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2017年公共英語五級(jí)(pets)備考閱讀練習(xí)
全國公共英語五級(jí)考試是以考查考生的語言交際能力為核心，是一個(gè)多級(jí)別的 英語考試體系，各個(gè)級(jí)別的考試標(biāo)準(zhǔn)建立在同一個(gè)能力量表上，相互間既有明顯的區(qū)別又有內(nèi)在的聯(lián)系。下面是小編為大家搜索整理的2017年公共英語五級(jí)(pets)備考閱讀練習(xí)，希望能給大家?guī)韼椭?更多精彩內(nèi)容請(qǐng)及時(shí)關(guān)注我們應(yīng)屆畢業(yè)生考試網(wǎng)!
篇一
The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.
Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves-anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.
Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting-that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse-presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.
Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity-in short, an art.
篇二
Nearly two thousand years have passed since a census decreed by Caesar Augustus become part of the greatest story ever told. Many things have changed in the intervening years. The hotel industry worries more about overbuilding than overcrowding, and if they had to meet an unexpected influx, few inns would have a manager to accommodate the weary guests. Now it is the census taker that does the traveling in the fond hope that a highly mobile population will stay long enough to get a good sampling. Methods of gathering, recording, and evaluating information have presumably been improved a great deal. And where then it was the modest purpose of Rome to obtain a simple head count as an adequate basis for levying taxes, now batteries of complicated statistical series furnished by governmental agencies and private organizations are eagerly scanned and interpreted by sages and seers to get a clue to future events. The Bible does not tell us how the Roman census takers made out, and as regards our more immediate concern, the reliability of present day economic forecasting, there are considerable differences of opinion. They were aired at the celebration of the 125th anniversary of the American Statistical Association. There was the thought that business forecasting might well be on its way from an art to a science, and some speakers talked about newfangled computers and high-falutin mathematical system in terms of excitement and endearment which we, at least in our younger years when these things mattered, would have associated more readily with the description of a fair maiden. But others pointed to the deplorable record of highly esteemed forecasts and forecasters with a batting average below that of the Mets, and the President-elect of the Association cautioned that “high powered statistical methods are usually in order where the facts are crude and inadequate, the exact contrary of what crude and inadequate statisticians assume.” We left his birthday party somewhere between hope and despair and with the conviction, not really newly acquired, that proper statistical methods applied to ascertainable facts have their merits in economic forecasting as long as neither forecaster nor public is deluded into mistaking the delineation of probabilities and trends for a prediction of certainties of mathematical exactitude.
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