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What is the place of art in a culture of inattention? Recent visitors to the Louvre report that tourists can now spend only a minute in front of the Mona Lisa before being asked to move on. Much of that time, for some of them, is spent taking photographs not even of the painting but of themselves with the painting in the background.
One view is that we have democratised tourism and gallery-going so much that we have made it effectively impossible to appreciate what we’ve travelled to see. In this oversubscribed society, experience becomes a commodity like any other. There are queues to climb Mt. Jolmo Lungma as well as to see famous paintings. Leisure, thus conceived, is hard labour, and returning to work becomes a well-earned break from the ordeal.
What gets lost in this industrialised haste is the quality of looking. Consider an extreme example, the late philosopher Richard Wollheim. When he visited the Louvre he could spent as much as four hours sitting before a painting. The first hour, he claimed, was necessary for misperceptions to be eliminated. It was only then that the picture would begin to disclose itself. This seems unthinkable today, but it is still possible to organise. Even in the busiest museums there are many rooms and many pictures worth hours of contemplation which the crowds largely ignore. Sometimes the largest crowds are partly the products of bad management; the Mona Lisa is such a hurried experience today partly because the museum is being reorganised. The Uffizi in Florence, another site of cultural pilgrimage, has cut its entry queues down to seven minutes by clever management. And there are some forms of art, those designed to be spectacles as well as objects of contemplation, which can work perfectly well in the face of huge crowds.
Olafur Eliasson’s current Tate Modern show, for instance, might seem nothing more than an entertainment, overrun as it is with kids romping (喧闹地玩耍)in fog rooms and spray mist installations. But it’s more than that: where Eliasson is at his most entertaining, he is at his most serious too, and his disorienting installations bring home the reality of the destructive effects we are having on the planet — not least what we are doing to the glaciers of Eliasson’s beloved Iceland.
Marcel Proust, another lover of the Louvre, wrote: “ It is only through art that we can escape from ourselves and know how another person sees the universe, whose landscapes would otherwise have remained as unknown as any on the moon.”If any art remains worth seeing, it must lead us to such escapes. But a minute in front of a painting in a hurried crowd won’t do that.
1
What does the scene at the Louvre demonstrate according to the author?
A.The enormous appeal of a great piece of artistic work to tourists.
B.The near impossibility of appreciating art in an age of mass tourism.
C.The ever-growing commercial value of long-cherished artistic works.
D.The real difficulty in getting a glimpse at a masterpiece amid a crowd.
本题答案:
  • A
  • B
  • C
  • D
  • 参考答案:B
  • 系统解析:
    首段②③句描述卢浮宫内的场景:卢浮宫要求参观者只能在《蒙娜丽莎》前停留一分钟,而在这宝贵的一分钟里,很多游客只顾着拍照,而且是以画像为背景自拍。第二段①句作出评价:我们现在将旅游和观展变得太过普及,以至于根本无法欣赏奔波前往观看的作品(即在大众旅游时代欣赏艺术愈发困难),B正确。
2
Why did the late philosopher Richard Wollheim spend four hours before a picture?
A.It takes time to appreciate a piece of art fully.
B.It is quite common to misinterpret artistic works.
C.The longer people contemplate a picture, the more likely they will enjoy it.
D.The more time one spends before a painting, the more valuable one finds it.
本题答案:
  • A
  • B
  • C
  • D
  • 参考答案:A
  • 系统解析:
    第三段②句明确Wollheim事例为极端例子(就此追溯至①句观点句“工业化的仓促和快旅游风尚使旅游及观展品质降低”,并判断②句事例意在以过去情形之“慢”凸显当今情形之“快”),③句描述事例“Wollheim会在画作前停留四个小时之久”.④⑤句借Wollheim之言说明原因;第一个小时是为消除误解,后三个小时才开始逐渐领悟画作真谛。可见,Wollheim在画作前长时间停留是为了更充分地领悟画作真谛,A正确。
3
What does the case of the Uffizi in Florence show?
A.Art works in museums should be better taken care of.
B.Sites of cultural pilgrimage are always flooded with visitors.
C.Good management is key to handling large crowds of visitors.
D.Large crowds of visitors cause management problems for museums.
本题答案:
  • A
  • B
  • C
  • D
  • 参考答案:C
  • 系统解析:
    第三段⑥句指出“Wollheim式的深度参观(即长时间停留欣赏画作以领悟其真谛)可通过组织管理来实现”,⑦⑧句指出“博物馆人满为患,资源配置不当、游客仓促参观的原因是管理不善或正处修整期”,⑨句介绍乌菲兹美术馆做法“通过巧妙的管理极大地缩短了入场排队时间”。综合可知,文章提及乌菲兹美术馆的事例是为了说明“良好的组织管理可应对大批游客,为其提供更多空间及时间来实现深度参观”,C正确。
4
What do we learn from Olafur Eliasson’s current Tate Modern show?
A.Children learn to appreciate art works most effectively while they are playing.
B.It is possible to combine entertainment with appreciation of serious art.
C.Art works about the environment appeal most to young children.
D.Some forms of art can accommodate huge crowds of visitors.
本题答案:
  • A
  • B
  • C
  • D
  • 参考答案:B
  • 系统解析:
    第四段先指出“埃利亚松的展览看起来不过是一场娱乐活动,满是嬉闹的孩子”,后转而指出“这次展览不止于此,埃利亚松娱乐大众,也给人以严肃之感,整个展览意在警示人类行为对环境的影响”。综合可知,该展览表明“娱乐消遣和欣赏严肃艺术可以很好地结合”,B正确。
5
What can art do according to Marcel Proust?
A.Enable us to live a much fuller life.
B.Allow us to escape the harsh reality.
C.Help us to see the world from a different perspective.
D.Urge us to explore the unknown domain of the universe.
本题答案:
  • A
  • B
  • C
  • D
  • 参考答案:C
  • 系统解析:
    末段①句引用普鲁斯特之言指出“唯有通过艺术,我们才能超脱自我,了解他人如何看待天地万物”。由此可知,普鲁斯特认为“艺术可以帮助我们超越自身固有认知,从另一个角度看世界",C正确。
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