It came as something of a surprise when Diana, Princess of Wales, made a trip to Angola in 1997, to support the Red Cross’s campaign for a total ban on all anti-personnel landmines. Within hours of arriving in Angola television screens around the world were filled with images of her comforting victims injured in explosions caused by landmines. “I knew the statistics,” she said, “But putting a face to those figures brought the reality home to me; like when I met Sandra, a 13-year-old girl who had lost her leg, and people like her.”
The Princess concluded with a simple message: “We must stop landmines”. And she used every opportunity during her visit to repeat this message.
But, back in London, her views were not shared by some members of the British government, which refused to support a ban on these weapons. Angry politicians launched an attack on the Princess in the press. They described her as “very ill-informed” and a “loose cannon (乱放炮的人).”
The Princess responded by brushing aside the criticisms: “This is a distraction we do not need. All I’m trying to do is help.”
Opposition parties, the media and the public immediately voiced their support for the Princess. To make matters worse for the government, it soon emerged that the Princess’s trip had been approved by the Foreign Office, and that she was in fact very well-informed about both the situation in Angola and the British government’s policy regarding landmines. The result was a severe embarrassment for the government.
To try and limit the damage, the Foreign Secretary, Malcolm Rifkind, claimed that the Princess’s views on landmines were not very different from government policy, and that it was “working towards” a worldwide ban. The Defence Secretary, Michael Portillo, claimed the matter was “a misinterpretation or misunderstanding”.
For the Princess, the trip to this war-torn country was an excellent opportunity to use her popularity to show the world how much destruction and suffering landmines can cause. She said that the experience had also given her the chance to get closer to people and their problems.
【小题1】 Princess Diana paid a visit to Angola in 1997______.

A．to voice her support for a total ban of landmines.

B．to clarify the British government’s stand on landmines.

C．to investigate the sufferings of landmine victims.

D．to establish her image as a friend of landmine victims.

【小题2】. What did Diana mean when she said“…putting a face to those figures brought the reality home to
me” (Para.1)?

A．She just couldn’t bear to meet the landmine victims face to face.

B．The actual situation in Angola made her feel like going back home.

C．Meeting the landmine victims in person made her believe the statistics.

D．Seeing the pain of the victims made her realize the seriousness of the situation.

【小题3】 Some members of the British government criticized Diana because______.

A．she was ill-informed of the government’s policy.

B．they believed that she had misinterpreted the situation in Angola.

C．she had not consulted the government before the visit.

D．they were actually opposed to banning landmines.

【小题4】 How did Diana respond to the criticisms?

A．She made more appearances on TV.

B．She paid no attention to them.

C．She met the 13-year-old girl as planned.

D．She rose to argue with her opponents.

【小题5】 What did Princess Diana think of her visit to Angola?

A．It had caused embarrassment to the British government.

B．It had brought her closer to the ordinary people.

C．It had greatly promoted her popularity.

D．It had affected her relations with the British government.

The Great Wall of China, one of the greatest wonders of the world, was enlisted in the World Heritage by the UNESCO in 1987. Just like a gigantic dragon, the Great Wall winds up and down across deserts, grasslands and mountains, stretching about 6,700 kilometers from east to west of China. With a history of more than 2,000 years, some parts of the Great Wall are now in ruins or even entirely disappeared. However, it is still one of the most appealing attractions around the world.

No one can tell for sure when the building of the Great Wall was started, but it is popularly believed that it originated as a military fortification(要塞) against intrusion by tribes on the borders during the earlier Zhou Dynasty. Late in the Spring and Autumn Period, some states extended the defence work to prevent the attacks from other states.

It was not until the Qin Dynasty that the separate walls were connected to form a defensive system by Emperor Qin Shi Huang. After the emperor unified the country in 214 BC, he ordered the construction of the wall. It took about ten years to finish and the wall stretched from Gansu Province to Jilin Province. The wall not only served as a defence in the north but also symbolized the power of the emperor.

Further construction also experienced several dynasties. The present Great Wall in Beijing is mainly remains from the Ming Dynasty. Today, the Great Wall has become a must-see for every visitor to China. Few can help saying “Wow” when they stand on top of a beacon tower and look at this giant dragon. It has become a national pride of Chinese people.

The underlined word “appealing” probably means “______”.

A. huge   B. attractive   C. ordinary    D. moving

In the Qin Dynasty, ______.

A. the construction of the Great Wall was finished in 204 BC

B. the emperor wanted to invade other minor states

C. the defensive system of the Great Wall was separated

D. the Great Wall began its way from Jilin Province

According to the passage, the Great Wall _______.

A. is from the west to the east

B. is as long as 6,700 miles

C. was built in several dynasties

D. was begun in the Qin Dynasties

The best title for the passage probably is _______.

A. History of the Great Wall

B. Culture of the Great Wall

C. Construction of the Great Wall

D. Projection of the Great Wall

______ the Venice Film Festival, we are to include high-quality films, ______ who makes them.

A. In defence of; regardless                   B. In the defence of; regardless

C. In defence of; regardless of                 D. In the defence of; regardless of

 

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.

What is the author mainly concerned with? The author is concerned with

[A]. defining the Modernist attitude toward art.

[B]. explaining how photography emerged as a fine art.

[C]. explaining the attitude of serious contemporary photographers toward photography as art and placing those attitudes in their historical context.

[D]. defining the various approaches that serious contemporary photographers take toward their art and assessing the value of each of those approaches.

Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in lines 12—13?

[A]. Objective [B]. Mechanical. [C]. Superficial. [D]. Paradoxical.

Why does the author introduce Abstract Expressionist painter?

[A]. He wants to provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art.

[B]. He wants to set forth an analogy between the Abstract Expressionist painters and classical Modernist painters.

[C]. He wants to provide a contrast to Pop artist and others.

[D]. He wants to provide an explanation of why serious photography, like other contemporary visual forms, is not and should not pretend to be an art.

How did the nineteenth-century defenders of photography stress the photography?

[A]. They stressed photography was a means of making people happy.

[B]. It was art for recording the world.

[C]. It was a device for observing the world impartially.

[D]. It was an art comparable to painting.

______ the Venice Film Festival, we are to include high-quality films, ______ who makes them.

A．In defence of; regardless	B．In the defence of; regardless
C．In defence of; regardless of	D．In the defence of; regardless of