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  1. The black experience, one


The black experience, one might automatically assume, is known to every Black author. Henry James was pondering a similar assumption when he said: “You were to suffer your fate. That was not necessarily to know it.” This disparity between an experience and knowledge of that experience is the longest bridge an artist must cross. Don L. Lee, in his picture of the Black poet, “studying his own poetry and the poetry of other Black poets,” touches on (touch on: 略微谈到) the crucial point. In order to transform his own sufferings—or joys—as a Black person into usable knowledge for his readers, the author must first order his experiences in his mind. Only then can he create feelingly and coherently the combination of fact and meaning that Black audiences require for the reexploration of their lives. A cultural community of Black authors studying one another’s best works systematically would represent a dynamic interchange of the spirit—corrective and instructive and increasingly beautiful in its recorded expression.

25. It can be inferred from the passage that the author considers poetry to be which of the following?

(A) A means of diversion in which suffering is transformed into joy

(B) An art form that sometimes stifles creative energy

(C) A bridge between the mundane and the unreal

(D) A medium for conveying important information(D)

(E) An area where beauty must be sacrificed for accuracy

26. It can be inferred from the passage that the author would be LEAST likely to approve of which of the following?

(A) Courses that promote cultural awareness through the study of contemporary art

(B) The development of creative writing courses that encourage mutual criticism of student work

(C) Growing interest in extemporaneous writing that records experiences as they occur

(D) A shift in interest from abstract philosophical poetry to concrete autobiographical poetry(C)

(E) Workshops and newsletters designed to promote dialogues between poets

27. The author refers to Henry James primarily in order to

(A) support his own perception of the “longest bridge” (lines 6-7)

(B) illustrate a coherent “combination of fact and meaning” (lines 14-15)

(C) provide an example of “dynamic interchange of the spirit” (line 19)

(D) establish the pervasiveness of lack of self-knowledge(A)

(E) contrast James’s ideas about poetry with those of Don L. Lee


  1. Notable as important nineteenth-century


Notable as important nineteenth-century novels by women, Mary Shelley’s Frankenstein and Emily Bronte’s Wuthering Heights treat women very differently. Shelley produced a “masculine” text in which the fates of subordinate female characters seem entirely dependent on the actions of male heroes or anti-heroes (anti-hero: n.平凡的主角). Bronte produced a more realistic narrative, portraying a world where men battle for (battle for: v.为...斗争) the favors of apparently high-spirited, independent women. Nevertheless, these two novels are alike in several crucial ways. Many readers are convinced that the compelling mysteries of each plot conceal elaborate structures of allusion and fierce, though shadowy, moral ambitions that seem to indicate metaphysical intentions, though efforts by critics to articulate these intentions have generated much controversy. Both novelists use a storytelling method that emphasizes ironic disjunctions between different perspectives on the same events as well as ironic tensions that inhere in the relationship between surface drama and concealed authorial intention, a method I call an evidentiary narrative technique.

17. The primary purpose of the passage is to

(A) defend a controversial interpretation of two novels

(B) explain the source of widely recognized responses to two novels

(C) delineate broad differences between two novels

(D) compare and contrast two novels(D)

(E) criticize and evaluate two novels

18. According the passage, Frankenstein differs from Wuthering Heights in its

(A) use of multiple narrators

(B) method of disguising the author’s real purposes

(C) portrayal of men as determiners of the novel’s action

(D) creation of a realistic story(C)

(E) controversial effect on readers

19. Which of the following narrative strategies best exemplifies the “evidentiary narrative technique” mentioned in line 24?

(A) Telling a story in such a way that the author’s real intentions are discernible only through interpretations of allusions to a world outside that of the story

(B) Telling a story in such a way that the reader is aware as events unfold of the author’s underlying purposes and the ways these purposes conflict with the drama of the plot

(C) Telling a story in a way that both directs attention to the incongruities among the points of view of several characters and hints that the plot has a significance other than that suggested by its mere events

(D) Telling a story as a mystery in which the reader must deduce, from the conflicting evidence presented by several narrators, the moral and philosophical significance of character and event(C)

(E) Telling a story from the author’s point of view in a way that implies both the author’s and the reader’s ironic distance from the dramatic unfolding of events

20. According to the passage, the plots of Wuthering Heights and Frankenstein are notable for their elements of

(A) drama and secrecy

(B) heroism and tension

(C) realism and ambition

(D) mystery and irony(D)

(E) morality and metaphysics


  1. The belief that art originates


The belief that art originates in intuitive rather than rational faculties was worked out historically and philosophically in the somewhat wearisome volumes of Benedetto Croce, who is usually considered the originator of a new aesthetic. Croce was, in fact, expressing a very old idea. Long before the Romantics stressed intuition and self-expression, the frenzy of inspiration was regarded as fundamental to art, but philosophers had always assumed it must be controlled by law and by the intellectual power of putting things into harmonious order. This general philosophic concept of art was supported by technical necessities. It was necessary to master certain laws and to use intellect in order to build Gothic cathedrals, or set up the stained glass windows of Chartres. When this bracing element of craftsmanship ceased to dominate artists’ outlook, new technical elements had to be adopted to maintain the intellectual element in art. Such were linear perspective (linear perspective: 直线透视图) and anatomy.

17. The passage suggests that which of the following would most likely have occurred if linear perspective and anatomy had not come to influence artistic endeavor?

(A) The craftsmanship that shaped Gothic architecture would have continued to dominate artists’ outlooks.

(B) Some other technical elements would have been adopted to discipline artistic inspiration.

(C) Intellectual control over artistic inspiration would not have influenced painting as it did architecture.

(D) The role of intuitive inspiration would not have remained fundamental to theories of artistic creation.(B)

(E) The assumptions of aesthetic philosophers before Croce would have been invalidated.

18. The passage supplies information for answering which of the following questions?

(A) Does Romantic art exhibit the triumph of intuition over intellect?

(B) Did an emphasis on linear perspective and anatomy dominate Romantic art?

(C) Are the intellectual and intuitive faculties harmoniously balanced in post-Romantic art?

(D) Are the effects of the rational control of artistic inspiration evident in the great works of pre-Romantic eras?(D)

(E) Was the artistic craftsmanship displayed in Gothic cathedrals also an element in paintings of this period?

19. The passage implies that which of the following was a traditional assumption of aesthetic philosophers?

(A) Intellectual elements in art exert a necessary control over artistic inspiration.

(B) Architecture has never again reached the artistic greatness of the Gothic cathedrals.

(C) Aesthetic philosophy is determined by the technical necessities of art.

(D) Artistic craftsmanship is more important in architectural art than in pictorial art.(A)

(E) Paintings lacked the intellectual element before the invention of linear perspective and anatomy.

20. The author mentions “linear perspective and anatomy” in the last sentence in order to do which of the following?

(A) Expand his argument to include painting as well as architecture

(B) Indicate his disagreement with Croce’s theory of the origins of art

(C) Support his point that rational order of some kind has often seemed to discipline artistic inspiration

(D) Explain the rational elements in Gothic painting that corresponded to craftsmanship in Gothic architecture(C)

(E) Show the increasing sophistication of artists after the Gothic period


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