Many things make people think artists are weird. But the weirdest may be this: artists' only job is to explore emotions, and yet they choose to focus on the ones that feel bad銆�

This wasn't always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere from the 19th century, more artists began seeing happiness as meaningless, phony or, worst of all, boring, as we went from Wordsworth's daffodils to Baudelaire's flowers of evil銆�

You could argue that art became more skeptical of happiness because modern times have seen so much misery. But it's not as if earlier times didn't know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there is too much damn happiness in the world today銆�

After all, what is the one modern form of expression almost completely dedicated to depicting happiness? Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology銆�

People in earlier eras were surrounded by reminders of misery. They worked until exhausted, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in danger and that they would someday be meat for worms. Given all this, they did not exactly need their art to be a bummer too銆�

Today the messages the average Westerner is surrounded with are not religious but commercial, and forever happy. Fast-food eaters, news anchors, text messengers, all smiling, smiling, smiling. Our magazines feature beaming celebrities and happy families in perfect homes. And since these messages have an agenda锛峵o lure us to open our wallets—they make the very idea of happiness seem unreliable. "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks銆�

But what we forget—what our economy depends on us forgetting—is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need art to tell us, as religion once did, Memento mori: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It's a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air銆�

36. By citing the examples of poets Wordsworth and Baudelaire, the author intends to show that

[A] poetry is not as expressive of joy as painting or music銆�

[B] art grows out of both positive and negative feelings銆�

[C] poets today are less skeptical of happiness銆�

[D] artists have changed their focus of interest銆�

37. The word “bummer” (Line 5. paragraph 5) most probably means something

[A] religious.   [B] unpleasant.   [C] entertaining.   [D] commercial銆�

38. In the author’s opinion, advertising

[A] emerges in the wake of the anti-happy art銆�

[B] is a cause of disappointment for the general public銆�

[C] replaces the church as a major source of information銆�

[D] creates an illusion of happiness rather than happiness itself銆�

39. We can learn from the last paragraph that the author believes

[A].happiness more often than not ends in sadness銆�

[B] the anti-happy art is distasteful by refreshing銆�

[C] misery should be enjoyed rather than denied銆�

[D] the anti-happy art flourishes when economy booms銆�

40. Which of the following is true of the text?

[A] Religion once functioned as a reminder of misery銆�

[B] Art provides a balance between expectation and reality銆�

[C] People feel disappointed at the realities of modern society銆�

[D] Mass media are inclined to cover disasters and deaths銆�

鍚嶅斧瑙ｆ瀽

36. By citing the examples of poets Wordsworth and Baudelaire, the author intends to show that

浣滆€呭紩鐢ㄨ┅(sh墨)浜鸿彲鑼茶彲鏂拰娉㈠痉钀婄埦鐨勪緥瀛�锛屽叾鎰忓湒鏄偤浜嗚〃鏄�

[A] poetry is not as expressive of joy as painting or music銆�

瑭�(sh墨)姝屽皪(du矛)浜庡揩妯傜殑琛ㄩ仈(d谩)涓嶅娌圭暙鍜岄煶妯傘€�

[B] art grows out of both positive and negative feelings銆�

钘濊(sh霉)婧愪簬姝ｉ潰鍜岃矤(f霉)闈㈡儏鎰熴€�

[C] poets today are less skeptical of happiness銆�

浠婂ぉ鐨勮┅(sh墨)浜哄皪(du矛)浜庡揩妯傛寔杓冨急鐨勬嚪鐤戞厠(t脿i)搴�銆�

[D] artists have changed their focus of interest銆�

钘濊(sh霉)瀹跺凡缍�(j墨ng)鏀硅畩浜嗚垐瓒ｇ殑鐒﹂粸(di菐n)銆�

銆愮瓟妗堛€� D

銆愯€冮粸(di菐n)銆� 鎺ㄦ柗椤屻€�

銆愬垎鏋愩€� 椤屽共闂�(gu膩n)閸佃“鑿尣鑿柉鍜屾尝寰疯悐鐖�”锛屽畾浣嶅埌绗簩娈垫渶鍚庝竴鍙ワ紝“as we went from Wordsworth’s daffodils to Baudelaire’s flowers of evil”閫氶亷(gu貌)绗竴娈电殑闁辫畝鎴戝€戝緱鐭�锛岃棟琛�(sh霉)瀹堕枊濮嬮棞(gu膩n)娉ㄩ偅浜涗护浜轰笉蹇殑鎯呮劅銆傝€岀浜屾瑾�(shu艒)锛�“浠ュ墠涓嶆槸閫欐ǎ鐨�锛岀躬鐣�锛岄煶妯傞兘閬╁悎琛ㄩ仈(d谩)蹇▊锛屽彧鏄�19涓栫磤(j矛)鐨勬煇鍊�(g猫)鏅�(sh铆)鍊欙紝鐣�(d膩ng)鎴戝€戝緸鑿尣鑿柉鐨勬按浠欒姳杞�(zhu菐n)鍚戞尝寰疯悐鐖剧殑鎯′箣鑺辨檪(sh铆)锛岃秺渚�(l谩i)瓒婂鐨勮棟琛�(sh霉)瀹堕枊濮嬫妸蹇▊鐪嬫垚鏄箯鍛崇殑锛岃櫅鍋囩殑锛岀敋鑷虫槸浠や汉鍘€︾殑銆�”鍥犳鎴戝€戝彲浠ュ緱鍑虹祼(ji茅)璜�锛屽嵆“钘濊(sh霉)瀹跺凡缍�(j墨ng)鏀硅畩浜嗚垐瓒ｇ殑鐒﹂粸(di菐n)”銆傛晠姝ｇ⒑绛旀鏄痆D]銆俒A]涓嶅悎閬╃殑鍘熷洜鏄枃涓矑鏈夊皣瑭�(sh墨)姝屻€佺躬鐣拰闊虫▊灏�(du矛)浜庡揩妯傜殑琛ㄧ従(xi脿n)鍔涢€�(j矛n)琛屾瘮杓�銆俒B]寰炲瓧闈笂渚�(l谩i)鐪�锛屼技涔庢槸鏈夐亾鐞嗙殑锛屼絾鏄€欎笉鏄綔鑰呭紩鐢ㄤ簩浜虹殑鐩殑鎵€鍦紝鍥�?y脿n)妯介閭�?qi谩ng)瑾�(di脿o)鐨勬槸涓€鍊�(g猫)閲嶉粸(di菐n)鐨勮綁(zhu菐n)绉�銆傞伕闋�(xi脿ng)[C]鐨勮(shu艒)娉曞拰绗笁娈电涓€鍙ョ殑鎰忔€濈浉鍙�銆�

37. The word“bummer”(Line 5. Paragraph 5) most probably means something

“bummer”(绗簲娈电浜旇)涓€瑭炵殑鏈€鏈夊彲鑳界殑鍚京鏄�

[A] religious.  瀹楁暀鐨�             [B] unpleasant.  浠や汉涓嶅揩鐨�

[C] entertaining.  浣夸汉鎰夊揩鐨�      [D] commercial.  鍟嗘キ(y猫)鐨�

銆愮瓟妗堛€� B

銆愯€冮粸(di菐n)銆� 瑭炵京椤�銆�

銆愬垎鏋愩€� 鏈鑰冩煡鑰冪敓鑳藉惁鏍规摎(j霉)涓婁笅鏂囦締(l谩i)鎺ㄦ脯(c猫)鏌愬€�(g猫)鍠鎰忔€濈殑鑳藉姏銆傛牴鎿�(j霉)鎻愮ず瀹氱京鍒扮浜旀鏈€鍚庝竴鍙ャ€傜浜旀瑾�(shu艒)“鏃╂湡鏅�(sh铆)鍊欑殑浜�锛岀敓娲昏鑻﹂洠鍖呭湇钁�銆備粬鍊戝伐浣滃埌绛嬬柌鍔涚洝锛岀敓娲绘矑鏈変繚闅�锛屽＝鍛藉緢鐭€傛渶寮�(qi谩ng)澶х殑澶х溇鍌冲獟鏁欏爞涔熸檪(sh铆)鍒绘彁閱掍俊寰掑€�锛屼粬鍊戠殑闈堥瓊铏曚簬鍗遍毆(xi菐n)涔嬩腑锛屼粬鍊戞湁涓€澶╂渻(hu矛)鎴愮偤铔嗚煵鐨勯鐗�銆傛湁浜嗛€欎竴鍒囷紝浠栧€戠殑纰虹劇(w煤)闇€钘濊(sh霉)涔熻畩鎴愪竴鍊�(g猫)‘bummer’”銆傝嚦姝わ紝鎰忔€濆緢鏄庝簡锛屽嵆浠栧€戜笉鍐嶉渶瑕佸鍔犱竴鍊�(g猫)“浠や粬鍊戜笉蹇▊鐨勪簨鐗�”锛�“bummer”鎸囩殑灏辨槸“something unpleasant”銆�

38. In the author’s opinion, advertising   鍦ㄤ綔鑰呯湅渚�(l谩i)锛屽唬鍛�

[A] emerges in the wake of the anti-happy art.  闅ㄨ憲鍙嶅揩妯傝棟琛�(sh霉)鑰屽嚭鐝�(xi脿n)銆�

[B] is a cause of disappointment for the general public.  鏄紩璧峰叕鐪惧け鏈涚殑鍘熷洜銆�

[C] replaces the church as a major source of information.  浠ｆ浛浜嗘暀鍫傛垚鐐轰富瑕佺殑淇℃伅渚�(l谩i)婧�銆�

[D] creates an illusion of happiness rather than happiness itself. 鍓�(chu脿ng)閫犲揩妯傜殑骞昏鑰屼笉鏄揩妯傛湰韬�

銆愮瓟妗堛€� D

銆愯€冮粸(di菐n)銆� 鎺ㄦ柗椤屻€�

銆愬垎鏋愩€� 閫氶亷(gu貌)鏈闂�(gu膩n)閸佃“寤ｅ憡”(advertising)鍙互瀹氫綅鍒扮鍥涙銆備綔鑰呮彁鍒�“鍙嶅揩妯傜殑钘濊(sh霉)涔嬭垐璧峰咕涔庡彲浠ヨ拷婧埌澶х溇鍌冲獟鍑虹従(xi脿n)鐨勬檪(sh铆)鍊�锛屼互鍙婁即闅ㄥぇ鐪惧偝濯掕€屽嚭鐝�(xi脿n)鐨勫晢妤�(y猫)鏂囧寲銆傚皪(du矛)鍟嗘キ(y猫)鏂囧寲鑰岃█锛屽揩妯備笉鍍呭儏鏄竴绋悊鎯�锛屾洿鏄竴绋剰璀�(sh铆)褰㈡厠(t脿i)”銆傚洜姝A]鍙互琚帓闄わ紝鍥�?y脿n)闁嘇]鐨勮(shu艒)娉曞墰濂借垏鍘熸枃鐩稿弽銆�“in the wake of”鐨勬剰鎬濆氨鏄�“绶婅窡钁�锛岄毃钁�”銆傜劧鍚庡啀瀹氫綅鍒扮鍏锛屾枃绔犺(shu艒)锛�“瑗挎柟浜洪伃鍙楀晢妤�(y猫)淇℃伅鐨勭媯杞熸揩鐐�锛岃€屼笖閫欎簺淇℃伅绺芥槸寰堝揩妯�?锛熻С瑜櫒?锛屾柊鑱炰富鎸佷汉锛岀煭娑堟伅鏈嶅嫏(w霉)鍟�锛岄兘鍦ㄥ井绗�銆佸井绗�銆佸井绗�銆備絾鏄敱浜庨€欎簺淇℃伅閮芥湁钁椾竴鍊�(g猫)鑷繁鐨�‘浠诲嫏(w霉)’(agenda)锛屽嵆锛岃獦鎯戞垜鍊戞墦闁嬮將鍖�”锛屾墍浠ュ畠浣垮緱蹇▊鐨勬蹇电湅涓婂幓涓嶅彲闈犮€傚悗闈綔鑰呭張鑸変簡涓€鍊�(g猫)钘ュ搧鐨勪緥瀛�锛岃(shu艒)閫欏€�(g猫)钘ュ搧鐨勫鍌冲緢濂�锛屼絾鏄悗渚�(l谩i)鍗荤櫦(f膩)鐝�(xi脿n)瀹冨彲鑳藉鍔犲績鑷熺梾鐨勭櫦(f膩)鐥呯巼銆傜稖鍚堜互涓婃墍瑾�(shu艒)锛屽彲浠ョ湅鍑猴紝寤ｅ憡鍓�(chu脿ng)閫犵殑鏄揩妯傜殑骞昏鑰屼笉鏄揩妯傛湰韬�锛屾晠姝ｇ⒑绛旀鐐篬D]銆俒B]娌掓湁鏍规摎(j霉)銆俒C]鐨勯尟(cu貌)瑾ゅ湪浜庝唬鏇挎暀鍫傜殑涓嶆槸寤ｅ憡鑰屾槸澶х溇鍌冲獟銆�

39. We can learn from the last paragraph that the author believes

寰炴渶鍚庝竴娈典腑鎴戝€戝彲浠ュ緱鐭ヤ綔鑰呯浉淇�

[A] happiness more often than not ends in sadness.

蹇▊甯稿父浠ョ棝鑻﹀憡绲傘€�

[B] the anti-happy art is distasteful but refreshing銆�

鍙嶅揩妯傝棟琛�(sh霉)浠や汉涓嶅揩浣嗘槸浣夸汉鑰崇洰涓€鏂�銆�

[C] misery should be enjoyed rather than denied銆�

鎳�(y墨ng)瑭蹭韩鍙楃棝鑻﹁€屼笉鏄嫆绲曠棝鑻︺€�

[D] the anti-happy art flourishes when economy booms銆�

缍�(j墨ng)婵�(j矛)鐨勭箒姒殑鏅�(sh铆)鍊欏弽蹇▊钘濊(sh霉)涔熸槍鐩�銆�

銆愮瓟妗堛€� B

銆愯€冮粸(di菐n)銆� 浣滆€呰榛�(di菐n)椤屻€�

銆愬垎鏋愩€� 鍦ㄦ渶鍚庝竴娈�锛屼綔鑰呮绱嶄笂鏂囧緱鍑虹祼(ji茅)璜栵細鍦ㄤ粖澶╅€欐ǎ涓€鍊�(g猫)蹇▊鍞炬墜鍙緱鐨勫勾浠ｏ紝鎴戝€戝繀闋堣浣忎竴榛�(di菐n)锛岄偅灏辨槸锛屽彧鏈夊湪闈㈣嚚宸ㄥぇ鐨勫け鏁楀拰澶辨湜鐨勯ⅷ(f膿ng)闅�(xi菐n)鍚庡彇寰楃殑鎵嶆槸鐪熸鐨勫揩妯�銆傝€屼粖澶╂垜鍊戦渶瑕佷竴妯�?x霉n)|瑗夸締(l谩i)鎻愰啋鎴戝€�锛屽氨鍍忕暥(d膩ng)鍒濈殑瀹楁暀閭ｆǎ銆傞偅灏辨槸鍙嶅揩妯傛枃鍖�銆備綔鑰呭湪鏈€鍚庢彁鍒帮紝“瀹冨緢鑻︿絾鏄緢娓呮柊”銆傞€欓噷鑸嘯B]鐨勬剰鎬濇槸涓€妯ｇ殑锛屾晠鐐烘湰椤岀殑姝ｇ⒑绛旀銆俒A]鐨勯尟(cu貌)瑾ゅ湪浜庡畠鏁呮剰娣锋穯浜嗕綔鑰呭紩鐢ㄥ畻鏁欑殑鎰忓湒銆備綔鑰呭彧鏄(shu艒)瀹楁暀鎻愰啋浜哄€戝悇绋棝鑻︾殑瀛樺湪銆傝嚦浜嶽C]鐨勯尟(cu貌)瑾�锛屽氨鏄綔鑰呰(shu艒)“浜哄€戦渶瑕佹帴鍙楃棝鑻�锛涜€屼笉鏄(shu艒)浜彈鐥涜嫤”銆傝嚦浜嶽D]锛屽湪鏈€鍚庝竴娈甸噷闈�锛屾垜鍊戞帹鏂蜂笉鍑�“缍�(j墨ng)婵�(j矛)鐨勭箒姒殑鏅�(sh铆)鍊欏弽蹇▊钘濊(sh霉)涔熸槍鐩�”銆�

40. Which of the following is true of the text?   鏍规摎(j霉)鏈枃锛屼笅闈㈠摢涓€鍊�(g猫)鏄纰虹殑锛�

[A] Religion once functioned as a reminder of misery銆�

瀹楁暀鏇剧稉(j墨ng)鐨勫姛鑳藉氨鏄畵浜烘兂璧疯嫤闆ｃ€�

[B] Art provides a balance between expectation and reality銆�

钘濊(sh霉)鎻愪緵浜嗘湡鏈涜垏鐝�(xi脿n)瀵�(sh铆)涔嬮枔鐨勫钩琛�銆�

[C] People feel disappointed at the realities of modern society銆�

浜哄€戝皪(du矛)鐣�(d膩ng)浠ｇぞ鏈�(hu矛)鐨勭従(xi脿n)瀵�(sh铆)鎰熷埌澶辨湜銆�

[D] Mass media are inclined to cover disasters and deaths銆�

澶х溇鍌冲獟鍌惧悜浜庡牨(b脿o)閬撶伣(z膩i)闆ｅ拰姝讳骸銆�

銆愮瓟妗堛€� A

銆愯€冮粸(di菐n)銆� 浜嬪(sh铆)绱�(x矛)绡€(ji茅)椤屻€�

銆愬垎鏋愩€� [A]鍙互瀹氫綅鍒扮浜旀锛屾枃涓彁鍒�“瀹楁暀鎻愰啋淇″緬鍊�锛屼粬鍊戠殑闈堥瓊鏄檿浜庡嵄闅�(xi菐n)涓紝浠栧€戞湁涓€澶╂渻(hu矛)鎴愮偤铔嗚煵鐨勯鐗�”銆傚洜姝ゆ垜鍊戝彲浠ュ垽鏂锋湰椤岀殑姝ｇ⒑绛旀鏄痆A]銆傝嚦浜嶽B]锛屽湪鏂囦腑鎵句笉鍒板嚭铏曘€俒C]闂�(gu膩n)浜庨亾寰风殑鐝�(xi脿n)瀵�(sh铆)閫欏€�(g猫)鍟忛涔熸矑鏈夋彁鍒�銆俒D]闂�(gu膩n)浜庡ぇ鐪惧偝濯掔殑瑾�(shu艒)娉曡垏鏂囩珷鐨勬剰鎬濈浉鍙嶏紝閫欏湪鍊掓暩(sh霉)绗簩娈典腑鍙互鐪嬪嚭銆�

闆ｅ彞瑙ｆ瀽锛�

1. But somewhere in the 19th century, more artists began seeing happiness as insipid, phony or, worst of all, boring as we went from Wordsworth’s daffodils to Baudelaire’s flowers of evil銆�

銆愮祼(ji茅)妲�(g貌u)鍒嗘瀽銆� 鏈彞鐨勪富骞叉槸“more artists began seeing happiness as…”锛�“insipid, phony or, worst of all, boring”鍋氱殑鏄硴瑾�(y菙)瑁�(b菙)瓒宠獮(y菙)銆�“somewhere in the 19th century”鏄壇瑭炵煭瑾�(y菙)鍋氭檪(sh铆)闁撶媭瑾�(y菙)銆傚悗闈竴鍊�(g猫)“as”鐩哥暥(d膩ng)浜�“when”锛屽紩灏�(d菐o)涓€鍊�(g猫)鏅�(sh铆)闁撶媭瑾�(y菙)寰炲彞銆�

2. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology銆�

銆愮祼(ji茅)妲�(g貌u)鍒嗘瀽銆� 鏈彞鐨勪富骞叉槸“The rise of anti-happy art almost exactly tracks the emergence of mass media”锛�“with it”鏄粙璩撶煭瑾�(y菙)鍋氫即闅ㄧ媭瑾�(y菙)锛岄€欓噷鐨�“it”瑾�(shu艒)寰楀氨鏄�“the emergence of mass media”銆�“which”寮曞皫(d菐o)涓€鍊�(g猫)瀹氳獮(y菙)寰炲彞锛屼慨椋�“commercial culture”銆�

3. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms銆�

銆愮祼(ji茅)妲�(g貌u)鍒嗘瀽銆� 鏈彞鐨勪富骞叉槸“the most powerful mass medium was the church”锛�“which”寮曞皫(d菐o)涓€鍊�(g猫)闈為檺瀹氭€у畾瑾�(y菙)寰炲彞锛屼慨椋�“church”锛屽湪閫欏€�(g猫)瀹氳獮(y菙)寰炲彞涓張鏈夊叐鍊�(g猫)“that”寮曞皫(d菐o)鐨勮硴瑾�(y菙)寰炲彞銆�

鍏ㄦ枃缈昏锛�

瑷卞浜嬫儏浣夸汉鍊戣獚(r猫n)鐐鸿棟琛�(sh霉)瀹跺彜鎬�锛岃€屾渶鍙ゆ€殑鍙兘鏄細钘濊(sh霉)瀹跺敮涓€鐨勫伐浣滄槸鎺㈢储鎯呮劅锛屼絾鏄粬鍊戝嵒閬告搰浜嗛泦涓帰绱㈤偅浜涗护浜轰笉蹇殑鎯呮劅銆�

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閭ｄ箞锛岀┒绔熸槸鍝竴绋従(xi脿n)浠ｇ殑琛ㄩ仈(d谩)褰㈠紡锛屽咕涔庡畬鍏ㄥ湪鑷村姏浜庢弿绻揩妯傚憿锛熼偅灏辨槸寤ｅ憡銆傚弽蹇▊钘濊(sh霉)鐨勮垐璧峰咕涔庡畬鍏ㄥ彲浠ヨ拷婧埌澶х溇鍌冲獟鐨勫嚭鐝�(xi脿n)锛屼互鍙婇毃涔嬭€屼締(l谩i)鐨勫晢妤�(y猫)鏂囧寲锛屽湪閫欑ó鏂囧寲涓�锛屽揩妯備笉鍍呭儏鏄竴绋悊鎯宠€屼笖鏄竴绋┖鎯�銆�

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