问题 单项选择题

Comparisons were drawn between the development of television in the 20th century and the diffusion of printing in the 15th and 16th centuries. Yet much had happened (91) . As was discussed before, it was not (92) the 19th century that the newspaper became the dominant pree-leetronie (93) , following in the wake of the pamphlet and the book and in the (94) of the periodical. It was during the same time that the communications revolution (95) up, beginning with transport, the railway, and leading (96) through the telegraph, the telephone, radio, and motion pictures (97) the 20th-eentury world of the motor ear and the airplane. Not everyone sees that process in (98) . It is important to do so.
It is generally recognized, (99) , that the introduction of the computer in the early 20th century, (100) by the invention of the integrated circuit during the 1960s, radically changed the process, (101) its impact on the media was not immediately (102) . As time went by, computers became smaller and more powerful, and they became "personal" too, as well as (103) , with display becoming sharper and storage (104) increasing. They were thought of, like people, (105) generations, with the distance between generations much (106)
It was within the computer age that the term" information society" began to be widely used to describe the (107) within which we now live. The communications revolution has (108) both work and leisure and how we think and feel both about place and time, but there have been (109) views about its economic, political, social and cultural implications. "Benefits" have been weighed (110) "harmful" outcomes. And generalizations have proved difficult.

A.unless

B.since

C.lest

D.although

答案

参考答案:D

解析: 在做本题之前,先做第102题比较好。空格前文提到,计算机的出现大大改变了这种进程,接着空格下文又说它对媒体的影响没有立即见效。显然,这里的逻辑关系为让步。四个选项中,只有although符合要求,意为极大地改变了这一进程,虽然对媒体的影响并没有立即见效。

阅读理解与欣赏

阅读下面的文字,完成(1)~(4)题。

  中国山水画起源的一个重要原因,就是那些士大夫艺术家试图把山水自然搬入自己的居室来赏,来游,他们要使自己的精神走入这图画里。王维有一句诗“枕上见千里”,谋求的就是这种卧身在榻而尽观大千世界的境界,所以中国山水画论里就有一个“卧游”的术语。后来中国艺术中出现了园林和盆景,都是这种艺术理论的进一步发展与具体实现。说到底,就是将无限大的自然山水缩小到人的感官所能够把握的状态,这也决定了中国山水画的一个基本特征是人与自然的结合,天人合一,物我同一。历代的山水画家都试图在自然山水与人之间寻找这种关系,并在这两者之间大做文章。总的来说,整个古典时期,在山水画的意境处理上,大多脱离不开“山水自然”加“渔樵隐士”的基本构思和构图模式。中国山水画中的人往往是艺术家自我的化身,或者说是自然山水的灵魂与知音。“白发渔樵江渚上,惯看秋月春风”,山水中的“渔樵”并非真正的渔父樵人,而是一种精神载体。宗炳有一句话“山水以形媚道”,人只有到山水之中,从自然的千姿万态里才能领会“道”之真味,所以中国画里的山水本质上都在强调心中之山水。

  农耕文化的悠久历史使得中国人倾向于家居生活,然而对于自然山水的审美需求与此发生矛盾。隐居山林、与鸟兽为伍是一个很不实际的幻想,那么就有了居室文化的山水艺术,园林、盆景、山水画都可以看作这一思想的体现。有人讽刺明代的文人董其昌,说他是“山林富贵两不误”,实际上这是文人生活的一个极好概括。中国另一特具代表意义的画科——花鸟画,与山水画差不多在同一时期(魏晋)产生。花鸟作为审美对象在本质意义上与山水相同,属于主体之外的自然、客观外物。然而,花易凋零,鸟为活体,是主体难以把握掌控的东西,所以就有了花鸟画。

  艺术反过来必然要影响生活,由于中国文人将自然艺术化、将艺术生活化,那么这种影响就更加深刻。丰子恺先生在《从梅花说到艺术》中引用了一句哲语:“人们不是为了悲哀而哭泣,乃为了哭泣而悲哀的。”在艺术上也有同样的情形,人们不是感到了自然的美而表现为绘画的,乃是表现了绘画之后才感到自然的美。换言之,“绘画不是模仿自然,自然是模仿绘画的。”中国的园林艺术是文人将自然仿效绘画的最好例证。

(1)下面对中国园林艺术的特征说明,最恰当的一项是(     )

A.强调生活艺术体

B.强调心中之山水

C.强调艺术模仿自然

D.强调主体之外的自然

(2)下面对文章引用丰子恺先生所引哲语的作用,理解最正确的一项是(     )

A.说明悲哀与哭泣的关系,强调哭泣比悲哀更加重要。

B.说明自然与艺术的关系,强调艺术对自然的模仿。

C.说明生活与艺术的关系,强调艺术对生活的反作用。

D.说明园林与绘画的关系,强调园林对绘画的仿效。

(3)联系上下文,解释“卧游”的内涵。

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(4)根据全文内容,给本文拟一个提问式标题。

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