In most of the human civilization of which we have any proper records, youth has drawn on either art or life for models, planning to emulate the heroes depicted in epics on the shadow play screen or the stage, or those known human beings, fathers or grandfathers, chiefs or craftsmen, whose every characteristic can be studied and imitated. As recently as 1910, this was the prevailing condition in the United States. If he came from a nonliterate background, the recent immigrant learned to speak, move, and think like an American by using his eyes and ears on the labor line and in the homes of more acculturated cousins, by watching school children, or by absorbing the standards of the teacher, the foreman, the clerk who served him in the store. For the literate and the literate children of the nouliterate, there was art—the story of the frustrated artist in the prairie town, of the second generation battling with the limitations of the first. And at a simpler level, there were the Western and Hollywood fairy tales which pointed a moral but did not, as a rule, teach table manners.
With the development of the countermovement against Hollywood, with the efflorescence of photography, with Time-Life-Fortune types of reporting and the dead-pan New Yorker manner of describing the life of an old-clothes dealer in a forgotten street or of presenting the “accurate”, “checked” details of the lives of people whose eminence gave at least a sort of license to attack them, with the passion for “human documents” in Depression days—a necessary substitute for proletarian art among middle class writers who knew nothing about proletarians, and middleclass readers who needed the shock of verisimilitude—a new era in American life was ushered in, the era in which young people imitated neither life nor art nor fairy tale, but instead were presented with models drawn from life with minimal but crucial distortions. Doctored life histories, posed carelessness, “candid” shots of people in their own homes which took hours to arrange, pictures shot from real life to scripts written months before supplemented by national polls and surveys which assured the reader that this bobby soxer did indeed represent a national norm or a growing trend—replaced the older models.
1.This article is based on the idea that( ).
2.Stories of the second generation battling against the limitations of the first were often responsible for( ).
3.The countermovement against Hollywood was a movement( ).
4.The author attributes the change in attitudes since 1910 to( ).
5.The word “distortions” at the end of the 1st sentence in paragraph 2 is closest in meaning to( ).
问题1选项
A.people today no longer follow models
B.people attach little importance to whoever they follow
C.people generally pattern their lives after models
D.people no longer respect heroes
问题2选项
A.inspiring literate immigrants
B.frustrating educated immigrants
C.preventing the assimilation of immigrants
D.instilling into immigrants an antagonistic attitude toward their forebears
问题3选项
A.toward realism
B.toward fantasy
C.against the teaching of morals
D.away from realism
问题4选项
A.a logical evolution of ideas
B.widespread moral decay
C.the influence of the press
D.a philosophy of plenty
问题5选项
A.presentations
B.misinterpretations
C.influences
D.limitations
第1题:C
第2题:A
第3题:A
第4题:D
第5题:B
1.主旨大意题。由题干可以定位到文章第一段第一句In most of the human civilization of which we have any proper records, youth has drawn on either art or life for models, planning to emulate the heroes depicted in epics on the shadow play screen or the stage, or those known human beings, fathers or grandfathers, chiefs or craftsmen, whose every characteristic can be studied and imitated.(在我们有记录的大多数人类文明中,青年都以艺术或生活为范本,计划模仿在皮影戏屏幕或舞台上演出的史诗中描绘的英雄,或那些有名的人类、父辈或祖辈、酋长或工匠,他们的每一个特征都可以研究和模仿。),说明有史以来年轻人都会将各种各样的人作为偶像来模仿,整篇文章都是围绕着这个观点展开论述的。因此C选项“人们通常会模仿偶像的生活”正确。A选项“今天的人们不再模仿偶像”,由原文可知,现在这还是美国的普遍情况,所以A错误。B选项“人们对模仿的人都不重视”,D选项“人们不再尊重英雄”在文中没有提及,所以B,D错误。
2.推理判断题。由题干可以定位到文章第一段倒数第二句For the literate and the literate children of the nouliterate, there was art—the story of the frustrated artist in the prairie town, of the second generation battling with the limitations of the first.(对于努士人的文人和文人子女来说,有艺术的故事——在大草原城镇失意的艺术家的故事,第二代人与第一代人的局限性斗争的故事。),说第二代移民艺术家努力克服父辈缺陷的故事是用来激励移民变得有文化。因此A选项“激励有文化的移民”正确。B选项“使受过教育的移民感到失望”,C选项“防止移民的同化问题”,D选项“向移民灌输对其祖先的敌视态度”在文中均没有提及,所以B,C,D错误。
3.推理判断题。由题干可以定位到文章第二段第一句With the development of the countermovement against Hollywood, with the efflorescence of photography, with Time-Life-Fortune types of reporting and the dead-pan New Yorker manner of describing the life of an old-clothes dealer in a forgotten street or of presenting the “accurate”, “checked” details of the lives of people whose eminence gave at least a sort of license to attack them, with the passion for “human documents” in Depression days—a necessary substitute for proletarian art among middle class writers who knew nothing about proletarians, and middleclass readers who needed the shock of verisimilitude—a new era in American life was ushered in(随着反好莱坞运动的发展,随着摄影的兴起,随着《时代-生活-财富》式的报道,以及《纽约客》用死板的方式描述一个被遗忘的街道上的旧衣商的生活,或者说是用“准确”的方式来呈现,“检查”了一些人的生活细节,这些人的显赫地位给了至少一种许可攻击他们,随着大萧条时期对“人类文献”的热情——在对无产阶级一无所知的中产阶级作家和需要真实性冲击的中产阶级读者中,这是无产阶级艺术的必要替代物——美国生活迎来了一个新的时代。),说明在反对好莱坞的运动中,真实的现实生活被呈现出来,开启了美国的新时代。因此A选项“走向现实主义”正确。B选项“走向幻想”,C选项“违背道德教育”,D选项“脱离现实主义”在文中均没有提及,所以B,C,D错误。
4.推理判断题。由题干可以定位到文章第二段第一句With the development of the countermovement against Hollywood, with the efflorescence of photography, with Time-Life-Fortune types of reporting and the dead-pan New Yorker manner of describing the life of an old-clothes dealer in a forgotten street or of presenting the “accurate”, “checked” details of the lives of people whose eminence gave at least a sort of license to attack them, with the passion for “human documents” in Depression days(随着反好莱坞运动的发展,随着摄影的兴起,随着《时代-生活-财富》式的报道,以及《纽约客》用死板的方式描述一个被遗忘的街道上的旧衣商的生活,或者说是用“准确”的方式来呈现,“检查”了一些人的生活细节,这些人的显赫地位给了至少一种许可攻击他们,随着大萧条时期对“人类文献”的热情),说明1910年以来人们态度变化的原因是多种多样的。因此D选项“丰富的理论”正确。A选项“思想的逻辑演变”,B选项“普遍的道德败坏”,C选项“新闻界的影响”均不符合题意,所以A,B,C错误。
5.语义推测题。由题干可以定位到文章第二段倒数第二句the era in which young people imitated neither life nor art nor fairy tale, but instead were presented with models drawn from life with minimal but crucial distortions.(在这个时代,年轻人既不模仿生活,也不模仿艺术或童话,他们看到的是生活中的偶像,这些偶像就没有受到关键的扭曲。),说明在反好莱坞运动中,年轻人不再模仿生活中、或艺术及电影中的偶像,而是看到了真正来自于生活的没有被扭曲的偶像人物,此处“distortions”指的是偶像人物被误解。所以B选项“误解”正确。A选项“介绍”,C选项“影响”,D选项“限制”均不符合题意,所以A,C,D错误。