2017年英语六级阅读理解精编版

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2017年英语六级阅读理解精编版

　　Photography and Art

　　The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.

　　Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.

　　Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting—that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.

　　Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.

　　1. What is the author mainly concerned with? The author is concerned with

　　[A]. defining the Modernist attitude toward art.　　[B]. explaining how photography emerged as a fine art.

　　[C]. explaining the attitude of serious contemporary photographers toward photography as art and placing those attitudes in their historical context.

　　[D]. defining the various approaches that serious contemporary photographers take toward their art and assessing the value of each of those approaches.

　　2. Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in lines 12—13?

　　[A]. Objective [B]. Mechanical. [C]. Superficial. [D]. Paradoxical.

　　3. Why does the author introduce Abstract Expressionist painter?

　　[A]. He wants to provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art.

　　[B]. He wants to set forth an analogy between the Abstract Expressionist painters and classical Modernist painters.

　　[C]. He wants to provide a contrast to Pop artist and others.

　　[D]. He wants to provide an explanation of why serious photography, like other contemporary visual forms, is not and should not pretend to be an art.

　　4. How did the nineteenth-century defenders of photography stress the photography?

　　[A]. They stressed photography was a means of making people happy. [B]. It was art for recording the world.

　　[C]. It was a device for observing the world impartially.　　[D]. It was an art comparable to painting.

　　答案CDAD

　　The Continuity of the Religious Struggle in Britain

　　Though England was on the whole prosperous and hopeful, though by comparison with her neighbors she enjoyed internal peace, she could not evade the fact that the world of which she formed a part was torn by hatred and strife as fierce as any in human history. Men were still for from recognizing that two religions could exist side by side in the same society; they believed that the toleration of another religion different from their own. And hence necessarily false, must inevitably destroy such a society and bring the souls of all its members into danger of hell. So the struggle went on with increasing fury within each nation to impose a single creed upon every subject, and within the general society of Christendom to impose it upon every nation. In England the Reformers, or Protestants, aided by the power of the Crown, had at this stage triumphed, but over Europe as a whole Rome was beginning to recover some of the ground it had lost after Martin Luther’s revolt in the earlier part of the century. It did this in two ways, by the activities of its missionaries, as in parts of Germany, or by the military might of the Catholic Powers, as in the Low Countries, where the Dutch provinces were sometimes near their last extremity under the pressure of Spanish arms. Against England, the most important of all the Protestant nations to reconquer, military might was not yet possible because the Catholic Powers were too occupied and divided: and so, in the 1570’s Rome bent her efforts, as she had done a thousand years before in the days of Saint Augustine, to win England back by means of her missionaries.

　　These were young Englishmen who had either never given up the old faith, or having done so, had returned to it and felt called to become priests. There being, of course, no Catholic seminaries left in England, they went abroad, at first quite easily, later with difficulty and danger, to study in the English colleges at Douai or Rome: the former established for the training of ordinary or secular clergy, the other for the member of the Society of Jesus, commonly known as Jesuits, a new Order established by St, Ignatius Loyola same thirty years before. The seculars came first; they achieved a success which even the most eager could hardly have expected. Cool-minded and well-informed men, like Cecil, had long surmised that the conversion of the English people to Protestantism was for from complete; many—Cecil thought even the majority—had conformed out of fear, self-interest or—possibly the commonest reason of all—sheer bewilderment at the rapid changes in doctrine and forms of worship imposed on them in so short a time. Thus it happened that the missionaries found a welcome, not only with the families who had secretly offered them hospitality if they came, but with many others whom their first hosts invited to meet them or passed them on to. They would land at the ports in disguise, as merchants, courtiers or what not, professing some plausible business in the country, and make by devious may for their first house of refuge. There they would administer the Sacraments and preach to the house holds and to such of the neighbors as their hosts trusted and presently go on to some other locality to which they were directed or from which they received a call.

　　1. The main idea of this passage is

　　[A]. The continuity of the religious struggle in Britain in new ways.　　[B]. The conversion of religion in Britain.

　　[C]. The victory of the New religion in Britain.　　[D]. England became prosperous.

　　2. What was Martin Luther’s religions?

　　[A]. Buddhism. [B]. Protestantism. [C]. Catholicism. [D]. Orthodox.

　　3. Through what way did the Rome recover some of the lost land?

　　[A]. Civil and military ways. [B]. Propaganda and attack.[C]. Persuasion and criticism. [D]. Religious and military ways.

　　4. What did the second paragraph mainly describe?

　　[A]. The activities of missionaries in Britain. [B]. The conversion of English people to Protestantism was far from complete.

　　[C]. The young in Britain began to convert to Catholicism　　 [D]. Most families offered hospitality to missionaries.

　　答案ABDA

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