问题 问答题

The first mention of slavery in the statutes of the English colonies of North America does not occur until after 1660--some forty years after the importation of the first Black people. Lest we think that slavery existed in fact before it did in law, Oscar and Mary Simon assure us that the status of Black people down to the 1660’s was that of servants. (46) A critique of the Simons’ interpretation of why legal slavery did not appear until the 1660’s suggests that assumptions about the relation between slavery and racial prejudice should be reexamined, and that explanations for the different treatment of Black slaves in North and South America should be expanded.

(47) The Simons explain the appearance of legal slavery by contending that, during the 1660’s, the position of White servants was improving relative to that of Black servants. Thus, the Simons argue, Black and White servants, heretofore treated alike, each attained a different status. There are, however, important objections to this argument. First, the Simons cannot adequately demonstrate that the White servant’s position was improving during and after the 1660’s; several acts of the Maryland and Virginia legislatures indicate otherwise. Another flaw in the Simons’ interpretation is their assumption that prior to the establishment of legal slavery there was no discrimination against Black people. It is true that before the 1660’s Black people were rarely called slaves. But this should not overshadow evidence from the 1630’s on that points to racial discrimination without using the term slavery. Such discrimination sometimes stopped short of lifetime servitude or inherited status--the two attributes of true slavery--yet in other cases it included both. (48) The Simons’ argument excludes the real possibility that Black people in the English colonies were never treated as the equals of White people.

This possibility has important ramifications. (49) If from the outset Black people were discriminated against, then legal slavery should be viewed as a reflection and an extension of racial prejudice rather than, as many historians including the Simons have argued, the cause of prejudice. In addition, the existence of discrimination before the advent of legal slavery offers a further explanation for the harsher treatment of Black slaves in North than in South America. (50) Frey and Terry have rightly argued that the lack of certain traditions in North America--such as a Roman conception of slavery and a Roman Catholic emphasis on equality--explains why the treatment of Black slaves was more severe there than in the Spanish and Portuguese colonies of South America. But this cannot be the whole explanation since it is merely negative, based only on a lack of something.

49()

答案

参考答案:

如果从一开始黑人就受到歧视,那么法律上的奴隶制就应被视作是种族偏见的一种反映与延伸,而非如包括西蒙夫妇在内的众多历史学家所认为的是种族偏见的起因。

解析:

[考点解析]

·主句为“legal slavery should be viewed as…rather than…”,可译为“法律上的奴隶制应被视作是……而非是……”。

·“as many historians…”可翻译在rather than之后,译为“而非如众多历史学家……”。

[词汇释义]

·outset最初,开始 ·discriminate歧视

·extension延伸,扩充

 

阅读理解与欣赏

阅读下面的文字,完成下列各题。

唐诗的建筑美

唐诗不仅在语言上具有音乐美,而且在结构上具有建筑美。所谓建筑美,不是说唐诗与建筑具有同样的美学特点,而是说唐诗像建筑一样,善于通过具体意象的描写和组合,把本来是按照时间顺序流逝的时间艺术,转化为具有空间的立体感。杜甫的“星垂平野阔,月涌大江流”,王维的“大漠孤烟直,长河落日圆”,都是化动为静,把生生不已的宇宙壮观,转化为像建筑一样巍然屹立的立体形象。然而,静中又有动,实中又有虚。建筑看起来,完全是静的、实的,建筑所用的材料,如砖、瓦、木料等,无一不实,无一不静。然而,建筑师通过对门、窗、房间、走廊等结构的安排,却不仅使建筑内部具有广阔的活动天地,而且外部也与整个宇宙相联系,具有无限广阔的空间感。这样,建筑本身也成了一个小宇宙,它把上下四方与古往今来,融合汇通在一起。唐诗也有这样的特点。它所描写的多是实实在在的具体的意象,但它所表现的却是无穷无尽的诗思和感情。例如司空曙的“雨中黄叶树,灯下白头人”,李白的“浮云游子意,落日故人情”。“雨中黄叶树”与“灯下白头人”,这是两组看似各不相关的具体意象;“浮云”与“游子”,“落日”与“故人”,更是看似毫不相关的各自独立的意象;诗人只是并列地把它们罗列在一起,不加任何分析性的说明,可是我们一读,却好象蒙太奇一样,不同的镜头组合在一道,自然而然地产生出了某种深永的感情。唐诗的建筑美,就来自这种具体意象的罗列与组合。

这样的建筑美,还和汉字的结构形式有关。汉字是从象形字产生出来的,象形字的特点是摹拟具体的物象。唐诗充分利用汉字摹拟具体物象的特点,去塑造富有建筑立体感的诗歌形象。例如李白的“凤凰台上凤凰游,凤去台空江自流”,这里写了凤凰、凤凰台、长江三个具体的物象,然后用三个动词描述它们各自的状态,然后再把它们组合在一道,成为凤去—台空—江自流,这难道不像建筑的门、窗与墙壁,各自独立,而又相互融贯,从而产生出建筑的美吗?凤去、台空、江自流,我们读着,我们的眼前不仅浮现了它们作为物的形象,像建筑一样竖立在我们的面前,而且从它们的关系中,我们看到了空间的并列关系转化成了前后流逝的时间关系,江山长在而人事沧桑的感慨,不禁油然而生。唐诗的建筑美那以具体的物象的描绘来打动我们的感染力,就是这样产生出来的。

建筑善于以小见大,在极小的空间中展示出广阔的人生。唐诗在结构上,也具有建筑的这种特点,在短短的绝句或律诗中,包孕着广阔的生活内容。例如王维的《息夫人》,短短二十个字,不仅写了历史,而且写了现实。在写历史和现实的时候,更重要的,它描写了深厚的令人难以言说的内心的悲哀与感情。唐诗的建筑美,在绝句当中得到了最充分的表现。我们说,绝句的结构,有如中国亭子的四根柱子。就是这么四根柱子,它一方面塑造了一个完整的空间形象,自成一个天地,另一方面却又吞吐着整个宇宙,与天地精神相往来。

(选自《唐诗十二讲》,有改动)

1.下列关于“唐诗的建筑美”的表述,不符合原文意思的一项是(   )

A.唐诗的建筑美是指唐诗在结构方面体现出来的美,它是一种让人在诗歌中体会到的具有空间立体感的美。

B.唐诗的建筑美是通过对具体意象的描写和组合,使得按照时间顺序流逝的时间艺术具有空间的立体美感。

C.充分利用汉字摹拟具体物象的特点,去塑造富有建筑立体感的诗歌形象是唐诗的建筑美的表现形式之一。

D.短短的绝句和律诗中包孕着广阔的生活内容,展示出广阔的人生,使唐诗的建筑美得到了最充分的表现。

2.下列理解与分析,不符合原文意思的一项是(   )

A.唐代诗人往往通过化动为静、虚实结合的手法,把生生不已的宇宙壮观转化为像建筑一样巍然屹立的立体形象。

B.建筑通过门窗等结构,使之具有无限广阔的空间感,而唐诗则通过具体意象的罗列与组合表达某种深永的感情。

C.唐诗的建筑美体现在把时间艺术转化为空间立体感上,更体现在把空间并列关系转化成前后流逝的时间关系上。

D.建筑通过以小见大的手法,把宇宙浓缩到房屋之中,唐诗则通过这种手法,用简短的诗展示出广阔的生活内容。

3.根据原文提供的信息,下列推断不符合原文内容的一项是(   )

A.既然唐诗在语言上具有音乐美,在结构上具有建筑美,那么我们可以对唐诗进行多角度、多层面的品味和解读。

B.只要诗人并列地把毫不相关的各自独立的意象罗列在一起,不须分析说明,读者就可以领会其中的深永的感情。

C.唐诗之所以美,与汉字的结构形式有着重要的联系,所以许多唐诗一旦翻译成别的语言,它的美就会被削弱。

D.唐诗绝句中每一句都好比中国亭子的一根柱子,因而诗的内容犹如亭子的空间,诗的思想情感犹如广阔的宇宙空间。

单项选择题