【分析解答题】FAinting (is CAusED) By stoppAgE oF thE BlooD supply to BrAin, DuE to (tEmporAry) hEArt (FAil) From shoCk, (wEAknEss), or ExhAustion.
【单选题】looking At thEAtrE history
onE oF thE primAry wAys oF ApproAChing thE grEEk thEAtrE is through ArChEology, thE systEmAtiC stuDy oF mAtEriAl rEmAins suCh As ArChitECturE, insCriptions, sCulpturE, vAsE pAinting, AnD othEr Forms oF DECorAtivE Art.
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sErious on-sitE ExCAvAtions BEgAn in grEECE ArounD 1870, But w.D6rpFElD DiD not BEgin thE First ExtEnsivE stuDy oF thE thEAtrE oFDionysus until 1886.
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sinCE thAt timE, morE thAn 167 othEr grEEk thEAtrEs hAvE BEEn iDEntiFiED AnD mAny oF thEm hAvE BEEn ExCAvAtED、
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nEvErthElEss, thEy still Do not pErmit us to DEsCriBE thE prECisE AppEArAnCE oF thE skEnE (illustrAtions printED in Books ArE ConjECturAl rEConstruCtions), sinCE mAny piECEs ArE irrEvoCABly lost BECAusE thE BuilDings in lAtEr pErioDs BECAmE sourCEs oF stonE For othEr projECts AnD whAt rEmAins is usuAlly BrokEn AnD sCAttErED、
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thAt most oF thE BuilDings wErE rEmoDElED mAny timEs hAs CrEAtED grEAt proBlEms For thosE sEEking to DAtE Both thE pArts AnD thE suCCEssivE vErsions.DEspitE thEsE DrAwBACks, ArChEology proviDEs thE most ConCrEtE EviDEnCE wE hAvE ABout thE thEAtrE struCturEs oF AnCiEnt grEECE.But, iF thEy hAvE tolD us muCh, ArChEologists hAvE not ComplEtED thEir work, AnD mAny sitEs hAvE sCArCEly BEEn touChED、
pErhAps thE most ControvErsiAl usE oF ArChEologiCAl EviDEnCE in thEAtrE history is vAsE pAintings, thousAnDs oF whiCh hAvE survivED From AnCiEnt grEECE. (most oF thosE usED By thEAtrE sCholArs ArE rEproDuCED in mArgArEtEBiEBEr’s "thE history oF thE grEEk AnD romAn thEAtrE". )DEpiCting sCEnEs From mythology AnD DAily liFE, thE vAsEs ArE thE most grAphiC piCtoriAl EviDEnCE wE hAvE, But thEy ArE Also EAsy to misintErprEt. somE sCholArs hAvE ConsiDErED Any vAsE thAt DEpiCts A suBjECt trEAtED in A surviving DrAmA or Any sCEnE showing mAsks, FlutE plAyErs, or CErEmoniAls to BE vAliD EviDEnCE oF thEAtriCAl prACtiCE. this is A highly quEstionABlE Assumption, sinCE thE grEEks mADE wiDEsprEAD usE oF mAsks, DAnCEs, AnD musiC outsiDE thE thEAtrE AnD sinCE thE myths on whiCh DrAmAtists DrEw wErE known to EvEryonE, inCluDing vAsE pAintErs, who might wEll DEpiCt thE sAmE suBjECts As DrAmAtists without BEing inDEBtED to thEm. thosE vAsEs showing sCEnEs unquEstionABly thEAtriCAl ArE FEw in numBEr.
writtEn EviDEnCE ABout AnCiEnt grEEk thEAtrE is oFtEn trEAtED As lEss rEliABlE thAn ArChEologiCAl EviDEnCE BECAusE most writtEn ACCounts ArE sEpArAtED so FAr in timE From thE EvEnts thEy DEsCriBE AnD BECAusE thEy proviDE no inFormAtion ABout thEir own sourCEs. oF thE writtEn EviDEnCE, thE surviving plAys ArE usuAlly trEAtED As thE most rEliABlE.But thE olDEst surviving mAnusCripts oF grEEk plAys DAtE From ArounD thE tEnth CEntury,C、E、, somE 1500 yEArs AFtEr thEy wErE First pErFormED、sinCE printing DiD not Exist During this timE spAn, CopiEs oF plAys hAD to BE mADE By hAnD, AnD thErEForE thE possiBility oF tExtuAl Errors CrEEping in wAs mAgniFiED、nEvErthElEss, thE sCripts oFFEr us our rEADiEst ACCEss to thE CulturAl AnD thEAtriCAl ConDitions out oF whiCh thEy CAmE.But thEsE sCripts, likE othEr kinDs oF EviDEnCE, ArE suBjECt to vArying intErprEtAtions.CErtAinly pErFormAnCEs EmBoDiED A mAlE pErspECtivE, For ExAmplE, sinCE thE plAys wErE writtEn, sElECtED, stAgED, AnD ACtED By mEn. yEt thE Existing plAys FEAturE numErous ChorusEs oF womEn AnD mAny FEAturE strong FEmAlE ChArACtErs.BECAusE thEsE ChArACtErs oFtEn sEEm viCtims oF thEir own powErlEssnEss AnD AppEAr to BE govErnED, EspECiAlly in thE ComEDiEs, By sExuAl DEsirE, somE CritiCs hAvE sEEn thEsE plAys As rAtionAlizAtions By thE mAlE-DominAtED CulturE For kEEping womEn sEgrEgAtED AnD CloistErED、othEr CritiCs, ho
onE oF thE primAry wAys oF ApproAChing thE grEEk thEAtrE is through ArChEology, thE systEmAtiC stuDy oF mAtEriAl rEmAins suCh As ArChitECturE, insCriptions, sCulpturE, vAsE pAinting, AnD othEr Forms oF DECorAtivE Art.
pErhAps thE most ControvErsiAl usE oF ArChEologiCAl EviDEnCE in thEAtrE history is vAsE pAintings, thousAnDs oF whiCh hAvE survivED From AnCiEnt grEECE. (most oF thosE usED By thEAtrE sCholArs ArE rEproDuCED in mArgArEtEBiEBEr’s "thE history oF thE grEEk AnD romAn thEAtrE". )DEpiCting sCEnEs From mythology AnD DAily liFE, thE vAsEs ArE thE most grAphiC piCtoriAl EviDEnCE wE hAvE, But thEy ArE Also EAsy to misintErprEt. somE sCholArs hAvE ConsiDErED Any vAsE thAt DEpiCts A suBjECt trEAtED in A surviving DrAmA or Any sCEnE showing mAsks, FlutE plAyErs, or CErEmoniAls to BE vAliD EviDEnCE oF thEAtriCAl prACtiCE. this is A highly quEstionABlE Assumption, sinCE thE grEEks mADE wiDEsprEAD usE oF mAsks, DAnCEs, AnD musiC outsiDE thE thEAtrE AnD sinCE thE myths on whiCh DrAmAtists DrEw wErE known to EvEryonE, inCluDing vAsE pAintErs, who might wEll DEpiCt thE sAmE suBjECts As DrAmAtists without BEing inDEBtED to thEm. thosE vAsEs showing sCEnEs unquEstionABly thEAtriCAl ArE FEw in numBEr.
writtEn EviDEnCE ABout AnCiEnt grEEk thEAtrE is oFtEn trEAtED As lEss rEliABlE thAn ArChEologiCAl EviDEnCE BECAusE most writtEn ACCounts ArE sEpArAtED so FAr in timE From thE EvEnts thEy DEsCriBE AnD BECAusE thEy proviDE no inFormAtion ABout thEir own sourCEs. oF thE writtEn EviDEnCE, thE surviving plAys ArE usuAlly trEAtED As thE most rEliABlE.But thE olDEst surviving mAnusCripts oF grEEk plAys DAtE From ArounD thE tEnth CEntury,C、E、, somE 1500 yEArs AFtEr thEy wErE First pErFormED、sinCE printing DiD not Exist During this timE spAn, CopiEs oF plAys hAD to BE mADE By hAnD, AnD thErEForE thE possiBility oF tExtuAl Errors CrEEping in wAs mAgniFiED、nEvErthElEss, thE sCripts oFFEr us our rEADiEst ACCEss to thE CulturAl AnD thEAtriCAl ConDitions out oF whiCh thEy CAmE.But thEsE sCripts, likE othEr kinDs oF EviDEnCE, ArE suBjECt to vArying intErprEtAtions.CErtAinly pErFormAnCEs EmBoDiED A mAlE pErspECtivE, For ExAmplE, sinCE thE plAys wErE writtEn, sElECtED, stAgED, AnD ACtED By mEn. yEt thE Existing plAys FEAturE numErous ChorusEs oF womEn AnD mAny FEAturE strong FEmAlE ChArACtErs.BECAusE thEsE ChArACtErs oFtEn sEEm viCtims oF thEir own powErlEssnEss AnD AppEAr to BE govErnED, EspECiAlly in thE ComEDiEs, By sExuAl DEsirE, somE CritiCs hAvE sEEn thEsE plAys As rAtionAlizAtions By thE mAlE-DominAtED CulturE For kEEping womEn sEgrEgAtED AnD CloistErED、othEr CritiCs, ho
【单选题】 The novelist John Dos Passes developed a style of fiction incorporating several documentary devices ______ to his works.
A．( lent realism
B．( that lending realism
C．( to lend realism
D．( of whose realism lent
A．( lent realism
B．( that lending realism
C．( to lend realism
D．( of whose realism lent
【单选题】 The word "littered" in line 22 is closest in meaning to
A．covered
B．displayed
C．fertilized
D．planted
A．covered
B．displayed
C．fertilized
D．planted
【单选题】origins oF jAzz musiC
thE musiCAl phEnomEnon known As jAzz DEvElopED in thE yEArs just prior to 1900, mAinly in thE City oF nEw orlEAns AnD to A lEssEr ExtEnt in othEr lArgEAmEriCAn CitiEs. thE roots oF this quintEssEntiAllyAmEriCAn musiC ArE vAriED AnD ComplEx, But sEvErAl mAin strAnDs oF CulturE AnD musiCAl trADition CAn BE thought oF As prECursors whiCh EvEntuAlly CulminAtED in A rECognizABlE musiCAl gEnrE.
it is proBABlE thAt BlACkAFriCAns who wErE Brought to thE nEw worlD to work As slAvEs on plAntAtions CArriED with thEm An ABility to improvisE in musiC, in othEr worDs, to spontAnEously vAry inDiviDuAl pArts in A musiCAl pErFormAnCE.
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whilE working As slAvEs on plAntAtions AnD lAtEr As FrEE hAnDs in work plACEs, BlACks usED work songs with A DEgrEE oF improvisAtion, rECAlling thEirAFriCAn hEritAgE, As A rhythm to EAsE thE pAin oF hArD mAnuAl lABor.
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thEsE songs inCluDED spirituAls, thAt is, rEligious songs ExprEssing thE hArD ConDition oF BEing slAvEs, AnD FiElD hollErs, whiCh wErE A Form oF CommuniCAtion BEtwEEn FiElD hAnDs.
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thE proBlEms FACED By thE nEwly FrEED slAvEs Also BECAmE mAtEriAl For A stylE oF singing whiCh originAtED in moAning AnD lAmEntAtions ABout thE DiFFiCultiEs oF liFE.At First thEsE improvisAtions wErE not ACCompAniED By instrumEnts, But lAtEr, trAvEling musiCiAns with guitArs or BAnjos CrEAtED sounDs with soAring AnD sliDing pitCh.
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EvEntuAlly A pAttErn oF musiC EmErgED whiCh wAs rEFErrED to As thE BluEs, An importAnt ComponEnt oF EArly jAzz Forms.
AnothEr importAnt ingrEDiEnt in thE FormAtion oF jAzz is whAt BECAmE known As rAgtimE, A musiCAl Form thAt FlourishED From ABout 1890 until thE stArt oF worlD wAr i, in whiCh thE mEloDy oF A tunE wAs synCopAtED ovEr thE BAss linE AnD gAvE A rAggED FEEl. rAgtimE EvEntuAlly BECAmE FormAlizED AnD writtEn, But thE stylE oF thE rAgtimE tunEs wAs inFluEntiAl in Forming thE EArly DirECtion oF jAzz musiC、
musiCologists hAvE pointED out thAt nEw orlEAns BECAmE thE FoCAl point oF EArly jAzz pErFormAnCE BECAusE BrAss instrumEnts usED By militiA BAnDs During thECivil wAr AnD By town BAnDs For EntErtAinmEnt BEgAn to FinD thEir wAy into sEConDhAnD storEs AnD pAwn shops in nEw orlEAns. this EnABlED poorEr pEoplE to oBtAin instrumEnts ChEAply. thE DEmAnD For livE musiC wAs so grEAt thAt mAny oF thEsE AmAtEurs, whosE mAstEry oF thEsE ChEAply Bought instrumEnts wAs oFtEn inComplEtE, wErE CAllED on to pErForm, thEir unpolishED stylE mAy hAvE BEEn An importAnt ingrEDiEnt oF thE spontAnEous AnD unorthoDox sounD typiCAl oF EArly jAzz.
ACCorDing to lEn wEinstoCk, A historiAn oF jAzz, AnothEr rEAson why nEw orlEAns BECAmE A CEntEr oF this musiCAl stylE wAs thE ExistEnCE within thE City’s populAtion oF A lArgE group oF FrEnCh AnD spAnish sEttlErs who prEsErvED thEir ChArACtEristiC spEECh AnD CulturE. through intErmArriAgE withAFriCAnAmEriCAns, A suBCulturE oF DEsCEnDAnts DEvElopED, thECrEolEs. sinCE thECrEolEs in nEw orlEAns hAD not BEEn EnslAvED, mAny oF thEm BECAmE DistinguishED in thE EConomiC AnD CulturAl liFE oF thE FrEnCh sECtion oF thE City.CrEolEs hAD thEir own musiCAl rEsourCEs inFluEnCED By FrEnCh or spAnish ColoniAl trADitions, But somE wErE Also FormAlly trAinED in thEEuropEAn ClAssiCAl trADition AnD lEArnED thE prECisE tEChniquEs AnD tonAl sophistiCAtion nECEssAry to plAy in ChAmBEr EnsEmBlEs AnD EvEn At thE opErA housE. howEvEr, in 1894,CrEolEs living in nEw orlEAns wErE ForCED By A rACiAl sEgrEgAtion lAw to movE to thE ArEA oF thE City inhABitED By thE poor, lArgEly unEDuCAtED BlACk populAtion whosE musiCAl trADition wAs typiCAlly ChArACtErizED By mEmorizAtion An
thE musiCAl phEnomEnon known As jAzz DEvElopED in thE yEArs just prior to 1900, mAinly in thE City oF nEw orlEAns AnD to A lEssEr ExtEnt in othEr lArgEAmEriCAn CitiEs. thE roots oF this quintEssEntiAllyAmEriCAn musiC ArE vAriED AnD ComplEx, But sEvErAl mAin strAnDs oF CulturE AnD musiCAl trADition CAn BE thought oF As prECursors whiCh EvEntuAlly CulminAtED in A rECognizABlE musiCAl gEnrE.
it is proBABlE thAt BlACkAFriCAns who wErE Brought to thE nEw worlD to work As slAvEs on plAntAtions CArriED with thEm An ABility to improvisE in musiC, in othEr worDs, to spontAnEously vAry inDiviDuAl pArts in A musiCAl pErFormAnCE.
AnothEr importAnt ingrEDiEnt in thE FormAtion oF jAzz is whAt BECAmE known As rAgtimE, A musiCAl Form thAt FlourishED From ABout 1890 until thE stArt oF worlD wAr i, in whiCh thE mEloDy oF A tunE wAs synCopAtED ovEr thE BAss linE AnD gAvE A rAggED FEEl. rAgtimE EvEntuAlly BECAmE FormAlizED AnD writtEn, But thE stylE oF thE rAgtimE tunEs wAs inFluEntiAl in Forming thE EArly DirECtion oF jAzz musiC、
musiCologists hAvE pointED out thAt nEw orlEAns BECAmE thE FoCAl point oF EArly jAzz pErFormAnCE BECAusE BrAss instrumEnts usED By militiA BAnDs During thECivil wAr AnD By town BAnDs For EntErtAinmEnt BEgAn to FinD thEir wAy into sEConDhAnD storEs AnD pAwn shops in nEw orlEAns. this EnABlED poorEr pEoplE to oBtAin instrumEnts ChEAply. thE DEmAnD For livE musiC wAs so grEAt thAt mAny oF thEsE AmAtEurs, whosE mAstEry oF thEsE ChEAply Bought instrumEnts wAs oFtEn inComplEtE, wErE CAllED on to pErForm, thEir unpolishED stylE mAy hAvE BEEn An importAnt ingrEDiEnt oF thE spontAnEous AnD unorthoDox sounD typiCAl oF EArly jAzz.
ACCorDing to lEn wEinstoCk, A historiAn oF jAzz, AnothEr rEAson why nEw orlEAns BECAmE A CEntEr oF this musiCAl stylE wAs thE ExistEnCE within thE City’s populAtion oF A lArgE group oF FrEnCh AnD spAnish sEttlErs who prEsErvED thEir ChArACtEristiC spEECh AnD CulturE. through intErmArriAgE withAFriCAnAmEriCAns, A suBCulturE oF DEsCEnDAnts DEvElopED, thECrEolEs. sinCE thECrEolEs in nEw orlEAns hAD not BEEn EnslAvED, mAny oF thEm BECAmE DistinguishED in thE EConomiC AnD CulturAl liFE oF thE FrEnCh sECtion oF thE City.CrEolEs hAD thEir own musiCAl rEsourCEs inFluEnCED By FrEnCh or spAnish ColoniAl trADitions, But somE wErE Also FormAlly trAinED in thEEuropEAn ClAssiCAl trADition AnD lEArnED thE prECisE tEChniquEs AnD tonAl sophistiCAtion nECEssAry to plAy in ChAmBEr EnsEmBlEs AnD EvEn At thE opErA housE. howEvEr, in 1894,CrEolEs living in nEw orlEAns wErE ForCED By A rACiAl sEgrEgAtion lAw to movE to thE ArEA oF thE City inhABitED By thE poor, lArgEly unEDuCAtED BlACk populAtion whosE musiCAl trADition wAs typiCAlly ChArACtErizED By mEmorizAtion An
【单选题】 The word "depict" in line 2 is closest in meaning to
A．( reorganize
B．( deform
C．( represent
D．( justify
A．( reorganize
B．( deform
C．( represent
D．( justify
【单选题】DrAmA、inAnCiEnt grEEC
E、
1long BEForE thE AnCiEnt grEEks CoulD rEAD AnD writE, thEy lEArnED oF thEir history AnD CulturE through EpiC poEtry ChAntED By BArDs or singErs. thE BArDs ChAntED storiEs in stAnDArD musiCAl phrAsEs thAt wErE ACCompAniED By musiCAl instrumEnts suCh As thE lyrE, A gEnErAl nAmE For Any oF sEvErAl stringED instrumEnts FAvorED By thE BArDs. thE grEAtEst BArD, homEr, wAs A poEt, singEr AnD mAstEr oF thE lyrE.ACCorDing to trADition, homEr wAs A wAnDEring minstrEl who trAvElED From plACE to plACE ChAnting storiEs oF goDs AnD hEroEs.AnothEr FAmous poEt, singEr, AnD lyrE plAyEr wAs sAppho, who stArtED A sChool For girls, whErE shE tAught thE Arts oF musiC, poEtry, AnD DAnCE.
2grEEk CivilizAtion rEAChED A golDEn AgE During thE FiFth CEnturyBC, whEn politiCs, philosophy, Art, ArChitECturE, AnD thEAtEr thrivED, As thEy nEvEr hAD BEForE.As thE grEEks took nEw priDE in humAn AChiEvEmEnts, thEy DEvElopED iDEAls oF BEAuty, orDEr, BAlAnCE, AnD moDErAtion throughout thEir CulturE, inCluDing musiC AnD DrAmA、
3 EArly DrAmA wAs AssoCiAtED with thE worship oF thE goDDionysus AnD wAs An outgrowth oF thE ChorAl songs AnD DAnCEs pErFormED in honor oF thE goD、thE FAmous outDoor thEAtEr oFDionysus inAthEns showED thE importAnCE oF DrAmA to thE grEEks. it wAs situAtED on A hillsiDE to tAkE ADvAntAgE oF thE nAturAl slopE AnD light, AnD it CoulD ACCommoDAtE An AuDiEnCE oF 30,000 pEoplE.A、Chorus oF singErs, DAnCErs, AnD musiCiAns, lED By A singEr who stooD on stEps ABovE thEm, pErFormED storiEs thAt EDuCAtED AnD EntErtAinED thE AuDiEnCE whilE honoring thE goD、
4thE CruCiAl innovAtion thAt turnED ChorAl pErFormAnCE into DrAmA is AttriButED to thEspis, A poEt who is sAiD to hAvE originAtED trAgEDy.As thE Chorus sAng thE story oF A hEro or goD, thEspis woulD EntEr thE thEAtEr As A mAskED ACtor.BEtwEEn songs, hE rECitED vErsEs As A ChArACtEr in thE story, AnD thEsE spokEn vErsEs ChAngED whAt hAD BEEn A ChorAl monologuE into A DiAloguE BEtwEEn thE ACtor AnD thE Chorus. thE lEgACy oF thEspis CAn BE sEEn in thE tErm "thEspiAn," whiCh now DEsCriBEs Anything rElAting to DrAmA、
5 ACtors oF thAt timE worE A lArgE mAsk mADE oF linEn or Cork, insiDE whiCh wAs A DEviCE likE A spEAking trumpEt to AmpliFy thE voiCE. whEn thE ACtor rECitED, it wAs in An ExAltED monotonE, oFtEn to thE ACCompAnimEnt oF FlutEs. thE Chorus EnhAnCED thE trAgEDy with vArious DAnCEs AnD songs, gEnErAlly ACCompAniED By thE lyrE. thE ACtor ChAntED thE linEs oF thE lEAD ChArACtEr, whilE thE Chorus sAng thE nArrAtivE pAssAgEs. still, DEspitE thE AttEntion thE ACtor rECEivED, thEChorus AnD its musiC ContinuED to DominAtE DrAmAtiC pErFormAnCEs with thE ComBinED powEr oF singing AnD DAnCing.
6likE thEspis, thE plAywrightAEsChylus ACtED in his own plAys, But hE ADDED A sEConD mAskED ACtor. now AuDiEnCE AttEntion CoulD BE DirECtED to thE intErplAy BEtwEEn thE two ACtors—ACtion AnD rEACtion, quEstion AnD AnswEr, ConFliCt or CoopErAtion—rAthEr thAn BEtwEEn thE ACtor AnD Chorus.A、lAtEr plAywright, sophoClEs, ADDED A thirD ACtor. this mADE possiBlE not only thrEE-wAy DrAmAtiC sCEnEs But Also plAys with A lArgE CAst oF ChArACtErs, sinCE thE mAsks AllowED An ACtor to plAy morE thAn onE pArt in DiFFErEnt sCEnEs. thE ADDition oF ACtors shiFtED thE FoCus oF DrAmA AwAy From thE Chorus towArD thE ACtion AnD DiAloguE oF thE ChArACtErs.
7plAywrights ContinuED to introDuCE innovAtions, But EssEntiAlly thEy ADhErED to prEsCriBED ConvEntions. onE oF thEsE ConvEntions limitED thE numBEr oF sCEnEs in A plAy to FivE. thE DrAmA AlwAys took plACE in onE loCAtion AnD within A short spAn oF timE, somEtimEs A singlE DAy.AnothEr ConvEntion rEFlECtED thE soCiEty’s sEnsE oF BAlAnCE AnD orDEr: BlooDy DEEDs rArEly took plACE in Front oF thE AuDiEnCE. thErEForE, murDErs, suiCiDEs, AnD othEr ACts oF violEnCE oCCurrED oFFstAgE. thE grEEk ConCEpt oF moDErAtion is rEFlECtED in st
E、
1long BEForE thE AnCiEnt grEEks CoulD rEAD AnD writE, thEy lEArnED oF thEir history AnD CulturE through EpiC poEtry ChAntED By BArDs or singErs. thE BArDs ChAntED storiEs in stAnDArD musiCAl phrAsEs thAt wErE ACCompAniED By musiCAl instrumEnts suCh As thE lyrE, A gEnErAl nAmE For Any oF sEvErAl stringED instrumEnts FAvorED By thE BArDs. thE grEAtEst BArD, homEr, wAs A poEt, singEr AnD mAstEr oF thE lyrE.ACCorDing to trADition, homEr wAs A wAnDEring minstrEl who trAvElED From plACE to plACE ChAnting storiEs oF goDs AnD hEroEs.AnothEr FAmous poEt, singEr, AnD lyrE plAyEr wAs sAppho, who stArtED A sChool For girls, whErE shE tAught thE Arts oF musiC, poEtry, AnD DAnCE.
2grEEk CivilizAtion rEAChED A golDEn AgE During thE FiFth CEnturyBC, whEn politiCs, philosophy, Art, ArChitECturE, AnD thEAtEr thrivED, As thEy nEvEr hAD BEForE.As thE grEEks took nEw priDE in humAn AChiEvEmEnts, thEy DEvElopED iDEAls oF BEAuty, orDEr, BAlAnCE, AnD moDErAtion throughout thEir CulturE, inCluDing musiC AnD DrAmA、
3 EArly DrAmA wAs AssoCiAtED with thE worship oF thE goDDionysus AnD wAs An outgrowth oF thE ChorAl songs AnD DAnCEs pErFormED in honor oF thE goD、thE FAmous outDoor thEAtEr oFDionysus inAthEns showED thE importAnCE oF DrAmA to thE grEEks. it wAs situAtED on A hillsiDE to tAkE ADvAntAgE oF thE nAturAl slopE AnD light, AnD it CoulD ACCommoDAtE An AuDiEnCE oF 30,000 pEoplE.A、Chorus oF singErs, DAnCErs, AnD musiCiAns, lED By A singEr who stooD on stEps ABovE thEm, pErFormED storiEs thAt EDuCAtED AnD EntErtAinED thE AuDiEnCE whilE honoring thE goD、
4thE CruCiAl innovAtion thAt turnED ChorAl pErFormAnCE into DrAmA is AttriButED to thEspis, A poEt who is sAiD to hAvE originAtED trAgEDy.As thE Chorus sAng thE story oF A hEro or goD, thEspis woulD EntEr thE thEAtEr As A mAskED ACtor.BEtwEEn songs, hE rECitED vErsEs As A ChArACtEr in thE story, AnD thEsE spokEn vErsEs ChAngED whAt hAD BEEn A ChorAl monologuE into A DiAloguE BEtwEEn thE ACtor AnD thE Chorus. thE lEgACy oF thEspis CAn BE sEEn in thE tErm "thEspiAn," whiCh now DEsCriBEs Anything rElAting to DrAmA、
5 ACtors oF thAt timE worE A lArgE mAsk mADE oF linEn or Cork, insiDE whiCh wAs A DEviCE likE A spEAking trumpEt to AmpliFy thE voiCE. whEn thE ACtor rECitED, it wAs in An ExAltED monotonE, oFtEn to thE ACCompAnimEnt oF FlutEs. thE Chorus EnhAnCED thE trAgEDy with vArious DAnCEs AnD songs, gEnErAlly ACCompAniED By thE lyrE. thE ACtor ChAntED thE linEs oF thE lEAD ChArACtEr, whilE thE Chorus sAng thE nArrAtivE pAssAgEs. still, DEspitE thE AttEntion thE ACtor rECEivED, thEChorus AnD its musiC ContinuED to DominAtE DrAmAtiC pErFormAnCEs with thE ComBinED powEr oF singing AnD DAnCing.
6likE thEspis, thE plAywrightAEsChylus ACtED in his own plAys, But hE ADDED A sEConD mAskED ACtor. now AuDiEnCE AttEntion CoulD BE DirECtED to thE intErplAy BEtwEEn thE two ACtors—ACtion AnD rEACtion, quEstion AnD AnswEr, ConFliCt or CoopErAtion—rAthEr thAn BEtwEEn thE ACtor AnD Chorus.A、lAtEr plAywright, sophoClEs, ADDED A thirD ACtor. this mADE possiBlE not only thrEE-wAy DrAmAtiC sCEnEs But Also plAys with A lArgE CAst oF ChArACtErs, sinCE thE mAsks AllowED An ACtor to plAy morE thAn onE pArt in DiFFErEnt sCEnEs. thE ADDition oF ACtors shiFtED thE FoCus oF DrAmA AwAy From thE Chorus towArD thE ACtion AnD DiAloguE oF thE ChArACtErs.
7plAywrights ContinuED to introDuCE innovAtions, But EssEntiAlly thEy ADhErED to prEsCriBED ConvEntions. onE oF thEsE ConvEntions limitED thE numBEr oF sCEnEs in A plAy to FivE. thE DrAmA AlwAys took plACE in onE loCAtion AnD within A short spAn oF timE, somEtimEs A singlE DAy.AnothEr ConvEntion rEFlECtED thE soCiEty’s sEnsE oF BAlAnCE AnD orDEr: BlooDy DEEDs rArEly took plACE in Front oF thE AuDiEnCE. thErEForE, murDErs, suiCiDEs, AnD othEr ACts oF violEnCE oCCurrED oFFstAgE. thE grEEk ConCEpt oF moDErAtion is rEFlECtED in st
【单选题】mAss wAsting proCEssEs
1thE DownslopE movEmEnt oF roCk, muD, or othEr mAtEriAl unDEr thE inFluEnCE oF grAvity is known As mAss wAsting. whilE thE AnglE oF thE slopE is A mAjor FACtor in thE potEntiAl For mAss wAsting, thE slopE is not thE solE DEtErminEr oF mAss wAsting EvEnts. wAtEr plAys A signiFiCAnt rolE, EspECiAlly whErE it is plEntiFul During thE rAiny sEAson.EArthquAkEs mAy CAusE roCksliDEs, muDFlows, AnD othEr mAss movEmEnts. FACtors suCh As thE prEsEnCE or ABsEnCE oF vEgEtAtion AnD humAn ACtivitiEs CAn Also inFluEnCE thE potEntiAl For mAss wAsting.
2onE wAy to ClAssiFy mAss wAsting proCEssEs is on thE BAsis oF thE mAtEriAl involvED, suCh As roCk, DEBris, EArth, or muD、thE mAnnEr in whiCh thE mAtEriAl movEs is Also importAnt AnD is gEnErAlly DEsCriBED As A FAll, A sliDE, or A Flow.A、FAll oCCurs whEn wEAthEring loosEns BoulDErs From CliFFs or roCk FACEs, CAusing thE BoulDErs to BrEAk AwAy AnD FAll.A、sliDE tAkEs plACE whEnEvEr mAtEriAl rEmAins FAirly CohErEnt AnD movEs Along A wEll-DEFinED surFACE.A、Flow involvEs thE movEmEnt oF DEBris ContAining A lArgE Amount oF wAtEr.
3mAny mAss wAsting proCEssEs ArE DEsCriBED As sliDEs. roCksliDEs oCCur whEn A CohErEnt mAss oF roCk BrEAks loosE AnD sliDEs Down A slopE As A unit. iF thE mAtEriAl involvED is mostly sEpArAtE piECEs, it is CAllED A DEBris sliDE. sliDEs ArE Among thE FAstEst AnD most DEstruCtivE mAss movEmEnts. usuAlly roCksliDEs oCCur in A gEologiC sEtting whErE thE roCk lAyErs ArE inClinED, or whErE thErE ArE joints AnD FrACturEs in thE roCk thAt ArE pArAllEl to thE slopE. whEn suCh A roCk unit is unDErCut At thE BAsE oF thE slopE, it losEs support AnD thE roCk EvEntuAlly CollApsEs. rAin or snowmElt CAn triggEr A roCksliDE By wEtting thE unDErlying surFACE to thE point thAt FriCtion CAn no longEr holD thE roCk in plACE. thE FAstEst typE oF sliDE is A roCk AvAlAnChE, in whiCh A mAss oF roCk litErAlly FloAts on Air As it movEs DownslopE. thE high spEED oF A roCk AvAlAnChE is thE rEsult oF Air BEComing trAppED AnD ComprEssED BEnEAth thE FAlling mAss oF DEBris, Allowing it to movE Down thE slopE As A BuoyAnt shEEt.
4muDFlows ArE rElAtivEly rApiD mAss wAsting EvEnts thAt involvE soil AnD A lArgE Amount oF wAtEr.BECAusE oF thEir FluiD propErtiEs, muDFlows Follow CAnyons AnD strEAm ChAnnEls. muDFlows oFtEn tAkE plACE in sEmiAriD mountAinous rEgions AnD on thE slopEs oF somE volCAnoEs.Although rAinstorms in sEmiAriD rEgions ArE inFrEquEnt, thEy ArE typiCAlly hEAvy whEn thEy oCCur. whEn A rAinstorm or rApiDly mElting snow CrEAtEs A suDDEn FlooD, lArgE quAntitiEs oF soil AnD loosE roCk ArE wAshED into nEArBy strEAm ChAnnEls BECAusE thErE is usuAlly littlE or no vEgEtAtion to AnChor thE surFACE mAtEriAl. thE rEsult is A Flowing mAss oF wEll-mixED muD, soil, roCk, AnD wAtEr. thE ConsistEnCy oF thE muDFlow mAy BE similAr to thAt oF wEt ConCrEtE, or it mAy BE A soupy mixturE not muCh thiCkEr thAn muDDy wAtEr. thE wAtEr ContEnt inFluEnCEs thE rAtE oF Flow ACross thE surFACE. whEn A muDFlow is DEnsE, it movEs morE slowly, But it CAn EAsily CArry or push lArgE BoulDErs, trEEs, AnD EvEn housEs Along with it.
5in Dry mountAinous ArEAs suCh As southErnCAliForniA, muDFlows ArE A sErious hAzArD to DEvElopmEnt on AnD nEAr CAnyon hillsiDEs. thE rEmovAl oF nAtivE vEgEtAtion By Brush FirEs hAs inCrEAsED thE proBABility oF thEsE DEstruCtivE EvEnts. pAst muDFlows hAvE ContriButED to thE BuilDup oF FAn-shApED DEposits At CAnyon mouths. suCh FAns ArE rElAtivEly EAsy to BuilD on AnD oFtEn hAvE sCEniC viEws, so mAny hAvE BEComE DEsirABlE sitEs For rEsiDEntiAl DEvElopmEnt. howEvEr, BECAusE muDFlows oCCur inFrEquEntly, homEownErs ArE oFtEn unAwArE oF thE potEntiAl DAngEr oF BuilDing on thE sitE oF A prEvious muDFlow.
6highly FluiD, FAst-Flowing muDFlows inCorporAtE FinE-grAinED sEDimEnt AnD ArE Common AFtEr volCAniC Eruptions thAt proDuCE lArgE volumEs oF volCAniC Ash. muDFlows ContAini
1thE DownslopE movEmEnt oF roCk, muD, or othEr mAtEriAl unDEr thE inFluEnCE oF grAvity is known As mAss wAsting. whilE thE AnglE oF thE slopE is A mAjor FACtor in thE potEntiAl For mAss wAsting, thE slopE is not thE solE DEtErminEr oF mAss wAsting EvEnts. wAtEr plAys A signiFiCAnt rolE, EspECiAlly whErE it is plEntiFul During thE rAiny sEAson.EArthquAkEs mAy CAusE roCksliDEs, muDFlows, AnD othEr mAss movEmEnts. FACtors suCh As thE prEsEnCE or ABsEnCE oF vEgEtAtion AnD humAn ACtivitiEs CAn Also inFluEnCE thE potEntiAl For mAss wAsting.
2onE wAy to ClAssiFy mAss wAsting proCEssEs is on thE BAsis oF thE mAtEriAl involvED, suCh As roCk, DEBris, EArth, or muD、thE mAnnEr in whiCh thE mAtEriAl movEs is Also importAnt AnD is gEnErAlly DEsCriBED As A FAll, A sliDE, or A Flow.A、FAll oCCurs whEn wEAthEring loosEns BoulDErs From CliFFs or roCk FACEs, CAusing thE BoulDErs to BrEAk AwAy AnD FAll.A、sliDE tAkEs plACE whEnEvEr mAtEriAl rEmAins FAirly CohErEnt AnD movEs Along A wEll-DEFinED surFACE.A、Flow involvEs thE movEmEnt oF DEBris ContAining A lArgE Amount oF wAtEr.
3mAny mAss wAsting proCEssEs ArE DEsCriBED As sliDEs. roCksliDEs oCCur whEn A CohErEnt mAss oF roCk BrEAks loosE AnD sliDEs Down A slopE As A unit. iF thE mAtEriAl involvED is mostly sEpArAtE piECEs, it is CAllED A DEBris sliDE. sliDEs ArE Among thE FAstEst AnD most DEstruCtivE mAss movEmEnts. usuAlly roCksliDEs oCCur in A gEologiC sEtting whErE thE roCk lAyErs ArE inClinED, or whErE thErE ArE joints AnD FrACturEs in thE roCk thAt ArE pArAllEl to thE slopE. whEn suCh A roCk unit is unDErCut At thE BAsE oF thE slopE, it losEs support AnD thE roCk EvEntuAlly CollApsEs. rAin or snowmElt CAn triggEr A roCksliDE By wEtting thE unDErlying surFACE to thE point thAt FriCtion CAn no longEr holD thE roCk in plACE. thE FAstEst typE oF sliDE is A roCk AvAlAnChE, in whiCh A mAss oF roCk litErAlly FloAts on Air As it movEs DownslopE. thE high spEED oF A roCk AvAlAnChE is thE rEsult oF Air BEComing trAppED AnD ComprEssED BEnEAth thE FAlling mAss oF DEBris, Allowing it to movE Down thE slopE As A BuoyAnt shEEt.
4muDFlows ArE rElAtivEly rApiD mAss wAsting EvEnts thAt involvE soil AnD A lArgE Amount oF wAtEr.BECAusE oF thEir FluiD propErtiEs, muDFlows Follow CAnyons AnD strEAm ChAnnEls. muDFlows oFtEn tAkE plACE in sEmiAriD mountAinous rEgions AnD on thE slopEs oF somE volCAnoEs.Although rAinstorms in sEmiAriD rEgions ArE inFrEquEnt, thEy ArE typiCAlly hEAvy whEn thEy oCCur. whEn A rAinstorm or rApiDly mElting snow CrEAtEs A suDDEn FlooD, lArgE quAntitiEs oF soil AnD loosE roCk ArE wAshED into nEArBy strEAm ChAnnEls BECAusE thErE is usuAlly littlE or no vEgEtAtion to AnChor thE surFACE mAtEriAl. thE rEsult is A Flowing mAss oF wEll-mixED muD, soil, roCk, AnD wAtEr. thE ConsistEnCy oF thE muDFlow mAy BE similAr to thAt oF wEt ConCrEtE, or it mAy BE A soupy mixturE not muCh thiCkEr thAn muDDy wAtEr. thE wAtEr ContEnt inFluEnCEs thE rAtE oF Flow ACross thE surFACE. whEn A muDFlow is DEnsE, it movEs morE slowly, But it CAn EAsily CArry or push lArgE BoulDErs, trEEs, AnD EvEn housEs Along with it.
5in Dry mountAinous ArEAs suCh As southErnCAliForniA, muDFlows ArE A sErious hAzArD to DEvElopmEnt on AnD nEAr CAnyon hillsiDEs. thE rEmovAl oF nAtivE vEgEtAtion By Brush FirEs hAs inCrEAsED thE proBABility oF thEsE DEstruCtivE EvEnts. pAst muDFlows hAvE ContriButED to thE BuilDup oF FAn-shApED DEposits At CAnyon mouths. suCh FAns ArE rElAtivEly EAsy to BuilD on AnD oFtEn hAvE sCEniC viEws, so mAny hAvE BEComE DEsirABlE sitEs For rEsiDEntiAl DEvElopmEnt. howEvEr, BECAusE muDFlows oCCur inFrEquEntly, homEownErs ArE oFtEn unAwArE oF thE potEntiAl DAngEr oF BuilDing on thE sitE oF A prEvious muDFlow.
6highly FluiD, FAst-Flowing muDFlows inCorporAtE FinE-grAinED sEDimEnt AnD ArE Common AFtEr volCAniC Eruptions thAt proDuCE lArgE volumEs oF volCAniC Ash. muDFlows ContAini
【单选题】
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[*] Why does the professor say this:
A．To explain why people need to talk to psychologists
B．To give examples of cultural differences in grieving
C．To show that death causes people to do strange things
D．To describe the final stage in the process of grieving
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[*] Why does the professor say this:
A．To explain why people need to talk to psychologists
B．To give examples of cultural differences in grieving
C．To show that death causes people to do strange things
D．To describe the final stage in the process of grieving
【单选题】
rEADing sECtionDirECtions
thE rEADing sECtion mEAsurEs your ABility to rEAD AnD unDErstAnD pAssAgEs inEnglish. you will rEAD FivE pAssAgEs AnD AnswEr quEstions ABout thEm.AnswEr All quEstions BAsED on whAt is stAtED or impliED in thE pAssAgEs.
most quEstions ArE worth onE point. thE lAst quEstion in EACh sEt is worth morE thAn onE point. For this quEstion, thE DirECtions will inDiCAtE how mAny points you CAn rECEivE.
somE pAssAgEs hAvE onE or morE worDs in BolD typE. For thEsE BolDED worDs, you will sEE A DEFinition in A glossAry At thE EnD oF thE pAssAgE.
Allow 20 minutEs to rEAD EACh pAssAgE AnD AnswEr thE quEstions ABout it. you mAy now BEgin thE First pAssAgE.
{{B}}sEt 1{{/B}}
thE rEADing sECtion mEAsurEs your ABility to rEAD AnD unDErstAnD pAssAgEs inEnglish. you will rEAD FivE pAssAgEs AnD AnswEr quEstions ABout thEm.AnswEr All quEstions BAsED on whAt is stAtED or impliED in thE pAssAgEs.
most quEstions ArE worth onE point. thE lAst quEstion in EACh sEt is worth morE thAn onE point. For this quEstion, thE DirECtions will inDiCAtE how mAny points you CAn rECEivE.
somE pAssAgEs hAvE onE or morE worDs in BolD typE. For thEsE BolDED worDs, you will sEE A DEFinition in A glossAry At thE EnD oF thE pAssAgE.
Allow 20 minutEs to rEAD EACh pAssAgE AnD AnswEr thE quEstions ABout it. you mAy now BEgin thE First pAssAgE.
{{B}}sEt 1{{/B}}
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