问题 单项选择题

Earlier this summer Arnold Schwarzenegger, California’s governor, said that the state’s penal system was "falling apart in front of our very eyes". Indeed so. Some 172,000 inmates are crowded into institutions—from the state’s 33 prisons to its 12 "community correctional facilities"—that are meant to house fewer than 90,000. Drug abuse is rampant; so too are diseases such as HIV and hepatitis C. Race-based gangs pose the constant threat of violence, riot and even murder. And with more than 16,000 prisoners sleeping in prison gymnasiums and classrooms, rehabilitation programs are virtually non-existent—which helps to explain why two-thirds of California’s convicts, the highest rate in the country, are back in prison within three years of being released.

Will the governor’s summons of a special session of the state legislature, beginning this week, bring a remedy The reason for the session is to discuss Mr. Schwarzenegger’s request for almost $ 5.8 billion of public money to be pumped into the prison system. Bonds for $ 2 billion would finance ten 500-bed "re-entry facilities" for prisoners nearing the end of their sentences; another $ 2 billion would expand existing prisons; $1.2 billion would be earmarked for two new prisons; and $ 500m would go for new prison hospitals.

Money alone will provide neither an immediate solution nor a lasting one. The first problem is that California simply puts too many offenders in prison. The imprisonment rate, which has risen almost eight-fold since 1970 and is way ahead of any European country, has consistently meant overcrowding despite the construction of 22 new prisons in the past 20 years.

The 1994 "three-strikes" law, approved by voters in a referendum, means handing out 25-years-to-life sentences for often trivial third offences—and results in the growing presence in prison of elderly inmates who cost the taxpayer far more than the average of $ 34,000 a prisoner. Meanwhile, the practice of returning parole violators to prison, even for relatively trivial mis-steps such as missing a drugs test, also strains the system; some 11% of inmates are parole violators. Added to all these are more than 5,000 illegal immigrants being held on behalf of the federal government.

The second problem is that any attempt to reform California’s penal policy becomes hostage to politics. Two years ago, the governor was expressing optimism. He added the word "rehabilitation" to California’s department of corrections, appointed Rod Hickman, a reform- minded former prison guard, to oversee the system and promised to lessen the power of the 31,000-p prison guards’ union, not least by breaking the "code of silence" that protects corrupt or violent guards. But that was then. The reality now is that Mr. Hickman resigned in March. Evidence indicates that the governor’s office may have given the code of silence in California’s prisons a new lease on life.

Many experts say that with no moderation in sentencing policies on the horizon, the prison population is expected to grow by another 21,000 over the next five years—enough to out-pace any prison-building program. Thus, the dream of prison reforms will never touch the ground.

Arnold Schwarzenegger calls for a legislation session because()

A.he wants to raise more money to enhance prison facilities

B. he believes public money should be responsible for prison construction

C.he realizes the problem with prisons is a lack of investment

D. he plans to win a second term for his governorship

答案

参考答案:A

解析:

[解题思路] 原因细节题。原文第二段第二句说:召开这一会议的原因是州长要求把68亿美金投入到监狱系统中去。说明他想为增建监狱设施而筹款。

单项选择题

阅读下面短文,回答下列问题。
戏剧是由演员扮演角色,运用多种艺术手段,在舞台上当众表演故事情节的综合艺术。这一戏剧概念的内涵,不仅使戏剧与单纯的视觉艺术或听觉艺术的区别泾渭分明,也划清了戏剧与电影、电视的界限。由于戏剧是演员以自己的全部身体作为创造工具,在舞台上当着观众扮演角色,再现生活,因此,它具有极大的直观性、逼真性和现场感。演员的形体是活生生的、有血有肉的,他们的语言、行动面对面地直接诉诸观众的感觉和知觉,同观众互相交流、感应,引起他们的一系列心理活动。戏剧演出既是演员的艺术表现过程,又是观众的审美感受过程,戏剧的表演和欣赏是同步进行的。观众总是通过舞台上的艺术形象,不由自主地与演员同时同地经历角色活动的全过程,这是戏剧得天独厚的优长之处。在舞台上,那些思想性、艺术性高超的剧本,一旦经过演员的成功表演,就能诱导观众同演员一起身临其境,与角色同呼吸、共命运,甚至达到同仇敌忾、同病相怜、同声相应的程度。剧场上不时发出纵情欢笑、失声痛泣的现象,中外戏剧史上都不乏其例的观众误打扮演反面角色的演员的事实,正是某种欣赏心理活动的外在表露,也是戏剧艺术所取得的某种特殊的社会效果。
当然,表演者和欣赏者的思想交流和感情共鸣,是有一定的条件的,那就是双方对剧中人物、事件必须具有共同的立场、态度和大体一致的审美观点、审美趣味、审美心理。而在戏剧效果这个问题上,表演者又无可争辩地起着主导作用。他们首先要以精美的表演构思和准确的动作效应,把角色演深演活,真挚地表达人物的思想感情,才可能吸引和打动欣赏者。戏曲演员提出,在舞台上“不要用刀杀人,而要用心杀人”,“演员不动情,观众便走神”,就是强调要以丰沛、强烈的感情征服人心。
反过来说,广大观众的心理、情绪反应,又是检验戏剧效果的重要标尺,戏剧演出必须把观众摆在第一位,尊重观众的审美要求和欣赏习惯;处处考虑多少观众能在多大程度上同演员交流感应,参与舞台形象的创造。因此,深入浅出,平易近人,通俗明白,应当是戏剧艺术被广大观众欣然赏看的先决条件。同其他艺术样式(特别是小说之类文学作品)比较,戏剧中的环境场景要集中一些,情节脉络要清晰一些,人物思想性格的倾向要鲜明一些,对白要简洁、显豁和口语化一些。
当然,这只是相对而言的总的原则,并不排斥戏剧舞台背景和场次的变化多样,情节结构的复杂组合,人物思想性格的丰富多彩,台词的含蓄蕴藉。正相反,上述两方面的关系是矛盾统一的。这也是戏剧创作难能可贵的高明之处。

下列对于戏剧与电影、电视的界限表述最全面的一项是______。

A.演员以自己的身体为创造工具,扮演角色,再现生活;表演和欣赏同步进行

B.戏剧有极大的逼真性、直观性和现场感,演员通过语言、行动同观众相互交流

C.戏剧有极大的逼真性、直观性和现场感,戏剧的表演和欣赏是同步进行的

D.戏剧演出是演员的表演过程,也是观众的审美过程,给观众身临其境的感觉

单项选择题