问题 单项选择题

The questions in this group are based on the content of a passage. After reading the passage, choose the best answer to each question. Answer all questions following the passage on the basis of what is stated or implied in the passage.

One of the biggest questions facing the art world today is the dilemma over the repatriation of cultural treasures. Although the subject has not been widely noted by the general public, in recent decades museums and art dealers have repeatedly faced off against the representatives of nations and ethnic groups whose cultural legacies have been robbed by the rapacious collecting of these so-called art experts. Advocates of repatriation have argued that cultural treasures should be returned to their nations of origin, both because of basic fairness and because the artwork and cultural artifacts in question are best understood within their local context.

Several prominent museums, most notably the British Museum in London and the Louvre in Paris, have defended themselves on the grounds that they can better protect and preserve these cultural treasures than can the developing nations and impoverished ethnic groups that frequently seek their return. They further argue that more people can see the treasures if they are proudly displayed in a major museum, as opposed to some poorly funded national museum in a backwater country; evidently, the quantity of viewers is more important than the relevance of the art and artifacts to the viewer.

The arguments of the museum curators fall apart in an instance such as the Elgin Marbles. These majestic marble sculptures, which once graced the Parthenon on the Acropolis in Athens, were stolen by Lord Elgin in the nineteenth century and given to the British Museum, which holds them to this day. The people of Athens have built a beautiful, modern museum on the Acropolis to display the Elgin Marbles and other treasures from the Greek cultural heritage, so there can be no valid argument that the Greeks are unable to house the sculptures properly. Furthermore, more people visit the Acropolis every day than visit the British Museum.

The author’s attitude toward museum curators who oppose the repatriation of cultural treasures is best summarized as what ?()

A. Righteous indignation

B. Bemused sarcasm

C. Seething anger

D. Condescending approval

E. Grudging admiration

答案

参考答案:A

解析:

The author’s tone is certainly critical, as seen in terms such as "robbed" and "so-called art experts" and in the argument as a whole. The author’s hostility to the museum curators does not rise to the level of "seething anger," however, and only one of the sentences ("evidently, the quantity of viewers...") could accurately be described as "bemused sarcasm," whereas the tone of the entire passage could be characterized as "indignant.\

单项选择题

阅读以下文字,完成下列问题。

一切种类的文学艺术的源泉究竟是从何而来的呢作为观念形态的文艺作品,都是一定的社会生活在人类头脑中的反映的产物。革命的文艺,则是人民生活在革命作家头脑中的反映的产物。人民生活中本来存在着文学艺术原料的矿藏,这是自然形态的东西,是粗糙的东西,但也是最生动、最丰富、最基本的东西;在这点上说,它们使一切文学艺术相形见绌,它们是一切文学艺术的取之不尽、用之不竭的唯一的源泉。这是唯一的源泉,因为只能有这样的源泉,此外不能有第二个源泉。有人说,书本上的文艺作品,古代的和外国的文艺作品,不也是源泉吗实际上,过去的文艺作品不是源而是流,是古人和外国人根据他们彼时彼地所得到的人民生活中的文学艺术原料创造出来的东西。我们必须继承一切优秀的文学艺术遗产,批判地吸收其中一切有益的东西,作为我们从此时此地的人民生活中的文学艺术原料创造作品时候的借鉴。有这个借鉴和没有这个借鉴是不同的,这里有文野之分,粗细之分,高低之分,快慢之分。所以我们决不可拒绝继承和借鉴古人和外国人,哪怕是封建阶级和资产阶级的东西。但是继承和借鉴决不可以变成替代自己的创造,这是决不能替代的。文学艺术中对于古人和外国人的毫无批判的硬搬和模仿,乃是最没有出息的最害人的文学教条主义和艺术教条主义。中国的革命的文学家、艺术家,有出息的文学家、艺术家,必须到群众中去,必须长期地无条件地全心全意地到工农兵群众中去,到火热的斗争中去,到唯一的最广大最丰富的源泉中去,观察、体验、研究、分析一切人,一切阶级,一切群众,一切生动的生活形式和斗争形式,一切文学和艺术的原始材料,然后才有可能进入创作过程。否则你的劳动就没有对象,你就只能做鲁迅在他的遗嘱里所谆谆嘱咐他的儿子万不可做的那种空头文学家,或空头艺术家。

人类的社会生活虽是文学艺术的唯一源泉,虽是较之后者有不可比拟的生动丰富的内容,但是______。这是为什么呢因为虽然两者都是美,但是文艺作品中反映出来的生活却可以而且应该比普通的实际生活更高,更强烈,更有集中性,更典型,更理想,因此就更带普遍性。革命的文艺,应当根据实际生活创造出各种各样的人物来,帮助群众推动历史的前进。例如一方面是人们受饿、受冻、受压迫,一方面是人剥削人、人压迫人,这个事实到处存在着,人们也看得很平淡;文艺就把这种日常的现象集中起来,把其中的矛盾和斗争典型化,造成文学作品或艺术作品,就能使人民群众惊醒起来,感奋起来,推动人民群众走向团结和斗争,实行改造自己的环境。如果没有这样的文艺,那末这个任务就不能完成,或者不能有力地迅速地完成。(毛 * * 《在延安文艺座谈会上的讲话》)

对最后一段的举例的主要目的,分析不恰当的一项是()。

A.证明革命的文艺,应当根据实际生活创造出各种各样的人物来,帮助群众推动历史的前进

B.证明文艺作品中反映出来的生活可以而且应该比普通的实际生活更有集中性,更带有普遍性

C.证明文艺作品要源于生活,但要高于生活,应创造出各种典型形象来

D.证明文艺作品应把日常现象中的矛盾和斗争典型化,从而达到推动历史前进的目的

单项选择题