Painter Frida Kahlo(1910-1954)often used harrowing images derived from her Mexican heritage to express suffering caused by a dis

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问题     Painter Frida Kahlo(1910-1954)often used harrowing images derived from her Mexican heritage to express suffering caused by a disabling accident and a stormy marriage. Suggesting much personal and emotional content, her works—many of them self-portraits—have been exhaustively psychoanalyzed, while their political content has been less studied. Yet Kahlo was an ardent political activist who in her art sought not only to explore her own roots, but also to champion Mexico’s struggle for an independent political and cultural identity.
    Kahlo was influenced by Marxism, which appealed to many intellectuals in the 1920s and 1930s, and by Mexican nationalism. Interest in Mexico’s culture and history had revived in the nineteenth century, and by the early 1900 s, Mexican indigenista tendencies ranged from a violently anti-Spanish idealization of Aztec Mexico to an emphasis on contemporary Mexican Indians as the key to authentic Mexican culture. Mexican nationalism, reacting against contemporary United States political intervention in labor disputes as well as against past domination by Spain, identified the Aztecs as the last independent rulers of an indigenous political unit. Kahlo’s form of Mexicanidad, a romantic nationalism that focused upon traditional art uniting all indigenistas, revered the Aztecs as a powerful pre-Columbian society that had united a large area of the Middle Americas and that was thought to have been based on communal labor, the Marxist ideal.
    In her paintings, Kahlo repeatedly employed Aztec symbols, such as skeletons or bleeding hearts that were traditionally related to the emanation of life from death and light from darkness. These images of destruction coupled with creation speak not only to Kahlo’s personal battle for life, but also to the Mexican struggle to emerge as a nation—by implication, to emerge with the political and cultural strength admired in the Aztec civilization. Self-portrait on the Border between Mexico and the United States 1932. , for example, shows Kahlo wearing a bone necklace, holding a Mexican flag, and standing between a highly industrialized United States and an agricultural, preindustrial Mexico. On the United States side are mechanistic and modern images such as smokestacks, light bulbs, and robots. In contrast, the organic and ancient symbols on the Mexican side—a blood-drenched Sun, lush vegetation, an Aztec sculpture, a pre-Columbian temple, and a skull alluding to those that lined the walls of Aztec temples—emphasize the interrelation of life, death, the earth, and the cosmos.
    Kahlo portrayed Aztec images in the folkloric style of traditional Mexican paintings, thereby heightening the clash between modern materialism and indigenous tradition; similarly, she favored planned economic development, but not at the expense of cultural identity. Her use of familiar symbols in a readily accessible style also served her goal of being popularly understood; in turn, Kahlo is viewed by some Mexicans as a mythic figure representative of nationalism itself.
Which one of the following stances toward the United States does the passage mention as characterizing Mexican nationalists in the early twentieth century?

选项 A、Opposition to United States involvement in internal Mexican affairs.
B、Desire to decrease emigration of the Mexican labor force to the United States.
C、Desire to improve Mexico’s economic competitiveness with the United States.
D、Reluctance to imitate the United States model of rapid industrialization.

答案A

解析 事实细节题。根据题干关键词the early twentieth century与原文第二段第二句中的the early1900s对应,据此定位。在接着的一句中Mexican nationalism与题干中的Mexican nationalists对应,原文中的reacting against与选项A中的opposition to对应;原文中的United States与选项A重现;原文中的intervention与选项A中的involvement对应;原文中的labor disputes as well as against pastdomination by Spain,identified the Aztecs as the last independent rulers of an indigenous political unit被选项A概括为internal Mexican affairs。故答案为A。
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