大学英语四级阅读强化训练英语四级考试目的是推动大学英语教学大纲的贯彻执行，对大学生的英语能力进展客观、准确的测量，为提高我国大学英语课程的教学质量效劳。下面是分享的大学英语四级阅读强化训练，一起来看一下吧。Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotograph’sfidelitytoappearancesanddependenceonamachineallowedittobeafineartasdistinctfrommerelyapracticalart.Throughoutthenieenthcentury,thedefenceofphotographywasidenticalwiththestruggletoestablishitasafineart.Againstthechargethatphotographywasasoulless,mechanicalcopyingofreality,photographersassertedthatitwasinsteadaprivilegedwayofseeing,arevoltagainstmonplacevision,andnolessworthyanartthanpainting.Ironically,nowthatphotographyissecurelyestablishedasafineart,manyphotographersfinditpretentiousorirrelevanttolabelitassuch.Seriousphotographersvariouslyclaimtobefinding,recording,impartiallyobserving,witnessingevents,exploringthemselves—anythingbutmakingworksofart.Theyarenolongerwillingtodebatewhetherphotographyisorisnotafineart,excepttoproclaimthattheirownworkisnotinvolvedwithart.ItshowstheextenttowhichtheysimplytakeforgrantedtheconceptofartimposedbythetriumphofModernism:thebettertheart,themoresubversiveitisofthetraditionalaimsofart.Photographers’disclaimersofanyinterestinmakingarttellusmoreabouttheharriedstatusofthecontemporarynotionofartthanaboutwhetherphotographyisorisnotart.Forexample,thosephotographerswhosupposethat,bytakingpictures,theyaregettingawayfromthepretensionsofartasexemplifiedbypaintingremindusofthoseAbstractExpressionistpainterswhoimaginedtheyweregettingawayfromtheintellectualausterityofclassicalModernistpaintingbyconcentratingonthephysicalactofpainting.Muchofphotography’sprestigetodayderivesfromtheconvergenceofitsaimswiththoseofrecentart,particularlywiththedismissalofabstractartimplicitinthephenomenonofPoppaintingduringthe1960’s.Appreciatingphotographsisarelieftosensibilitiestiredofthementalexertionsdemandedbyabstractart.ClassicalModernistpainting—thatis,abstractartasdevelopedindifferentwaysbyPicasso,Kandinsky,andMatisse—presupposeshighlydevelopedskillsoflookingandafamiliaritywithotherpaintingsandthehistoryofart.Photography,likePoppainting,reassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart.Photography,however,hasdevelopedalltheanxietiesandself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthepromotionofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—inshort,anart.1.Whatistheauthormainlyconcernedwith?Theauthorisconcernedwith[A].definingtheModernistattitudetowardart.[B].explaininghowphotographyemergedasafineart.[C].explainingtheattitudeofseriouscontemporaryphotographerstowardphotographyasartandplacingthoseattitudesintheirhistoricalcontext.[D].definingthevariousapproachesthatseriouscontemporaryphotographerstaketowardtheirartandassessingthevalueofeachofthoseapproaches.2.Whichofthefollowingadjectivesbestdescribes“theconceptofartimposedbythetriumphofModernism”astheauthorrepresentsitinlines12—13?[A].Objective[B].Mechanical.[C].Superficial.[D].Paradoxical.3.WhydoestheauthorintroduceAbstractExpressionistpainter?[A].Hewantstoprovideanexampleofartistswho,likeseriouscontemporaryphotographers,disavowedt...
