揽瓜阁训练营 第163天（含CR，RC和DI题目）

小白斩鸡

之前大家对揽瓜阁精读的反馈很好，就想着自己的时间开始把一些精读的文章根据JJ出题目～ 然后focus上线，IR需求 大家也大。就想着 把揽瓜阁的阅读 逻辑 IR 都放在这贴里打卡

每日的解析在揽瓜阁2024群更新

RC题源：揽瓜阁精读的文章+机经的题目
CR题源：本月中文JJ改编
IR题源： 往届鸡精改编

打卡内容：
一周打卡五篇，科目不限。
每天上午管理员群内发布题目，群成员做完提交打卡，第二天发布解析

打卡内容建议：
阅读：写文章结构、笔记
逻辑：写逻辑链分析
IR：写做题思路和选项分析

【现在你的笔记越全，越能帮助你捋清思路，之后回顾总结。】
打卡方式：
可以在论坛留言区打卡，截图到群内
也可以在小红书/微博打卡，需写明任务内容是哪篇，并带上#揽瓜阁 #LGG #lgg 的 tag，截图到群内。



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1.CR
A new diagnostic method for a rare neurological disorder has been developed. The current treatment for this disorder has severe side effects, and the existing diagnostic method often misclassifies healthy individuals as having the disorder. In clinical trials, the new method showed no instances of incorrectly diagnosing healthy individuals with the disorder.
Which of the following would be most important to evaluate in determining whether to replace the existing diagnostic method with the new one?
A) Whether the new method is more cost-effective than the existing method.
B) Whether the new method can detect the disorder at an earlier stage than the existing method.
C) Whether the new method fails to identify any individuals who actually have the disorder.
D) Whether the side effects of the treatment have become less severe since the existing method was implemented.
E) Whether other neurological disorders can be mistaken for this particular disorder using the new method.

When faced with an uncontrollable forest fire, firefighters sometimes employ a technique called "controlled burning." This involves deliberately setting fire to areas ahead of the advancing wildfire, consuming potential fuel and creating a barrier that the main fire cannot cross.
For this technique to be effective, which of the following must be true?
A) All other firefighting methods have been exhausted or deemed ineffective.
B) There are no residential properties or structures in the immediate vicinity of the controlled burn area.
C) The direction and speed of the wildfire's spread can be accurately predicted.
D) The area chosen for controlled burning has a higher fuel density than the approaching wildfire's path.
E) The controlled burn can be completed before the main fire reaches the deliberately burned area.

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2.RC
The women who were able to turn their educational limitations to their advantage gained access to the opera stage as composers and librettists in unprecedented numbers in late-eighteenth- and early-nineteenth-century France. Although women still formed only a fraction of the total number of composers and librettists, one can nevertheless speak of an explosion of women creating opera as compared with earlier periods. In the first fifty years of opera in France (1670-1720), only approximately seven works by three women are known (see appendix). In the next fifty-year period (1720-70), the figures remain relatively stable with nine operas by four women. But in the fifty years between 1770 and 1820, at least forty-four operas by nineteen women are known to have been composed or performed. This multiplication of female-authored operas constituted a sufficient critical mass for some of these works to be singled out as great successes. Indeed, two of them, Catherine, ou la belle fermitre (Catherine, or the beautiful farmer-woman) by Julie Candeille and Sapho by Constance Pipelet (later de Salm), ranked among the ten most-performed dramatic works in Paris in 1793 and 1795, respectively. This was a significant accomplishment given the social and artistic importance assigned to opera during this period, as well as the large number of new operas created every year-a feat comparable to writing a best-selling novel today. Furthermore, this phenomenon was unique in the history of opera. Not only was it unequaled in the nineteenth or twentieth centuries, but even in the eighteenth century no such proliferation of opera by women occurred anywhere else in Europe." Although opera continued to grow in popularity in the nineteenth century, and women continued to be active composers and librettists (mostly in the lighter genre of operetta), there was a decrease both in the number of women and in the number of their works. Most importantly, none of the works came close to reaching the same heights of popularity as the works of women like Candeille and Pipelet.

What made this explosion of opera by women possible? Certainly the increased demand for opera in general led to greater production of works, and women benefited from this overall trend. Starting in the middle of the eighteenth century, opera became the entertainment of choice for a larger proportion of the French people rather than appealing exclusively to an elite public. The influence of Italian comic opera and improvised farce chiseled away at the stagnating trage'die-lyrique. As a result of the more diverse audiences, theaters needed a constant supply of new operas in various genres. In response to this more competitive market and pressure from authors-as well as larger political factors-the institution of opera became more democratic over the course of the eighteenth century. Rather than relying on an earlier system of patronage which favored authors who had privileged connections, theaters used more substantive and formal standards of evaluation. They instituted submission procedures designed to judge and reward works on the basis of their merits. At a time when women were succeeding in other creative endeavors (novels and painting, for example) women composers and librettists were attracted by the promise of having their works selected by what they considered to be an impartial tribunal. The abolition of privileges for the royal theaters during the Revolutionary period resulted in a tremendous multiplication of new theaters, giving authors and composers even more chances to see their works staged-especially because opera fulfilled the dual (and contradictory) roles of providing an escape from Revolutionary violence and of being a forum for political education.

1. The author's discussion of the "explosion of women creating opera" and the subsequent decline in the 19th century implies which of the following about the relationship between social progress and artistic opportunity?
A) Social progress is cyclical and inevitably leads to periods of regression
B) Artistic opportunities for marginalized groups are often tied to specific historical contexts
C) The quality of art improves as social barriers are removed
D) Periods of rapid social change always result in increased artistic diversity
E) The arts are a leading indicator of broader social trends

2. Which of the following, if true, would most undermine the author's implicit argument about the relationship between the democratization of opera selection and the increase in female-authored works?
A) Male composers from lower social classes also saw a significant increase in successful operas during this period
B) The majority of female-authored operas were initially rejected but later accepted due to public pressure
C) Theaters that maintained traditional selection processes saw a similar increase in female-authored operas
D) Female composers who succeeded during this period came predominantly from privileged backgrounds
E) The increase in female-authored operas preceded the changes in theater selection processes by several years

3. The author's comparison of the success of certain operas to "writing a best-selling novel today" serves which of the following complex rhetorical functions?
A) It anachronistically applies modern standards of success to a historical context
B) It simultaneously emphasizes the magnitude of the achievement and provides a familiar frame of reference for modern readers
C) It suggests that the criteria for artistic success have remained constant over time
D) It implies that the opera industry of the time was as commercially driven as today's publishing industry
E) It undermines the artistic value of the operas by equating them with popular literature

4. Based on the information provided in the passage, which of the following can be inferred about the interaction between gender, artistic merit, and institutional change in late 18th century French opera?
A) Institutional changes were necessary but not sufficient for the recognition of female-authored operas
B) The artistic merit of female-authored operas was the primary driver of institutional change
C) Gender bias in opera composition was eliminated entirely by institutional changes
D) The increase in female-authored operas was solely a result of broader social changes
E) Institutional changes in opera selection directly caused an improvement in the quality of female-authored works

5. The author's discussion of the dual roles of opera during the Revolutionary period suggests which of the following about the relationship between art and politics in times of social upheaval?
A) Art inevitably becomes a tool for political propaganda during revolutions
B) The escapist function of art is always at odds with its potential for political education
C) Audiences in revolutionary times seek art that balances escapism with political relevance
D) The political function of art always supersedes its entertainment value during social upheavals
E) Artists in revolutionary periods are forced to choose between political engagement and popular appeal

6. The passage's discussion of the changing demographics of opera audiences and the influence of Italian comic opera suggests which of the following about the relationship between artistic innovation and market forces?
A) Artistic innovation is always driven by the demands of new audience segments
B) Market forces inevitably lead to a degradation of artistic quality
C) The democratization of art forms can lead to both stylistic diversification and increased accessibility
D) Economic factors are more influential than artistic considerations in shaping cultural trends
E) The popularity of foreign art forms always results in a decline of indigenous artistic traditions

7. The author's analysis of the factors contributing to the rise of female opera composers implicitly challenges which of the following assumptions about artistic achievement?
A) Talent is the primary determinant of success in the arts
B) Social and institutional barriers are insurmountable obstacles to artistic recognition
C) Artistic movements are primarily driven by individual genius rather than societal factors
D) Gender is irrelevant in the evaluation of artistic merit
E) Periods of political upheaval always result in artistic stagnation

8. Which of the following, if true, would most complicate the author's argument about the uniqueness of the phenomenon of female-authored operas in late 18th and early 19th century France?
A) A similar surge in female-authored plays occurred in England during the same period
B) The increase in female opera composers was accompanied by a decrease in female visual artists
C) Male opera composers in France faced similar institutional barriers during this period
D) The quality of female-authored operas was generally considered superior by contemporary critics
E) Female novelists in France experienced even greater success rates during the preceding century

9. The passage's discussion of the abolition of privileges for royal theaters and the multiplication of new theaters implies which of the following about the relationship between political structures and artistic opportunities?
A) Political decentralization always leads to increased artistic diversity
B) The democratization of political institutions has a direct and immediate impact on artistic production
C) Changes in political structures can create new spaces for artistic expression, but the relationship is complex and not necessarily causal
D) Artistic institutions are more resistant to political change than other social structures
E) The quality of art inevitably improves when freed from royal or aristocratic patronage

10. Based on the information in the passage, which of the following can be inferred about the long-term impact of the surge in female-authored operas in late 18th and early 19th century France?
A) It permanently altered the gender dynamics of opera composition in Europe
B) It had a lasting influence on the thematic content of French operas
C) It represented a temporary phenomenon that, while significant, did not fundamentally change the opera industry
D) It led to a backlash that resulted in increased barriers for women in the arts in the late 19th century
E) It directly influenced the development of feminist movements in France

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3.DI
The Spanish Flamenco industry, a paragon of artistic expression and cultural heritage, has long been a cornerstone of Spain's creative economy and global cultural influence. Rooted in a rich tapestry of Andalusian, Romani, and Moorish traditions spanning centuries, this illustrious art form employs an estimated 75,000 performers, musicians, and artisans, collectively generating annual revenues exceeding €3.8 billion. The industry's ecosystem encompasses a diverse array of entities, from venerable tablaos that have preserved authentic Flamenco for generations to avant-garde fusion artists redefining the genre for the 21st century.

At the heart of this intricate web of artistry and commerce lies the iconic Triana neighborhood in Seville, which has served as the epicenter of Flamenco since the 18th century. This hallowed ground, steeped in the lore and legend of the art form, is home to the most renowned peñas (Flamenco clubs) and academies, including such luminaries as La Casa del Flamenco, El Arenal, and La Casa de la Memoria. These institutions, with their unparalleled artistry and unwavering commitment to authenticity, have not only shaped the trajectory of Flamenco but have also played an instrumental role in establishing Spain as the preeminent destination for aficionados and students of the art form worldwide.

The ontological essence of Flamenco, a syncretic amalgamation of disparate cultural influences, has long been a subject of scholarly debate and artistic exploration. Its rhythmic complexities, embodied in the intricate compás patterns that form the backbone of Flamenco music, reflect a sophisticated mathematical structure that has drawn comparisons to fractal geometry and chaos theory. The duende, a nebulous concept central to Flamenco performance, represents a transcendent state of emotional and spiritual communion between artist and audience, defying facile categorization or quantification.

In recent years, the Flamenco landscape has undergone a seismic shift, catalyzed by the inexorable march of globalization and technological advancement. The traditional binary opposition between purists and innovators has given way to a more nuanced and polyphonic discourse, with artists and audiences alike grappling with questions of authenticity, cultural appropriation, and the commodification of heritage. This dialectic has been further complicated by the emergence of hybrid forms that blur the boundaries between Flamenco and other musical traditions, from jazz and electronic music to contemporary dance and performance art.

The digital revolution has profoundly reshaped the contours of the Flamenco industry, democratizing access to both performance and pedagogy. Virtual tablaos and online masterclasses have proliferated, with an estimated 85% of professional Flamenco artists maintaining an active social media presence. This digital diaspora has engendered new modes of artistic collaboration and cross-pollination, while simultaneously raising concerns about the dilution of regional specificity and the erosion of traditional transmission methods.

The economic ramifications of this paradigm shift have been equally profound. While the overall revenue of the Flamenco industry has continued to grow, its distribution has become increasingly polarized. A small cadre of superstar performers and viral sensations command exorbitant fees and boast massive online followings, while many traditional artists struggle to make ends meet. This stratification has been exacerbated by the rise of algorithmic curation on streaming platforms, which tend to favor more accessible, fusion-oriented styles over more esoteric, traditional forms.

Concurrently, the Flamenco fashion industry has undergone a renaissance, with designers reimagining traditional garments through the prism of contemporary aesthetics and sustainable production methods. An estimated 55% of Flamenco fashion houses now incorporate eco-friendly materials and ethical labor practices, reflecting a broader trend towards conscientious consumption in the luxury sector.

The intersection of Flamenco and technology has yielded a plethora of innovative performance modalities and pedagogical tools. Motion capture technology and AI-driven composition software have opened up new avenues for choreographic experimentation and musical analysis. Some avant-garde performers have even incorporated biofeedback sensors and augmented reality elements into their shows, pushing the boundaries of what constitutes a Flamenco performance.

As Flamenco continues to evolve in the 21st century, it faces a series of existential challenges and opportunities. The UNESCO designation of Flamenco as an Intangible Cultural Heritage of Humanity in 2010 has brought increased recognition and resources, but also heightened scrutiny and debate over issues of cultural ownership and representation. The COVID-19 pandemic has accelerated the industry's digital transformation, while simultaneously highlighting the irreplaceable value of live, in-person performances.

The geopolitical dimensions of Flamenco have also come to the fore, with the art form serving as both a tool of cultural diplomacy and a flashpoint for debates about national identity and regional autonomy. The Andalusian government's efforts to promote Flamenco as a unique cultural asset have sometimes clashed with the Spanish central government's attempts to present a more unified national cultural brand.

Moreover, the globalization of Flamenco has led to the emergence of thriving scenes in unexpected locales, from Japan to Argentina. These diasporic communities have not only preserved traditional forms but have also contributed to the evolution of the art form, introducing new stylistic elements and thematic concerns. This global diffusion has raised complex questions about cultural authenticity and the role of geography in defining artistic legitimacy.

The economic impact of Flamenco extends far beyond direct revenue from performances and recordings. The art form has become a significant driver of cultural tourism, with an estimated 650,000 visitors annually traveling to Spain specifically for Flamenco-related experiences. This influx has had ripple effects across various sectors of the Spanish economy, from hospitality to retail.

As Flamenco navigates the complexities of the digital age and global cultural flows, it continues to serve as a powerful vehicle for emotional expression, social commentary, and cultural identity. The tension between tradition and innovation, local roots and global reach, remains at the heart of the Flamenco experience, driving its evolution and ensuring its enduring relevance in the contemporary world.

1. The passage suggests that the concept of duende in Flamenco performance is most analogous to which of the following phenomena in other artistic traditions?
A) Catharsis in Greek tragedy
B) Improvisation in jazz music
C) Method acting in theater
D) Wabi-sabi in Japanese aesthetics
E) The sublime in Romantic poetry

2. Based on the information provided in the passage, which of the following statements about the economic structure of the contemporary Flamenco industry is most likely to be true?
A) Revenue is evenly distributed among all practitioners
B) Traditional artists consistently earn more than fusion artists
C) There is a significant income disparity between top performers and the majority of artists
D) Online platforms have eliminated the need for live performances
E) Government subsidies account for the majority of industry revenue

3. The author's discussion of the intersection between Flamenco and technology implies which of the following about the nature of artistic innovation?
A) Technological advancements inevitably lead to the degradation of traditional art forms
B) The incorporation of new technologies is essential for the survival of traditional arts
C) The relationship between technology and artistic tradition is complex and multifaceted
D) Artists who embrace technology are inherently more innovative than those who do not
E) The use of technology in art is incompatible with the concept of authenticity

4. Which of the following best describes the author's attitude towards the globalization of Flamenco?
A) Enthusiastic endorsement
B) Cautious optimism
C) Neutral observation
D) Skeptical criticism
E) Nuanced ambivalence

5. If the annual revenue of the Flamenco industry is €3.8 billion, and cultural tourism related to Flamenco brings in an additional 30% of this amount, what is the total economic impact of Flamenco, including both direct revenue and tourism?
A) €4.94 billion
B) €5.7 billion
C) €7.6 billion
D) €11.4 billion
E) €3.8 billion

6. The passage's discussion of the relationship between Flamenco and fractal geometry suggests which of the following about the nature of artistic complexity?
A) Mathematical models can fully explain artistic phenomena
B) Complex art forms necessarily involve mathematical structures
C) There may be unexpected parallels between artistic and scientific concepts
D) Fractal geometry is the most appropriate tool for analyzing all art forms
E) Artistic complexity is solely a function of mathematical intricacy

7. Based on the information in the passage, which of the following scenarios would most likely exacerbate the tensions between traditional and innovative approaches to Flamenco?
A) Increased government funding for both traditional and experimental Flamenco projects
B) The development of AI that can perfectly replicate traditional Flamenco performances
C) A global shortage of traditional Flamenco instruments
D) The discovery of previously unknown historical Flamenco recordings
E) A surge in international student enrollments in Spanish Flamenco academies

8. The author's discussion of the UNESCO designation of Flamenco as an Intangible Cultural Heritage of Humanity implies which of the following about the relationship between cultural preservation and evolution?
A) International recognition always leads to the ossification of cultural practices
B) Cultural evolution is incompatible with efforts at preservation
C) The process of cultural preservation can itself become a catalyst for debate and change
D) UNESCO designations are primarily symbolic and have little practical impact
E) Cultural practices must remain static to maintain their authenticity

9. If 85% of professional Flamenco artists maintain an active social media presence, and there are 75,000 people employed in the industry, approximately how many professional Flamenco artists do NOT have an active social media presence, assuming all employed in the industry are artists?
A) 11,250
B) 63,750
C) 3,750
D) 7,500
E) 15,000

10. The passage suggests that the future of Flamenco will most likely be characterized by which of the following?
A) A complete return to traditional forms and practices
B) The total replacement of live performances with digital experiences
C) A continued negotiation between tradition and innovation, local and global influences
D) The emergence of a single, dominant global style of Flamenco
E) A decline in popularity due to inability to adapt to modern tastes

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excalibur_benz

看一下！               

ZT1

看一下！               

vassy

Mark一下！               

dreamer_11

#lgg-cr-D163
1.C
2.B

anonysakura

Day 163
https://forum.chasedream.com/thread-1395452-1-1.html

CR
1: C
2: E

jeilham

000000000000000000000

狗熊要吃肉

Mark一下！               

615我的分

D163
CR
1、C
2、E

Dean1211

11