题目内容
Tourism develops culture. It broadens the thinking of the traveler and leads to culture 1 between the hosts and guests from far-off places. This can benefit the locals, since tourists bring culture 2 them.Tourism may help to preserve indigenous customs, 3 traditional shows, parades, celebrations and festivals are put on for tourists. The musicals, plays and serious drama of London theatres and other kinds of nightlife are 4 supported by tourists. Such events might disappear without the stimulus of tourism to 5 them.On the other hand, tourism often contributes to the disappearance of local traditions and folklore. Churches, temples and similar places of worship are 6 as tourist attractions. This can be 7 the expense of their original function: how many believers want to worship in the middle of a flow of atheist invaders Who would want to pray 8 curious onlookers shuffle to and fro with guide books, rather than prayer books, in their handsTourism may bring other indirect cultural consequences in its 9 . Tensions which already exist between ancient and more modern ways may be deepened by tourists" ignorance of 10 customs and beliefs. Tourists, if not actually richer, often seem more well-off than natives. The former may therefore feel superior, 11 the latter embarrassed about their lifestyles. The result maybe an inferior feeling which 12 helps the sense of identity which is so important to regional culture. The poverty of a locality can look even worse when 13 with the comfortable hotel environment inhabited by tourists. Prosperous retired or elderly tourists from Britain, where the average life expectancy is 75 years, may well 14 resentment in Sierra Leone, where the local population can expect to live to no more than 41 years. The relative prosperity of tourists may 15 crime. In Gambia, unemployed young people offer to act as"professional friends"—guides, companions or sexual partners in return for money. When the tourism season is over, they can no longer get wages that way so they 16 to petty stealing from the local populace. All this affects the local social life and culture 17 .Cultural erosion can also take place at more 18 levels. Greek villagers traditionally 19 themselves on their hospitality. They would 20 travelers for free, feeding them and listening to their stories. To take money would have been a disgrace. That has changed now. Tourists exist to be exploited. Perhaps this is hardly surprising if the earnings from one room rented to a tourist can exceed a teacher"s monthly salary.
查看答案
搜索结果不匹配？点我反馈
更多问题
Tourism develops culture. It broadens the thinking of the traveler and leads to culture 1 between the hosts and guests from far-off places. This can benefit the locals, since tourists bring culture 2 them.Tourism may help to preserve indigenous customs, 3 traditional shows, parades, celebrations and festivals are put on for tourists. The musicals, plays and serious drama of London theatres and other kinds of nightlife are 4 supported by tourists. Such events might disappear without the stimulus of tourism to 5 them.On the other hand, tourism often contributes to the disappearance of local traditions and folklore. Churches, temples and similar places of worship are 6 as tourist attractions. This can be 7 the expense of their original function: how many believers want to worship in the middle of a flow of atheist invaders Who would want to pray 8 curious onlookers shuffle to and fro with guide books, rather than prayer books, in their handsTourism may bring other indirect cultural consequences in its 9 . Tensions which already exist between ancient and more modern ways may be deepened by tourists" ignorance of 10 customs and beliefs. Tourists, if not actually richer, often seem more well-off than natives. The former may therefore feel superior, 11 the latter embarrassed about their lifestyles. The result maybe an inferior feeling which 12 helps the sense of identity which is so important to regional culture. The poverty of a locality can look even worse when 13 with the comfortable hotel environment inhabited by tourists. Prosperous retired or elderly tourists from Britain, where the average life expectancy is 75 years, may well 14 resentment in Sierra Leone, where the local population can expect to live to no more than 41 years. The relative prosperity of tourists may 15 crime. In Gambia, unemployed young people offer to act as"professional friends"—guides, companions or sexual partners in return for money. When the tourism season is over, they can no longer get wages that way so they 16 to petty stealing from the local populace. All this affects the local social life and culture 17 .Cultural erosion can also take place at more 18 levels. Greek villagers traditionally 19 themselves on their hospitality. They would 20 travelers for free, feeding them and listening to their stories. To take money would have been a disgrace. That has changed now. Tourists exist to be exploited. Perhaps this is hardly surprising if the earnings from one room rented to a tourist can exceed a teacher"s monthly salary.
Feminist critics have long debated the extent to which gender plays a role in the creation and interpretation of texts. Androgynist poetics, rooted in mid-Victorian women"s writing, contends that the creative mind is sexless, but from the 1970s on, many feminist critics rejected the idea of the genderless, mind, finding that the imagination cannot evade conscious or unconscious structures of gender which is part of culture-determination where separating imagination from the self is impossible.The Female Aesthetic, expressing a unique female consciousness in literature, spoke of the "female vernacular, the Mother Tongue, a powerful but neglected women"s culture." Virginia Woolf discusses how a woman writer seeks within herself "the pools, the depths, the dark places where the largest fish slumber," inevitably colliding against her own sexuality to confront "something about the body, about the passions." Accessible to men and women alike, but representing female sexual morphology, this method sought a way of writing which literally embodied the female, thereby fighting the subordinating, linear style of classification or distinction.It must be admitted that there are problems with the Female Aesthetic that feminist critics themselves recognized. For instance; they avoided defining exactly what constituted their writing style, as any definition would then categorize it and safely subsume it as a genre under the linear patriarchal structure—its very restlessness and ambiguity defied identification as part of its identity. Some feminists and women writers could feel excluded by the surreality of the Female Aesthetic and its stress on the biological forms of female experience, which also bear close resemblance to essentialism. Men may try their hand at writing woman"s bodies, but according to the feminist critique, only a woman whose very biology gave her an edge could read these texts successfully—a position which, worst of all, risked marginalization of women"s literature and theory.Later, Gynocritics attempted to resolve some of these problems, by agreeing that women"s literature lay as the central concern for feminist criticism but rejecting the concept of an essential female identity and style, while simultaneously seeking to revise. Freudian structures by emphasizing a Pre-Oedipal phase wherein the daughter"s bond to her mother inscribes the key factor in gender identity. Matriarchal values dissolve intergenerational conflicts and build upon a female tradition of literature rather than the struggle of Oedipus and Lais at the crossroads. Lastly and most promising in its achievement of a delicate balance are developments of an over-arching gender theory, which considers gender, both male and female, as a social construction built on biological differences. Gender theory proposes to explore ideological inscription and the literary effects of the sex/gender system, opening up the literary theory stage and bringing in questions of masculinity into feminist theory. Taking gender as afundamental analytic category brings feminist criticism from the margin to the center, though it risks depoliticizing the study of women. It can be inferred that the author would define the "delicate balance" mentioned in the last paragraph as the equilibrium between ______.
To facilitate entry into fine art thinking and avoid being misled in fundamental ways, archaeologists must understand the principles that define and govern each art category, whether utilitarian, fine or decorative. The traditional intent of a craft like ceramics is to serve a utilitarian function and its ability to act in this capacity is essentially dependent upon the skill of properly shaping a vessel to correspond to its task, so neither its exact manner of construction (by hand or wheel, coil or slab) nor the significance of imagery glazed on its surface changes its primary role "to contain", though it may add to its value. While ceramicists must think and construct art according to certain patterns of utilitarian form, following a prototypal model that relates to the artwork"s purpose, fine art has no such requirement.Fine artists often work in mixed or new media, evidenced by the example of vases created during the Greek Archaic period, which were an anomaly to the paradigm of earlier vases because the later ones not only served "to contain", but also to communicate ideas. An examination of this apparent inconsistency reveals both the Greek"s high regard for aesthetics and the explanation that fine artists usually created the paintings on the vases made by potters. Though Greek vase painting differs greatly from the work of modern artist Pablo Picasso, he too painted on ceramic objects made by others. Contrasting ancient fine art forms such as paintings and stone or metal sculptures with contemporary fine art forms such as computer art, video imagery, and holograms, it is possible to see that as the culture"s technology transforms, its changes are visible in the structural forms of fine art.At the same time, changes in fine art indicate its mandate to both reflect and create new perceptions of the culture, but form alone is insufficient to classify objects into art categories. Frequently, art that serves a decorative function is confused with both utilitarian and fine art because of its similar appearance, but the function of decorative art is the form itself, it is not compelled to fulfill either a utilitarian task or address concepts that exemplify its historic period. Communication would appear redundant if fine artists, like utilitarian and decorative artists, were to produce unlimited numbers of the same object. Once an idea is assimilated into the culture there is no longer a need to discuss it unless artists are more clearly defining or redefining it. Therefore, archaeologists should be aware that an artifact produced in any way by formula is not fine art. The fine artist"s process is continuous from the moment of conception until a piece is complete, and thus everything is though of in terms of context, so that, as a general guide, archaeologists should consider no mark within a work unimportant and only define its meaning in relation to the whole piece. Which of the following statements about fine arts production is best supported by the information presented in the passage
Tourism develops culture. It broadens the thinking of the traveler and leads to culture 1 between the hosts and guests from far-off places. This can benefit the locals, since tourists bring culture 2 them.Tourism may help to preserve indigenous customs, 3 traditional shows, parades, celebrations and festivals are put on for tourists. The musicals, plays and serious drama of London theatres and other kinds of nightlife are 4 supported by tourists. Such events might disappear without the stimulus of tourism to 5 them.On the other hand, tourism often contributes to the disappearance of local traditions and folklore. Churches, temples and similar places of worship are 6 as tourist attractions. This can be 7 the expense of their original function: how many believers want to worship in the middle of a flow of atheist invaders Who would want to pray 8 curious onlookers shuffle to and fro with guide books, rather than prayer books, in their handsTourism may bring other indirect cultural consequences in its 9 . Tensions which already exist between ancient and more modern ways may be deepened by tourists" ignorance of 10 customs and beliefs. Tourists, if not actually richer, often seem more well-off than natives. The former may therefore feel superior, 11 the latter embarrassed about their lifestyles. The result maybe an inferior feeling which 12 helps the sense of identity which is so important to regional culture. The poverty of a locality can look even worse when 13 with the comfortable hotel environment inhabited by tourists. Prosperous retired or elderly tourists from Britain, where the average life expectancy is 75 years, may well 14 resentment in Sierra Leone, where the local population can expect to live to no more than 41 years. The relative prosperity of tourists may 15 crime. In Gambia, unemployed young people offer to act as"professional friends"—guides, companions or sexual partners in return for money. When the tourism season is over, they can no longer get wages that way so they 16 to petty stealing from the local populace. All this affects the local social life and culture 17 .Cultural erosion can also take place at more 18 levels. Greek villagers traditionally 19 themselves on their hospitality. They would 20 travelers for free, feeding them and listening to their stories. To take money would have been a disgrace. That has changed now. Tourists exist to be exploited. Perhaps this is hardly surprising if the earnings from one room rented to a tourist can exceed a teacher"s monthly salary.
微信支付 
支付宝支付