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[音乐与艺术] 艺术史建筑史 MA Comprehensive Exam 资源和经验分享 真题已更新 [复制链接]

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发表于 2013-2-12 12:49:24 |只看该作者 |倒序浏览
本帖最后由 谦秋在元 于 2013-2-16 14:01 编辑

本贴适用于:
1.对艺术史建筑史感兴趣但是不知道这个专业在干嘛的同学
2.已经选择艺术史专业但是还没读到MA或者还没参加MA Exam的同学
3.希望能鼓励同为艺术史专业的同学多多发帖回报论坛,据我所知现在学这个的天朝娃挺多的,但是单从网上搜能得到的专业机经实在还是太少Q_Q


本贴内容:
(主要以我自己学校和我所知的其他一些信息为例,仅供参考!)
1.MA Comprehensive Exam是什么以及timeline
2.备考期间的书单
3.应试tips
4.去年的真题和配图(分为艺术史和建筑史两个方向,后面会细说)

免责声明:以下列出的真题仅供参考,大家感受一下(喂)MA Comprehensive Exam的考察深度、广度和提问的角度,每个学校的艺术史系对于这个考试举行的时间和考试内容都是不一样的,如果已经enroll了一个program请管系秘要过往真题作为参考,一些系的graduate student handbook里面也会有真题。有些实在太大路货的问题(我觉得每个系只要是教艺术史的都会考差不多的内容)我会点出来!其他的太specific的问题参考价值一般,大家看完拉倒!


谢谢斑竹加精!!!寄托首发原创,转载请注明出处和作者!!!

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一、MA Comprehensive Exam是什么以及timeline

因为不考过这个考试,MA是毕不了业的,所以无辜群众问起的时候大家会通俗地讲“这个是MA毕业考试”,其实它真心不算毕业考试(你的MA Thesis才算毕业考),首先它举行的时间:一般都在MA学习期间,根据学校不同可能在semester 1/2/3的时候考(默认MA项目一共4学期=两年),其次它的考察内容以本科知识为主,目的是确保你对艺术史这个学科有一个全面的、基本的了解,说白了就是:如果你大一学Western Art survey course的时候能拿到A,并且对许多理论和例子都还印象深刻的话,这个考试真心没什么大问题。

但问题就是,大家虽然上了艺术史MA,本科学专业基础课时候的那点儿油水儿因为时间关系基本都忘光了!咋办呢?临阵磨枪看书补呗!记住这个考试不是让你发挥自己观点的舞台,除了考察你对于事实的记忆怎么样之外,管你要your own opinion的时候你就随便说说业内主流critique的观点就OK了,不用太费心思在“如何给出自己创造性的想法”上面。Again,这个考试只有Pass/Failed,过了你以后就顺利毕业,没过你就得以后再考(也就是说可能会拖延你毕业的时间),所以归根结底只要大家考过!就万事大吉!

如果你读的MA是general art history方向(大多数同学的case),就会同时考西方、非西方的内容,但西方艺术史是主要内容,除此以外的西方XX史(摄影、雕塑、设计、建筑这些方向)都不会是重点,但是有可能小部分提到,同时也有可能小部分提到非西方的问题(东亚、非洲、拉丁美、北美土著、中东这些方向)。

如果你读的MA是Asian Art History,请重点复习天朝和尼轰艺术史,同时也会小部分提到西方艺术史,但不会问太深。总之这种方向的同学请跟自己的导师或者系里做东亚艺术史的老师具体咨询。

如果你读的是建筑史(my case)或者以上提到的摄影/雕塑/设计史,请先咨询老师,看看有没有your own version of exam,但同时系里一定也会要求你答一些西方艺术史的基本问题,所以在复习本专业方向的同时,还是要把以前的survey course拿出来轮一轮!

考试的形式主要有两种:

有的学校会以图为主。像本科art history course考试那样放slide让大家做identification和简答,这类考试就是题多速度快,同时也意味着不会选特别边缘的作品给大家看,基本都会是本科时候学过的,学生要写作品名称/作者/时间/地区/流派/介质/收藏地etc,然后每张slide大概几分钟,这期间除了以上slide ID的内容要写,还会提一些诸如significance之类的小问题让大家答,点到终点就好,比如某画是某人的代表作或者某流派的代表作,某画在艺术史上的地位和对后世的影响etc。

有的学校会以问题为主。考试时给出一些艺术史学、艺术理论之类的特别的问题,同时不给图片和例子,让学生自己脑补出图片然后把例子和观点倒出来。我个人认为这种考试形式比前一种要难,因为大家既要对理论有所掌握,又要记住很多信息,不过相对灵活性也大一些,比如做slide ID你不认识就是不认识,但是回答史论问题的时候,记不住的例子可以跳过不用,会什么写什么,硬伤会小一些。

多数学校会把前两种形式结合起来考(...Great!=_=)又做slide ID又做小论文简答。我们学校就是这么考,但是我们学校会给20道题目,让大家从中挑5道进行回答,每道题要写1个小时的短论文(大概本科考试时用的那种小答题本写个4、5面吧)。有的学校题量比较大,出很多道要求大家都得回答,但同时每道题的话,对答题量的要求也会相应减少。总之具体怎么考,大家问系里,准备起来都差不多,大脑空空是肯定不行的啦Orz

timeline:

semester 1考:请你在本科毕业没上MA之前那个暑假啃书单复习,然后9月刚上MA就会考试了,没错有的学校就是这么变态的,too bad你去了这样的学校God bless you TAT。

semester 2考:请你在MA第一学期一边上学一边啃书单复习,加上寒假,同时你也有时间跟系里的PhD或者已经考过MA Exam的学长学姐交流一下经验,最好拿到最近几年的真题啃一啃,不知道是不是所有题都会update,但如果碰到比较general的问题(就是之前所说的大路货的问题)你就赚到了。

semester 3考:which is my case,就可以在MA第二学期+暑假期间啃书单复习,准备时间比较充裕,总之越早要到书单和真题越好。

semester 4考:我还没有听说过这样的学校,因为semester 4大家一般都要写毕业论文的,从semester 3开始就事儿比较多了,这时候还要准备考试简直是……不过也意味着你有最充裕的时间来复习!如果考试题里面有你MA上过的课的内容就更high了,趁着脑子还热赶紧把知道的都倒出来!

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二、备考期间的书单

请以你们系的书单为准。
这里我就推荐一本general survey:Gardner's Art Through the Ages 最近几个版本均可。
学这个专业的应该都看过这本书了,算是经典的本科大教材,帮助梳理一下timeline非常有用。没用过这本也没关系,大家可以把你们大一时候上Western Art I/II之类的专业基础课的大厚本教材拿出来遛。忘了西方艺术史主要流派和timeline的,这时候赶紧捡一捡,对代表作记忆模糊的赶紧多看几遍,毕竟到时候老师出个米开朗基罗伦勃朗杜尚你都答不出来那是肯定毕不了业的TVT

另外我觉得对于自己把握比较强的领域(比如有同学文艺复兴学得好,有同学巴洛克学得好,有同学modern/contemporary学得好)也一定要看书或者以前的笔记,加强一下记忆。毕竟大家不可能每个地域、每个时段都记得那么清楚,但是如果自己的强项还拿不下的话,岂不是很亏。以我自己为例,我的方向是西方现当代建筑史,我考的是architectural history version的comprehensive exam,复习的时候我啃了中英文这个方向的几本书,自己列了大概20个左右有代表性的例子进行重点记忆,通过这些例子可以排列组合说明很多问题,然后考试的时候只要是西方现当代建筑或者城市规划、城市发展相关的, 我都先拿来答完,信心满满之后,再清理清理脑子,接下来看看别的我不拿手的,看看自己能记住什么、能倒出什么来。

另外老师给的书单一般来讲,少说也有十几本,别指望全都啃透(能啃透general survey就很好了!),考试时候的问题也不可能直接从书里面出。我的目标是:每本书提炼出几个基本观点和10个左右的例子。大家想想,光这样做下来10本书就是几十个观点和100个例子,都能记住就真心不错了!MA这个阶段的考试不会问得很深奥(当然也别指望老师会问你达利是哪国人之类的弱智问题),一般来讲都是问一些主流的作品作者,对于他们的分析也都是想问主流的观点,历史地位神马的。有一些边边角角的问题你别怕,老师不会因为你写错一个十年就直接fail掉你整个考试。

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三、应试tips

当你遇到实在什么也说不出来的问题的时候,就用艺术史通用的理论去解答。比如艺术和当时社会经济政治现状的关系啊,艺术家与雇主的关系啊,不同流派在时空中的相互影响啊blahblah,反正写了总比空着好。

如果可以从一堆问题里面挑几个来答(像我们学校这种考试形式,只需20选5即可),先通读问题然后圈出最好答的,筛完了还不够数,再选次好答的,不会的看都不要看了。

考试长度就要看你系里的要求了,一般来讲都会是好几个小时,我们学校是五个小时,9am-3pm考一天,中间有一个小时吃饭时间。总之肯定是个持久战!大家拿出对付GRE的勇气来,不管你是靠调整生物钟还是靠喝红牛神马的来顶着,反正千万别写着写着困了……满篇都是字最容易困了Orz 还有就是相信我,无论你用电脑还是手写,到最后肯定手都要断了。它既然叫comprehensive exam,就是用来全方位考察一个艺术史专业的小苦逼的,以后写论文比这恶心的事儿多了,一定要做好心理准备呀。

如果你学校让用电脑的话,可能还好,我们学校是全手写的。推荐大家用那种可以擦的签字笔(特殊墨水、笔杆后面有个橡皮擦,网上有卖,这种签字笔写的不像铅笔那么容易蹭掉,也可以涂改),或者用铅笔也行,觉得美帝老师不会介意大家用铅笔的。因为平时在电脑上写东西已经习惯了,忽然改用笔来考试就会不停地涂改涂改涂改,尤其想用长句和定语的时候,话都说不利落了,太崩溃了!反正大家复习的时候就用手写的适应适应吧。有些艺术家的名字拼写很难,尽量记住,实在记不住的小众的人名(但愿你不会考到,或者别自己非要写小众的东西撞枪口)拼错一两个字母老师不会在意的,只要他知道你想说的是谁。

我们学校考试非常intensive,虽说每个小论文给了一个小时的时间,看起来挺长的,其实从有想法,有内容,组织结构,落笔实际写,到最后通读检查一遍,一个小时是特别特别特别不够用的,我个人的经验是10~15分钟找想法(形成理论和找好支持的例子),半个小时写,最后10~15分钟检查,别忘了你还得留出考试一开头“在所有问题中间斟酌自己要答哪个”的时间呢!如果大家的考试是以slide ID为主,也不可能全文事实性的问题,也一定会问一些主流观点和时空对比之类的问题,总之想到什么组织好语言就赶紧写,写得稍微话痨一点儿比什么都没写好,逻辑稍微乱一点也比丢了个主流观点好。用我们老师的话说:你知道什么就写什么,这个考试就是为了让老师知道,你的基本知识储备是处在MA这个level的!有些事你作为艺术史专业的学生必须要知道!无论你是什么方向的!

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四、去年的真题和配图

真题会分为艺术史和建筑史两套题,艺术史里面包括各个地域的,建筑史是按时间和方向分的(还带建筑理论、景观、博物馆和建筑保护)。我们学校是这样,即便你考建筑史这套题,也可以从艺术史的question list里面选一道来答,其他四道从建筑史里面选,或者五道都选建筑史考题也可以,具体选哪些是学生自己决定的。但是艺术史方向,考艺术史那套题的同学,不会拿到建筑史的题目,也就是说他们只能从艺术史的list里面选问题来答。

02/15更新真题在沙发楼

还是再说一遍:拜托论坛里学艺术史的同学也多多发帖分享资源和经验,我记得我读本科的时候参考的都是05年的资料,而且整个网络上能找到的经验贴都以个位数计,还都是东亚的……特别捉急TVT 队伍虽然还不够壮大,但是大家多帮把手,以后我们像隔壁CS之类的垄断美帝学术界(喂想太美了好吗!)(至少也向其他人文专业看齐啊亲~)路子也就宽很多啊!!
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发表于 2013-2-12 12:50:43 |只看该作者
本帖最后由 谦秋在元 于 2013-2-16 13:58 编辑

ART HISTORY QUESTION LIST

WRITE FIVE ONE-HOUR ESSAY IN AT LEAST FOUR OF THE FOLLOWING NINE FIELDS:
AFRICAN, AMERICAN, ANCIENT, ASIAN, BAROQUE & 18TH CENTURY, ISLAMIC, MEDIEVAL, MODERN, RENAISSANCE

African

1) Identify these works of art (date, culture, and country of origin). Use this pair of images to discuss issues of authenticity and tradition and how they relate to African Art. Your essay should consider some of the problems at play with these issues, their implications for the study of African art, as well as alternative paradigms for thinking about African art with specific reference to these works.



2) Between the 1960s and the 1990s, South African artists often dedicated themselves to making work that exposed the injustices of apartheid. Select at least four South African artists who worked during the apartheid period and dealt with such issues as individual and collective responsibility, racial classification, and violent oppression. Discuss their work in relation to the history of apartheid.

American

1) What role did ornament play in the development of architecture in the United States from the second half of the nineteenth century onward? Choose at least four architects or writers who used ornament to advance their ideas and discuss the changing nature of the role and the form of ornament in this period. How did ornament engage or suppress other innovations in these years? Cite specific examples to support your argument.

2) Discuss modernism and modernity in the work of five of the following early- and mid-20th-century artists. Mention at least two works for each artist:
Marcel Duchamp
Man Ray
Alfred Stieglitz
Max Weber
Stuart Davis
Georgia O'Keeffe
Charles Demuth
Jacob Lawrence

Ancient

1) Consider the development and roles of the made nude in Greek art. Discuss its origins, contexts, meanings, relationships to everyday life, and contributions to concepts of representation. Use four specific examples.

2) Identify these three murals and use them as the basis of an essay discussing the evolution of Roman wall painting during the first century BCE and the first century CE.







Asian

1) Discuss the transmission of Buddhist arts across Asia during the Chinese Tang dynasty (618-907). Why was this a prime moment of cultural movement and communication, and what were the types and styles of work that migrated? Use specific works in your answer and refer to at least three cultures.

2) Rakuchu rakugai folding screens depicting the city of Kyoto first appeared in the early sixteenth century and experienced a boom in the seventeenth century. Representing a new subject in genre painting, these screens share a number of formal properties, such as format, perspective, organization, style, and scale. Discuss these properties and the ways in which they expressed unprecedented visions of the city.





Baroque and Eighteenth Century

1) Discuss the importance of portraiture in Rembrandt's work and the Dutch pictorial tradition. Consider institutional, family, and individual portraits, as well as self-portraits, and include examples of both painting and printmaking.

2) To what extent did the Counter-Reformation shape the development of the arts in seventeenth-century Europe? Include examples of painting, sculpture, and architecture from Italy, Spain, and The Netherlands.

Islamic

1) Compare the Ottoman and Safavid painting traditions in terms of style, subject matter, and patronage. Use at least four specific examples to make your point.

2) Discuss the relationship between Umayyad monuments, such as the Dome of the Rock and the Great Mosque of Damascus, and the visual cultures of the Late Antique Mediterranean and the Sassanian worlds. In your answer consider building techniques, decorative programs, floor plans, iconography, location, and function.

Medieval

1) Why is the Saint-Denic Abbey often described as the springboard of the Gothic?

2) Compare and contrast these three images of the Virgin and Christ.







Modern

1) Choosing three artists, each from a different European nation, indicate aspects of change and continuity in their work before and following World War I. Discuss at least one work by each artist. Your choice may include Russian and/or Soviet artists.

2) Write and essay that explores the ways in which artists have incorporated found or discarded materials into work produced since World War II. Include a minimum of five artists from three different countries in your discussion.

Renaissance

1) Discuss the importance of the idea of the Renaissance in the development of the discipline of art history.

2) When Giorgio Vasari wrote his "Life of Michelangelo" for his multi-volume "Lives of the Artists" he described Michelangelo as "perfectly unifying the arts of painting, sculpture, and architecture in very single artwork." Assess the validity of Vasari's characterization. Select at least three examples of Michelangelo's work to support your argument.




ARCHITECTURAL HISTORY QUESTION LIST

CHOOSE FIVE QUESTIONS FROM THE FOLLOWING LIST. WRITE A ONE-HOUR ANSWER FOR EACH OF THOSE QUESTIONS. YOU MAY SUBSTITUTE ONE QUESTION FROM THE ART HISTORY QUESTION LIST AS THE REPLACEMENT FOR ONE OF THE FIVE QUESTIONS.

American architecture

In 1982, Dell Upton could assert: "Vernacular architecture is regional architecture." What architectural regions have been delineated in American? How does building practice and the character of architecture differ from region to region? What factors have been identified to explain this variation in practice?

Architectural theory, methodology and historiography

The 1920s and 1930s saw the publication of several texts dedicated to what, at the time, was labeled as "modern" or "new" architecture. After choosing at least two texts and authors, explain in which way this body of literature contributed to the definition of modernism in architecture.

Asian architecture

Beginning in the late 19th century and continuing up to the outbreak of the Pacific War, a major architectural concern in China and Japan was the creation of self-consciously "Asian" designs. While major institutional structures and public monuments inevitably addressed issues of national and cultural expression, some private residences and gardens also confronted the challenge. Using a minimum of three works of architecture as examples (at least one must be Chinese and at least one must be Japanese), discuss the motivations behind such designs and how they expressed "Asian-ness" stylistically and materially.

Baroque/18th century architecture

Describe the role of an emerging consumer society in shaping the architecture and cultural landscape of Europe and the American colonies during the 17th and 18th century. Consider the influence of consumption on domestic life and the shaping of public space. Discuss this impact in at least three nations or regions.

Landscape history

The Power Axis has been a common organizing feature in landscape and city planning throughout history and across the globe. Choose and identity (name, place, period, and creator) four sites from at least two different genres (a garden, an institutional complex, a city or some other landscape space) where a dominant organizational axis was used. In each case consider what determined the choice of a Power Axis, and how it symbolized the goals of both designer and client.

Museum history and theory

National identity has been used to supplement stylistic development and period as categories of display at major museums. With reference to at least one specific museum, consider the strengths and weaknesses of displays constructed around style and period more generally and those constructed around a specific national identity. You should use particular examples in your answer.

Nineteenth century architecture

One of the major influences on nineteenth century architecture was the introduction of new materials. Using specific buildings and structures as examples, discuss the emergence and incorporation of iron, glass and steel throughout the century. What new opportunities did these materials provide, what new building types resulted from their use, and how quickly were these materials accepted in common practice? What resistance to new materials arose and how severely did these objections inhibit this development?

Preservation

The importance of the National Historic Preservation Act of 1966 to the development of the field of preservation is well established, but other moments and movements have been important to the shaping of the field in the United States. Choose two other moments or movements, one before and one after 1966. Then write an essay about them that demonstrates your understanding of how the climate for preservation has changed over time.

Twentieth century architecture

The Second World War had a profound impact on architectural practice and theory. By referring to specific examples illustrate the extent to which the conflict modified architecture in the immediate postwar years.
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板凳
发表于 2013-2-12 12:53:01 |只看该作者
这... 实在也太强大了!

感谢楼主分享 原创的话 要不要贴个免责申明什么的?

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地板
发表于 2013-2-12 13:05:50 |只看该作者
arcyoung 发表于 2013-2-12 12:53
这... 实在也太强大了!

感谢楼主分享 原创的话 要不要贴个免责申明什么的?

谢谢,加在首楼了:)

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发表于 2013-2-12 16:53:07 |只看该作者
謝謝分享!很有收穫~

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美版2016offer达人 IBT Zeal IBT Smart IBT Elegance 2016 US-applicant

6
发表于 2013-2-12 18:43:32 |只看该作者
怒顶~~还记得看过谦秋的专业介绍帖啊~继续仰望

毕竟到时候老师出个米开朗基罗伦勃朗杜尚你都答不出来那是肯定毕不了业的TVT - 这么说要是真出个米开朗基罗伦勃朗杜尚神马的我搞不好还真是可以装傻充楞去混一下的嘛。。(想得美。。)

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发表于 2013-2-12 19:04:53 |只看该作者
好东西 来顶一下~  

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发表于 2013-2-16 14:03:21 |只看该作者
艺术史和建筑史两套真题都已经敲好啦^^
图片都能看到吗?直接贴在对应的题目下面啦。

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发表于 2013-2-16 14:06:25 |只看该作者
谦秋在元 发表于 2013-2-15 23:03
艺术史和建筑史两套真题都已经敲好啦^^
图片都能看到吗?直接贴在对应的题目下面啦。

非常感谢!

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发表于 2014-5-19 12:26:54 |只看该作者
楼主好强大!超赞。

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发表于 2014-7-31 22:36:48 |只看该作者
感谢! 法语专业本科,也想申请美国艺术史的MA,感觉有些摸不着头脑了。。

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发表于 2015-2-1 20:50:57 |只看该作者
感谢楼主干货分享 正在努力往艺术史这个坑里跳!!!

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2015 US-applicant

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发表于 2015-5-31 12:37:05 |只看该作者
楼主好,请问我今年高二,想要申请艺术是专业。请问我去年开始学拉丁语,现在不很熟练,不知道艺术史如果想要学欧洲古典艺术的话,会不会拖后腿……

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发表于 2015-7-2 10:25:34 |只看该作者
Haruka0406 发表于 2015-5-31 12:37
楼主好,请问我今年高二,想要申请艺术是专业。请问我去年开始学拉丁语,现在不很熟练,不知道艺术史如果想 ...

你高二开始学的拉丁语已经非常好了,大一入学之后再继续上拉丁语课就好了,同时要再配一门欧洲当代语言,德语、法语、意大利语都可以选择,关键看你最感兴趣的方向,毕竟专业课比语言重要得多。中国同学学欧洲古典虽然跟美国人比优势不明显,但是回国机会还是大大的,绝大多数同学都在做东亚,真正能啃下classical这块儿骨头的人非常少。

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发表于 2015-8-24 20:52:01 |只看该作者
哈哈,哈哈,我只認得其中日本浮世繪哈哈

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RE: 艺术史建筑史 MA Comprehensive Exam 资源和经验分享 真题已更新 [修改]
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