Gre阅读真题200篇 brief contents
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Many critics of Emily Bronte’s novelMany critics of Emily Bronte’s novel Wuthering Heights see its second part as a counterpoint (a complementing or contrasting item: OPPOSITE) that comments on, if it does not reverse, the first part, where a “romantic” reading receives more confirmation. Seeing the two parts as a whole is encouraged by the novel’s sophisticated structure, revealed in its complex use of narrators and time shifts. Granted that the presence of these elements need not argue an authorial awareness of novelistic construction comparable to that of Henry James, their presence does encourage attempts to unify the novel’s heterogeneous parts. However, any interpretation that seeks to unify all of the novel’s diverse elements is bound to be somewhat unconvincing. This is not because such an interpretation necessarily stiffens into a thesis (although rigidity in any interpretation of this or of any novel is always a danger), but because Wuthering Heights has recalcitrant elements of undeniable power that, ultimately, resist inclusion in an all-encompassing interpretation. In this respect, Wuthering Heights shares a feature of Hamlet. 17. According to the passage, which of the following is a true statement about the first and second parts of Wuthering Heights? (A) The second part has received more attention from critics. (B) The second part has little relation to the first part. (C) The second part annuls the force of the first part. (D) The second part provides less substantiation for a “romantic” reading.（D） (E) The second part is better because it is more realistic. 18. Which of the following inferences about Henry James’s awareness of novelistic construction is best supported by the passage? (A) James, more than any other novelist, was aware of the difficulties of novelistic construction. (B) James was very aware of the details of novelistic construction. (C) James’s awareness of novelistic construction derived from his reading of Bronte. (D) James’s awareness of novelistic construction has led most commentators to see unity in his individual novels.（B） (E) James’s awareness of novelistic construction precluded him from violating the unity of his novels. 19. The author of the passage would be most likely to agree that an interpretation of a novel should (A) not try to unite heterogeneous elements in the novel (B) not be inflexible in its treatment of the elements in the novel (C) not argue that the complex use of narrators or of time shifts indicates a sophisticated structure (D) concentrate on those recalcitrant elements of the novel that are outside the novel’s main structure（B） (E) primarily consider those elements of novelistic construction of which the author of the novel was aware 20. The author of the passage suggests which of the following about Hamlet? I. Hamlet has usually attracted critical interpretations that tend to stiffen into theses. II. Hamlet has elements that are not amenable to an all-encompassing critical interpretation. III. Hamlet is less open to an all-encompassing critical interpretation than is Wuthering Heights. IV. Hamlet has not received a critical interpretation that has been widely accepted by readers. (A) I only (B) II only (C) I and IV only (D) III and IV only（B） (E) I, II, and III only
A serious critic has to comprehend the particular content, unique structure, and special meaning of a work of art. And here she faces a dilemma. The critic must recognize the artistic element of uniqueness that requires subjective reaction; yet she must not be unduly prejudiced by such reactions. Her likes and dislikes are less important than what the work itself communicates, and her preferences may blind her to certain qualities of the work and thereby prevent an adequate understanding of it. Hence, it is necessary that a critic develop a sensibility informed by familiarity with the history of art and aesthetic theory. On the other hand, it is insufficient to treat the artwork solely historically, in relation to a fixed set of ideas or values. The critic’s knowledge and training are, rather, a preparation of the cognitive and emotional abilities needed for an adequate personal response to an artwork’s own particular qualities. 17. According to the author, a serious art critic may avoid being prejudiced by her subjective reactions if she (A) treats an artwork in relation to a fixed set of ideas and values (B) brings to her observation a knowledge of art history and aesthetic theory (C) allows more time for the observation of each artwork (D) takes into account the preferences of other art critics（B） (E) limits herself to that art with which she has adequate familiarity 18. The author implies that it is insufficient to treat a work of art solely historically because (A) doing so would lead the critic into a dilemma (B) doing so can blind the critic to some of the artwork’s unique qualities (C) doing so can insulate the critic from personally held beliefs (D) subjective reactions can produce a biased response（B） (E) critics are not sufficiently familiar with art history 19. The passage suggests that the author would be most likely to agree with which of the following statements? (A) Art speaks to the passions as well as to the intellect. (B) Most works of art express unconscious wishes or desires. (C) The best art is accessible to the greatest number of people. (D) The art produced in the last few decades is of inferior quality.（A） (E) The meaning of art is a function of the social conditions in which it was produced. 20. The author’s argument is developed primarily by the use of (A) an attack on sentimentality (B) an example of successful art criticism (C) a critique of artists training (D) a warning against extremes in art criticism（D） (E) an analogy between art criticism and art production
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