【CASK EFFECT】0910G阅读全方位锻炼--难度【LSAT】1-32

草木也知愁UID: 2487572

【CASK EFFECT】0910G阅读能力基础自测（速度、难度、深度、越障、真题、RAM）
https://bbs.gter.net/forum.php?mod=viewthread&tid=910464&highlight

【CASK EFFECT】0910G阅读全方位锻炼--难度【LSAT】汇总贴
https://bbs.gter.net/thread-982016-1-1.html


【规则】

每天我贴出一篇LSAT阅读文章，大家来做，做完后可以拿上来讨论或者写一些心得体会，大家共同切磋

每天一篇LSAT，你就会渐渐发现GRE阅读真的好简单

[注]请直接在电脑屏幕面前做，虽然GRE阅读是在纸上考，但是通过这个过程会遏制你做笔记，同时给你的阅读造成视觉障碍，也就是把难度训练和抗干扰训练同步结合，增加效率（初期会很累，但是既然大家想要成为高手，那么就别对自己太温柔


In the history of nineteenth-century landscape painting in the United States, the Luminists are distinguished by their focus on atmosphere and light. The accepted view of Luminist paintings is that they are basically spiritual and imply a tranquil mysticism that contrasts with earlier American artists’ concept of nature as dynamic and energetic. According to this view, the Luminist atmosphere, characterized by “pure and constant light,” guides the onlooker toward a lucid transcendentalism, an idealized vision of the world.
What this view fails to do is to identify the true significance of this transcendental atmosphere in Luminist paintings. The prosaic factors that are revealed by a closer examination of these works suggest that the glowing appearance of nature in Luminism is actually a sign of nature’s domestication, its adaptation to human use. The idealized Luminist atmosphere thus seems to convey, not an intensification of human responses to nature, but rather a muting of those emotions, like awe and fear, which untamed nature elicits.
One critic, in describing the spiritual quality of harbor scenes by Fitz Hugh Lane, an important Luminist, carefully notes that “at the peak of Luminist development in the 1850s and 1860s, spiritualism in America was extremely widespread.” It is also true, however, that the 1850s and 1860s were a time of trade expansion. From 1848 until his death in 1865,Lane lived in a house with a view of the harbor of Gloucester, Massachusetts, and he made short trips to Maine, New York, Baltimore, and probably Puerto Rico. In all of these places he painted the harbors with their ships—the instruments of expanding trade.
Lane usually depicts places like New York Harbor, with ships at anchor, but even when he depicts more remote, less commercially active harbors, nature appears pastoral and domesticated rather than primitive or unexplored. The ships, rather than the surrounding landscapes—including the sea—are generally the active element in his pictures. For Lane the sea is, in effect, a canal or a trade route for commercial activity, not a free powerful element, as it is in the early pictures of his predecessor, Cole. For Lane nature is subdued, even when storms are approaching; thus, the sea is always a viable highway for the transport of goods. In sum, I consider Lane’s sea simply an environment for human activity—nature no longer inviolate. The luminescence that Lane paints symbolizes nature’s humbled state, for the light itself is as docile as the Luminist sea, and its tranquility in a sense signifies no more than good conditions on the highway to progress. Progress, probably even more than transcendence, is the secret message of Luminism. In a sense, Luminist pictures are an ideological justification of the atmosphere necessary for business, if also an exaggerated, idealistic rendering of that atmosphere.
22.The passage is primarily concerned with discussing
(A) the importance of religion to the art of a particular period
(B) the way one artist’s work illustrates a tradition of painting
(C) the significance of the sea in one artist’s work
(D) differences in the treatment of nature as a more active or a less active force
(E) variations in the artistic treatment of light among nineteenth-century landscape painters
23.The author argues that nature is portrayed in Lane’s pictures as
(A) wild and unexplored
(B) idealized and distant
(C) continually changing
(D) difficult to understand
(E) subordinate to human concerns
24.The passage contains information to suggest that the author would most probably agree with which one of the following statements?
(A) The prevailing religious principles of a given time can be reflected in the art of that time.
(B) In order to interest viewers, works of art must depict familiar subjects in detail.
(C) Because commerce is unusual as a subject in art, the painter of commercial activity must travel and observe it widely.
(D) Knowing about the environment in which an artist lived can aid in an understanding of a work by that artist.
(E) The most popular works of art at a given time are devoted to furthering economic or social progress.
25.According to the author, a supporter of the view of Luminism described in the first paragraph would most likely
(A) be unimpressed by the paintings glowing light
(B) consider Luminist scenes to be undomesticated and wild
(C) interpret the Luminist depiction of nature incorrectly
(D) see Luminist paintings as practical rather than mystical
(E) focus on the paintings’ subject matter instead of an atmosphere and light
26.According to the author, the sea is significant in Lane’s paintings because of its association with
(A) exploration
(B) commerce
(C) canals
(D) idealism
(E) mysticism
27.The author’s primary purpose is to
(A) refute a new theory
(B) replace an inadequate analysis
(C) summarize current critics’ attitudes
(D) support another critic’s evaluation
(E) describe the history of a misinterpretation
28.The author quotes a critic writing about Lane (lines 25-27) most probably in order to
(A) suggest that Luminism was the dominant mode of painting in the 1850s and 1860s
(B) support the idea that Lane was interested in spiritualism
(C) provide an example of the primary cultural factors that influenced the Luminists
(D) explain why the development of Luminism coincided with that of spiritualism
(E) illustrate a common misconception concerning an important characteristic of Lane’s paintings

草木也知愁UID: 2487572

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StefanaUID: 2143510

继续看，等答案。
BTW，草草啊，这个LSAT里的题要觉得混乱难了我可以跳过去不看不？

lghscuUID: 2552043

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[CASK EFFECT] 难度【LSAT】1-32 解读