2015考研英语阅读模拟习题 (4)
以下资料供同学作为同步练习与检测，适度的当地习题演练对阅读整体水平的提高起到至关重要的作用。Section ⅡReading Comprehension Part A Directions：Read the following four
texts. Answer the questions below each text by choosing A， B， C or D. Mark your
answers on ANSWER SHEET 1. (40 points)
Text4
Picture-taking is a technique both for reflecting the objective world and
for expressing the singular self. Photographs depict objective realities that
already exist， though only the camera can disclose them. And they depict an
individual photographer's temperament， discovering itself through the camera's
cropping of reality. That is， photography has two directly opposite ideals： in
the first， photography is about the world and the photographer is a mere
observer who counts for little; but in the second， photography is the instrument
of fearlessness， questing subjectivity and the photographer is all. These
conflicting ideals arise from uneasiness on the part of both photographers and
viewers of photographs toward the aggressive component in “taking” a picture.
Accordingly， the ideal of a photographer as observer is attracting because it
implicitly denies that picture-taking is an aggressive act. The issue， of
course， is not so clear-cut. What photographers do cannot be characterized as
simply predatory or as simply， and essentially， benevolent. As a consequence，
one ideal of picture-taking or the other is always being rediscovered and
championed. An important result of the coexistence of these two ideals is a
recurrent ambivalence toward photography's means. Whatever are the claims that
photography might make to be a form of personal expression just like painting，
its originality is closely linked to the power of a machine. The steady growth
of these powers has made possible the extraordinary informativeness and
imaginative formal beauty of many photographs， like Harold Edgerton's high-speed
photographs of a bullet hitting its target or of the swirls and eddies of a
tennis stroke. But as cameras become more sophisticated， more automated， some
photographers are tempted to disarm themselves or to suggest that they are not
really armed， preferring to submit themselves to the limit imposed by pre-modern
camera technology because a cruder， less high-powered machine is thought to give
more interesting or emotive results， to leave more room for creative accident.
For example， it has been virtually a point of honor for many photographers，
including Walker Evans and Cartier Bresson， to refuse to use modern equipment.
These photographers have come to doubt the value of the camera as an instrument
of “fast seeing”。 Cartier Bresson， in fact， claims that the modern camera may
see too fast. This ambivalence toward photographic means determines trends in
taste. The cult of the future (of faster and faster seeing) alternates over time
with the wish to return to a purer past when images had a handmade quality. This
longing for some primitive state of the photographic enterprise is currently
widespread and underlies the present-day enthusiasm for daguerreotypes and the
work of forgotten nineteenth-century provincial photographers. Photographers and
viewers of photographs， it seems， need periodically to resist their own
knowingness. (451 words)
Notes： crop vt. 播种，修剪(树木)，收割。count for little 无关紧要。predatory 掠夺成性的。champion
n. 冠军;vt. 支持。benevolent好心肠的，行善的。ambivalence 矛盾心理。make (+不定式)似乎要： He makes to
begin. (他似乎要开始了。)swirls and eddies 漩涡。cult狂热崇拜。daguerreotypes (初期的)银板照相法。
36. The two directly opposite ideals of photography differ primarily in
the
emphasis that each places on the emotional impact of the finished
product.
degree of technical knowledge that each requires of the
photographer.
way in which each defines the role of the photographer.
extent of the power that each requires of the photographer's
equipment.
37. According to paragraph 2， the interest among photographers in each of
the photography's two ideals can be described as
steadily growing.
cyclically recurring.
continuously altering.
spontaneously occurring.
38. The text states all of the following about photographs EXCEPT：
They can display a cropped reality.
They can convey information.
They can depict the photographer's temperament.
They can change the viewer's sensibilities.
39. The author mentions the work of Harold Edgerton in order to provide an
example of
the relationship between photographic originality and technology. [
B]how the content of photographs has changed from the nineteenth century to
the twentieth.
the popularity of high-speed photography in the twentieth century.
how a controlled ambivalence toward photography's means can produce
outstanding pictures.
40. The author is primarily concerned with
describing how photographers'individual temperaments are reflected in
their work.
establishing new technical standards for contemporary photography.
analyzing the influence of photographic ideals on picture-taking.
explaining how the technical limitations affect photographers'work.
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