请输入或粘贴题目内容
搜题
拍照、语音搜题，请扫码下载APP
题目内容
（请给出正确答案）
Which style. did the man want to choose？
A．Modem Chinese.
B．Modem Western.
C．Traditional Chinese.
D．Traditional Western.
答案
更多“Which style. did the man want to choose？A．Modem Chinese.B．Modem Western.C．Traditional Chin”相关的问题
第1题
The history of responses to the work of the artist Sandro Botticelli(1444 —1510)suggests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticelli' s work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamed Botticelli in favor of his fellows Florentine, Michelangelo. Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors, Botticelli' s work remained outside of accepted taste, pleasing neither amateur observers nor connoisseurs.(Many of his best paintings, however, remained hidden away in obscure churches and private homes.)
The primary reason for Botticelli' s unpopularity is not difficult to understand: most observers, up until the mid-nineteenth century, did not consider him to be noteworthy, because his work, for the most part, did not seem to these observers to exhibit the traditional characteristics of the fifteenth-century Florentine art. For example, Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro.
Another reason for Botticelli' s unpopularity may have been that his attitude toward the style. of classical art was very different from that of his contemporaries. Although he was thoroughly exposed to classical art, he showed little interest in borrowing from, the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style. that was. only slightly similar to that of classical art.
In any case, when viewers began to examine more closely the relationship of Botticelli' s work to the tradition of the fifteenth century Horentine art, his reputation began to grow. Analyses and assessments of Botticelli made between 1850 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the writer Pater(although he, unfortunately , based his assessment on an incorrect analysis of Botticelli' s personality), inspired a new appreciation of Botticelli throughout the English-speaking world. Yet Botticelli' s work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines—features such as skillful representation of anatomical proportions, and of the human figure in motion. However, Home argued that. Botticelli did not treat these qualities as ends in themselves—rather, that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualities less central.
Because of Home' s emphasis crucial to any study of art, the twentieth century has come to appreciate Botticelli' s a-chievements.
Which of the following would be the best title for the text？
A．The Role of Standard Art Analyses and Appraisals
B．Sandro Botticelli: From Rejection to Appreciation
C．The History of Critics' Responses to Art Works
D．Botticelli and Florentine: A Comparative Study
第2题
The history of responses to the work of the artist Sandro Botticelli (1444-1510) suggests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticelli's work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamed Botticelli in favor of his fellows Florentine. Michelangelo. Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors, Botticelli'work remained outside of accepted taste, pleasing neither amateur observers nor connoisseurs. (Many of his best paintings, however, remained hidden away in obscure churches and private homes. )
The primary reason for Botticelli's unpopularity is not difficult to understand：most observers, up until the mid-nineteenth century, did not consider him to be noteworthy, because his work, for the most part. did not seem to these observers to exhibit the traditional characteristics of the fifteenth-century Florentine art. For example. Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro.
Another reason for Botticelli's unpopularity may have been that his attitude toward the style. of classical art was very different from that of his contemporaries. Although he was thoroughly exposed to classical art. he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style. that was only slightly similar to that of classical art.
In any case, when viewers began to examine more closely the relationship of Botticelli's work to the tradition of the fifteenth century Florentine art, his reputation began to grow. Analyses and assessments of Botticelli made between 1850 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the writer Pater(although he. unfortunately, based his assessment on an incorrect analysis of Botticelli's personality), inspired a new appreciation of Botticelli throughout the English-speaking world. Yet Botticelli's work, especially the Sistine frescoes. did not generate worldwide attention until it was finally subjected to 4 comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines—features such as skillful representation of anatomical proportions, and of the human figure in motion. However, Home argued that Botticelli did not treat these qualities as ends in themselves—rather. that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualities 1ess central. Because of Home's emphasis crucial to any study of art, the twentieth century has come to appreciate Botticelli's achievements.
Which of the following would be the best title for the text？
A．The Role of Standard Art Analyses and Appraisals
B．Sandro Botticelli：From Rejection to Appreciation
C．The History of Critics’Responses to Art Works
D．Botticelli and Florentine：A Comparative Study
第3题
In his novels these various impulses were sacrificed to each other inevitably and often inevitably, because Hardy did not care in the way that novelists such as Flaubert or James learned, and therefore took paths of least resistance. Thus one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist scientist to record exactly and concretely the structure and texture of a flower.
In this instance, the new impulse was at least an energetic one. And thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous risky and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style—that sure index of an author's literary worth—was certain to become verbose.
Hardy's weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted of first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses—a desire to be a realist-historian and a desire to be a psychologist of love but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.
Which of the following is the most appropriate title for the passage, based on its content？
A．Hardy's Novelistic Style. A Literary Light.
B．Hardy's Creative Conflict: Rationalism and Realism.
C．Hardy's Achievements: An Ambiguous Triumph.
D．Hardy's Novelistic Impulses: The Problem of Conflicts.
第4题
Passage Two
How men first learned to invent words is unknown. All we really know is that men, unlike animals, somehow invented certain sounds to express thoughts and feelings, actions and things, so that they could communicate with each other; and that later they agreed upon certain signs, called letters, which could be combined to represent those sounds, and which could be written down. Those sounds, whether spoken or written in letters, we call words.
The power of words, then, lies in their associations--the things they bring up before our minds. Words become filled with meaning for us by experience; and the longer we live, the more certain words recall to us the happy and sad events of our past; the more we read and learn, the larger the number of words that mean something to us becomes.
Great writers are those who not only have great thoughts but also express these thoughts in words which appeal powerfully to our minds and feelings. This attractive use of words is what we call literary style. Above all, the real poet is a master of words. He can express his meaning in words which sing like music, and, by their position and association, can move men to tears. We should therefore learn to choose our words carefully and use them correctly, or they will make our speech dull and silly.
Which of the following did men invent first？
A．Words.
B．Sounds.
C．Signs.
D．Letters.
第5题
A．The style. of their own.
B．The style. mixed with English and American elements.
C．The style. mixed with native-American and British tradition.
D．The style. of established European poets.
第6题
What did Shelley seem to give first priority to In buying her dress？
A．Price and style.
B．Color and price.
C．Style. and quality.
D．Quality and material.
第7题
Why did the man return the shirt？
A．It was damaged.
B．It was the wrong size.
C．It was the wrong style.
D．It was similar to ones he has.
第8题
听力原文： (29) If you watched the Closing Ceremony of the Barcelona Olympic Games, then you'd surely remember the enchanting voice of British singer Sarah Brightman, who sang the 1992 Olympic anthem "Amigos Para Siempre" with Jose Carreras.
Sixteen years later, her voice was heard once again at an abandoned factory-turned-movie studio in the outskirts of Beijing with less than four days to go until the Olympic Games Opening Ceremony. Inside this worn studio, the music video for the Beijing Olympic theme song "You and Me" was being secretly filmed with Liu Huan and Sarah Brightman as the lead singers.
(30) Although this will be Brightman's second time singing the theme song for an Olympic Games, her dedication and excitement still remain strong. She was shocked at having been invited to sing in Beijing, not quite believing that she received the honor of performing an Olympic theme song again. Under the instruction of the music video's director, Brightman tirelessly repeated scene after scene without any complaints.
Regarding the style. of the theme song, Brightman described it as sweet, natural, pure, beautiful and very different from the theme songs of past Olympic Opening Ceremonies. (31) When she heard "You and Me" for the first time, she was moved to tears by its graceful yet simple melody and honest lyrics.
Although "You and Me" is very different from the boundless and majestic style. of "Amigos Para Siempre", there is still some common ground between the two. Brightman noted that both songs have a common theme—unity, people from around the world closely joining together.
29. Which Olympic Games did Sarah Brightman join except Beijing Olympic Games？
30.How did Sarah feel about her second time singing the theme song for an Olympic Games？
31.How does Sarah feel about the theme song "You and Me"？
(30)
A．The Atlantic Olympic Games.
B．The Greek Olympic Games.
C．The Barcelona Olympic Games.
D．The London Olympic Games.
第9题
What did Mr Hammond learn from the event？
A．He needs to change his normal management style.
B．Morale in the group was lower than he had realised.
C．There was more opposition to his plans than he expected,
D．The managers can contribute many effective new ideas.
第10题
In which kind of conversation style. do people take turns to give opinions？
A．Bowling style.
B．Rugby style.
C．Basketball style.
D．NBA style.
