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Holypac
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发表于 2017-5-17 15:46:05 |显示全部楼层

第41篇：
By far the most popular United States literature of its time was a body of now-neglected novels
written between 1820 and 1870 by, for, and about women. According to Nina Baym, who has
termed this genre “woman’s fiction,” the massive popularity of these novels claimed a place for
women in the writing profession. The novels chronicle the experiences of women who, beset with
hardships, find within themselves qualities of intelligence, will, resourcefulness, and courage
sufficient to overcome their obstacles. According to Baym, the genre began with Catharine
Sedgwick’s New-England Tale (1822), manifested itself as the best-selling reading matter of the
American public in the unprecedented sales of Susan Warner’s Wide, Wide World (1850), and
remained a dominant fictional type until after 1870. The critical, as opposed to popular, reception of
these novels in their own time was mixed. Theoretical opposition by those who saw fiction as a
demoralizing and corrupting influence was by no means dead in mid-nineteenth-century America,
and popular successes naturally bore a significant proportion of the attack. The moralistic tone of
much woman’s fiction did not placate these antagonists; on the contrary, many clerical opponents
of the novel thought that women were trying to take over the clergy’s functions and hence attacked
all the more fiercely. Similarly, some male authors, disgruntled by the emergence of great numbers
of women writers, expressed contempt for the genre.
On the other hand, the women had a powerful ally—their publishers, who not only put these works
into print but advertised them widely and enthusiastically. Some few reviewers wrote about these
works with attention and respect, distinguishing between the works of the different authors and
identifying individual strengths and weaknesses. These approving contemporary critics were
particularly alert to each writer’s contribution to the depiction of American social life, especially to
regional differences in manners and character types. On the whole, however, even these laudatory
critics showed themselves uninterested in the stories that this fiction told, or in their significance.
Baym acknowledges that these novels are telling—with variations--a single familiar tale, and
correctly notes that this apparent lack of artistic innovation has been partly responsible for their
authors’ exclusion from the canon of classic American writers traditionally studied in university
literature courses. Baym points out, however, that unlike such male contemporaries as Nathaniel
Hawthorne, these women did not conceive of themselves as “artists,” but rather as professional
writers with work to do and a living to be made from fulfilling an obligation to their audience. This
obligation included both entertainment and instruction, which are not, says Baym, at odds with one
another in these books, nor is entertainment the sweet coating on a didactic pill. Rather, the lesson
itself is an entertainment: the central character’s triumph over adversity is profoundly pleasurable
to those readers who identify with her.

第三题：
3. The author of the passage implies which of the following about the members of the clergy
mentioned in the first paragraph?
A. They also opposed works of fiction that were outside the genre of woman’s fiction.
B. They opposed journalism as well as imaginative writing.
C. Their influence reached its pinnacle in the mid-nineteenth century.
D. They were unable to obtain the support of other critics for their views.
E. Their attacks on the genre of the novel did not extend to novels written by male writers.
答案给的是D，我觉得是E，答案说Theoretical opposition 和 clerical opponents 攻击女性作家的角度和理论派不同，两者不可能相互支持。这也推的太远了吧。。关键我还看最新修订记录特地把E改成了D

第四题：
. Which of the following can be inferred from the passage concerning the majority of the
nineteenth-century reviewers of woman’s fiction?
A. They considered the position taken by the clergy in regard to woman’s fiction self-serving.
B. They did not make fine distinctions between different authors.
C. They placed a higher value on plot than on social significance.
D. They subscribed to the view of writers as purveyors of popular entertainment rather than as
artists
E. They regarded woman’s fiction as high as publishers did

答案是B 根据第二段第二句推出来的 some few
但我看网上其他版本的都说答案c

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Holypac
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发表于 2017-5-18 19:12:44 |显示全部楼层

没人吗？大家都没耐心看长阅读啊

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onelittlemajia
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发表于 2017-5-19 00:53:24 |显示全部楼层

好难，反复看了几遍，看了答案后反推。
1. 我选D
Theoretical opposition 批评小说不道德，女作家特意增加道德后，clerical opponents 认为女作家要取代传教士更歹毒。
E我觉得文章没说，也就是说看不出来 clergy 有没有批评男作家。

2. 我怎么觉得D挺有道理呀
C我觉得不对。这些人虽然对小说里反印美国社会的日常生活感兴趣，但是
“On the whole, however, even these laudatory critics showed themselves uninterested in the stories that this fiction told, or in their significance”
plot应该是story，就是他们对故事情节不感兴趣
答案是B，主要就是从那句"Some few ..."得来，要么"some few"表达的是"很少,几乎没有"
但是D也挺有道理呀

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Holypac
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发表于 2017-5-19 18:43:34 |显示全部楼层

onelittlemajia 发表于 2017-5-19 00:53
好难，反复看了几遍，看了答案后反推。
1. 我选D
Theoretical opposition 批评小说不道德，女作家特意增加 ...

1.on the contrary, many clerical opponents of the novel thought that women were trying to take over the clergy’s functions and hence attacked all the more fiercely. 这句话就说clerical opponents认为是woman，虽然确实没说only。D的话也没说不能获得支持，大家都是批评呀，为什么不相互支持呢？

2. D应该不对 D是Baym的观点，题目问的是majority
C照你这么说确实不对
其实我觉得some few重点在some上

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我Me是个好人
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发表于 2017-5-22 00:41:25 来自手机 |显示全部楼层

本帖最后由我Me是个好人于 2017-5-22 00:43 编辑

Holypac 2017-5-19 18:43
1.on the contrary, many clerical opponents of the novel thought that women were trying to take ove ...

我来终结一下第三题吧٩( 'ω' )و

首先回原文定位
1 Theoretical opposition by those who saw fiction as a demoralizing and corrupting influence was by no means dead in mid-nineteenth-century America, and popular successes naturally bore a significant proportion of the attack.
这句话的意思是说, 19世纪中期, 美国的很多反对者认为小说伤风败俗, 所以小说的成功自然而然就会引起这类(认为其有伤风化)的攻击. clear?
2 The moralistic tone of much woman’s fiction did not placate these antagonists; on the contrary, many clerical opponents of the novel thought that women were trying to take over the clergy’s functions and hence attacked
all the more fiercely.
接着这句话说, 女性小说中的道德教化未能平息此类攻击; 相反地, 教士们认为她们是在试图取代他们的职能(教士嘛, 你懂的), 于是就愈发凶猛地对其展开批评.
所以我们这里就可以分两股批评势力出来, 一股认为小说中缺乏道德因素, 另一股却批评小说中的道德因素.
然后来看选项. E说教士们对小说类型(也就是女性小说)的批评没有拓展到男性小说. interesting. 想想看, 教士是出于什么理由才批评女性小说? 是因为女性小说中的的教化因素right? 但文中有说男性小说中不存在教化因素吗? 没有, 所以这是一个out of scope选项, 排除掉.
接着来看D. D说教士们得不到其他批评家对他们观点的支持. 好, 刚刚我们区分了两股批评势力, 一股认为小说中缺乏道德因素, 一股则反对小说中的道德因素. 这里再简化一下就成了“要有道德”和“不要有道德”的对立right? 观点相反自然得不到对方的支持. 选D.

٩( 'ω' )و

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Holypac
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发表于 2017-5-22 15:53:38 |显示全部楼层

我Me是个好人发表于 2017-5-22 00:41
我来终结一下第三题吧٩( 'ω' )و

首先回原文定位

6666 懂了 incisive！
那你第四题怎么看

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我Me是个好人
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发表于 2017-5-23 00:43:54 |显示全部楼层

本帖最后由我Me是个好人于 2017-8-19 12:39 编辑

Holypac 发表于 2017-5-22 15:53
6666 懂了 incisive！
那你第四题怎么看

哈哈哈哈哈昨天太累了就只看了第三题_(:з」∠)_
来第四题.

还是先回原文定位
1 Some few reviewers wrote about these works with attention and respect, distinguishing between the works of the different authors and identifying individual strengths and weaknesses.
这句话的意思说, 只有少数评论家才会认真对待这些女性小说(然后给出细节), 比如区分不同作家的作品, 并分析其优缺点. some few就是少数的意思.
2 These approving contemporary critics were particularly alert to each writer’s contribution to the depiction of American social life, especially to regional differences in manners and character types.
然后, 这些支持者们对每位作家对美国社会生活(尤其是地域差别)的描述所做的贡献十分关切.
3 On the whole, however, even these laudatory critics showed themselves uninterested in the stories that this fiction told, or in their significance.
这里来了个转折, 说整体而言, 即便这些支持者也对这些小说所讲述的故事以及这些小说的重要意义表示不感兴趣.
题目问我们可以从文中infer出19世纪大多数大多数女性小说评论家的什么right? exciting. 先来看C. C的意思是说, 大多数评论家都认为, 比起小说情节, 小说的社会意义更为重要. 这里我们回看第三句. 第三句说即便少数支持者也对这些小说所讲述的故事及其重要意义不感兴趣, 这里我们可以很容易infer出大多数评论家都对这些小说的plot和significance反应冷淡, 但我们能就此infer出哪个比哪个更重要吗? 显然不能, 所以这又是一个out of scope选项. 排除掉.
然后看B. B说大多数评论家都不会在不同的作家之间做出区分, 这显然是第一句话的正话反说: 少数人才会区分=多数人不会区分. 选B.

٩( 'ω' )و

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Holypac
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发表于 2017-5-23 09:38:33 |显示全部楼层

我Me是个好人发表于 2017-5-23 00:43
哈哈哈哈哈昨天太累了就只看了第三题_(:з」∠)_
继续继续, 来终结一下第四题٩( 'ω' )و

...

厉害了我的哥

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发表于 2018-5-15 12:57:55 |显示全部楼层

我Me是个好人发表于 2017-5-22 00:41
我来终结一下第三题吧٩( 'ω' )و

首先回原文定位

我想提出一点点对你的解答的修正，主要是针对着这句话的翻译：Theoretical opposition by those who saw fiction as a demoralizing and corrupting influence was by no means dead in mid-nineteenth-century America, and popular successes naturally bore a significant proportion of the attack.
那些认为小说有伤风化的（理论）反对者在十九世纪中期已经基本没落了（by no means dead), 而小说成功地被接受（popular success）本身这件事自然而然成为主要被攻击的点；

Clergy认为是女性影响了他们的作为社会道德说教者的地位；

clergy攻击是因为女性提供了说教，影响了教士的地位；而社会的攻击是因为小说本身的popularity（这一点说起来有点牵强，但是就是上一句话的意思）

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发表于 2018-5-18 15:39:34 |显示全部楼层

qilimi 发表于 2018-5-15 12:57
我想提出一点点对你的解答的修正，主要是针对着这句话的翻译：Theoretical opposition by those who saw ...

大哥，by no means是not at all的意思啊...

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关山口的猫
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发表于 2019-10-20 11:28:12 |显示全部楼层

我Me是个好人发表于 2017-5-22 00:41
我来终结一下第三题吧٩( 'ω' )و

首先回原文定位

关于第三题，我的思路跟你差不多，但是如果按照这个想法，A选项也是对的：他们反对的原因是小说中存在道德教化，所以他们反对的对象不仅限于女性小说。

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发表于 2020-7-9 22:06:05 |显示全部楼层

关山口的猫发表于 2019-10-20 11:28
关于第三题，我的思路跟你差不多，但是如果按照这个想法，A选项也是对的：他们反对的原因是小说中存在道德 ...

A和D不一样，A是事件性描述，即描述已经发生过的事件，但是文中并没有证据表明they opposed了女性小说之外的类型。而D是一个命题性描述。

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发表于 2020-11-11 12:56:45 |显示全部楼层

我觉得第一题没有答案

D如@我Me是个好人所分析的一样，但是观点不一样不代表（且文中也没有说）无法获得相互的支持：举个假设性的例子，例如他们要统一战线对付女性作家，那么就可以获得对方的支持，观点不一样在大方向面前不是问题。D根本原因不对是原文没有说，并且无法推出来。

E和A是一样的，两个要么一起对要么一起错。因为如果通过原文就可以推出critics不反对男性作家小说中的说教，那么也同样可以推出他们的orthodox会导致他们反对其他的小说类型，例如缺乏道德内核的男性小说（甚至是充满道德说教的男性小说）。

题目出得很不好。

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