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Aesthetic thought of a distinctively modern bent emerged during the 18th century. The western philosophers and critics of this time (31) much attention to such matters as natural beauty, the sublime, and representation— a trend (32) the central position they had given to the philosophy of nature. Since that time, however, the philosophy of art has become ever more (33) and has begun to (34) the philosophy of nature. Various issues (35) to the philosophy of art have had a (36) impact on the orientation of 20th-century aesthetics. (37) among these are problems relating to the theory of art as form and (38) the distinction between representation and expression. Still another far-reaching question has to do with the (39) of art. Two opposing theoretical positions have been (40) on this issue: one holds that art and its appreciation are a means to some recognized moral good, (41) the other maintains that art is intrinsically valuable and is an end in itself. Underlying this whole issue is the concept of taste, one of the basic (42) of aesthetics. In recent years there has also been an increasing preoccupation with art as the prime object of (43) judgment. Corresponding to the trend in contemporary aesthetic thought, critics have followed (44) of two approaches. In one, criticism is restricted to the analysis and interpretation of the work of art. (45) it is devoted to articulating the response to the aesthetic object and to (46) a particular way of perceiving it.Over the years, aesthetics has developed into a broad field of knowledge and inquiry. The concerns of contemporary aesthetics include such (47) problems as the nature of style and its aesthetic significance; the relation of aesthetic judgment to culture; the (48) of a history of art; the (49) of Freudian psychology and other forms of psychological study to criticism; and the place of aesthetic judgment in practical (50) in the conduct of everyday affairs. （43）（）
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Aesthetic thought of a distinctively modern bent emerged during the 18th century. The western philosophers and critics of this time (31) much attention to such matters as natural beauty, the sublime, and representation— a trend (32) the central position they had given to the philosophy of nature. Since that time, however, the philosophy of art has become ever more (33) and has begun to (34) the philosophy of nature. Various issues (35) to the philosophy of art have had a (36) impact on the orientation of 20th-century aesthetics. (37) among these are problems relating to the theory of art as form and (38) the distinction between representation and expression. Still another far-reaching question has to do with the (39) of art. Two opposing theoretical positions have been (40) on this issue: one holds that art and its appreciation are a means to some recognized moral good, (41) the other maintains that art is intrinsically valuable and is an end in itself. Underlying this whole issue is the concept of taste, one of the basic (42) of aesthetics. In recent years there has also been an increasing preoccupation with art as the prime object of (43) judgment. Corresponding to the trend in contemporary aesthetic thought, critics have followed (44) of two approaches. In one, criticism is restricted to the analysis and interpretation of the work of art. (45) it is devoted to articulating the response to the aesthetic object and to (46) a particular way of perceiving it.Over the years, aesthetics has developed into a broad field of knowledge and inquiry. The concerns of contemporary aesthetics include such (47) problems as the nature of style and its aesthetic significance; the relation of aesthetic judgment to culture; the (48) of a history of art; the (49) of Freudian psychology and other forms of psychological study to criticism; and the place of aesthetic judgment in practical (50) in the conduct of everyday affairs. （45）（）
Aesthetic thought of a distinctively modern bent emerged during the 18th century. The western philosophers and critics of this time (31) much attention to such matters as natural beauty, the sublime, and representation— a trend (32) the central position they had given to the philosophy of nature. Since that time, however, the philosophy of art has become ever more (33) and has begun to (34) the philosophy of nature. Various issues (35) to the philosophy of art have had a (36) impact on the orientation of 20th-century aesthetics. (37) among these are problems relating to the theory of art as form and (38) the distinction between representation and expression. Still another far-reaching question has to do with the (39) of art. Two opposing theoretical positions have been (40) on this issue: one holds that art and its appreciation are a means to some recognized moral good, (41) the other maintains that art is intrinsically valuable and is an end in itself. Underlying this whole issue is the concept of taste, one of the basic (42) of aesthetics. In recent years there has also been an increasing preoccupation with art as the prime object of (43) judgment. Corresponding to the trend in contemporary aesthetic thought, critics have followed (44) of two approaches. In one, criticism is restricted to the analysis and interpretation of the work of art. (45) it is devoted to articulating the response to the aesthetic object and to (46) a particular way of perceiving it.Over the years, aesthetics has developed into a broad field of knowledge and inquiry. The concerns of contemporary aesthetics include such (47) problems as the nature of style and its aesthetic significance; the relation of aesthetic judgment to culture; the (48) of a history of art; the (49) of Freudian psychology and other forms of psychological study to criticism; and the place of aesthetic judgment in practical (50) in the conduct of everyday affairs. (40)（）
Aesthetic thought of a distinctively modern bent emerged during the 18th century. The western philosophers and critics of this time (31) much attention to such matters as natural beauty, the sublime, and representation— a trend (32) the central position they had given to the philosophy of nature. Since that time, however, the philosophy of art has become ever more (33) and has begun to (34) the philosophy of nature. Various issues (35) to the philosophy of art have had a (36) impact on the orientation of 20th-century aesthetics. (37) among these are problems relating to the theory of art as form and (38) the distinction between representation and expression. Still another far-reaching question has to do with the (39) of art. Two opposing theoretical positions have been (40) on this issue: one holds that art and its appreciation are a means to some recognized moral good, (41) the other maintains that art is intrinsically valuable and is an end in itself. Underlying this whole issue is the concept of taste, one of the basic (42) of aesthetics. In recent years there has also been an increasing preoccupation with art as the prime object of (43) judgment. Corresponding to the trend in contemporary aesthetic thought, critics have followed (44) of two approaches. In one, criticism is restricted to the analysis and interpretation of the work of art. (45) it is devoted to articulating the response to the aesthetic object and to (46) a particular way of perceiving it.Over the years, aesthetics has developed into a broad field of knowledge and inquiry. The concerns of contemporary aesthetics include such (47) problems as the nature of style and its aesthetic significance; the relation of aesthetic judgment to culture; the (48) of a history of art; the (49) of Freudian psychology and other forms of psychological study to criticism; and the place of aesthetic judgment in practical (50) in the conduct of everyday affairs. （50）（）
It is generally agreed that the first true cities appeared about 5,000 years ago in the food-producing communities of the Middle East. The cities of Sumeria, Egypt and the Indus Valley possessed a number of characteristics which distinguished them a truly urban area. The cities were very much larger and more densely populated than any previous settlement, and their function was clearly differentiated from that of the surrounding villages. In the cities the old patterns of kinship relations were replaced by a complex hierarchy of social classes based on the specialization of labor. Moreover, the need to keep records led to the development of writing and arithmetic, and the increased sophistication of urban society gave a new impetus to artistic expression of every kind.When the basis of city life was established in Europe and the urban tradition was drawn from the ancient cities of the Middle East via the civilizations of Greece and Rome, we can trace three main phases in the growth of the West European city. The first of these is the medieval phase, which extends from the beginning of the 11th century A. D. to about 1500. The second is the renaissance and Baroque phase which can be traced from about 1500 to the beginning of the 19th century. The third is the modern phase, extending from the early 19th century to the present day.Every medieval city began as a small settlement which grew up round a geographical or cultural focal point. This would often be a permanent structure such as a stronghold, a cathedral or a large church. In districts where travel and trade were well established, it might be a market, a river crossing, or a place where two or more trade routes met. In studies of urban geography other oldest part of a town is referred to as the nuclear settlement. There are many small towns in Europe where it is still possible to trace the outline of the original nuclear settlement. It is, of course, much more difficult to do this in the case if a large modem city which has grown to many times its original size. Which of the following statements is CORRECT（）
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