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The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defense of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting—that is, abstract art as developed indifferent ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.47. What is the author mainly concerned with? The author is concerned with ______.48. Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in paragraph 2?49. Why does the author introduce Abstract Expressionist painter?50. How did the nineteenth-century defenders of photography stress the photography?

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Nearly two thousand years have passed since a census decreed by Caesar Augustus become part of the greatest story ever told. Many things have changed in the intervening years. The hotel industry worries more about overbuilding than overcrowding, and if they had to meet an unexpected influx, few inns would have a manager to accommodate the weary guests. Now it is the census taker that does the traveling in the fond hope that a highly mobile population will stay long enough to get a good sampling. Methods of gathering, recording, and evaluating information have presumably been improved a great deal. And where then it was the modest purpose of Rome to obtain a simple head count as an adequate basis for levying taxes, now batteries of complicated statistical series furnished by governmental agencies and private organizations are eagerly scanned and interpreted by sages and seers to get a clue to future events. The Bible does not tell us how the Roman census takers made out, and as regards our more immediate concern, the reliability of present day economic forecasting, there are considerable differences of opinion. They were aired at the celebration of the 125th anniversary of the American Statistical Association. There was the thought that business forecasting might Well be on its way from an art to a science, and some speakers talked about newfangled computers and high-falutin mathematical system in terms of excitement and endearment which we, at least in our younger years when these things mattered, would have associated more readily with the description of a fair maiden. But others pointed to the deplorable record of highly esteemed forecasts and forecasters with a batting average below that of the Mets, and the President-elect of the Association cautioned that “high powered statistical methods are usually in order where the facts are crude and inadequate, the exact contrary of what crude and inadequate statisticians assume.” We left his birthday party somewhere between hope and despair and with the conviction, not really newly acquired, that proper statistical methods applied to ascertainable facts have their merits in economic forecasting as long as neither forecaster nor public is deluded into mistaking the delineation of probabilities and trends for a prediction of certainties of mathematical exactitude.43. Taxation in Roman days apparently was based on ______.44. The American Statistical Association ______.45. The message the author wishes the reader to get is ______.46 The “greatest story ever told” referred to in the passage is the story of ______.

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Shams and delusions are esteemed for soundest truths, while reality is fabulous. If men would steadily observe realities only, and not allow themselves to be deluded, life, to compare it with such things as we know, would be like a fairy tale and the Arabian Nights’ Entertainments. If were respected only what is inevitable and has a right to be, music and poetry would resound along the streets. When we are unhurried and wise, we perceive that only great and worthy things have any permanent and absolute existence—that petty fears and petty pleasure are but the shadow of reality. This is always exhilarating and sublime. By closing the eyes and slumbering, by consenting to be deceived by shows, men establish and confirm their daily life of routine and habit everywhere, which still is built on purely illusory foundation. Children, who play life, discern its true law and relations more clearly than men, who fail to live worthily, but who think that they are wiser by experience, that is, by failure. I have read in a Hindoo book, that “there was a king’s son, who, being expelled in infancy from his native city, was brought up by a forester, and, growing up to maturity in that state, imagined himself to belong to the barbarous race with which be lived. One of his father’s ministers having discovered him, revealed to him what he was, and the misconception of his character was removed, and he knew himself to be a prince. So soul, from the circumstances in which it is placed, mistakes its own character, until the truth is revealed to it by some holy teacher, and then it knows itself to be Brahme.” We think that that is which appears to be. If a man should give us an account of the realities he beheld, we should not recognize the place in his description. Look at a meeting-house, or a court-house, or a jail, or a shop. Or a dwelling-house, and say what that thing really is before a true gaze, and they would all go to pieces in your account of them. Men esteem truth remote, in the outskirts of the system, behind the farthest star, before Adam and after the last man. In eternity there is indeed something true and sublime. But all these times and places and occasions are now and here. God himself culminates in the present moment, and will never be more divine in the lapse of all ages. And we are enabled to apprehend at all what is sublime and noble only by the perpetual instilling and drenching of the reality that surrounds us. The universe constantly and obediently answers to our conceptions; whether we travel fast or slow, the track is laid for us. Let us spend our lives in conceiving then. The poet or the artist never yet had as fair and noble a design but some of his posterity at least could accomplish it.39. The writer’s attitude toward the arts is one of ______.40. The author believes that a child ______.41. The author is primarily concerned with urging the reader to ______.42. The passage is primarily concerned with problem of ______.

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Social circumstances in Early Modern England mostly served to repress women’s voices. Patriarchal culture and institutions constructed them as chaste, silent, obedient, and subordinate. At the beginning of the 17th century, the ideology of patriarchy, political absolutism, and gender hierarchy were reaffirmed powerfully by King James in The Trew Law of Free Monarchie and the Basilikon Doron; by that ideology the absolute power of God the supreme patriarch was seen to be imaged in the absolute monarch of the state and in the husband and father of a family. Accordingly, a woman’s subjection, first to her father and then to her husband, imaged the subjection of English people to their monarch and of all Christians to God. Also, the period saw an outpouring of repressive or overtly misogynist sermons, tracts, and plays, detailing women’s physical and mental defects, spiritual evils, rebelliousness, shrewish, and natural inferiority to men.Yet some social and cultural conditions served to empower women. During the Elizabethan era (1558-1603), the culture was dominated by a powerful Queen, who provided an impressive female example though she left scant cultural space for other women. Elizabethan women writers began to produce original texts but were occupied chiefly with translation. In the 17th century, however, various circumstances enabled women to write original texts in some numbers. For one thing, some counterweight to patriarchy was provided by female communities—mothers and daughters, extended kinship networks, close female friends, the separate court of Queen Anne (King James’ consort) and her often oppositional masques and political activities. For another most of these women had a reasonably good education (modern languages, history, literature, religion, music, occasionally Latin) and some apparently found in romances and histories more expansive terms for imagining women’s lives. Also, representation of vigorous and rebellious female characters in literature and especially on the stage no doubt helped to undermine any monolithic social construct of women's mature and role.Most important, perhaps, was the radical potential inherent in the Protestant insistence on every Christian’s immediate relationship with God and primary responsibility to follow his or her individual conscience. There is plenty of support in St Paul’s epistles and elsewhere in the Bible for patriarchy and a wife’s subjection to her husband, but some texts (notably Galatians 3:28) inscribe a very different politics, promoting women’s spiritual equality: “There is neither Jew nor Greek, there is neither bond nor free, there is neither male nor female: for ye are all one in Jesus Christ.” Such texts encouraged some women to claim the support of God the-supreme patriarch against the various earthly patriarchs who claimed to stand toward them in his stead.There is also the gap or slapped between ideology and common experience. English women throughout the 17th century exercised a good deal of accrual power: as managers of estates in their husbands’ absences at court or on military and diplomatic mission; as members of guilds as wives and mothers who apex during the English Civil War and Interregnum (1640-60) as the execution of the King and the attendant disruption of social hierarchies led many women to seize new roles—as preacher, as prophetesses, as deputies for exiled royalist husbands, as writers of religious and political tracts.35. What is the best title for this passage?36. What did the Queen Elizabeth do for the women in culture?37. Which of the following is Not mention as a reason to enable women to original texts?38. What did the religion so for the women?

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How do the professional timekeepers of the word determine, to the precise nanosecond, when a new year begins? They simply consult an atomic clock. And at the end of last month, just in time to ring in the new year, the Hewlett-Packard company, of Palo Alto, California, unveiled the latest in these meticulous time-pieces. For nearly 30 years, the firm has been supplying military and scientific clients with atomic clocks; the most advanced models neither gain nor lose more than a second every 800,000 years. But the newest version, a $54,0000 device the size of a desktop computer, is accurate to one second in 1.6 million years—far longer than all of human history to date.It is natural to wonder who could possibly need such precision. The answer: practically everyone, at least indirectly. Telephone and computer networks rely on atomic clocks to synchronize the flow of trillions of bits of information around the nation and the world, thus avoiding mammoth electronic logjams. Television and radio stations use the clocks to time their broadcasts. Satellite-based navigation systems depend on the devices to measure the arrival time of radio signals to within a tiny fraction of second, allowing users to gauge their location to within a few feet. The armed forces use atomic clocks to help track the almost imperceptible motions of continents across the surface of the earth and galaxies and stars across the sky. Even the people who dropped the ball in New York City’s Times Square to signal the start of 1992 relied on a timekeeping source that was pegged ultimately to an atomic clock.The principle that lies behind all this precision comes out of quantum physics. When an atom is bombarded with electromagnetic radiation—in this case, microwaves—its electrons shift into a new energy state. Each type of atom responds most readily to a particular frequency of radiation. For the cesium 133 atoms in most atomic clocks, the frequency is 9,192,613,770 vibrations per second. That means that when a microwave beam inside the clock is set exactly to that frequency, the maximum number of atoms will undergo the energy shift. This signals the clock’s internal computer that the device is correctly tuned. And in fact, it is the vibrating microwaves that keep time; the atoms are used just to keep them on track.Theoretically, an atomic clock could keep perfect time, but the actual performance depends on engineering details exactly how the microwaves hit the cesium atoms, how sophisticated the electronics are and so on. It was by improving factors like these that Hewett-Packard boosted its clocks’ performance from incredibly good to even better. The next generation of clocks should do better sill, but no one is sure when that generation will come along. For new, a second every million and a half years will have to do.31. The newest atomic clock is accurate to ______.32. Which of the following is NOT mentioned?33. Atomic clock is very accurate because ______.34. The next generation of clock will be made ______.

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