题目：The value attached to original works of art(剑10TEST 2 READING PASSAGE 3)
People go to art museums because they accept the value of seeing an original work of art. But they do not go to museums to read original scripts of novels, perhaps because the availability of novels has depended on_27for so long, and also because with novels, the 28_are the most important things.
A institution B mass production C mechanical process D public
E paints F artist G size H underlying ideas I basic technology
J readers K picture frames L assistants
32 The writer mentions London’s National Gallery to illustrate
A the undesirable cost to a nation of maintaining a huge collection of art
B the conflict that may arise in society between financial and artistic values
C the negative effect a museum can have on visitors’ opinions of themselves
D the need to put individual well-being above large-scale artistic schemes
34 According to the writer, the ‘displacement effect’ on the visitor is caused by
A the variety of works on display and the way they are arranged
B the impossibility of viewing particular works over a long period
C the similar nature of the paintings and the lack of great works
D the inappropriate nature of the individual works selected for exhibition
Museums of fine art and their public
One of the most famous works of art in the world is Leonardo da Vinci’s Mona Lisa. Nearly everyone who goes to see the original will already be familiar with it from reproductions, but they accept that fine art is more rewardingly viewed in its original form.
However, if Mona Lisa was a famous novel, few people would bother to go to a museum to read the writer's actual manuscript rather than a printed reproduction. This might be explained by the fact that the novel has evolved precisely because of technological developments that made it possible to print out huge numbers of texts, whereas oil paintings have always been produced as unique addition, it could be argued that the practice of interpreting or 'reading' each medium follows different conventions. With novels, the reader attends mainly to the meaning of words rather than the way they are printed on the page, whereas the ‘reader’ of a painting must attend just as closely to the material form of marks and shapes in the picture as to any ideas they may signify.
Yet it has always been possible to make very accurate facsimiles of pretty well any fine art work. The seven surviving versions of Mona Lisa bear witness to the fact that in the 16th century, artists seemed perfectly content to assign the reproduction of their creations to their workshop apprentices as regular "bread and butter7 work. And today the task of reproducing pictures is incomparably more simple and reliable, with reprographic techniques that allow the production of high-quality prints made exactly to the original scale, with faithful colour values, and even with duplication of the surface relief of the painting.
But despite an implicit recognition that the spread of good reproductions can be culturally valuable, museums continue to promote the special status of original work.
Unfortunately, this seems to place severe limitations on the kind of experience offered to visitors.
One limitation is related to the way the museum presents its exhibits. As repositories of unique historical objects, art museums are often called 'treasure houses'. We are reminded of this even before we view a collection by the presence of security guards, attendants, ropes and display cases to keep us away from the exhibits. In many cases, the architectural style of the building further reinforces that notion. In addition, a major collection like that of London's National Gallery is housed in numerous rooms, each with dozens of works, any one of which is likely to be worth more than all the average visitor possesses. In a society that judges the personal status of the individual so much by their material worth, it is therefore difficult not to be impressed by one's own relative ‘worthlessness’ in such an environment.
Furthermore, consideration of the ‘Value’ of the original work in its treasure house setting impresses upon the viewer that, since these works were originally produced, they have been assigned a huge monetary value by some person or institution more powerful than themselves. Evidently, nothing the viewer thinks about the work is going to alter that value, and so today’s viewer is deterred from trying to extend that spontaneous, immediate, self- reliant kind of reading which would originally have met the work.
The visitor may then be struck by the strangeness of seeing such diverse paintings, drawings and sculptures brought together in an environment for which they were not originally created. This ‘displacement effect’ is further heightened by the sheer volume of exhibits. In the case of a major collection, there are probably more works on display than we could realistically view in weeks or even months.
最先看一下27题,有许多老同学聚会误选C或是I,由于大伙儿的定位基础都不容易出难题,相匹配人们用淡黄色高亮度出去的语句,在这话中的确提及了和technology有关的信息,而且这一复印的全过程都是1个机械设备的全过程,因此仿佛都一些大道理.但大伙儿另外还要留意到,在人们定位到的语句中出現了whereas oil paintings have always been produced as unique objects.这话的中转折点词whereas意味着了前后左右彼此之间的比照,那从哪家层面开展较为的呢?这一地区说novels是huge numbers of texts,而oil paintings是unique objects,2个物品开展比照得话毫无疑问是有对比性才行,很显而易见,这一地区二者是就总数开展比照.因而这一逻辑性就出来,大家想要去历史博物馆看oil paintings的原著,可是不想要去读小说的手稿由于小说集能够很多得到而水彩画是与众不同的物品,参考答案是B mass production. 再看来一下下28题,这一题目自身不用考虑到过多的逻辑关系,同义变换基础可以协助人们刷题.但28题题目中出現了and also because with novels,是1个并排类的考试点,返回全文定位时候寻找并排的对应的点in addition,随后读下边的出卷句时候发觉在with novels这句话中又出現了whereas,跟人们27题的出卷句构造相同.那样的话人们可以看得出整篇的写作构造,先得出1个状况随后各自从2个层级去表述,而且在2个层级之中都出現了比照.那样的话人们的思路会十分清楚,做题目也会较为没把握.
32题的定位也找不到难度系数,由于出現了专业名词.定位到所属的语句后发觉语句的打头出現了in addition,因而很大自然的人们就会优先选择往后面看,由于后边是1个详细的层级,找不着参考答案的状况下再去看看前边有关的內容.In addition所属的语句论述了例子的內容,后边的语句干了梳理小结,因而答题点就是说本段的最终一段话.许多同学们也见到了这话,但所有人的逻辑思维不一样,一些同学们算出了恰当依据而有的人的逻辑思维偏移了出卷人的逻辑思维.因此人们还必须从另一个1个视角把偏移的逻辑思维改正回来,那便是要考虑到这每段的语段中心.人们不久见到in
addition的那时候就应当想到到这每段的构造应当跟第2段类似,也是以2个层级来表明一下下某一难题.因而见到这每段的打头,也就是说段落中心句一般 出現的地区,打头人们见到了onelimitation is related to the way…降至了局限性,见到这里毫无疑问又要问了,稿子在讲什么的局限性呢?整篇人们是以前边的段落看回来的,因此很大自然了解这一地区的limitation讲的就是说针对参观者的感受产生的比较严重的局限性其一是啥,因此人们的出题句所属的段落是紧紧围绕着针对参观者造成的不太好的危害而言的,人们的事例都是以便表明这一难题,因而参考答案就十分清楚了.
34题的定位都不存在的问题,由于出現了含有特殊字符的定位点,但定位到这句话后许多同学们沒有把握住在其中的逻辑关系,立即往后面看,因而错过了标准答案.这都是现阶段许多单项选择题的出题招数,定位较为确立,但寻找精确的出题句就一些难度系数.看来一下下人们寻找的出题句,This ‘displacement effect’ is further heightened by the sheer volume of exhibits.这话中出現了1个further,说这类effect被后边的物品切实加强了,换句话说前边这类effect早已造成过,这一地区是深化给提升了,而人们题目问的更是这类effect是因为哪些造成的.因而人们的出题句因应是定位句再加它前边的这句话,而不应当是后边的內容.