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综合英语专四阅读训练

综合英语专四阅读训练
综合英语专四阅读训练

Material 4-1

Text A

As a contemporary artist, Jim Dine has often incorporated other people's photography into his abstract works. But, the 68-year-old American didn't pick up a camera himself and start shooting until he moved to Berlin in 1995—and once he did, he couldn't stop. The result is a voluminous collection of images, ranging from early-20th-century-style heliogravures (凹版照相) to modern-day digital printings, a selection of which are on exhibition at the Maison Europeenne de la Photographic in Paris. They are among his most prized achievements. " I make photographs the way 1 make paintings," says Dine, "but the difference is, in photography, it's like lighting a fire every time. "

Though photography makes up a small slice of Dine's vast oeuvre, the exhibit is a true retrospective of his career. Dine mostly photographs his own artwork or the subjects that he has portrayed in sculpture, painting and prints—including Venus de Milo, ravens and owls, hearts and skulls. There are still pictures of well-used tools in his Connecticut workshop, delightful digital self-portraits and intimate portraits of his sleeping wife, the American photographer Diana Michener. Most revealing and novel are Dine's shots of his poetry, scribbled in charcoal on walls like graffiti. To take in this show is to wander through Dine's life: his childhood obsessions, his loves, his dreams. It is a poignant and powerful exhibit that rightly celebrates one of modern art's most intriguing—and least hyped—talents.

When he arrived on the scene in the early 1960s, Dine was seen as a pioneer in the pop-art movement. But he didn't last long; once pop stagnated, Dine moved on. "Pop art had to do with the exterior world," he says. He was more interested, he adds, in "what was going on inside me." He explored his own personality, and from there developed themes. His love for handcrafting grew into a series of artworks incorporating hammers and saws. His obsession with owls and ravens came from a dream he once had. His childhood toy Pinocchio, worn and chipped, appears in some self-portraits as a red and yellow blur flying through the air.

Dine first dabbled in photography in the late 1970s, when Polaroid invited him to try out a new large format camera at its head-quarters in Cambridge, Massachusetts. He produced a series of colorful, out-of-focus self-portraits, and when he was done, he packed them away. A half dozen of these images—in perfect condition—are on display in Paris for the first time. Though masterful, they feel flat when compared with his later pictures.

Dine didn't shoot again until he went to Berlin in the mid-'90s to teach. By then he was ready to embrace photography completely. Michener was his guide. "She opened my eyes to what was possible," he says. "Her approach is so natural and classic. I listened. " When it came time to print what he had photographed, Dine chose heliogravure, the old style of printing favored by Alfred Stieglitz, Edward Curtis and Paul Strand, which gives photographs a warm tone and an almost hand-drawn look—like Dine's etchings. He later tried out the traditional black-and-white silver-gelatin process, then digital photography and jet-ink printing, which he adores.

About the same time, Dine immersed himself into Jungian psychoanalysis. That, in

conjunction with his new artistic tack, proved cathartic. "The access photography gives you to your subconscious is so fantastic," he says. "I've learned how to bring these images out like a stream of consciousness—something that's not possible in the same way in drawing or painting because technique always gets in your way. " This is evident in the way he works, when Dine shoots, he leaves things alone.

Eventually, Dine turned the camera on himself. His self-portraits are disturbingly personal; he opens himself physically and emotionally before the lens. He says such pictures are an attempt to examine himself as well as "record the march of time, what gravity does to the face in everybody. I'm a very willing subject. "Indeed, Dine sees photography as the surest path to self-discovery. “I’ve always learned about myself in my art," he says. "But photography expresses me. It's me. Me. "The Paris exhibit makes that perfectly clear.

1. According the Dine, the difference between painting and photography is that.

A. the latter requires more insight

B. the former needs more patience

C. the latter arouses great passions in him

D. the former involves more indoor work

2. The word "oeuvre" in the second paragraph probably means " ".

A. all the works of an artist

B. all the efforts of an artist

C. an artist's great potential

D. an artist's great talent

3. Which of the following photographs of Dine's leaves the deepest impression on the author?

A. Pictures of graffiti on walls.

B. Photographs of his poetry.

C. Shots of his well-used tools.

D. Pictures of ravens and owls.

4. What does the author think of Dine's self-portraits in the late 1970s?

A. Their connotative meanings are not rich enough.

B. They are not so exquisite as his later works.

C. They reflect themes of his childhood dreams.

D. They are much better than his later pictures.

5. All of the following fields has Dine ever set foot in EXCEPT .

A. a new style of painting

B. a silver-gelatin process

C. an old style of printing

D. Jungian psychoanalysis

6. What is the main idea of the passage?

A. Jim Dine's exhibit is a true retrospective of his career.

B. The author tells us Jim Dine's life stories as an artist.

C. Jim Dine is distinguished for his colorful self-portraits.

D. In a revealing exhibit, Jim Dine points his lens inward.

Text B

Every profession or trade, every art, and every science has its technical vocabulary, the function of which is partly to designate things or processes which have no names in

ordinary English, and partly to secure greater exactness in nomenclature. Such special dialects, or jargons, are necessary in technical discussion of any kind. Being universally understood by the devotees of the particular science or art, they have the precision of a mathematical formula. Besides, they save time, for it is much more economical to name a process than to describe it. Thousands of these technical terms are very properly included in every large dictionary, yet, as a whole, they are rather on the outskirts of the English language than actually within its borders.

Different occupations, however, differ widely in the character of their special vocabularies. In trades and handicrafts, and other v ocations, like farming and fishery, which have occupied great numbers 6f men from remote times, the technical vocabulary is very old. It consists largely of native words, or of borrowed words that have worked themselves into the very fiber of our language. Hence, though highly technical in many particulars, these vocabularies are more familiar in sound, and more generally understood, than most other technicalities.

The special dialects of law, medicine, divinity, and philosophy have also, in their older strata, become pretty familiar to cultivated persons, and have contributed much to the popular vocabulary. Yet every vocation possesses a large body of technical terms that remain essentially foreign, even to educated speech. And the proportion has been much increased in the last fifty years, particularly in the various departments of natural and political science and in the mechanic arts. Here new terms are coined with the great freedom and abandoned with indifference when they have served their turn. Most of the new coinages are confined to special discussions, and seldom get into general literature or conversation.

Yet no profession is nowadays, as all professions once were, a close guild. The lawyer, the physician, the man of science, the divine, associates freely with his fellow-creatures, and does not meet them in a merely professional way. Furthermore, what is called "popular science" makes everybody acquainted with modern views and recent discoveries. Any important experiment, though made in a remote or provincial laboratory, is at once reported in the newspapers, and everybody is soon talking about it—as in the case of the Roentgen rays and wireless telegraphy. Thus our common speech is always taking up new technical terms and making them commonplace.

7. This passage is primarily concerned with ______.

A. a new language

B. technical terminology

C. various occupations and professions

D. scientific undertakings

8. Special words used in technical discussion _______.

A. should be confined to scientific fields

B. should resemble mathematical formulae

C. are considered artificial speech

D. may become part of common speech

9. It is true that_______.

A. the average man often uses in his own vocabulary what was once technical language not meant for him

B. various professions and occupations often interchange their dialects and jargons

C. there is always a clear-cut nontechnical word that may be substituted for the technical word

D. an educated person would be expected to know most technical terms

10. The writer of this article was probably ______.

A. a linguist

B. an attorney

C. a scientist

D. an essay ist

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