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作者：edufo 资料来源：在职教育交流中心 点击数： 更新时间：2007-5-23 |
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With the development of the countermovement against Hollywood, with the efflorescence (全盛)of photography, with Time-Life-Fortune types of reporting and the dead-pan New Yorker manner of describing the life of an old-clothes dealer in a forgotten street or of presenting the "accurate", "checked" details of the lives of people whose eminence gave at least a sort of license to attack them, with the passion for "human documents" in Depression days--a necessary substitute for proletarian art among middle class writers who knew nothing about proletarians, and middleclass readers who needed the shock of verisimilitude(真实)--a new era in American life was ushered in, the era in which young people imitated neither life nor art nor fairy tale, but instead were presented with models drawn from life with minimal but crucial distortions. Doctored life histories, posed carelessness, "candid" shots of people in their own homes which took hours to arrange, pictures shot from real life to scripts written months before supplemented
by national polls and surveys which assured the reader that this bobby soxer (少女)did indeed represent a national norm or a growing trend--replaced the older models.
36. This article is based on the idea that ________.
A) people today no longer follow models
B) People attach little importance to whoever they follow
C) people generally pattern their lives after models
D) People no longer respect heroes
37. Stories of the second generation battling against the limitations of the first were often re- sponsible for ______.
A) inspiring literate immigrants
B) frustrating educated immigrants
C) preventing the assimilation of immigrants
D) instilling into immigrants an antagonistic attitude toward their forebears
38. The countermovement against Hollywood was a movement ______
A) toward realism B) toward fantasy
C) against the teaching of morals D) away from realism
39. The author attributes the change in attitudes since 1910 to ____
A) a logical evolution of ideas B) widespread moral decay
C) the influence of the press D) a philosophy of plenty
40. The word "distortions" at the end of the 2nd sentence in paragraph 2 is closest in meaning
to ______.
A) presentations B) misinterpretations
C) influences D) limitations
Passage 9
The conflict between good and evil is a common theme running through the great literature
and drama of the world, from the time of the ancient Greeks to all the present. The principle that conflict is the heart of dramatic action when illustrated by concrete examples, almost always turns up some aspect of the struggle between good and evil.
The idea that there is neither good nor evil--in any absolute moral or religious sense—is widespread in our times. There are various relativistic and behavioristic standards of ethics. If these standards even admit the distinction between good and evil, it is as a relative matter and not as whirlwind of choices that lies at the center of living. In any such state of mind, conflict can at best, be only a petty matter, lacking true universality. The acts of the evildoer and of the virtuous man alike become dramatically neutralized. Imagine the reduced effect of Crime and Punishment or The Brothers Karamazoc, had Dostoevsky thought that good and evil, as portrayed in those books, were wholly relative, and if he had had no conviction about them.
You can’t have a vital literature if you ignore or shun evil. What you get then is the world of Pollyanna, goody-goody in place of the good. Cry, The Beloved Country is a great and dramatic novel because Alan Paton, in addition to being a skilled workman, sees with clear eyes both good and evil, differentiates them, pitches them into conflict with each other, and takes sides. He sees that the native boy Absalom Kumalo, who has murdered, cannot be judged justly without taking into account the environment that has had part in shaping him. But Paton sees, too, that Absalom the individual, not society the abstraction, committed the act and is responsible for it. Mr. Paton understands mercy. He knows that this precious thing is not evoked by sentimental impulse, but by a searching examination of the realities of human action. Mercy follows a judgment; it does not precede it.
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