首页
外语
计算机
考研
公务员
职业资格
财经
工程
司法
医学
专升本
自考
实用职业技能
登录
外语
Changes in art and cultural history have never been easy to assimilate to political or economic changes. But perhaps we have eno
Changes in art and cultural history have never been easy to assimilate to political or economic changes. But perhaps we have eno
admin
2016-01-30
70
问题
Changes in art and cultural history have never been easy to assimilate to political or economic changes. But perhaps we have enough evidence to show that particular sub-ideologies, combined with or supported by a bureaucratic upsurge, have caused, or been associated with, what appear to be downhill trends. Different generations naturally engender different styles. No harm in that. Still, it can be argued that some fashions in the field are less troublesome than others.
In an analysis of this sort, one cannot exclude subjectivity. When a writer finds spokesmen of a new generation not susceptible to his or others earlier work, several notions may occur to him. First, that tastes change. To judge art and culture is indeed, in part, to make a more subjective assessment of the aesthetics, which is of taste. And if one asserts that a current trend or current trends are negative, one is, of course, open to the retort that, in various epochs, changes of taste have emerged deplored by the representatives of earlier trends but later seen as having their own value. True, but it is equally true that some striking and popular new art has soon proved no more than a regrettable and temporary fad.
Moreover, our cultural people, in the sense of producers of the arts defined as creative, are now in a strong and unprecedented relationship with the bureaucratic world discussed earlier. Of course, there is no reason to think that sections of the intelligentsia are any sounder on the arts than they are on politics or history. And, here again, they, as a phenomenon, form a far larger social stratum than at any time in the past. It might be argued that, as with the personnel of the state apparatus proper, there is now such a superfluity of the artistically and literary "educated" class that their very number is part of the means of coping with, and employing part of the product.
There comes to a point, hard to define specifically but more; or less obvious, when a regrettable general impression is unarguably convincing — well, not "unarguably" , yet beyond serious debate. Still, an organism, or a polity, may present faults seen as lethal that are in practice comfortable contained and do not require therapy. Nor would one want there to be any implied use of power from outside institutions or individuals.
Even apart from analytics, a great deal of nonsense has been talked or written about art or rather Art. Some reflections seem to be in order. The question of what constitutes " art" and what distinguishes good from less good art, is an old one. We can be certain that humanity was creating what we call art long before the word or the concept existed. And — a further complication — how is it that we all accept that some Paleolithic paintings are among the best of their kind and excel by any standards? Well, not all; there are presumably those who are beyond such acceptance. And in considering the 15 paintings of Lascaux, Altamira, and elsewhere, the question arises: What did their creators think they were doing?
Not decorating — they did not live in the caves. So why did these men go deep into them, too deep to see, and paint by the light of cedar wicks set in grease-filled hollow stones? Why are the hooves of many, but not all, the cattle shown in twisted perspective?
"Magic" is a word often used of all this. But it is indisputable that this was not the "hunting magic" found in later, and more distant, "primitive" depictions. "Religious" is also often applied. But magic or religious in what way? We simply don’t know — but one thing seems obvious: they did not think of their painting as something called "art". This point was reinforced a few years ago by an interview with a Nigerian village sculptor of some fine formal statuettes. I suppose you would call them. Asked why he carved them, he could only reply that this is what he did.
The motivations for Paleolithic paintings can be explained from all the following perspectives EXCEPT______.
选项
A、decorating
B、magic
C、religion
D、art
答案
A
解析
细节判断题。根据第六段首句。原句提到当时人们居住在Not decorating的山洞里,选项B与此矛盾。其他二项在文中都有介绍。故答案为A。
转载请注明原文地址:https://kaotiyun.com/show/BnGO777K
0
考博英语
相关试题推荐
Thereisacloserrelationshipbetweenmoralsandarchitectureandinteriordecoration【C1】______wesuspect.Huxleyhaspointedo
Onereactiontoalltheconcernabouttropicaldeforestationisablankstarethatasksthequestion,"SinceIdon’tliveinthe
______studentsshouldbemotivatedbyakeeninterestintheatreandshouldhavesomefamiliaritywithplaysinproduction.
(复旦大学2009年试题)Hereisagreatironyof21st-centuryglobalpublichealth;Whilemanyhundredsofmillionsofpeoplelackade
(中国矿业大学2006年试题)Generally,acomputerisanydevicethatcanperformnumericalcalculations.Currently,【1】,thetermusually
Iintendtomovethatourcommittee______Jimaschairman,and1hopethatyouwillsecondmymotion.(四川大学2010年试题)
ThenameofFlorenceNightingalelivesinthememoryoftheworldbyvirtueoftheheroicadventureoftheCrimea.Hadshedied
Sustainabledevelopmentisappliedtojustabouteverythingfromenergytocleanwaterandeconomicgrowth,andasaresultith
Thewaypeopleholdtothebeliefthatafunfilled,painfreelifeequalshappinessactuallyreducestheirchancesofeverattai
Apowerfulpersonalgrowthtoolisthe30-daytrial.ThisisaconceptIborrowedfromthesharewareindustry,whereyoucan【W1】
随机试题
编制施工组织设计的依据是()等。
()在HSE管理体系公认的7个系统文件中,后3个文件主要针对建立HSE管理系统后如何运作。
律师协会是律师的自律性组织,这种自律性主要表现在以下哪些方面?()
决定钢结构的计算结果与实际情况最为符合,计算可靠的钢材性能为()
利用“5C”系统评估顾客信誉时,其中条件(Conditions)是指()。
在教师指导下,学生围绕某个问题发表和交换意见,通过相互之间的启发、研讨、商量获取知识的教学方法被称为()
北极海域浮冰面积逐渐减小,总计缩小达20%左右,使北极熊难以在浮冰上长久立足,加之某些国家对海豹大量捕杀,使本来就不多的北极海豹越来越少,北极熊更难在浮冰上捕食海豹。我们来到北极斯匹兹卑尔根岛西北海岸北纬80度附近一海湾时,惊讶地拍摄到了北极熊捕鱼的全过程
鱼和熊掌不可兼得,这种动机冲突是()。
国体即国家性质,是国家的阶级本质,是指社会各阶级在国家生活中的地位和作用。我国的国体是()
TCB是“计算机系统内保护装置的总体,包括硬件、软件、固件和负责执行安全策略的组合体。它建立了一个基本的保护环境,并提供一个可信计算机信息系统所要求的附加用户服务”。简单地说,TCB描述的是(18)。
最新回复
(
0
)