阅读理解 The 20th-century philosopher Hans-Georg Gadamer considered the encounter between the viewer and a work of art to be a dynamic relationship. Meeting a work of art made in the past involves a reaction, an actual event, in the present. Coming across the same work of art later will set up another event, another reaction, in which the artwork will be, as it were, activated afresh by the intellect and emotions of the viewer. When we interpret a work of art, we are teasing out（梳理）its possible meanings in the moment；but those meanings will change, depending on the viewer and the time. Extend this thought into the world of the museum and it becomes clear that these institutions are not simply about the past. They are, necessarily, about the present. Paintings and sculptures of all kinds become meaningful in the"now"of their being viewed and considered. They shape us as we dig out new depths from them. In a more purely functional manner, museums are increasingly embracing their capacity to be actors in the present worlds of their communities-rather than simply repositories（存储库）of things of the past, and gatherers and protectors of collective memories. An example is Derby's Museum of Making, which both respects the city's history of manufacturing and aims to develop skills and inspire new acts of creativity. That in itself is nothing new, of course:part of the purpose of the Victoria and Albert Museum in London was to encourage innovation in design and manufacturing. But the Museum of Making takes things a step further-hosting, for example, sessions for teachers and educators on creating environments conducive to creativity, and"maker challenges"for teenagers. In so doing, it bridges the gap between museum and educational institution. It is a welcome change. Museums, often in the teeth of terrible loss of income thanks to COVID-19 closures, are increasingly becoming ethical actors, as heavily invested in conversations about the kind of places communities want to be as what they once were. It should go without saying that they need to be properly supported to do this, by the government and local authorities. As the effects of COVID-19 continue to bite, the work of reimagining museums and communities is more important than ever.

1. 阅读理解

The 20th-century philosopher Hans-Georg Gadamer considered the encounter between the viewer and a work of art to be a dynamic relationship. Meeting a work of art made in the past involves a reaction, an actual event, in the present. Coming across the same work of art later will set up another event, another reaction, in which the artwork will be, as it were, activated afresh by the intellect and emotions of the viewer. When we interpret a work of art, we are teasing out（梳理）its possible meanings in the moment；but those meanings will change, depending on the viewer and the time.

Extend this thought into the world of the museum and it becomes clear that these institutions are not simply about the past. They are, necessarily, about the present. Paintings and sculptures of all kinds become meaningful in the"now"of their being viewed and considered. They shape us as we dig out new depths from them.

In a more purely functional manner, museums are increasingly embracing their capacity to be actors in the present worlds of their communities-rather than simply repositories（存储库）of things of the past, and gatherers and protectors of collective memories.

An example is Derby's Museum of Making, which both respects the city's history of manufacturing and aims to develop skills and inspire new acts of creativity. That in itself is nothing new, of course:part of the purpose of the Victoria and Albert Museum in London was to encourage innovation in design and manufacturing. But the Museum of Making takes things a step further-hosting, for example, sessions for teachers and educators on creating environments conducive to creativity, and"maker challenges"for teenagers. In so doing, it bridges the gap between museum and educational institution.

It is a welcome change. Museums, often in the teeth of terrible loss of income thanks to COVID-19 closures, are increasingly becoming ethical actors, as heavily invested in conversations about the kind of places communities want to be as what they once were. It should go without saying that they need to be properly supported to do this, by the government and local authorities. As the effects of COVID-19 continue to bite, the work of reimagining museums and communities is more important than ever.

(1) Why does the author mention philosopher Hans-Georg Gadamer in paragraph 1? A. To introduce the topic of the text. B. To stress the importance of philosophy. C. To tell Hans-Georg Gadamer is famous. D. To state the link between viewers and arts.

(2) What's the new function of the Museum of Making? A. To store things of the past. B. To encourage innovation in design. C. To become protectors of collective memories. D. To bridge the gap between museum and educational institution.

(3) What's stressed in the last paragraph？ A. Why to revive the museums. B. How to get rid of the effects of COVID-19. C. The measures to be taken to improve economy. D. The importance of reimagining museums and communities.

(4) What's the author's attitude to the change of museum functions? A. Negative. B. Doubtful. C. Favourable. D. Unclear.

【考点】

推理判断题; 细节理解题; 观点态度题; 段落大意; 说明文; 社会文化类;

【答案】

您现在未登录，无法查看试题答案与解析。登录

阅读理解普通

1. 阅读理解

At thirteen, I was diagnosed with kind of attention disorder. It made school difficult for me. When people else in the class was focusing on tasks, I could not.

In my first literature class, Mrs. Smith asked us to read a story and then write on it, all within 45 minutes. I raised my hard right away and said, “Mrs. Smith, you see, the doctor said I have attention problems. I might not be able to do it.” She glanced down at me through her glasses, "you are no different from your classmates, young man.”

I tried, but I didn't finish the reading when the bell rang. I had to take it home.

In the quietness of my bedroom, the story suddenly all became clear to me. It was about a blind person, Louis Braille. He lived in a time when the blind couldn't get much education. But Louis didn't give up. Instead, he invented a reading system of raised dots（点）,which opened up a whole new world of knowledge to the blind.

Wasn't I the “blind” in my class, being made to learn like the “sighted” students? My thoughts spilled out and my pen started to dance. I completed the task within 40 minutes. Indeed, I was no different from others; I just needed a quieter place. If Louis could find his way out of his problems, why should I ever give up?

I didn't expect anything when I handled in my paper to Mrs. Smith, so it was quite a surprise when it came back to me the next day-with an “A” on it. At the bottom of the paper were these words: "See what you can do when you keep trying?”

(1) The author didn't finish the reading in class because_______. A. He was new to the class B. He was tired of literature C. He had an attention disorder D. He wanted to take the task home

(2) What do we know about Louis Braille from the passage? A. He had good sight. B. He made a great invention. C. He gave up reading. D. He learned a lot from school.

(3) What was Mrs.Smith's attitude to the author at the end of the story? A. Angry. B. Impatient. C. Sympathetic. D. Encouraging.

(4) What is the main idea of the passage? A. The disabled should be treated with respect. B. A teacher can open up a new world to students. C. One can find his way out of difficulties with efforts. D. Everyone needs a hand when faced with challenges.

阅读理解普通