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考博易错题（2018/12/23）

The fitness movement that began in the late 1960s and early 1970s centered around aerobic exercise. Millions of individuals became {{U}} (1) {{/U}} in a variety of aerobic activities, and {{U}} (2) {{/U}} thousands of health spas {{U}} (3) {{/U}} around the country to capitalize on this {{U}} (4) {{/U}} interest in fitness, particularly aerobic dancing for females.A、number of fitness spas existed {{U}} (5) {{/U}} to this aerobic fitness movement, even a national chain with spas in most major cities. However, their {{U}} (6) {{/U}} was not on aerobics, {{U}} (7) {{/U}} on weight-training programs designed to develop muscular mass, {{U}} (8) {{/U}}, and endurance in their primarily male {{U}} (9) {{/U}}. These fitness spas did not seem to benefit {{U}} (10) {{/U}} from the aerobic fitness movement to better health, since medical opinion suggested that weight-training programs {{U}} (11) {{/U}} few, if {{U}} (12) {{/U}}, health benefits. In recent years, however, weight training has again become increasingly {{U}} (13) {{/U}} for males and for females. Many {{U}} (14) {{/U}} programs focus not only on developing muscular strength and endurance but on aerobic fitness as well. {{U}} (15) {{/U}}, most physical-fitness tests have usually included measures of muscular strength and endurance, not for health-related reasons, but primarily {{U}} (16) {{/U}} such fitness components have been related to {{U}} (17) {{/U}} in athletics. {{U}} (18) {{/U}}, in recent years, evidence has shown that training programs designed primarily to improve muscular strength and endurance might also offer some health {{U}} (19) {{/U}} as well. TheAmericanCollege of Sports Medicine now {{U}} (20) {{/U}} that weight training be part of a total fitness program for healthyAmericans.

第1题：

A．financially
B．particularly
C．legitimately
D．excessively
【单选题】： A B C D
The history of responses to the work of the artist SandroBotticelli (1444-1510) suggests gests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease withBotticelli’s work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamedBotticelli in favor of his fellow Florentine, Michelangelo.Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors,Botticelli’s work remained out side of accepted taste, pleasing neither amateur observers nor connoisseurs. (Many of his best paintings, however, remained hidden away in obscure churches and private homes. )
The primary reason forBotticelli’s unpopularity is not difficult to understand: most observers, up until the mid-nineteenth century, did not consider him to be noteworthy, because his work, for the most part, did not Seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art. For example,Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro.
Another reason forBotticelli’s unpopularity may have been that his attitude toward the style of classical art was very different from that of his contemporaries.Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style that was only slightly similar to that of classical art.
In any case, when viewers began to examine more closely the relationship ofBotticelli’s work to the tradition of fifteenth-century Florentine art, his reputation began to grow.Analyses and assessments ofBotticelli made between 1850 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the’ writer Pater (although he, unfortunately, based his assessment on an incorrect analysis ofBotticelli’s personality), inspired a new appreciation ofBotticelli throughout theEnglish-speaking worlD、YetBotticelli’s work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines-features such as skillful representation of anatomical proportions, and of the human figure in motion. However, Home argued thatBotticelli did not treat these qualities as ends in themselves-rather, that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualities less central.Because of Home’s emphasis crucial to any study of art, the twentieth century has come to appreciateBotticelli’s achievements.

第2题：{{B}}Passage 4{{/B}}

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