decision in holding out for a better WTO deal. A
lot more horse trading is needed before a final agreement can be reached. And
without the Administration��s goal of a ��bullet-proof agreement�� that business
lobbyists can enthusiastically sell to a Republican Congress, the whole process
will end up in partisan acrimony that could harm relations with China for years.
THE HARD PART. Many business lobbyists, while disappointed that the deal was not
closed, agree that better terms can still be had. And Treasury Secretary Robert E.
Rubin, National Economic Council Director Gene B. Sperling, Commerce Secretary
William M. Daley, and top trade negotiator Charlene Barshefsky all advised Clinton
that while the Chinese had made a remarkable number of concessions, ��we��re not
there yet,�� according to senior officials.
Negotiating with Zhu over the remaining issues may be the easy part. Although
Clinton can signal U.S. approval for China��s entry into the WTO himself, he needs
Congress to grant Beijing permanent most-favored-nation status as part of a broad
trade accord. And the temptation for meddling on Capital Hill may prove over-
whelming. Zhu had barely landed before Senate Majority Leader Trent Lott (R-Miss)
declared himself skeptical that China deserved entry into the WTO. And Senators
Jesse A. Helms (R-N.C.) and Emest F. Hollings (D-S. C.) promised to introduce a
bill requiring congressional approval of any deal.
The hidden message from these three textile-state Southerners: Get more protection
for the U. S. clothing industry. Hoping to smooth the way, the Administration
tried, but failed, to budge Zhu on textiles. Also left in the lurch: Wall Street,
Hollywood, and Detroit. Zhu refused to open up much of the lucrative Chinese
securities market and insisted on ��cultural�� restrictions on American movies and
music. He also blocked efforts to allow U. S. auto makers to provide fleet
financing.
BIG JOB. Already, business lobbyists are blanketing Capitol Hill to presale any
eventual agreement, but what they��ve heard so far isn��t encouraging.
Republicans, including Lott, say that ��the time just isn��t right�� for the deal.
Translation: We��re determined to make it look as if Clinton has capitulated to
the Chinese and is ignoring human, religious, and labor rights violations; the
theft of nuclear-weapons technology; and the sale of missile parts to America��s
enemies. Beijing��s fierce critics within the Democratic Party, such as Senator
Paul D. Wellstone of Minnesota and House Minority leader Richard A. Gephardt of
Missouri, won��t help, either.
Just how tough the lobbying job on Capitol Hill will be become clear on Apr. 20,
when Rubin lectured 19chief executives on the need to discipline their Republican
allies. With business and the White House still trading charges over who is
responsible for the defeat of fast-track trade negotiating legislation in 1997,
working together won��t be easy. And Republicans��with a wink��say that they��ll
eventually embrace China��s entry into the WTO as a favor to Corporate America.
Though not long before they torture Clinton. But Zhu is out on a limb, and if
Congress overdoes the criticism, he may be forced by domestic critics to renege.
Business must make this much dear to both its GOP allies and the Whit House: This
historic deal is too important to risk losing to any more partisan squabbling
Vocabulary
1. drubbing ʹ��
get/take a drabbing ����ʹ��
2. flip-flop=great change suddenly �� �� �ı ������������Ь��ֺ��Ь
�Ѿ���ע
1. President Clinton��s decision on Apr.8 to send Chinese Premier Zhu Rongji
packing without an agreement��
[�ṹ����] send one packing ����� �
��ô����̽���� ���֮��ļ�̵����������Ӱ���Ժ������й�Ĺ�ϵ��
7. the Administration tried, but failed, to budge Zhu on textiles.
[�ο�����] �9����ϣ��Ϊ��֯ҵ����ƽ��·����ͼʹ���֯�ڷƷ���ò������ʧ��ܡ
8. Also left in the lurch: Wall Street, Hollywood, and Detroit.
[�ṹ����] ������l�����Ķ� ��
Leave sb. In the lurch �̶��÷����壺
д��������´���
������������ �д���ַ������ֶ��� �ٲй������ó����������������͵�������}����عì�Ͱ����ܣ
�֮� ���Ա�д�����������ķ�����һ��4֤����
���ǶԵġ�������ıļ���ʹ�9����������Ϊǰ�� ���й������
� ó4���� 9���� �Ҫ��
�����
1. C. �� �Ƕ ġ���ƪ���� ��Business Weekly.
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���Ա�����磬���˶�ʧȥ����ð���ɡ�
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���һ��ָ�����'��������أһ��ʷ�¼���Ҫ�
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A. ���� ��͵���ì������ܡ�}��֮���������עջ���һ�¡� B.
���й������ó��֯�����²������й����������9����й�����ó�����֡� D. ����Ժ��
2. A. ������������
ܾ ǵ�Ҫ� ��Ѿ���9 ��ע
��� �������������¼�����4������ֶ�������й�����ˡ��й�Υ����Ȩ����ڽȨ���Ͷ
�Ȩ��͵�Ժ�������ѵ�����ɲ�������9�ĵ��ˡ�����ʵ�����һ�ι��͵�һ���������������ս�������й������
ó��֯�Ա�ʾ�������9�ĺøС�����������Ժ�� ���ŵ����
� ã������ ȷָ��� �̸�е���Ҫ�
4. D. �̽硣��һ���о͵���������ʧȥ��λ���
̽ ð���ɡ��������ڶᵽ�̽�Ժ�� ��
Ҫ��ʵʵ���
Ա
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ܾ ľ����̽�Ҫ��
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�� Ա ֹ������ �������Э����
���һ�������̽�ʹ���͵�j� Ͱ ����ô��µ���Ҫ� �
5. A. �9������ò���������������͡�עǾ� �������й��г��ġ�
Vocabulary
1. albeit ������ܣ
2. outnumber �����ϳ���
3. ethnic ��������ij�Ա�����弯�ŵij�Ա
4. Hindi ӡ����
5. misty ģ����ģ����ʵ�
6. derivative ����ģ������
7. itinerant � ���
�Ѿ���ע
million �İ ���ٶ
4. Unlike Jews, Gypsies have had no known ancestral land to hark back to.
[�ṹ����] hark back to =to mention again or remember an earlier subject, event,
etc. ������֪������4�Ժη�������̫����ڡʥ�������Ѳ��������ǵ���ʷ��
��1993���� ��� ��
뷨��ŷ���ǹ�Ҽ����������������ط롣
���˹���˶�-����һ������·����˶�-˽�Դ ��ӣ���������ļ��������
�� ȸ ֻ�ȫ����4��ɢ�����!������˶�-
�������������еĸ����鷳�����壬��������룬�����һ���鷳��
[��ο�����] ���ǵ��ģ����ü���������Ϊһ������� � �
����һ����˶
�-�ӣ������Ѿ�
��װҪ��b������5İ�˹���ˣ������Ŀ�����˺�������� ������ 塣
д���ַ������´���
�����ԶԱ��ַ����Ƽ������Dz���һ������/��ң��ɲ�����ȡ�úϷ���λ��һ���Ķ�
��û�й� �����
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Ժ� �ˣ����� ûл ����عӵ ����ءdz�b�˹��j�ˣ�Ҳѡ�����쵼���³��� ������ڲ
´������b�� ����֪�����ʵ����ֻ�Ǽ�f��˵ŷ�˺�j�Ϲ����֯���Ի��һ��Ϸ���λ�
���Ȩ������ŷ��� ճ̱ ���һ�������ŷ�
⣬ �� ֵ��ģ���һ���� ����ʽ��λ����Щ��������ַ���Ͷ
�����
1. B.
������һ������/�������ƪ���»�����һ���д������һ��ʼ�������ŷ��ŷ� Ĺ�һ���½��������һ���
����������һ�����塪����ң���Ȼû�н 綨
��������Ҫ��ŷ������һϯ֮� � �̫��������������ء��ڶп
������ûɻ ����عӵ ����ءǵ�������ӡŷ��ϵ��Ӣ��
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ܵ <�ʱһЩ��� ��ֹ�ҵ��� ���� �ӡ���������ơ�������漰
���ܡʼ�������j����ƴ��30����ҵļ������ˣ���� ����
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ٿ �� ����ڽ顣
���Ķμ��н�������ѡ����j����ϯ��һ ���г����
ѡ���������μҡ�������� Ա ����طίԱ��ٴ��ڲ-�
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ް ȫ������Լ��֯�4���������ټζ�Ա���ļ������ ���������� 漰 j�����IJ�������Ҫ��b��
�����ʵ�ʲ���δ��ʵ��������Ҫ�����Լ������̬� ����������ŷ��ί
��� Ա �������ڼΪ���Ĵ�½�������壬
ۣ ϣ������ �����Ǻ���̫��һ�����
��ʷ��� �п��� ���ӦӮ��� ���رϡ�19�<����Ǻ���ū�� ˶ڰν���ŷ�
��bһ�������ѧ������}�ν�����'�ѣ��ھŶε�����һ��ָ������ ����������Ǯ������ɣ���ң�Ϊʱ���磬
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ϵ ����� ������ ����ڲ
⣬��������ӽ�����
���һ����ɹ�ҵ����塣
ȫ�Ķ��ǻ������Dz��ǣ��ò��ó���Ϊ����/��Ҷ�д������B�������Dz�����������ѱ��⡣
A. ������Ҫ�����һ���ң����壩����ֻ�������漰���IJ���������ݣŷ��������ŷ��һ�¿�����
ܲ Ľ��
C. ŷ� ������dzɳ��� D. ������һ���
2. A. ���������7�<ʹ�ӡ����� �������1���͡�ڶ�ע
3. D. ��������Щ�����֯����ŷ�ˣ�j�Ϲ��н��л ��һϯ
�� Ҫ
ȡ ֮�1�������ءһ�Σ�����͡�ע
A. ������ � �
ŷ� j������ǵ�Ҫ��̫
Ϲ� ���� B. ��ǻ �� � �ڹʻ�ȡ��ְλ�� C.
������ ��Ϊ�����Ȩ��
4. C. ���¡�˹���ˣ�������˺�����Ҫ����ѵ������������Ҫ�
ͬ ��Ѿ���11 ��ע
A. �������
ܻ ˶�-���ӡ��˺�����������ֻ�DZ��� B. ������ܻ ��ijЩ���벻���Ľ��
B. ����������
ܸ �ܡ C. ����DZ���ڵŽ�4�Ա�� ����ǵ������ �ε��ˣ��� D.
�����е�̫����ʵЧ�� B,C, D ��� ����Ҫ���
��Ҫ�������
⡣ A.
Vocabulary
1. inductive ���ɷ�
induction n.���ɷ�
2. deductive ���
deduction n�����
8. Providence ۣ
����д��ָ�ϵ��� #�����
9. commonplace ƽ���ģ��¸���
10. inquiry ��飬̽������� ֪ʶ�ȣ�
�Ѿ���ע
1. Why the inductive and mathematical sciences, after their first rapid
development at the culmination of Greek civilization, advanced so slowly for two
thousand years are questions which have interested the modern philosopher not less
than the objects with which these sciences are more immediately conversant.
[�ṹ����] ���ۺź�����������ݣѾ���ע
�ڽչ����������ѧ�Ҷ�����������Ȥ��������ڶЩ��ѧ����Ϥ�о��Ķ���
2. ����and why in the following two hundred years a knowledge of natural and
mathematical science has accumulated, which so vastly exceeds all that was
previously known that these sciences may be justly regarded as the products of our
own times����
[�ο�����] ��ʲô�4��ںĶ��������� ��ѧ�����ѧ������4�����ǹ �ij�Խ�˹�ȥ�� ֪��һ�У����ԾͰ
���Щ��ѧ��Ϊ����ʱ��IJ�Ʒ��
3. arrested development ͣ� � ������ֹ� ķ� ����
4. Or should we ascribe the characteristics of both periods to so-called
historical accidents��to the influence of conjunctions in circumstances of which
no explanation is possible, save in the omnipotence and wisdom of a guiding
Providence?
[�ο�����] ���������Ƿ�Ӧ����}�� ε����������صν����ʷ��ż � ������¼������������ڿ
д��������´���
����ƪ�����ģ�����ۼѧ̽��ķ��������������д��������������ǶԱ�д������� ����ʴ�ʽ̽��Ϊʲôϣ0�����֮��
��������찲�š�
�����
1. D. ��ѧ�о�/̽��ķ���������һ��ʼ��������⣬Ϊʲô��ϣ0�Ļ�����ʱ�
}�ںǧ��4���ɷ�����ѧ��ѧ��չ�� ������
� }���� ֳ�Խ��ǰ�ˣ���Ӧ���£��ɷ�����ϵ����������
��� Ѿ �2��1 ע
������ڶν������Ŵ���ڿѧ̽�����������������
��������Ӧ���˹��ɷ������ֽ���̫�p������� �� ˣ
����Ժ����� ���صŴ���ִ��ѧ������������ԵIJ����Ϊһ��
̽ ֪ʶ�
���������
ܴ ۣ
۵ Ľ������� ʵ���۲�4����Ȼ��ıò�ȫ�������ڹŴ����ִ��ʧ��� ��ⲻ����ܡΪʲô�ִ��ѧ���н Ĺ�Ч�
� ��ʲ
� ô�ʽ�������� Խ��ǰ�ˣ����� �
������ѧ �
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�� ����
� 漰��ʵ�����۵ Ĺ�ϵ��
A. ��ѧ����ѧ������û��� B. ��4��ѧ�ķ�չ�� C.
��ʵ����֤��ֻ�����}���ἰ��֤����֮���á�
2. B. ������İ��ţ�����������÷����۵�ʧ�� ۡ
ܺ ó�Ľ������ Ѿ���4 ����עһ�����һ�仰��
3. ۣ
A. ������Ҫ֤ʵ�������ڵģ���Σ��6��� ����ʵ�Ķ�b�����������ʵ�� ���з�����������Ľ��
ۣ ۣ
������������������������ ʵ����һ������������ʵ��һ�
�ӣ���������ʵ������ʵ���Ӵʵ�����4 �������
ܸ ӣ�����ɷ��д������
ۣ ۣ
����������������������� ʵ��һ����� ������֤ʵֻ�� ���ֱ�ӵģ�ңԶ�ĺ�'�ѵķ�ʽ��������������
4. C. �����������ѧ�������� ʶ���ܻ�ش
A. ���ɷ���ѧ�� B. ��Ҫ��֤ʵ�� ۡ
D. ������ʵ������
5. ۣ
B. ��һ��������� ģ�����͡�ע
Vocabulary
1. avenue ��ɹ�/��ȡ�ɹ���;��/�ֶ�
6. rancorous ����� �
7. elector �� ѡ���ų�
Ա
8. elector college �9�ѡ���� ��ѡ����
9. leeway ��ѹ� ���
10. for all practical purpose ��ʵ�ϣ�ʵ��
11. fracture ���ѣ��۶�
�Ѿ���ע
ѡ����Ʊ��ָÿһ��������ѡ��һ ����� ѡ
���ţ������� ֱ��ѡ���� ��
6. The election of 1876
����ָ1876��11��7���9��� ʱ���͵������ٽˣ������� �¬ɪ��?����˹������ ѡ�
������ٽΪ�Լ���������ˣ�ŦԼ� ����Ѷ�?3��Ƕ�Ϣ�������ڵڶ죬��Ϊ������ƭ��Ϊ��������֮���������ݣ
·��˹���ȣ�� �
���3���� ¼�Ʊ�����ϡ���һ��ѡ�������������ٽĸ��µ�ʱ� ��������飬���ò��Ƴ��� ��ְʱ�
1989����1993�����������С��ʲΪ���¼�Ʊ�������������� �ڷʦ��
�����⣬��һ����Ҳ�Ǻ���ȫ��֧������ ��
�����������������ڣεģ����ɵģ����Ļ��������ѹf�������
ܽ ţ���Ҳ������һ�4���ٶû�м���� ��ij�� ��
д��������´���
����һƪ�����������������ָ ��� ��صʵ��Bush��ѡ������˳�Ȼ���ԶԱ��ַ�д��ʤ� Ͱ��
ܷ Ĵ������ǰ�
���ʤ�е�����1876��ѡ�٣�ʵ����֤����
�����
1. A. ��ʲ���� ѡ���л�ʤ ��������۵ 㡣��ƪ���»�����һ���д������һ��ʼ��д����
ڸȷ�Ժ�þ���˳� ѡ����д��ʲ��ʤ��ĵ͵��ж���ʾ�Ը��������
��� ʺ� 271��� 276ѡ����Ʊ��ʲ����ʤ�Ǻ�ȫ����
�Լ���ѡ֮��ʲ�ĺ��������9����ƺ���ʱ��֧�֡���һ�� �� ʲ
ʤʤ��� ����ȴ�������ʤ��
C. � ȷ�Ժ���� ѡ�
����������Ҫ����� թ Բþƫ̻��ʲ��ʤ�������� ۵ ��ӳ�˲�ʲ���ֶΡ�
��������� ��
D. ��������������ܣʵ������������ �롣
2. B. ��ʲϣ��������һ��������ʧ��������֧���ܣȷʵ��Ҳ�������ˡ�����������ֳƸ��Ϊ��resolved
��������֧�ֲ�ʲ��
4. D. ����ʵ��� ��Ƿ������¼�Ʊ������ڵʮ���β���ú������
��Է��ɺ�������
ܷ ʽ���¼�Ʊ���� ѡ����һ������ ��ѡ��������ѡ������ٲô���¼�Ʊ������
C. �����ʤ� ����ˡ�
6������˹��Ϊ���ˣ��� ������˭֪������ƭ��Ϊ������������
Vocabulary
1. repress ѹ�ƣ���ѹ��Լ��
2. patriarchy �峤�ƣ��ҳ���
3. chaste ���ģ����ŵ�
4. hierarchy � ���
5. monarch ������� ��
6. image �����ӳ
7. overtly �����ģ���� �
8. outpour ��к
9. sermon ���#� ��
10. tract ����̣�ڽС���Ӵ���
11. misogynist ��� �Ů
12. shrewish �ø��Ƶģ�����ֵ�
13. counterweight ����
14. consort ��ż
15. masque �����װ
16. monolithic ���һ��ģ��� ���
17. epistle ʥ��?��Լ�е�ʹ ��
18. Galatians ��Լʥ���м�-̫��
19. inscribe �������
�Ѿ���ע
1. Also, the period saw an outpouring of repressive or overtly misogynist
sermons, tracts, and plays, detailing women��s physical and mental defects,
spiritual evils, rebelliousness, shrewish ness, and natural inferiority to men.
[�ṹ����] ����һ�����ͣ��־ʱ��+see, find �ȶ���+���
[�ο�����] ��һʱ�4����ڳԼ������Է��Ը�Ů�IJ��#����壩��С���Ӻ�Ϸ�磬
��ϸ������� ������
�Ů�����Ϻϵ
�ȱ� �����������ݣ棬�� ����������� ݣƷ� �
2. Such texts encouraged some women to claim the support of God the supreme
patriarch against the various earthly patriarchs who claimed to stand toward them
in his stead.
[�ṹ����] in one��s stead ����ij�ˡ�
[�ο�����] ����İ 汾������Щ��ŮȥѰ���� ҳ����ϵ ۵�֧�֣�� ����ָ����ҳ��������������ϵ ۶ ����ǡ�
д��������´���
����������17�<�Ӣ��Ů�ĵ�λ�����öԱ�д���ַ���һ���棨
��һ�Σ�Ӣ��ղķʿ�����Է�����ʽȷ�����ҳ��Ƶ� ����
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ϵϼ �Ȩ��� 壬
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1. If men would steadily observe realities only, and not allow themselves to be
deluded, life, to compare it with such things as we know, would be like a fairy
tale and the Arabian Nights�� Entertainments.
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3. By closing the eyes and slumbering, by consenting to be deceived by shows, men
establish and confirm their daily life of routine and habit everywhere, which
still is built on purely illusory foundation.
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4. So soul, from the circumstances in which it is placed, mistakes its own
character, until the truth is revealed to it by some holy teacher, and then it
knows itself to be Brahme.��
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5. Against England, the most important of all the Protestant nations to reconquer,
military might was not yet possible because the Catholic Powers were too occupied
and divided: and so, in the 1570��s Rome bent her efforts, as she had done a
thousand years before in the days of Saint Augustine, to win England back by means
of her missionaries
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Passage Ten (Photography and Art)
The earliest controversies about the relationship between photography and art
centered on whether photograph��s fidelity to appearances and dependence on a
machine allowed it to be a fine art as distinct from merely a practical art.
Throughout the nineteenth 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, 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, exploring 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 Modernism: 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 suppose 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 painting. Much of photography��s 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 1960��s. Appreciating photographs is a relief to sensibilities
tired of the mental exertions 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, reassures 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 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.
1. What is the author mainly concerned with? The author is concerned with
[A]. defining the Modernist attitude toward art.
[B]. explaining how 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 value 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 painter?
[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 Pop 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 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.
Vocabulary
1. fine arts ����ָ�滭����̣������ʫ�裬���ֵȣ�
2. assert ���ţ�����ά����Ȩ��
3. privileged ����ģ�������Ȩ�ģ������
4. pretentious ����ģ������
5. irrelevant ����ɵģ��� ص
6. subversive �ƻ��Եģ�� �� �
7. disclaimer ��Ȩ��
8. harry � ��ĥ
9. austerity � ���
10. convergence �ۺϣ����ϵ�
11. implicit �����
12. distinctive ���ģ�����ص
�Ѿ���ע
1. The earliest controversies about the relationship between photography and art
centered on whether photograph��s fidelity to appearances and dependence on a
machine allowed it to be a fine art as distinct from merely a practical art.
[�ṹ����] � �Ϊ��ν��+���� As distinct from �� ������fine art.
������5��ܷ ʹ���Ϊ�����б������ڽʵ�ı�����
2. 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, and no less worthy an art than painting.
[�ṹ����] �ṹ����ν��ӡ����ӳ�����Ϊ��ʶ���against the charge ���λ
ͬ ˵����the photography was
������ ����������� a way of seeing, a revolt, an art.
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