gmat关系词Word格式.docx

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gmat关系词Word格式.docx

thebettertheart,themoresubversiveitisofthetraditionalaimsofart.

Photographers'

disclaimersofanyinterestinmakingarttellusmoreabouttheharriedstatusofthecontemporarynotionofartthanaboutwhetherphotographyisorisnotart.Forexample,thosephotographerswhosupposethat,bytakingpictures,theyaregettingawayfromthepretensionsofartasexemplifiedbypaintingremindusofthoseAbstractExpressionistpainterswhoimaginedtheyweregettingawayfromtheintellectualausterityofclassicalModernistpaintingbyconcentratingonthephysicalactofpainting.Muchofphotography'

sprestigetodayderivesfromtheconvergenceofitsaimswiththoseofrecentart,particularlywiththedismissalofabstractartimplicitinthephenomenonofPoppaintingduringthe1960'

s.Appreciatingphotographsisarelieftosensibilitiestiredofthementalexertionsdemandedbyabstractart.ClassicalModernistpainting—thatis,abstractartasdevelopedindifferentwaysbyPicasso,Kandinsky,andMatisse—presupposeshighlydevelopedskillsoflookingandafamiliaritywithotherpaintingsandthehistoryofart.Photography,likePoppainting,reassuresviewersthatartisnothard;

photographyseemstobemoreaboutitssubjectsthanaboutart.

Photography,however,hasdevelopedalltheanxietiesandself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthepromotionofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—inshort,anart.

1.Inthepassage,theauthorisprimarilyconcernedwith

(A)definingtheModernistattitudetowardart

(B)explaininghowphotographyemergedasafineartafterthecontroversiesofthenineteenthcentury

(C)explainingtheattitudesofseriouscontemporaryphotographerstowardphotographyasartandplacingthoseattitudesintheirhistoricalcontext

(D)definingthevariousapproachesthatseriouscontemporaryphotographerstaketowardtheirartandassessingthevalueofeachofthoseapproaches

(E)identifyingthewaysthatrecentmovementsinpaintingandsculpturehaveinfluencedthetechniquesemployedbyseriousphotographers

2.Whichofthefollowingadjectivesbestdescribes“theconceptofartimposedbythetriumphofModernism”astheauthorrepresentsitinlines13-14?

(A)Objective

(B)Mechanical

(C)Superficial

(D)Dramatic

(E)Paradoxical

3.TheauthorintroducesAbstractExpressionistpainters(lines19)inorderto

(A)provideanexampleofartistswho,likeseriouscontemporaryphotographers,disavowedtraditionallyacceptedaimsofmodernart

(B)callattentiontoartistswhoseworksoftenbearaphysicalresemblancetotheworksofseriouscontemporaryphotographers

(C)setforthananalogybetweentheAbstractExpressionistpaintersandclassicalModernistpainters

(D)provideacontrasttoPopartistsandotherswhocreatedworksthatexemplifytheModernistheritageinart

(E)provideanexplanationofwhyseriousphotography,likeothercontemporaryvisualforms,isnotandshouldnotpretendtobeanart

4.Accordingtotheauthor,thenineteenth—centurydefendersofphotographymentionedinthepassagestressedthatphotographywas

(A)ameansofmakingpeoplefamiliarwithremotelocalesandunfamiliarthings

(B)atechnologicallyadvancedactivity

(C)adeviceforobservingtheworldimpartially

(D)anartcomparabletopainting

(E)anartthatwouldeventuallyreplacethe

traditionalarts

5.Accordingtothepassage,whichofthefollowingbestexplainsthereactionofseriouscontemporaryphotographerstothequestionofwhetherphotographyisanart?

(A)Thephotographers'

beliefthattheirrelianceonanimpersonalmachinetoproducetheirartrequiresthesurrenderoftheauthorityoftheirpersonalvision

(B)Thephotographers'

fearthatseriousphotographymaynotbeacceptedasanartbythecontemporaryartpublic

(C)TheinfluenceofAbstractExpressionistpaintingandPopArtonthesubjectmatterofthemodernphotograph

(D)Thephotographers'

beliefthatthebestartissubversiveofartasithaspreviouslybeendefined

(E)Thenotoriousdifficultyofdefiningartinitsrelationtorealisticrepresentation

6.Accordingtothepassage,certainseriouscontemporaryphotographersexpresslymakewhichofthefollowingclaimsabouttheirphotographs?

(A)Theirphotographscouldbecreatedbyalmostanyonewhohadacameraandthetimetodevotetotheactivity.

(B)Theirphotographsarenotexamplesofartbutareexamplesofthephotographers'

impartialobservationoftheworld.

(C)Theirphotographsareimportantbecauseoftheirsubjectsbutnotbecauseoftheresponsestheyevokeinviewers.

(D)Theirphotographsexhibitthesameagelessprinciplesofformandshadingthathavebeenusedinpainting.

(E)Theirphotographsrepresentaconsciousglorificationofthemechanicalaspectsoftwentieth-centurylife.

7.Itcanbeinferredfromthepassagethattheauthormostprobablyconsidersseriouscontemporaryphotographytobea

(A)contemporaryartthatisstrugglingtobeacceptedasfineart

(B)craftrequiringsensitivitybutbynomeansanart

(C)mechanicalcopyingofreality

(D)modernartthatdisplaystheModernisttendencytotrytosubverttheprevailingaimsofart

(E)modernartthatdisplaysthetendencyofallModernistarttobecomeincreasinglyformalandabstract

Traditionally,pollinationbywindhasbeenviewedasareproductiveprocessmarkedbyrandomeventsinwhichthevagariesofthewindarecompensatedforbythegenerationofvastquantitiesofpollen,sothattheultimateproductionofnewseedsisassuredattheexpenseofproducingmuchmorepollenthanisactuallyused.Becausethepotentialhazardspollengrainsaresubjecttoastheyaretransportedoverlongdistancesareenormous,wind-pollinatedplantshave,intheviewabove,compensatedfortheensuinglossofpollenthroughhappenstancebyvirtueofproducinganamountofpollenthatisonetothreeordersofmagnitudegreaterthantheamountproducedbyspeciespollinatedbyinsects.

However,anumberoffeaturesthatarecharacteristicsofwind-pollinatedplantsreducepollenwaste.Forexample,manywind-pollinatedspeciesfailtoreleasepollenwhenwindspeedsareloworwhenhumidconditionsprevail.Recentstudiessuggestanotherwayinwhichspeciescompensatefortheinefficiencyofwind-pollination.Thesestudiessuggestthatspeciesfrequentlytakeadvantageofthephysicsofpollenmotionbygeneratingspecificaerodynamicenvironmentswithintheimmediatevicinityoftheirfemalereproductiveorgans.Itisthemorphologyoftheseorgansthatdictatesthepatternofairflowdisturbancesthroughwhichpollenmusttravel.Thespeedanddirectionoftheairflowdisturbancescancombinewiththephysicalpropertiesofaspecies'

pollentoproduceaspecies-specificpatternofpollencollisiononthesurfacesoffemalereproductiveorgans.Providedthatthesesurfacesarestrategicallylocated,theconsequencesofthiscombinationcansignificantlyincreasethepollen-captureefficiencyofafemalereproductiveorgan.

Acriticalquestionthatremainstobeanswerediswhetherthemorphologicalattributesofthefemalereproductiveorgansofwind-pollinatedspeciesareevolutionaryadaptationstowindpollinationoraremerelyfortuitous.Acompleteresolutionofthequestionisasyetimpossiblesinceadaptationmustbeevaluatedforeachspecieswithinitsownuniquefunctionalcontext.However,itmustbesaidthat,whileevidenceofsuchevolutionaryadaptationsdoesexistinsomespecies,onemustbecarefulaboutattributingmorphologytoadaptation.Forexample,thespiralarrangementofscale-bractcomplexesonovule-bearingpinecones,wherethefemalereproductiveorgansofconifersarelocated,isimportanttotheproductionofairflowpatternsthatspiraloverthecone'

ssurfaces,therebypassingairbornepollenfromonescaletothenext.However,thesepatternscannotbeviewedasanadaptationtowindpollinationbecausethespiralarrangementoccursinanumberofnon-wind-pollinatedplantlineagesandisregardedasacharacteristicofvascularplants,ofwhichconifersareonlyonekind,asawhole.Therefore,thespiralarrangementisnotlikelytobetheresultofadirectadaptationtowindpollin

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