【单选题】
3
Forget what Virginia Woolf said about what a writer needs—a room of one’s own. The writer she has in mind wasn’t at work on a novel in cyberspace, one with multiple hyper texts, animated graphics and downloads of trance, charming musiC、For that you also need graphic interfaces, Real Player and maybe even a computer laboratory atBrown Universi ty. That was where MarkAmerika—his legally adopted name; don’t ask him about his birth name—composed much of his novel Grammatron.But Grammatron isn’t just a sto ry. It’s an online narrative (grammatron. com) that uses the capabilities of cyberspace to tie the conventional story line into complicated knots. In the four years it took to produce—it was completed in ]997—each new advance in computer software became another potential story device. "I became sort of dependent on the industry," jokesAmerika, who is also the author of two novels printed on paper. "That’s unusual for a writer, because if you just write on paper the ‘technology’ is pretty stable. "
Nothing about Gramrnatron is stable.At its center, if there is one, isAbe Golam, the inventor of nanograph a quasi-mystical computer code that some unmystical corpora tions are itching to acquire. For much of the story,Abe wanders through Prague-23, a virtual "city" in cyberspace where visitors indulge in fantasy encounters and virtual sex, which can get fairly graphiC、The reader wanders too, because most of Grammatron’s 1,000-plus text screens contain several passages in hypertext. To reach the next screen just double-click.But each of those hypertexts is a trapdoor that can plunge you down a differ ent pathway of the story.Choose one and you drop into a corporate-strategy memo.Choose another and there’s a XXX-rated sexual rant. The story you read is in some sense file story you make.
Amerika teaches digital art at the University ofColorado, where his students develop works that straddle the lines between art, film and literature. "I tell them not to get caught up in mere plot," he says. Some avant-garde writers—JulioCortazar, ItaloCalvi no—have also experimented with novels that wander out of their author’s control. "But what makes the Net so exciting," saysAmerika, "is that you can add sound, randomly generated links, 3-D、modeling, animation. " That room of one’s Own is turning into a fun house.
By saying that he became sort of dependent on the industry, MarkAmerika meant that______.A．he could not help but set hisCrrammatron and others in Industrial Revolution
B．conventional writers had been increasingly challenged by high technology
C．much of his Grammatron had proved to be cybernetic dependent
D．he couldn’t care less new advance in computer software
网考网参考答案：C
网考网解析：
[解析] 从文中可知，在成书的4年里，电脑软件的每一进步都成为一个可能的故事线索。(因此)Mark Amerika说：“我有点依赖电脑业……”。因此C项是正确答案。 document.getElementById("warp").style.display="none"; document.getElementById("content").style.display="block"; 查看试题解析出处>>
Forget what Virginia Woolf said about what a writer needs—a room of one’s own. The writer she has in mind wasn’t at work on a novel in cyberspace, one with multiple hyper texts, animated graphics and downloads of trance, charming musiC、For that you also need graphic interfaces, Real Player and maybe even a computer laboratory atBrown Universi ty. That was where MarkAmerika—his legally adopted name; don’t ask him about his birth name—composed much of his novel Grammatron.But Grammatron isn’t just a sto ry. It’s an online narrative (grammatron. com) that uses the capabilities of cyberspace to tie the conventional story line into complicated knots. In the four years it took to produce—it was completed in ]997—each new advance in computer software became another potential story device. "I became sort of dependent on the industry," jokesAmerika, who is also the author of two novels printed on paper. "That’s unusual for a writer, because if you just write on paper the ‘technology’ is pretty stable. "
Nothing about Gramrnatron is stable.At its center, if there is one, isAbe Golam, the inventor of nanograph a quasi-mystical computer code that some unmystical corpora tions are itching to acquire. For much of the story,Abe wanders through Prague-23, a virtual "city" in cyberspace where visitors indulge in fantasy encounters and virtual sex, which can get fairly graphiC、The reader wanders too, because most of Grammatron’s 1,000-plus text screens contain several passages in hypertext. To reach the next screen just double-click.But each of those hypertexts is a trapdoor that can plunge you down a differ ent pathway of the story.Choose one and you drop into a corporate-strategy memo.Choose another and there’s a XXX-rated sexual rant. The story you read is in some sense file story you make.
Amerika teaches digital art at the University ofColorado, where his students develop works that straddle the lines between art, film and literature. "I tell them not to get caught up in mere plot," he says. Some avant-garde writers—JulioCortazar, ItaloCalvi no—have also experimented with novels that wander out of their author’s control. "But what makes the Net so exciting," saysAmerika, "is that you can add sound, randomly generated links, 3-D、modeling, animation. " That room of one’s Own is turning into a fun house.
By saying that he became sort of dependent on the industry, MarkAmerika meant that______.A．he could not help but set hisCrrammatron and others in Industrial Revolution
B．conventional writers had been increasingly challenged by high technology
C．much of his Grammatron had proved to be cybernetic dependent
D．he couldn’t care less new advance in computer software
网考网参考答案：C
网考网解析：
[解析] 从文中可知，在成书的4年里，电脑软件的每一进步都成为一个可能的故事线索。(因此)Mark Amerika说：“我有点依赖电脑业……”。因此C项是正确答案。 document.getElementById("warp").style.display="none"; document.getElementById("content").style.display="block"; 查看试题解析出处>>
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