英语
测试6
下面给出的文章后面有一组五个问题。为每个问题选择最合适的答案。
本世纪艺术的一个显著方面是它所体现的概念和意识形态的范围。在艺术领域中出现一种模式——或者是强加于它的一种后视模式——几乎是很诱人的，类似于存在于科学保护伞下的模式，在科学保护伞下，一般术语涵盖了一系列独立但相互联系的活动。然而，至少在这个例子中，任何并行都是误导性的。一门科学一旦确立了基本原理，就会系统地发展起来。命名和分类为约定。相比之下，现代艺术的许多概念都是在特定的时间和特定的地点，由一群群有才华的人偶然相遇而产生的。这些偶然相遇所产生的想法产生了双重后果。首先，将产生一部文集，其中大部分仍是事件的具体记录。其次，这些思想本身将通过许多不同的传播渠道传播——这些种子往往在与它们的时代相距甚远的环境中结出果实。并不是所有的运动都只关注创新。 Surrealism, for instance, claimed to embody a kind of insight which can be present in the art of any period. This claim has been generally accepted so that sixteenth century painting by Spranger or a mysterious photograph by Atget can legitimately be discussed in surrealist terms. Briefly, then, the concepts of modern art are of many different (often fundamentally different) kinds and resulted from the exposures of painters, sculptors and thinkers to the more complex phenomena of the twentieth century, including our ever increasing knowledge of the thought and products of earlier centuries. Different groups of artists would collaborate in trying to make sense of a rapidly changing world of visual and spiritual experience. We should hardly be surprised if no one group succeeded completely, but achievements, though relative, have been considerable. Landmarks have been established—concrete statements of position which give a pattern to a situation which could easily have degenerated into total chaos. Beyond this, new language tools have been created for those who follow—semantic systems which can provide a springboard for further explorations. The codifying of art is often criticized. Certainly one can understand that artists are wary of being pigeon-holed since they are apt to think of themselves as individuals—sometimes with good reason. The notion of self-expression, however, no longer carries quite the weight it once did; objectivity has its defenders. There is good reason to accept the ideas codified by artist and critics, over the past sixty years or so, as having attained the status of independent existence—an independence which is not without its own value. The time factor is important here. As an art movement slips into temporal perspective, it ceases to be a living organism—becoming, rather, a fossil. This is not to say that it becomes useless or uninteresting. Just as a scientist can reconstruct the life of a prehistoric environment from the messages codified into the structure of a fossil, so can an artist decipher whole webs of intellectual and creative possibility from the recorded structure of a ‘dead’ art movement. The artist can match the creative patterns crystallized into this structure against the potentials and possibilities of his own time. As T. S. Eliot observed, no one starts anything from scratch; however consciously you may try to live in the present, you are still involved with a nexus of behaviour patterns bequeathed from the past. The original and creative person is not someone who ignores these patterns, but someone who is able to translate and develop them so that they conform more exactly to his—and our—present needs.