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Print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic imag
Print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic imag
admin
2011-01-17
5
问题
Print seems a less treacherous form of leaching out the world, of turning it
into a mental object, than photographic images, which now provide most of the
knowledge people have about the look of the past and the reach of the present.
Line What is written about a person or an event is frankly an interpretation, as are
(5) handmade visual statements, like paintings and drawings, while photographed
images do not seem to be statements about the world so much as pieces of it,
miniatures of reality that anyone can make or acquire as "evidence". The
camera record incriminates, providing modern states with a tool of surveillance
and control of increasingly mobile population, and at the same time justifies, by
(10) presenting purportedly incontrovertible proof that a given thing happened.
Whatever the limitations (through amateurism) or pretensions (through
artistry) of the individual photographer, a photograph-any photograph-seems
to have a more innocent, and therefore more accurate, relation to visible reality
than do other mimetic objects. A painting or a prose description can never be
(15) other than a narrowly selective interpretation, while in contrast a photograph
can be treated as a narrowly selective transparency. Despite the presumption of
veracity that gives all photographs authority, interest, seductiveness, the work
that photographers do is no generic exception to the usually shady commerce
between art and truth, for even when photographers are most concerned with
(20) mirroring reality, they are still haunted by tacit imperatives of taste and
conscience. In deciding how a picture should look, in preferring one exposure to
another, photographers are always imposing standards on their subjects.
Although there is a sense in which the camera does indeed capture reality, not
just interpret it, photographs are as much an interpretation of the world as
(25) paintings and drawings are. Those occasions when the taking of photographs is
relatively undiscriminating, promiscuous, or self-effacing do not lessen the
didacticism of the whole enterprise, for indeed this very passivity-and
ubiquity-of the photographic record is photography’s "message", its
aggressive impulse.
(30) Like most fashion and animal photography, images which idealize are no
less aggressive than work which makes a virtue of plainness, like class pictures,
still lives of the bleaker sort, and mug shots. There is an aggression implicit in
every use of the camera, a fact that became evident in the 1840s and 1850s,
photography’s glorious first two decades, when technology first gave rise to a
(35) view of the world as a set of potential photographs. From its inception,
photography implied the capture of the largest possible number of subjects,
while painting never had so imperial a scope. The subsequent industrialization
of camera technology only carried out a promise inherent in photography from
its very beginning: to democratize all experiences by translating them into
(40) images.
According to the author, the photograph has been misconstrued to carry which of the following advantages?
选项
A、A higher cultural importance than the printed word has held
B、Greater technological ease than the printed word has held
C、Freedom from interpretation that plagues the printed word
D、Less dependence on mimetic function than the printed word employs
E、Increased sense of taste and conscience that the printed word lacks
答案
C
解析
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本试题收录于:
GRE VERBAL题库GRE分类
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