问题 单项选择题

For some people, the light of human attention has an unbearable brilliance. Like ivy along the dim edge of a garden, they prefer the social shadows, shunning parties, publicity and fame of any sort. Then there are the flowers of the human arboretum. For them, being in the view of others seems necessary for life itself. From Hollywood to fabricated prime-time reality, this spotlight-dependent species is thriving.
But what about the individuals who crave attention for more desperate reasons Those who resort to unusual ways to get it Lately, it seems, a dark bloom of these characters has emerged. For motives known only to themselves, they have won notoriety by drawing on an almost sacred well of social status: victim hood.
In early April, US national news outlets tracked the disappearance of Audrey Seiler, a sophomore at the University of Wisconsin in Madison. Police and hundreds of concerned citizens searched for four days before Seiler was discovered. Seiler said she was kidnapped. Within hours, however, her story fell apart. Police announced that her abduction had been a hoax. Why would a popular student make herself disappear Her motive remains a mystery, but perhaps it had something to do with the search parties and the news bulletins that surrounded her.
Sympathy is a powerful sentiment that can connect complete strangers. But if it’s used to manipulate, the backlash can be much more intense.
In February, a Waterbury, Connecticut, man was arrested as a result of exploiting sympathy. Edward Valentin told reporters that he had received word that his wife, serving in Iraq, had been killed in an explosion. Police said Valentin admitted the fabrication, reasoning that if people felt sorry for him maybe the military would send his wife home. Evidence, however, points elsewhere.
In its extreme form, such a craving shows up in mental disorders, where sufferers may seek attention by causing themselves harm. But even when it comes with no diagnosis, a deep craving to be noticed can have a wide impact.
For these individuals, victim hood represents a "pure state of guilt-free entitlement," said psychologist Richard Levak, of Del Mar, California. "They go from being utterly deprived to being utterly indulged. In today’s world ... people have become more depressed and disconnected from each other. So you get people who crave affection and attention and approval. They don’t know how to ask for it and they don’t know how to get it. That leaves them vulnerable," Levak said.

The word "utterly" underlined in Paragraph 7 refers to ______.

A.completely

B.absolutely

C.silently

D.oppositely

答案

参考答案:A

解析: 根据文中第七段的内容“They go from being utterly deprived to being utterly indulged”可知,他们从完全剥夺转为完全沉浸其中。选项中的A项为“完全地,彻底地”符合文意。B项“绝对地”,C项“沉默地”,D项“相对地,对立地”,这三项均不符合题意。

阅读理解与欣赏

阅读下面的文字,完成4题。(18分)

伦敦交响,年轻没错

迈上北京保利剧院的指挥台,为两个小时后的正式演出排练,丹尼尔·哈丁抬腿脱下左脚鞋子,作势要敲打面前的乐谱架。指挥台下,伦敦交响乐团100多位乐手大多埋头调弦试音,只有几个人注意到他的顽皮,笑着看他。他把鞋穿回去,“嘘嘘嘘——”

还是这招管用,剧院顷刻无声。

去年秋季,1975年8月31日出生的哈丁正式成为伦敦交响乐团的首席客座指挥。

在还没获得这一任职,但业界已经传开消息的时候,哈丁上了《BBC音乐杂志》的封面。偶像气息十足的大幅照片一旁,醒目标题是:“丹尼尔·哈丁,红得太早?(TOO MUCH T OO  YOUNG?)”

3个月前,哈丁刚刚在伦敦巴比肯音乐厅指挥了德累斯顿国家交响乐团的演出。英国媒体对这位从欧洲大陆回来的年轻同胞一点也不客气。乐评人安德鲁·克拉克对这场演出尤其是《马勒第九交响曲》相当不满意,他在《金融时报》上向哈丁发难:

“再给哈丁20年,他没准能令人信服地拿出对这部作品的理解……我相信哈丁会越来越好,可是让l00多人的乐团从欧洲大陆飞过来弄这么场演出,有点开玩笑了。他应该跟三流的交响乐团多摔打摔打,再出来现眼……”

乐团的气哈丁也受过了:2005年在法国,他指挥巴黎歌剧院交响乐团排演莫扎特歌剧《女人心》,排练了一场,他被迫甩手走人,因为乐团根本不愿受他的指挥。

“大家总是说我的年龄。”哈丁说,“可是他他们好像忘记了好多大指挥家首演时都很年轻:富特文格勒20岁首演,祖宾·梅塔头一回指挥维也纳爱乐乐团的时候也才23岁。交响乐团担心的并不是指挥的年龄,而是他的能力和自信。站在一支交响乐团跟前,要是你自己都不相信自己想要的东西,他们就更不可能相信了。当然,演奏完了,你又得有足够的谦虚,回头去质疑自己所有的要求。”

哈丁头一次指挥职业乐团也还不到19岁。17岁的时候他拉同学组成乐团,自任指挥排演了勋伯格的《月迷彼埃罗》,还把演奏录音带寄给了西蒙·拉特。西蒙·拉特当时担任伯明翰市立交响乐团的首席指挥,他把哈丁叫到伯明翰,想看看这不知天高地厚的小子是谁。

“他说我们的演奏比他一星期前在柏林指挥的还要精确。”哈丁回忆,“可他又说,你们显然完全没有理解。”

在年龄问题上,西蒙·拉特是哈丁再合适不过的老师。19岁还在伦敦皇家音乐学院上学时,西蒙·拉特就获得了约翰普列尔国际指挥大赛的第一名,25岁他就出任伯明翰的首席指挥;他自己在事业初期也没少遭受英国媒体的冷嘲热讽。他们曾经戏称他作“拉特宝宝”。

2005年,统领意大利斯卡拉歌剧院20年的里卡多·穆蒂退位,哈丁指挥了新演出季的揭幕首场,莫扎特的歌剧《伊多梅纽斯·克里特王》。他获得了长时间喝彩,而歌剧院后台把门的乃至新闻办公室的人都还不认得他。

事实上哈丁的面孔显得比实际年龄还“嫩”。有记者当众问到英国媒体对他的苛刻批判,他语气立刻急促起来,显得很没城府。这个时候倒是乐团的演奏家站出来“保护”他:“他是我们请来的。”

2008年,指挥家柯林·戴维斯80周岁,他将指挥伦敦交响乐团演奏英国作曲家詹姆斯·马内利的一整部全新交响乐作品。老指挥新作品组合,或许更体现出乐团的另一种“年轻”。

有103年历史的伦敦交响乐团,其实并不似大多外人想象的那样“古老”,除了古典音乐,他们还做很多很年轻的事情。比如他们专门开了一个手机铃声网站,音乐爱好者可以付费下载乐团演奏的音乐做自己的手机铃声,MIDI铃声1.5镑一首,和弦或真音铃声3镑。听听下载排行榜,你就知道古典乐离我们一点不远。网站很注重经营,最新的007电影上映时,头条推荐铃声是伦敦交响乐团曾经演奏的007电影音乐。

电影音乐也是伦敦交响乐团很早开始做的,1941年他们就为影片《魔影袭人来》演奏音乐,现在他们最著名的电影音乐作品包括《星球大战》系列、《哈里·波特》系列、《魔戒》系列,甚至王家卫的《2046》中的一首曲子也有他们的伴奏。他们的身影也始终在流行音乐当中出现,从披头士的《佩珀军士的孤独之心俱乐部》,直到迈克尔·杰克逊的《真棒》和《颤栗》。2002年,他们还为电子游戏《古墓丽影6:黑暗天使》演奏了全部游戏背景音乐。

乐团成立自己的唱片厂牌LSOLIVE之后,于2005年与苹果公司的ITUNES网站合作,把已出版的所有交响乐唱片放到网站上供付费下载,这也是古典音乐厂牌里的头一家。麦克道尔介绍说,经过统计,网上下载人数是传统唱片消费者的3倍,他们有了很多“新听众”。

伦敦交响乐团中国巡演的首场演出非常成功。丹尼尔·哈丁说起话来常显得紧张,但音乐是他的无人之境,他强调整体流动性的指挥风格,身形很轻松。加演一而再再而三,最后的曲子果然是《星球大战》电影主题曲,现场气氛热烈到极点,最后一个音符,他已经把指挥棒扔进了乐手席。丹尼尔·哈丁和伦敦交响乐团一块儿证明了一件事:年轻没错。

19.小题1:在文章从哪些方面表现出“伦敦交响”的“年轻”的?(4分)

答:

20.小题2:“在年龄问题上,西蒙·拉特是哈丁再合适不过的老师”一句的含意是什么?(4分)

答:                                                                           

21.小题3:“丹尼尔·哈丁和伦敦交响乐团一块儿证明了一件事:年轻没错。”这句话有什么深刻含义?你是怎样理解的?

答:                                                                           

22.小题4:哈丁的艺术路途给人鼓舞,激人奋进。你认为应该怎样把握自己的年轻?请结合实际谈谈你的看法。

答:                                                                           

单项选择题