Question

【題目】

The Sculptor Speaks

Appreciation of sculpture depends upon the ability to respond to form in three dimensions(維度). That is perhaps why sculpture has been described as the most difficult of all arts; certainly it is more difficult than the arts which involve 【1】 of flat forms, shape in only two dimensions. Many more people are ‘form-blind’ than color-blind. Children learning to see, first distinguishes only two-dimensional shape; it cannot judge distances, depths. Later, for their personal safety and practical needs, they have to develop partly by 【2】 of touch, the ability to judge roughly three-dimensional distances. But after they 【3】 the requirements of practical necessity, most people go no further. Though they may 【4】 considerable accuracy in the perception(知覺，感知) of flat form, they do not make the further intellectual and emotional effort needed to 【5】 form in its full spatial existence.

This is what the sculptor must do. He must 【6】 continually to think of, and use, form in its full spatial completeness. He gets the solid shape, as it were, inside his head—he thinks of it, whatever its size, as if he were holding it completely in the hollow of his hand. He 【7】 visualizes a complex form from all round itself; he knows while he looks at one side what the other side is like, he will have to 【8】 himself with its centre of gravity, its mass, its weight; and he realizes its volume, as the space that the shape displaces in the air.

And the sensitive observer of sculpture must also learn to feel shape simply as 【9】, not as description or reminiscence(回憶，聯(lián)想). He must, for example, see an egg as a simple single solid shape, quite apart from its significance as food, or from the 【10】 idea that it will become a bird. And so with solids such as a shell, a nut, a plum, a pear, a tadpole, a mushroom, a mountain peak, a kidney, a carrot, a tree-trunk, a bird, a bud, a lark, a ladybird, a bulrush, a bone. From these he can go on to appreciate more complex forms of combinations of several forms.

Answer 1

【答案】

【1】AC

【2】AD

【3】B

【4】ABC

【5】AB

【6】BD

【7】C

【8】CD

【9】D

【10】A

【解析】

這是一篇說明文。文章講述了雕塑家三維的思維模式，雕塑家需要在自己的思維中訓(xùn)練自己對(duì)物體的重量、體積等等數(shù)據(jù)的判斷。同時(shí)，在他看到一些事物的時(shí)候也會(huì)想象這些事物的線條等等。

【1】考查名詞。appreciation：欣賞。句意：當(dāng)然，這比欣賞平面藝術(shù)更難。前文中提到雕塑是非常難的，因?yàn)榈袼苁强简?yàn)三維空間的能力，而平面藝術(shù)只是二維的，因此比欣賞平面藝術(shù)更難，故選AC。

【2】考查名詞。means：方式。句意：后來，為了他們的人身安全和實(shí)際需要，他們不得不通過觸摸來發(fā)展、判斷大致三維距離的能力。此處為固定搭配，by means of意為“用……，依靠，借助于”。故選AD。

【3】考查動(dòng)詞。satisfy：使?jié)M意、使?jié)M足。句意：但是，在滿足實(shí)際需要的要求后，大多數(shù)人不再往前走。很多人不再繼續(xù)提升，說明他們對(duì)自己現(xiàn)階段的情況表示滿意，即滿足了他們的要求。故選B。

【4】考查動(dòng)詞。acquire：獲得。句意：雖然他們?cè)趯?duì)平面形態(tài)的感知方面可能獲得相當(dāng)?shù)臏?zhǔn)確性。在平面狀態(tài)下也可建立一些認(rèn)知，故選ABC。

【5】考查動(dòng)詞。comprehend：理解、領(lǐng)悟。句意：他們不做進(jìn)一步的智力和情感上的努力，以領(lǐng)悟該形式在其完整的空間存在。分析文章可知，三維空間的能力除了能在平面狀態(tài)下獲得準(zhǔn)確的感知，但能夠在空間狀態(tài)的下領(lǐng)悟到物體的形式也非常重要。故選AB。

【6】考查動(dòng)詞。strive：努力、奮斗。句意：他必須不斷努力去思考和使用以形成完整的空間完整性。文章第二段第一句提到“This is what the sculptor must do”一些雕塑家必須要做的事，即除了獲得平面認(rèn)知外，也要鍛煉自己空間想象的能力。故選BD。

【7】考查副詞。mentally：精神上地。句意：他根據(jù)周圍情況本身在精神上形象化了一個(gè)復(fù)雜的形式。該段第二句提到“He gets the solid shape, as it were, inside his head”，當(dāng)他看到一個(gè)固體的時(shí)候，他就會(huì)在腦海中形成這個(gè)物體的形狀。即雕塑家會(huì)在自己的印象中呈現(xiàn)這個(gè)形式。故選C。

【8】考查動(dòng)詞。identity：認(rèn)同、辨認(rèn)、確認(rèn)。句意：他會(huì)把自己當(dāng)作重心、質(zhì)量、重量…。identity with為固定搭配，意為“認(rèn)同、認(rèn)為…等同于、與…認(rèn)同”。故選CD。

【9】考查名詞。shape：形狀。句意：雕塑的敏感觀察者也必須學(xué)會(huì)簡(jiǎn)單地把形狀感覺成形狀，而不是描述或回憶。as意為像、如同，最后一段第一句提到“…not as description or reminiscence”，雕塑家不要對(duì)物體進(jìn)行回想或描述，說明只需要簡(jiǎn)單的看待物體即可。故選D。

【10】考查名詞。literary：文學(xué)的。句意：他必須把雞蛋看陳一個(gè)簡(jiǎn)單的固體形狀，除了它作為食物的意義，或者從文學(xué)的想法，把它變成一只鳥。分析文章可知，從一個(gè)固定的形狀到聯(lián)想到其發(fā)展的意義，是一種比較文藝、文學(xué)的做法。故選A。