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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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One of the novels by the talented Paul Bowles, Let It Come Down, is full of motion, full of sensational depravities, and is a crashing bore. The book recognizes no evil, and is coldly indifferent to the moral behavior of its characters. It is a long shrug. Such a view of life is non- dramatic and negates the vital essence of drama.
41. In our age, according to the author, a standpoint often taken in the area of ethics is the _____.
A) relativistic view of morals B) greater concern with religion
C) emphasis on evil D) greater concern with universals
42. The author believes that in great literature, as in life, good and evil are ____
A) relative B) unimportant
C) constantly in conflict D) dramatically neutralized
43. When the author uses the expression "it is a long shrug" in referring to Bowles’s book, he
is commenting on the ___
A) length of the novel
B) indifference to the moral behavior of the characters
C) monotony of the story
D) sensational depravities of the book
44. In the opinion of the author, Cry, The Beloved Country is a great and dramatic novel be-
cause of Paton’s ____.
A) insight into human behavior
B) behavioristic beliefs
C) treatment of good and evil as abstractions
D) willingness to make moral judgments
45. The word "shun" in the 1st sentence in paragraph 3 is closest in meaning to ______.
A) shut B) attend C) show D) avoid
Passage 10
African-American filmmakers should be in an enviable position, for since the early 1990s
there has been a steady wave of low budget black films which have turned a solid profit due to
a very strong response in the African-American community and a larger crossover audience than
anticipated. Any rational business manager would now identify this sector as a prime candidate
for expansion, but if the films have done so well with limited production and marketing costs,
why have they not received full scale support7
Many analysts feel the business is engulfed in a miasma of self-serving and self-fulfilling myths based on the unspoken assumption that Mfrican-American films can never be vehicles of prestige, glamour, or celebrity. The relationship players have convinced themselves that black films can do only a limited domestic business under any circumstance and have virtually no for- eign box office potential. As executives who now control the film industry grew up in those de- cades when there were few black images on the screen and those that did exist were produced by film-makers with limited knowledge of the black community, it is little wonder that they avoid ideological issues, and seek to continue making films that they are comfortable with by avoiding they negative imagery of films they would prefer to eschew entirely.
Also to blame for this deleterious phenomenon are legions of desperate and Machiavellian African-American film producers, directors, and writers who would transform The Birth of A Nation into a black musical as long as it would provide them with gainful studio employment. These filmmakers not only perpetuate negative stereotypes in their films, but they also season them with a sprinkling of African-American authenticity. This situation would be onerous enough, given the economic exploitation of the community involved; unfortunately these films also validate the pathologies they depict. The constant projection of the black community as a kind of urban Wild Kingdom, the glamorization of tragic situations, and the celebration of inner
city drug dealers and gangsters has a programming effect on black youth. The power of music in
film is a particularly seductive and propagandistic force which in the recent crop of African-
American films has rarely been used in a positive social manner.
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