题目内容
There are so many things about our lives that belong to the content of culture that it is impossible to cover them all. In this lecture three aspects of culture are discussed. Language: is what people and animals use to (1) their thoughts, ideas and feelings. Just like animals, people use different languages. Each culture has its own words and symbols. People within the culture that use more than one language are said to be either (2) or multiligual. Moreover, languages have different (3) , which are variations of a language. (4) is most commonly used by deaf people. Folklore: is a body of stories that show a culture’s beliefs, traditions and (5) The characters in folktales are often (6) people, whose character is admired. Today, folklore finds its way into poetry, song lyrics, and (7) . Holiday: is a day made special by a culture’s customs or laws. Holidays help a culture re member and (8) its history. People may attend parades, sing songs, go to (9) or give gifts to each other on certain holidays. The English world holiday came from two words, holy and day. The beat-known (10) holiday is Christmas.
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根据下面短文回答下列问题。 There were three professors at the railway station. They were deep in conversation. The train had just arrived, but they didn’t see it. Then the guard (列车员) shouted (喊道), "Take your seats, please!" The professors heard the shouts and rushed for the train. Two of them got on the train before it moved. The third one was left behind. He looked sad. One of his students was at the station. He told the professor, "It wasn’t too bad, sir. Two out of three got on the train." But the professor said, "It was my train. My two friends only came to say goodbye.\ The student thought it was not too bad because ______.
TEXT D 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 defence 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 arc 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 the 1960’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 in different 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 for get that photography is a distinctive and exalted activity -- in short, an art. Why does the author introduce Abstract Expressionist painters
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