问题 阅读理解

阅读理解。

        Some people don't need a mailbox to send a message. They use a bottle instead. Here are two stories

about people who sent a message in a bottle. Both stories are true.

       In 1965, a sailor from Sweden was on a trip. He wrote a letter, asking any young woman to write to

him. He put the letter in a bottle and threw the bottle into the sea.

       Two years later, a man found the bottle on a beach in Italy. He read the letter and showed it to his

daughter. She was 18. As a joke, she wrote to the sailor. They began to exchange letters. After a few months,

they got married.

       Here is the second story: Back in 1924, a boy from Arkansas wrote his name on the back of his picture.

He put the picture in a bottle and dropped the bottle into a river.

      The bottle was not found until one day a man named Bill picked it up on a beach in Florida many years

later. He pulled the picture out of the bottle and looked at it. He could hardly believe his eyes. To his surprise,

the boy in the picture was his friend, Tom, from Arkansas. Bill had not seen Tom for 25 years. Somehow

the bottle had come to the right place.

1. After the sailor wrote a letter, he _______.

A. threw it away

B. put it in a bottle and threw it away.

C. found a bottle

D. put it in a bottle and threw it into the sea

2. The sailor and the girl from Italy _______.

A. grew up together

B. went to the same school

C. had not known each other before

D. knew each other before

3. When the man named Bill looked at a picture of Tom, he got _______.

A. happy

B. sad

C. worried

D. surprised

4. At the end of the story, Bill and Tom must have been _______.

A. more than 25 years old

B. 18 years old

C. 25 years old

D. less than 25 years old

5. The best title for the passage is _______.

A Sailing on a ship

B. Sending a message in a bottle

C. Looking for a friend

D. Sending a message to Italy

答案

1-5 DCDAB

问答题

(一)阅读下文,完成1—6题。(17分)  ①近年来,艺术史研究者越来越清楚地认识到,对艺术品的理解和研究,不能局限于图像、风格等艺术范围之内,还应拓展到作品的物质性特征和存在方式。如果对中国传统的“卷轴”这一装裱方式加以考察,我们就会发现,这种物质性特征常常是文化精神的某种映射。  ②把卷轴和西方油画的装饰形式进行比较,两者的不同显而易见。油画完成后被嵌入硬质的四边画框,意味着一种强制性的“展开”,体现出对静态的空间的占有意识。而中国书画所采用的卷轴形制,则自然引出一个“敛合”的结果。敛合意味着对空间尽可能的放弃,却隐含了时间性的要求。  ③卷轴提供的形制,保障了舒卷的权力和自由,而在长幅横式的卷轴作品中,舒卷过程本身就是观看活动的一个介入因素:它拒绝对全幅作即时性的呈现,而对观看范围进行必要的控制,使观看成为一个历时性的过程。具体而言,这类作品展示时,作品左侧部分随着观看的进行被陆续打开,与此同时,右侧部分则被不断收起,观看者视野所及,就是“舒”和“卷”所呈现的自然范围(约为一个手臂的长度)。这种观看方式,要求作品在展示过程中体现出“段落感”,以使观看者视野中的图像保持一个相对完整而又不完全重复的空间,这样的段落空间是逐步呈现和不断变换的,因而是由时间统领和支配之下的空间。这是此类卷轴作品与静态展示的油画作品的重要差别。  ④考察卷轴的敛合形制,我们会进一步联想到收藏的行为,因为敛合也正是收藏的一个基本动作。

卷轴所支持的敛合形制,可使作品避免因长期暴露在空气和光线中而受到损伤,也暗示了对作品时间性要求的尽力满足。  ⑤敛合的意义还不止于此,它还可能是对观看者进行挑选的一种方式。卷轴的形制所隐含的既不是无条件的展示,也不是全然不允许观看,它暗示着古代士大夫艺术活动中那种“限制性”的观赏。“更起粉墙高百尺,莫令门外俗人看”,宋人孙少述这两句诗对理解这个问题或许有点帮助。该诗的题目是“栽竹”,考虑到竹子清幽绝俗的文化品性极其与文人墨客的精神关联,我们完全可以把这样的诗句看作古人艺术观念的隐喻。“粉墙”象征着艺术家及收藏者与世俗阶层的趣味隔阂,他们通过粉墙圈筑出自己的庭院,就等于塑造了趣味的共同体,正如布迪厄所说:“趣味是分等级的,它会区分出不同的级别群体。被分成不同等级的社会主体,通过自身制造的区阂,会在美与丑、杰出与庸俗之间区分自己。”  ⑥既然这样的粉墙是由栽竹人有意构筑起来的,墙内的景观也就成了一种阶层身份的表征。当作品舒展开来的时候,它面对的不可能是公众,相反,其展示常常带有私密的色彩。通过大量的古代文献和图像资料可以知道,艺术品的展示通常是在一个称作“雅集”的小型私人聚会中进行,被邀请的观看者则一般是文人名士。而将一件艺术品长时间地置于众目睽睽之下,不仅不是慷慨之举,反倒可能被视为不谙风雅的行为。 (选自姜勇《舒卷的粉墙》,有删改)

第②段加点词“展开”在文中的意思是________。(2分)

判断题

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