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2019年大学英语六级阅读模拟试题(10)
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 Expression ist 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 the1960’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 indifferent 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.
练习题
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.
Vocabulary
1. fine arts 美术(指绘画，雕刻，建筑，诗歌，音乐等)
2. assert 主张，声明，维护(权利)
3. privileged 特殊的，享受特权的，特许的
4. pretentious 狂妄的，做作的
5. irrelevant 不相干的，无关的
6. subversive 破坏性的，颠覆性的
7. disclaimer 弃权者
8. harry 掠夺，折磨
9. austerity 严格，简朴
10. convergence 聚合，集合点
11. implicit 含蓄的
12. distinctive 区别的，独特的
13. exalted 高贵的，高尚的
难句译注
1. The earliest controversies about therelationship between photography and art centeredon whether photograph’s fidelity to appearancesand dependence on a machine allowed it to be afine art as distinct from merely a practical art.
[结构简析] 此句为主谓语+宾语从句。As distinct from … 句修饰fine art.
[参考译文] 最早有关摄影和艺术关系的争论点集中在摄影对表象的忠实和对机器的依赖能否使它成为艺术，有别于仅仅是实用的美术。
2. 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 againstcommonplace vision, and no less worthy an art than painting.
[结构简析] 结构是主谓宾从。句子长是因为介词短语against the charge 后接同位说明语thephotography was …宾语从句中有三组表语：a way of seeing, a revolt, an art.
[参考译文] 正队这种指责：摄影是一种没有灵魂的，对现实机械性复制，摄影工作者声名摄影不是复制品，而是一种特殊的观察方式，是对平庸视觉的叛逆，和绘画一样有艺术价值。
3. It shows the extent to which they simply take for granted the concept of art imposedby the triumph of Modernism: the better the art, the more subversive it is of the traditionalaims of art.
[结构简析] 句子结构为主从句，which引导宾从作介词to 的宾语，宾从中imposed by …分词短语修饰concept of art, the better …the more 是说明concept of art.
[参考译文] 这说明他们就是把现代主义胜利所强加的艺术概念视为合理的，其合理程度是：艺术越强，对艺术的传统目的破坏得越大。
4. Photographers’ disclaimers of any interest in making art tell us more about the harriedstatus of the contemporary notion of art than about whether photography is or is not art.
[结构简析] 名词disclaimer放弃，否认。上下文翻译中可译成动词含义，否认抛弃创作艺术的兴趣。
[参考译文] 摄影师否认对创作艺术感性趣，他们告诉我们更多的是有关现代艺术概念的令人苦恼的情况，而不是摄影是不是艺术问题。
5. Many professionals privately have begun to worry that the promotion of photography asan activity subversive of the traditional pretensions of art has gone so far that the public willforget that photography is a distinctive and exalted activity—in short, an art.
[结构简析] 复合句。句内三个that clause. 第一个是worry的宾从;第二个是so far that 的句型。第三个是forget 之宾从。
[参考译文] 许多专业摄影人员私下开始担忧，强调摄影是对传统艺术意图的颠覆活动的做法有些过分了，(活动的宣传走得太远)以致使公众忘记摄影是一种独特的高尚活动——总之，是一种艺术。
写作方法与文章大意
文章论及“摄影是否是艺术”问题，这样采用对比手法。一开始就讲述了19世纪摄影家为确立摄影是艺术而提出的种种依据，并把美术和摄影作比较，来反驳否定摄影的论点：忠于表象，以来机器，没有灵魂……
确立的艺术后，他们为摆脱油画那种矫饰的艺术意图而努力推崇“艺术越佳，对艺术传统意图破坏越大”的论点。作者把这些摄影家和抽象表现主义画家相提并论，把摄影和流行画等同;和古典现代主义画家和画相对抗。
最后结论是这种破坏传统艺术意图的活动不能走得太远，因为摄影毕竟是艺术，否则……。
答案详解
1. C. 说明当代严肃的摄影家对摄影作为艺术的态度，并把他们这些态度放在历史的进程来观察。见文章大意。他们先为摄影是否是艺术而争辩，后为否定其艺术而努力。重点放在主题上。
A. 界定显得主义者对艺术的态度。 B. 解释摄影是如何作为美术出现的。第一段涉及，见难句译注2。 D. 界定当代严肃摄影家对待他们艺术所具有的各种观点，并评定每种观点的价值。这三项只是文内提到的某些方面，不是主要的。
2. D. 矛盾的。见难句译注3。
A. 客观的。 B. 机械的。 C. 表面的。
3. A. 他要列举这样艺术家的例子，他们象当代严肃的摄影家一样抛弃了传统上被接受的现代艺术目的。见第三段第二句：“举例说，这些认为通过拍照可以摆脱绘画所表现的艺术的矫饰的摄影家，使我们想起了那些抽象表现主义绘画的严肃的思想。”
B. 他想在抽象表现主义画家和古典现代主义画家之间找出相似点。 C. 他要在流行艺术家和其它艺术家之间作一个对比。 D. 他想解释为什么严肃摄影，象其它当代视觉形式一样不是艺术，而且也不应当充作艺术。
4. D. 摄影是一种艺术，可以和油画相比美。见难句译注2。
A. 他们强调摄影是使人们快乐的手段。 B. 是记录世界的艺术。 C. 摄影是公正观察世界的工具。
2019年大学英语六级阅读模拟试题(11)
The past ages of man have all been carefully labeled by anthropologists. Descriptions like ‘ Palaeolithic Man’, ‘Neolithic Man’, etc., neatly sum up whole periods. When the time comes for anthropologists to turn their attention to the twentieth century, they will surely choose the label ‘Legless Man’. Histories of the time will go something like this: ‘in the twentieth century, people forgot how to use their legs. Men and women moved about in cars, buses and trains from a very early age. There were lifts and escalators in all large buildings to prevent people from walking. This situation was forced upon earth dwellers of that time because of miles each day. But the surprising thing is that they didn’t use their legs even when they went on holiday. They built cable railways, ski-lifts and roads to the top of every huge mountain. All the beauty spots on earth were marred by the presence of large car parks. ’
The future history books might also record that we were deprived of the use of our eyes. In our hurry to get from one place to another, we failed to see anything on the way. Air travel gives you a bird’s-eye view of the world – or even less if the wing of the aircraft happens to get in your way. When you travel by car or train a blurred image of the countryside constantly smears the windows. Car drivers, in particular, are forever obsessed with the urge to go on and on: they never want to stop. Is it the lure of the great motorways, or what? And as for sea travel, it hardly deserves mention. It is perfectly summed up in the words of the old song: ‘I joined the navy to see the world, and what did I see? I saw the sea.’ The typical twentieth-century traveler is the man who always says ‘I’ve been there. ’ You mention the remotest, most evocative place-names in the world like El Dorado, Kabul, Irkutsk and someone is bound to say ‘I’ve been there’ – meaning, ‘I drove through it at 100 miles an hour on the way to somewhere else. ’
When you travel at high speeds, the present means nothing: you live mainly in the future because you spend most of your time looking forward to arriving at some other place. But actual arrival, when it is achieved, is meaningless. You want to move on again. By traveling like this, you suspend all experience; the present ceases to be a reality: you might just as well be dead. The traveler on foot, on the other hand, lives constantly in the present. For him traveling and arriving are one and the same thing: he arrives somewhere with every step he makes. He experiences the present moment with his eyes, his ears and the whole of his body. At the end of his journey he feels a delicious physical weariness. He knows that sound. Satisfying sleep will be his: the just reward of all true travellers.
练习题
1、Anthorpologists label nowaday’s men ‘Legless’ because________.
A people forget how to use his legs.
B people prefer cars, buses and trains.
C lifts and escalators prevent people from walking.
D there are a lot of transportation devices.
2、Travelling at high speed means________.
A people’s focus on the future.
B a pleasure.
C satisfying drivers’ great thrill.
D a necessity of life.
3、Why does the author say ‘we are deprived of the use of our eyes’ ?
A People won’t use their eyes.
B In traveling at high speed, eyes become useless.
C People can’t see anything on his way of travel.
D People want to sleep during travelling.
4、What is the purpose of the author in writing this passage?
A Legs become weaker.
B Modern means of transportation make the world a small place.
C There is no need to use eyes.
D The best way to travel is on foot.
5. What does ‘a bird’s-eye view’ mean?
A See view with bird’s eyes.
B A bird looks at a beautiful view.
C It is a general view from a high position looking down.
D A scenic place.
VOCABULARY
1. Palaeolithic 旧石器时代的
2. Neolithic 新石器时代的
3. escalator 自动电梯，自动扶梯
4. ski-lift 载送滑雪者上坡的装置
5. mar 损坏，毁坏
6. blur 模糊不清，朦胧
7. smear 涂，弄脏，弄模糊(尤指画面、轮廓等)
8. evocative 引起回忆的，唤起感情的
9. El Dorado (由当时西班牙征服者想象中的南美洲)黄金国，宝山，富庶之乡
10. Kabul 喀布尔(阿富汗首都)
11. Irkutsk 伊尔库茨克(原苏联亚洲城市)
1. Air travel gives you a bird’s-eye view of theworld – or even if the wing of the aircraft happensto get in your way.
【参考译文】飞机旅行，你只可俯视世界――如果机翼碰巧挡住了你的视线，就看得更少了。
2. When you travel by car or train a blurred image of the country-side constantly smearsthe windows.
【参考译文】如果乘车或火车旅行，郊外模糊朦胧的景象不断地掠过窗口。
写作方法与文章大意
文章以因果写作方法，写出了由于种种现代化交通设施、人们不需用脚走路，甚至也不需要用眼看景，出门就坐汽车、公交车、地铁、飞机……，车、机速度飞快，外边的景物难以看清，最终导致人们忘记用脚、用眼成为“无脚之人”。一切都经历不到。作者建议最佳的旅游方法是徒步――经历现实。
参考答案及解析
1. A 人们忘了用脚。答案在第一段：人类学家把以往年代的人们分别标上旧石器时代、新石器时代人，等等。干脆利落地总结了一个时期。当他们转向20世纪，他们肯定会标上“无脚的人”。因为在20世纪，人们忘了如何用脚走路。男人女人早年外出就坐车、公共汽车、火车。大楼里由电梯、自动扶梯，不需要人们走路。即使度假期间，他们也不用脚。他们筑有缆车道、滑雪载车和路直通山顶。所有的风景旅游区都有大型的汽车停车场。
B 人们喜欢汽车、公交车、火车等。 C 电梯、自动扶梯制止人们走路。 D 有许多交通运输工具。
2. A 人们的注意力在未来。见最后一段第一句话：当你高速旅行，现在等于零，你主要生活在未来，因为你大部分时间盯在前面到达的某个地方。真到了，又没有意义了，你还要再向前进。
B 是一种欢乐。 C 满足司机强烈的渴望。第二段中提及死机醉心于开车、不停车但不是快速前进着眼于未来。 D 生活的需要。这一条在第一段中提及这种情况是因为他们那异常的生活方法强加给时代的居民。这是指不用脚走路，而用一切代步器――交通运输工具，不是开快车。
3. C 人们在旅行途中什么都见不到。答案在第二段，由一地转向另一地，路上你什么都没有见到。乘飞机你只能俯视世界，火车，汽车，只见外界朦胧景象掠过窗子。海上旅游，只见到海。“我到过那里”此话含义就是“我以一小时一百英里在去某某地方时经过那里”。正因为如此，作者指出将来的历史书上会记录下：我们被剥夺了眼睛的应用。
A 人们不愿用眼睛。 B 在高速旅行中，眼睛没有用了。 D 旅行中，人们想睡觉。
4. D 旅行的最佳方式是走路。文章第一段、第二段分别讲述了旅行可不用脚、不用眼等情况。第三段，在讲述了人们只知向前向前，一切经历都停滞，现实不再是现实，还不如死的好。而用脚走路的旅行者总是生活再现实，对他来说旅行和到达是一回事，他一步一步走到某地，他用眼睛、耳朵，以至整个身体去体验现在时刻、旅行终点，他感到全身舒坦愉悦的疲劳，美美享受满足的酣睡;一切真正旅行者的真实报偿。这一段就是作者写文章的目的――走路是旅行的最佳方式。
A 脚变得软弱无力。 B 现代交通工具把世界变小。 C 没有必要用眼睛。
5. C 从高出向下看的景致：俯视。
A 用鸟的眼睛看景点。 B 鸟在看美景。 D 风景点。
2019年大学英语六级阅读模拟试题(12)
Advertisers tend to think big and perhaps this is why they’re always coming in for criticism. Their critics seem to resent them because they have a flair for self-promotion and because they have so much money to throw around. ‘It’s iniquitous,’ they say, ‘that this entirely unproductive industry (if we can call it that) should absorb millions of pounds each year. It only goes to show how much profit the big companies are making. Why don’t they stop advertising and reduce the price of their goods? After all, it’s the consumer who pays…’
The poor old consumer! He’d have to pay a great deal more if advertising didn’t create mass markets for products. It is precisely because of the heavy advertising that consumer goods are so cheap. But we get the wrong idea if we think the only purpose of advertising is to sell goods. Another equally important function is to inform. A great deal of the knowledge we have about household goods derives largely from the advertisements we read. Advertisements introduce us to new products or remind us of the existence of ones we already know about. Supposing you wanted to buy a washing machine, it is more than likely you would obtain details regarding performance, price, etc., from an advertisement.
Lots of people pretend that they never read advertisements, but this claim may be seriously doubted. It is hardly possible not to read advertisements these days. And what fun they often are, too! Just think what a railway station or a newspaper would be like without advertisements. Would you enjoy gazing at a blank wall or reading railway bye laws while waiting for a train? Would you like to read only closely printed columns of news in your daily paper? A cheerful, witty advertisement makes such a difference to a drab wall or a newspaper full of the daily ration of calamities.
We must not forget, either, that advertising makes a positive contribution to our pockets. Newspapers, commercial radio and television companies could not subsist without this source of revenue. The fact that we pay so little for our daily paper, or can enjoy so many broadcast program mes is due entirely to the money spent by advertisers. Just think what a newspaper would cost if we had to pay its full price!
Another thing we mustn’t forget is the ‘small ads.’ which are in virtually every newspaper and magazine. What a tremendously useful service they perform for the community! Just about anything can be accomplished through these columns. For instance, you can find a job, buy or sell a house, announce a birth, marriage or death in what used to be called the ‘hatch, match and dispatch’ column but by far the most fascinating section is the personal or‘agony’ column. No other item in a newspaper provides such entertaining reading or offers such a deep insight into human nature. It’s the best advertisement for advertising there is!
模拟试题
1. What is main idea of this passage?
A. Advertisement.
B. The benefits of advertisement.
C. Advertisers perform a useful service to communities.
D. The costs of advertisement.
2. The attitude of the author toward advertisers is______.
A. appreciative.
B. trustworthy.
C. critical.
D. dissatisfactory.
3. Why do the critics criticize advertisers?
A. Because advertisers often brag.
B. Because critics think advertisement is a “waste of money”.
C. Because customers are encouraged to buy more than necessary.
D. Because customers pay more.
4. Which of the following is Not True?
A. Advertisement makes contribution to our pockets and we may know everything.
B. We can buy what we want.
C. Good quality products don’t need to be advertised.
D. Advertisement makes our life colorful.
5. The passage is______.
A. Narration.
B. Description.
C. Criticism.
D. Argumentation.
Vocabulary
1. come in for ( sth. ) 是某事物的对象，吸引(某事物)，获得
2. flair 天资，天分
3. iniquitous 极邪恶的，极不公正的
4. drab 单调的，乏味的
5. subsist 活下去，生存下去，维持下去
6. hatch 孵化(指生孩子)
7. match 匹配，婚姻
8. dispatch 派遣，发送
9. agony 极大痛苦，煎熬
10. agony column (报刊中关于个人疑难问题征询意见的)读者来信专栏
1. Advertisers tend to think big and perhaps this is why they’re always coming in for criticism.
【参考译文】广告商总是雄心勃勃(想得很大)，也许这就是为什么他们老挨批评。
2. Their critics seem to resent them because they have a flair for self-promotion.
【参考译文】他们的批评者似乎对他们很气愤，因为他们在自我抬高/标榜上很有天分。
3. No other item in a newspaper provides such entertaining reading or offer such deep insight into human nature.
【参考译文】报纸任何其他栏目都难以提供如此有趣的文章，或提供对人性的内涵如此深刻的洞察。
4. It’s the best advertisement for advertising there is.
【参考译文】。
写作方法与文章大意
文章以因果、对比的手法写出有没有广告的后果及广告的真正作用。文章首先指出广告商遭批评的原因：广告商夸大和人们认为广告浪费钱财、商品价格就搞;然后作者以有无广告的后果突出其功能，没有广告，商品价更高，生活单调、乏味。有了广告，商品价低，生活丰富多彩，人们获取各种信息。
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