98.11阅读答案更正

DendisUID: 158017

98.11的这篇阅读似乎答案也有问题，大家做的时候要当心

(This passage is from a book published in 1960.)

When we consider great painters of the past, the study of art and the study of illusion cannot always be separated. By illusion I mean those contrivances of color, line, shape, and so forth that lead us to see marks on a flat surface as depicting three-dimensional objects in space. I must emphasize that I am not making a plea, disguised or otherwise, for the exercise of illusionist tricks in painting today, although I am, in fact, rather critical of certain theories of non-representational art. But to argue over these theories would be to miss the point. That the discoveries and effects of representation that were the pride of earlier artists have become trivial today I would not deny for a moment. Yet I believe that we are in real danger of losing contact with past masters if we accept the fashionable doctrine that such matters never had anything to do with art. The very reason why the representation of nature can now be considered something commonplace should be of the greatest interest to art historians. Never before has there been an age when the visual image was so cheap in every sense of the word. We are surrounded and assailed by posters and advertisements, comics and magazine illustrations. We see aspects of reality represented on television, postage stamps, and food packages. Painting is taught in school and practiced as a pastime, and many modest amateurs have mastered tricks that would have looked like sheer magic to the fourteenth-century painter Giotto. Even the crude colored renderings on a cereal box might have made Giotto’s contemporaries gasp. Perhaps there are people who conclude from this that the cereal box is superior to a Giotto; I do not. But I think that the victory and vulgarization of representational skills create a problem for both art historians and critics.

In this connection it is instructive to remember the Greek saying that to marvel is the beginning of knowledge and if we cease to marvel we may be in danger of ceasing to know. I believe we must restore our sense of wonder at the capacity to conjure up by forms, lines, shades, or colors those mysterious phantoms of visual reality we call “pictures.” Even comics and advertisements, rightly viewed, provide food for thought. Just as the study of poetry remains incomplete without an awareness of the language of prose, so, I believe, the study of art will be increasingly supplemented by inquiry into the “linguistics” of the visual image. The way the language of art refers to the visible world is both so obvious and so mysterious that it is still largely unknown except to artists, who use it as we use all language—without needing to know its grammar and semantics.

20.        The author’s statement regarding how artists use the language of art (lines 48-52) implies that
(A) artists are better equipped than are art historians to provide detailed evaluations of other artists’ work
(B) many artists have an unusually quick, intuitive understanding of language
(C) artists can produce works of art even if they cannot analyze their methods of doing so
(D) artists of the past, such as Giotto, were better educated about artistic issues than were artists of the author’s time
(E) most artists probably consider the processes involved in their work to be closely akin to those involved in writing poetry

这道题答案应该是C

22.        Which of the following can be inferred from the passage about the adherents of “certain theories of nonrepresentational art” (lines 9-10)?
(A) They consider the use of illusion to be inappropriate in contemporary art.
(B) They do not agree that marks on a flat surface can ever satisfactorily convey the illusion of three-dimensional space.
(C) They do not discuss important works of art created in the past.
(D) They do not think that the representation of nature was ever the primary goal of past painters.
(E) They concern themselves more with types of art such as advertisements and magazine illustrations than with traditional art.

这道题答案应该是A

vivian_hssUID: 149543

多谢更正，正在为想不通这两个答案郁闷呢
不过
21.The passage asserts wehich of the following about commercial art?
a.There are many examples of commercial art whose artistic merit is equal to that of great works of art of the past
b.Commercial art is heavily influenced by whatever doctrines are fashionable in the serious art world of the time.
c.The line betwween commercial art and great art les primarily in how an image is used, not in the motivation for its creation.
d.The level of technical skill required to produce representational imagery in commercial art and in other kinds of art cannot be compared.
e.The pervasiveness of contemporary commercial art has led art historians to undervalue representational skills.
答案E，为什么啊？

sirUID: 2202738

原帖由 vivian_hss 于 2004-10-19 16:18 发表
多谢更正，正在为想不通这两个答案郁闷呢
不过
21.The passage asserts wehich of the following about commercial art?
a.There are many examples of commercial art whose artistic merit is equal to that ...

同问.

fawn_18UID: 2190526

20题为什么选C阿？

pewcg8UID: 2143213

有确凿证据么?20题的A很好啊

karenfan0712UID: 2162734

原帖由 pewcg8 于 2006-10-23 15:30 发表
有确凿证据么?20题的A很好啊

同问？

xmbjowlUID: 2182375

哈～激动ing~20题偶选C
btw，21题答案写的是A啊？

salabomUID: 2115099

22题答案本来就是A

salabomUID: 2115099

原帖由 pewcg8 于 2006-10-23 15:30 发表
有确凿证据么?20题的A很好啊

文章里ms没有提到artists去evaluate artist work吧？

salabomUID: 2115099

谁能更我说说23题D为什么不对？

xiaoywzUID: 2148014

定位不到  historian undervalue representational skills

songxiaoshiUID: 3170134

⊙﹏⊙b汗 到底选神马呀