gmat关系词.docx
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gmat关系词
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotography'sfidelitytoappearancesanddependenceonamachineallowedittobeafineartasdistinctfrommerelyapracticalart.Throughoutthenineteenthcentury,thedefenseofphotographywasidenticalwiththestruggletoestablishitasafineart.Againstthechargethatphotographywasasoulless,mechanicalcopyingofreality,photographersassertedthatitwasinsteadaprivilegedwayofseeing,arevoltagainstcommonplacevision,andnolessworthyanartthanpainting.
Ironically,nowthatphotographyissecurelyestablishedasafineart,manyphotographersfinditpretentiousorirrelevanttolabelitassuch.Seriousphotographersvariouslyclaimtobefinding,recording,impartiallyobserving,witnessingevents,exploringthemselves—anythingbutmakingworksofart.Inthenineteenthcentury,photography'sassociationwiththerealworldplaceditinanambivalentrelationtoart;lateinthetwentiethcentury,anambivalentrelationexistsbecauseoftheModernistheritageinart.Thatimportantphotographersarenolongerwillingtodebatewhetherphotographyisorisnotafineart,excepttoproclaimthattheirownworkisnotinvolvedwithart,showstheextenttowhichtheysimplytakeforgrantedtheconceptofartimposedbythetriumphofModernism:
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