(单词翻译:单击)
19.The paragraph following the passage most likely discusses
(A)specific double radio sources
(B)an explanation of the synchrotron process
(C)possible reasons for the presence of cosmic jets
(D)the discovery of the first double radio sources.
Questions 20-28
The sculptural legacy1 that the new United States inherited from its colonial predecessors2 was far from a rich one,and in fact,in 1776sculpture as an art form was still in the hands of artisans and craftspeople.Stone carvers engraved3 their motifs4 of skulls5 and crossbones and other religious icons6 of death into the gray slabs7 that we still see standing8 today in old burial grounds.Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations,while others caved wooden shop signs and ships'figureheads.Although they often achieved expression and formal excellence9 in their generally primitive10 style,they remained artisans skilled in the craft of carving11 and constituted a group distinct from what we normally think of as "sculptors13"in today's use of the word.
On the rare occasion when a fine piece of sculpture was desired,Americans turned to foreign sculptors,as in the 1770's when the cities of New York and Charleston,South Carolina,commissioned the Englishman Joseph Wilton to make marble statues of William Pitt.Wilton also made a lead equestrian14 image of King George III that was created in New York in 1770and torn down by zealous15 patriots16 six years later.A few marble memorials with carved busts,urns,or other decorations were produced in England and brought to the colonies to be set in the walls of churches-as in King's Chapel17 in Boston.But sculpture as a high art,practiced by artists who knew both the artistic18 theory of their Renaissance-Baroque-Rococo predecessors and the various technical procedures of modeling,casting,and carving rich three-dimensional forms,was not known among Americans in 1776.Indeed,for many years thereafter,the United States had two groups from which to choose -either the local craftspeople or the imported talent of European sculptors.
The eighteenth century was not one in which powered sculptural conceptions were developed.Add to this the timidity with which unschooled artisans -originally trained as stonemasons,carpenters,or cabinetmakers -attacked the medium from which they sculpture made in the United States in the late eighteenth century.
20.What is the main idea of the passage?
(A)There was great demand for the work of eighteenth-century artisans.
(B)Skilled sculptors did not exist in the United States in the 1770's.
(C)Many foreign sculptors worked in the United States after 1776.
(D)American sculptors were hampered19 by a lack of tools and materials.
21.The word "motifs"in line 3is closest in meaning to
(A)tools
(B)prints
(C)signatures
(D)designs
22.The work of which of the following could be seen in burial grounds?
(A)European sculptors
(B)Carpenters
(C)Stone carves
(D)Cabinetmakers
23.The word "other"in line 6refers to
(A)craftspeople
(B)decorations
(C)ornamentations
(D)shop signs
24.The word "distinct"in line 9is closest in meaning to
(A)separate
(B)assembled
(C)notable
(D)inferior
25.The word "rare"in line 11is closest in meaning to
(A)festive
(B)infrequent
(C)delightful
(D)unexpected
26.Why does the author mention Joseph Wilton in line 13?
(A)He was an English sculptor12 who did work in the United States.
(B)He was well known for his wood carvings20
(C)He produced sculpture for churches.
(D)He settled in the United States in 1776.
27.What can be inferred about the importation of marble memorials from England?
(A)Such sculpture was less expensive to produce locally than to import
(B)Such sculpture was not available in the United States.
(C)Such sculpture was as prestigious21 as those made locally.
(D)The materials found abroad were superior.
28.How did the work of American carvers in 1776differ from that of contemporary sculptors?
(A)It was less time-consuming
(B)It was more dangerous.
(C)It was more expensive.
(D)It was less refined
1
legacy
![]() |
|
n.遗产,遗赠;先人(或过去)留下的东西 | |
参考例句: |
|
|
2
predecessors
![]() |
|
n.前任( predecessor的名词复数 );前辈;(被取代的)原有事物;前身 | |
参考例句: |
|
|
3
engraved
![]() |
|
v.在(硬物)上雕刻(字,画等)( engrave的过去式和过去分词 );将某事物深深印在(记忆或头脑中) | |
参考例句: |
|
|
4
motifs
![]() |
|
n. (文艺作品等的)主题( motif的名词复数 );中心思想;基本模式;基本图案 | |
参考例句: |
|
|
5
skulls
![]() |
|
颅骨( skull的名词复数 ); 脑袋; 脑子; 脑瓜 | |
参考例句: |
|
|
6
icons
![]() |
|
n.偶像( icon的名词复数 );(计算机屏幕上表示命令、程序的)符号,图像 | |
参考例句: |
|
|
7
slabs
![]() |
|
n.厚板,平板,厚片( slab的名词复数 );厚胶片 | |
参考例句: |
|
|
8
standing
![]() |
|
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
参考例句: |
|
|
9
excellence
![]() |
|
n.优秀,杰出,(pl.)优点,美德 | |
参考例句: |
|
|
10
primitive
![]() |
|
adj.原始的;简单的;n.原(始)人,原始事物 | |
参考例句: |
|
|
11
carving
![]() |
|
n.雕刻品,雕花 | |
参考例句: |
|
|
12
sculptor
![]() |
|
n.雕刻家,雕刻家 | |
参考例句: |
|
|
13
sculptors
![]() |
|
雕刻家,雕塑家( sculptor的名词复数 ); [天]玉夫座 | |
参考例句: |
|
|
14
equestrian
![]() |
|
adj.骑马的;n.马术 | |
参考例句: |
|
|
15
zealous
![]() |
|
adj.狂热的,热心的 | |
参考例句: |
|
|
16
patriots
![]() |
|
爱国者,爱国主义者( patriot的名词复数 ) | |
参考例句: |
|
|
17
chapel
![]() |
|
n.小教堂,殡仪馆 | |
参考例句: |
|
|
18
artistic
![]() |
|
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
参考例句: |
|
|
19
hampered
![]() |
|
妨碍,束缚,限制( hamper的过去式和过去分词 ) | |
参考例句: |
|
|
20
carvings
![]() |
|
n.雕刻( carving的名词复数 );雕刻术;雕刻品;雕刻物 | |
参考例句: |
|
|
21
prestigious
![]() |
|
adj.有威望的,有声望的,受尊敬的 | |
参考例句: |
|
|