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2.商校百科 申请群 1.CR Researchers conducted a study with two groups of participants. Group A consumed more than three servings of vegetables per day, while Group B did not consume vegetables regularly. The results showed that Group A had better memory retention and cardiovascular health compared to Group B. The researchers concluded that eating vegetables is beneficial for both mental and physical health. Which of the following, if true, would most weaken the researchers' conclusion? (A) Group A participants also had a more balanced diet overall compared to Group B. (B) The study was conducted over a period of six months, and participant adherence to the assigned diets was not strictly monitored. (C) Participants in Group A reported higher levels of physical activity than those in Group B. (D) The study did not control for other lifestyle factors such as sleep quality and stress levels. (E) Participants in Group A generally maintained healthier lifestyles, including regular exercise habits, compared to those in Group B.
A study was conducted to investigate children's eating habits and preferences. In the study, researchers prepared two types of cookies: one made with vegetables and the other made with peas. The cookies were visually identical. The children were divided into two groups. Group A was informed about the ingredients in each cookie before tasting, while Group B was not informed. The results showed that the children in both groups enjoyed the vegetable cookies. However, when it came to the pea cookies, a significantly higher proportion of children in Group A, who were informed about the ingredients, reported not liking the taste compared to those in Group B, who were not informed. Which of the following, if true, would best explain the apparent discrepancy in the children's reactions to the pea cookies? (A) The children in Group A had a preexisting dislike for peas, while those in Group B did not. (B) The texture of the pea cookies was significantly different from that of the vegetable cookies. (C) The researchers did not control for the children's hunger levels during the taste test. (D) Children tend to be more skeptical of the taste of unfamiliar foods when they are informed about the ingredients beforehand. (E) The vegetable cookies contained a higher proportion of sugar compared to the pea cookies. 答案： ED
2. As can be seen from this brief presentation, Ousmane Sembene's forty year film work bears an unparalleled social and artistic significance in the context of both world and African cinema. At the international level, Sembene has been unequivocally recognized as the father of African cinema and his has received countless awards and distinctions. His images are intended not only for entertainment and profit (Sembene adheres to Lenin's prescription that "An artist must make money in order to live and work, but not live and work in order to make money"), but rather as an educational tool. His work is aimed at promoting freedom, social justice, and at restoring pride and dignity to African people. To reach such a goal, Sembene seeks first to "indigenize" the medium by resorting first to the use of African languages (Wolof and Diola, two Senegalese languages, and Bambara, a language spoken in Eastern Senegal, in Mauritania, Mali, Burkina, and Côte d'Ivoire in Moolaade) Secondly, this primary emphasis on language allowed him to specify his public : "Africa is my "audience" while the West and the "rest" are only targeted as "markets". Thirdly, he borrows from the rich heritage of African oral narratives, handed down by the griots and rejecting a mere imitation of Hollywood's narrative techniques, Sembene's cinema ushered in a genuinely African film aesthetics. "We will never be Arabs or Europeans; we are African", Sembene likes to philosophize. Finally, bent on educating and on liberating the disenfranchised, Sembene's cinema uses the tools provided by Marxist analysis and the passion of a visionary who profoundly believes, like Antoine de Saint-Exupery's character, Riviere, (Vol de nuit ; Night Flight) that only creation gives meaning to life. Counter to the hegemonic"official" history of Senegal, produced by its local elite, Sembene's filmography, which critics have perceived as "A call to action" has given voice to the millions of marginalized and voiceless African peasantry, its workers, women, and children, while often putting him at odds with his country's powerful. Indeed, most of Sembene's films have been either banned or censored by former president Leopold Senghor's regime.
Moreover, since Camp De Thiaroye (1988), through Guelwaar (1993), Faat Kine (2000), and Moolaade (2003), Sembene's film work has taken on and fulfilled a manifold objective that, symbolically, goes well beyond the strict realm of art as symbolic representation. Indeed since 1957, with the independence of Nkrumah's Ghana, and the creation of The Organization of African Unity (OAU) in Addis Ababa in 1963 by thirty newly independent states (and the fifty-three nations making up the current African Union), Africa's political leaders have failed to reach the triple objective of putting an end to its "balkanization" by political unity, of performing its economic integration, nor of ending its technological dependence on the West.
Indeed, for the financing of Camp De Thiaroye, Sembene, without giving up on the vertical model of cooperation with Europe (North-South axis), took the fresh approach of a hitherto uncharted model of a horizontal, inter-African (South-South axis) cooperation. For the financing of the film Sembene performed a symbolic "economic integration" through a co-production budget between SNPC (Senegal), ENAPROC (Algeria), SATPEC (Tunisia), and his own production company (Filmi Domireew/Filmi Kajoor). For the first time, Sembene also called on the services of a Tunisian lab for post-production of his film. Moreover, a film about a colonial massacre (the killing by French officers of African soldiers who returned from WWII, Camp Thiaroye ) also offers a unified approach to African history by also echoing the 1954 Setif colonial massacre that heralded the war of independence in Algeria. Although Guelwaar (1993) is a co-production with Galatee-Films, a French production company, its post-production was also done in Morocco. As for Faat Kine, the production was the result of a truly international cooperation (France, Germany, Switzerland, USA, Cameroon, and Senegal) and the post-production was again done in Morocco. With Moolaade, for the first time, Sembene has made a film outside Senegal's national borders, in Burkina Faso, seventeen kms, east of the border with Côte d'Ivoire, and in Bambara (a language spoken in eastern Senegal, in Mali, southern Mauritania, and, of course Burkina Faso). The technical crew was French (camera, sound, lighting), the set designer was from Benin, the production managers were from Burkina Faso and some machinists were from Senegal. The cast was selected by Casting Sud in Burkina Faso and includes Malians and Burkinabe as well as actors from Côte d'Ivoire. Thus, in his project as an artist-film maker, Ousmane Sembene realized the dream of a unified Africa, which its political leaders still have yet to produce.
According to the passage, which of the following best describes Ousmane Sembene's primary goal as a filmmaker? (A) To create films that adhere to Hollywood's narrative techniques (B) To produce films solely for entertainment and profit (C) To promote freedom, social justice, and restore dignity to African people (D) To gain international recognition as the father of African cinema (E) To give voice to Africa's political leaders and powerful elites
The author mentions that Sembene's films have been banned or censored by Leopold Senghor's regime primarily to (A) illustrate the controversial nature of Sembene's filmmaking (B) emphasize the influence of Sembene's films on African politics (C) highlight the power struggle between Sembene and African leaders (D) suggest that Sembene's films lack artistic merit and significance (E) imply that Sembene's films cater to the interests of the West
The passage suggests that Sembene's approach to the financing and production of his films can be best described as (A) a rejection of cooperation with European production companies (B) a strict adherence to the vertical model of North-South cooperation (C) a symbolic realization of the dream of a unified Africa (D) a complete reliance on Senegalese national resources (E) an exclusive focus on French technical crews and labs
According to the passage, which of the following is NOT mentioned as a way in which Sembene seeks to "indigenize" the medium of cinema? (A) Using African languages such as Wolof, Diola, and Bambara (B) Borrowing from the rich heritage of African oral narratives (C) Rejecting a mere imitation of Hollywood's narrative techniques (D) Emphasizing the importance of entertainment and profit (E) Developing a genuinely African film aesthetic
The passage mentions that Sembene's film Camp de Thiaroye is significant because it (A) was the first film to be entirely financed by African production companies (B) echoes the 1954 Setif colonial massacre in Algeria (C) was banned and censored by all African governments (D) marked a complete rejection of cooperation with European countries (E) was produced and filmed entirely within Senegal's borders
Based on the information in the passage, it can be inferred that Ousmane Sembene would most likely agree with which of the following statements? (A) African filmmakers should prioritize entertainment and profit over social and political messages. (B) The future of African cinema lies in its ability to imitate and compete with Hollywood films. (C) African languages and oral traditions have no place in the medium of cinema. (D) The use of Marxist analysis is essential for creating films that educate and liberate the disenfranchised. (E) Cooperation among African nations is unnecessary for the success of African cinema.
The author's mention of Antoine de Saint-Exupery's character, Riviere, serves to (A) compare Sembene's filmmaking style to that of European directors (B) suggest that Sembene's films are influenced by French literature (C) emphasize Sembene's belief in the transformative power of artistic creation (D) imply that Sembene's films are difficult for African audiences to understand (E) argue that Sembene's films are primarily concerned with existential questions
Which of the following best describes the main purpose of the passage? (A) To compare Ousmane Sembene's filmmaking techniques to those of Hollywood directors (B) To criticize the failure of African political leaders to achieve unity and economic integration (C) To highlight the international acclaim and recognition received by Ousmane Sembene (D) To analyze the role of European financing in the production of African films (E) To present Ousmane Sembene's film work as a significant artistic and social force in African cinema
答案: C 解析:文章多处提到桑贝内电影的目的是促进自由、社会正义并恢复非洲人民的尊严,而不是为了娱乐和利润。 答案: A 解析:文章提到桑贝内的电影经常被塞内加尔前总统利奥波德·桑戈尔政权查禁或审查,这表明他的电影具有争议性。 答案: C 解析:通过对桑贝内电影financing和production方式的描述,文章暗示他象征性地实现了非洲梦想统一的梦想。 答案: D 解析:文章没有提到强调娱乐和利润是桑贝内"本土化"电影媒介的方式。相反,文章明确指出他拒绝仅为娱乐和利润而制作电影。 答案: B 解析:文章提到桑贝内的电影《Camp de Thiaroye》之所以重要,是因为它呼应了1954年阿尔及利亚的塞提夫殖民大屠杀,为非洲历史提供了一个统一的视角。 答案: D 解析:根据文章信息,可以推断桑贝内最有可能同意使用马克思主义分析对于创作教育和解放弱势群体的电影至关重要。 答案: C 解析:作者提到安托万·德·圣-埃克苏佩里的角色里维埃尔,是为了强调桑贝内对艺术创作变革力量的信念。 答案: E 解析:文章的主要目的是将乌斯曼·桑贝内的电影作品呈现为非洲电影中一股重要的艺术和社会力量。
3.DI The Baroque period, which spanned from the late 16th century to the early 18th century, was a time of great artistic and cultural achievement in Europe. In Spain, the Baroque style took on a unique character, influenced by the country's rich history, its religious traditions, and its position as a global superpower during the Golden Age of Spanish art. One of the defining features of Spanish Baroque art was its intense emotionality and drama. Painters such as Diego Velázquez, Francisco de Zurbarán, and Bartolomé Esteban Murillo were renowned for their ability to capture the inner lives of their subjects, often depicting them in moments of deep contemplation, sorrow, or ecstasy. This emphasis on emotion was closely tied to the Catholic Church, which played a dominant role in Spanish society during the Baroque period. Many Spanish Baroque paintings were commissioned by the Church or by wealthy patrons who sought to express their devotion through art. Another key characteristic of Spanish Baroque art was its use of complex compositional techniques and visual effects. Painters often employed techniques such as tenebrism, which involved the use of strong contrasts of light and shadow to create a sense of depth and drama. They also made use of elaborate ornamentation, such as gilded frames and intricate carvings, to enhance the visual impact of their works. These techniques were particularly evident in the works of Zurbarán, who was known for his startlingly realistic depictions of religious figures and still lifes. In addition to painting, Spanish Baroque art also encompassed a wide range of other media, including sculpture, architecture, and decorative arts. Sculptors such as Juan Martínez Montañés and Pedro de Mena created stunning works in wood and stone, often depicting religious figures with an almost otherworldly sense of grace and beauty. Architects such as José Benito de Churriguera and Pedro de Ribera designed grand churches and palaces that showcased the wealth and power of the Spanish monarchy, with elaborate facades and opulent interiors. Interestingly, the Baroque period in Spain also saw the emergence of a unique style of music that shared many of the same characteristics as the visual arts. Spanish Baroque music was characterized by its complex harmonies, its use of ornamentation and improvisation, and its emotional intensity. Composers such as Tomás Luis de Victoria, Francisco Guerrero, and Juan Bautista José Cabanilles created works that were deeply expressive and technically demanding, often pushing the boundaries of what was possible with the musical instruments of the time. Like Spanish Baroque art, Spanish Baroque music was closely tied to the Catholic Church, with many composers creating works specifically for use in religious services. However, there were also secular forms of Spanish Baroque music, such as the zarzuela, a type of musical drama that incorporated elements of opera, dance, and spoken dialogue. These works often dealt with themes of love, honor, and patriotism, and were immensely popular with Spanish audiences. Despite the many achievements of Spanish Baroque art and music, the period was also marked by significant social and political upheaval. Spain was engaged in a series of costly wars and conflicts during the 17th century, including the Thirty Years' War and the War of the Spanish Succession. These conflicts, combined with economic challenges such as inflation and the decline of the Spanish empire, created a sense of instability and uncertainty that was reflected in the art and music of the time. At the same time, the Spanish Inquisition, which had been established in the late 15th century to combat heresy and promote Catholic orthodoxy, continued to exert a powerful influence over Spanish society during the Baroque period. Artists and musicians who ran afoul of the Inquisition could face severe consequences, including imprisonment, torture, and even execution. This climate of fear and repression had a profound impact on the development of Spanish Baroque art and music, with many artists and composers forced to navigate a complex web of political, religious, and social pressures in order to create their works. Despite these challenges, Spanish Baroque art and music managed to flourish, leaving a lasting legacy that continues to be celebrated and studied to this day. The works of Velázquez, Zurbarán, Murillo, and other Spanish Baroque masters are considered some of the greatest achievements in the history of Western art, while the music of Victoria, Guerrero, and Cabanilles continues to be performed and recorded by modern ensembles and soloists. Moreover, the influence of Spanish Baroque art and music can be seen in a wide range of later artistic movements and styles, from the Rococo and Neoclassical periods of the 18th century to the Romanticism and Modernism of the 19th and early 20th centuries. Many of the techniques and approaches pioneered by Spanish Baroque artists and musicians, such as the use of tenebrism, ornamentation, and improvisation, have become integral parts of the Western artistic canon. Today, Spanish Baroque art and music are celebrated not only for their beauty and technical brilliance but also for the ways in which they reflect the complex social, political, and cultural forces that shaped Spanish society during this pivotal period in history. Through their works, Spanish Baroque artists and musicians offer us a glimpse into a world of intense emotion, deep spirituality, and great artistic achievement, all set against the backdrop of a society undergoing profound change and transformation. Questions:
Based on the passage, which of the following best describes the relationship between Spanish Baroque art and the Catholic Church? A. Spanish Baroque art was often commissioned by the Church or wealthy patrons to express religious devotion. B. The Catholic Church played a minimal role in the development of Spanish Baroque art. C. Spanish Baroque artists often used their works to criticize the power and influence of the Catholic Church. D. The Catholic Church actively discouraged the creation of Spanish Baroque art due to its emotional intensity. The passage suggests that the use of tenebrism in Spanish Baroque painting was primarily intended to: A. Create a sense of depth and drama in the composition. B. Highlight the individual brushstrokes and techniques of the artist. C. Evoke a feeling of joy and celebration in the viewer. D. Obscure the details and complexity of the subject matter. According to the passage, Spanish Baroque music was characterized by all of the following EXCEPT: A. Complex harmonies and technical demanding compositions. B. The use of ornamentation and improvisation. C. A lack of emotional intensity or expressive power. D. Close ties to the Catholic Church and religious services. The passage indicates that the zarzuela, a type of Spanish Baroque musical drama, often featured: A. Themes of religious devotion and spirituality. B. Elements of opera, dance, and spoken dialogue. C. Satirical critiques of Spanish society and politics. D. Experimental and avant-garde musical techniques. Which of the following best describes the impact of the Spanish Inquisition on Spanish Baroque art and music, according to the passage? A. The Inquisition actively promoted the development of Spanish Baroque art and music as a means of spreading Catholic ideology. B. The Inquisition had little to no impact on the development of Spanish Baroque art and music. C. The Inquisition created a climate of fear and repression that made it difficult for Spanish Baroque artists and musicians to create their works. D. The Inquisition encouraged Spanish Baroque artists and musicians to create works that challenged Catholic orthodoxy and promoted religious freedom. The passage suggests that Spanish Baroque architects such as José Benito de Churriguera and Pedro de Ribera were known for: A. Designing simple, unadorned churches and palaces that emphasized functionality over decoration. B. Incorporating elements of Islamic and Moorish architecture into their designs. C. Creating grand, opulent buildings that showcased the wealth and power of the Spanish monarchy. D. Pioneering the use of new materials and construction techniques in their architectural works. According to the passage, which of the following was a significant challenge faced by Spanish society during the Baroque period? A. A series of costly wars and conflicts, including the Thirty Years' War and the War of the Spanish Succession. B. The rise of Protestantism and other religious movements that challenged the authority of the Catholic Church. C. The emergence of a new middle class that challenged the social and economic dominance of the Spanish nobility. D. The influence of foreign artistic styles and techniques, particularly from Italy and France. The passage indicates that the influence of Spanish Baroque art and music can be seen in all of the following artistic movements and styles EXCEPT: A. Rococo and Neoclassical periods of the 18th century. B. Romanticism and Modernism of the 19th and early 20th centuries. C. Impressionism and Post-Impressionism of the late 19th century. D. The use of tenebrism, ornamentation, and improvisation in later Western art and music. Based on the passage, which of the following best describes the relationship between Spanish Baroque art and music and the social and political context of the time? A. Spanish Baroque art and music were largely isolated from the social and political upheavals of the period. B. Spanish Baroque art and music were used primarily as tools of political propaganda and social control. C. Spanish Baroque art and music were shaped by and reflected the complex social, political, and cultural forces of the time. D. Spanish Baroque art and music actively challenged and subverted the dominant social and political order of the period. The passage suggests that Spanish Baroque art and music are significant for all of the following reasons EXCEPT: A. They are considered some of the greatest achievements in the history of Western art and music. B. They reflect the complex social, political, and cultural forces that shaped Spanish society during the Baroque period. C. They have had a lasting influence on later artistic movements and styles in the Western world. D. They were created primarily for the entertainment and enjoyment of the Spanish aristocracy and ruling class. AACBCCACCD
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发表于 2024-9-4 08:31:09
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