2019年GRE阅读备考试题：墨西哥裔复兴壁画艺术

>>GRE考试模拟题：2019年GRE阅读备考试题：墨西哥裔复兴壁画艺术

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The revival of mural painting that has occurred in San Francisco since the 1970s, especially among the Chicano population of the city’s Mission District, has marked differences from its social realist forerunner in Mexico and the United States some 40 years earlier. Rather than being government sponsored and limited to murals on government buildings, the contemporary mural movement sprang from the people themselves, with murals appearing on community buildings and throughout college campuses. Perhaps the biggest difference, however, is the process. In earlier twentieth-century Mexico, murals resulted from the vision of individual artists. But today’s murals are characteristically the products of artists working with local residents on design and creation.

Such community engagement is characteristic of the Chicano art movement as a whole, which evolved from the same foundations as the Chicano civil rights movement of the mid-1960s. Both were a direct response to the needs of Chicanos in the United States, who were fighting for the right to adequate education, political empowerment, and decent working conditions. Artists joined other cultural workers in making political statements and played a key role in taking these statements to the public. They developed collectives and established cultural centers that functioned as the public-relations arm of the Chicano sociopolitical movement.

1. The primary purpose of the passage is to

A. argue for the superiority of a style of art

B. consider the impact of an art movement

C. describe the political content of a certain works of art

D. detail the characteristic style of an art movement

E. place an art movement in its historical context

2. According to the passage, which of the following statements about the “cultural centers” is true?

A. They were the venue where many later leaders of the Chicano civil rights movement first became politically active.

B. Though later widespread, they originated in San Francisco area.

C. Springing up in a number of communities, they initially had largely apolitical goals centered on art instruction.

D. They constituted the nucleus from which the Chicano civil rights movement originated.

E. Founded by artists, they provided support for the Chicano civil rights movement.

3. Which of the following best describes the relationship between the first paragraph and the second paragraph of the passage?

A. The first focuses on the mural artists as individuals; the second, on their actions as a group.

B. The first compares the mural revival with an earlier artistic movement; the second describes the context contemporary to the revival

C. The first defines the revival by distinguishing it from an earlier artistic movement; the second addresses the political goals of both the revival and its forerunner

D. The first presents an apparently plausible account of the relationship between the revival and is forerunner, the second calls that account into question

E. The first is concerned with the artistic aims and ambitions behind the San Francisco murals; the second considers their political significance

1

The revival of mural painting that has occurred in San Francisco since the 1970s, especially among the Chicano population of the city’s Mission District, has marked differences from its social realist forerunner in Mexico and the United States some 40 years earlier.

1970 年代起在旧金山，特别是 M 区墨西哥裔中复兴的壁画，与比它早约 40 年的，活跃于美国和墨西哥的社会现实主义流派前辈作品，有明显不同。

2

Rather than being government sponsored and limited to murals on government buildings, the contemporary mural movement sprang from the people themselves, with murals appearing on community buildings and throughout college campuses.

没有政府资助，也不限于政府建筑，当代壁画运动发源于大众自身，壁画见于社区建筑，遍布大学校园。

3

Perhaps the biggest difference, however, is the process.

然而，也许最 大的区别在于创作过程。

4

In earlier twentieth-century Mexico, murals resulted from the vision of individual artists.

在二十世纪早期的墨西哥，壁画产生于艺术家个人的想象。

5

But today’s murals are characteristically the products of artists working with local residents on design and creation.

但今天的壁画从特点看，是艺术家与当地居民共同设计与创造的。

6

Such community engagement is characteristic of the Chicano art movement as a whole, which evolved from the same foundations as the Chicano civil rights movement of the mid-1960s.

这样的大众参与，是墨西哥裔艺术运动的整体特点，同样也是 1960 年代中期墨西哥裔民权运动的基础。

7

Both were a direct response to the needs of Chicanos in the United States, who were fighting for the right to adequate education, political empowerment, and decent working conditions.

二者都是对墨西哥裔美国人需求的直接回应，他们当时正在为足够的教育，政治权力和体面的工作条件而斗争。

8

Artists joined other cultural workers in making political statements and played a key role in taking these statements to the public.

艺术家帮助其他文化工作者制定政治宣言，且在向公众传播这些宣言方面发挥了重要作用。

9

They developed collectives and established cultural centers that functioned as the public-relations arm of the Chicano sociopolitical movement.

他们发展成集体而且建立了若干文化中心，后者在墨西哥裔社会政治运动中作为公共关系力量发挥作用。

1. The primary purpose of the passage is to

A. argue for the superiority of a style of art

B. consider the impact of an art movement

C. describe the political content of a certain works of art

D. detail the characteristic style of an art movement

E. place an art movement in its historical context

选 E

把一项艺术运动(壁画复兴)置于历史语境中考察。

2. According to the passage, which of the following statements about the “cultural centers” is true?

A. They were the venue where many later leaders of the Chicano civil rights movement first became politically active.

B. Though later widespread, they originated in San Francisco area.

C. Springing up in a number of communities, they initially had largely apolitical goals centered on art instruction.

D. They constituted the nucleus from which the Chicano civil rights movement originated.

E. Founded by artists, they provided support for the Chicano civil rights movement.

选 E

根据句 9：

They developed collectives and established cultural centers that functioned as the public-relations arm of the Chicano sociopolitical movement.

比较简单的细节题。

3. Which of the following best describes the relationship between the first paragraph(句 1 - 5) and the second paragraph(句 6 - 9) of the passage?

A. The first focuses on the mural artists as individuals; the second, on their actions as a group.

B. The first compares the mural revival with an earlier artistic movement; the second describes the context contemporary to the revival

C. The first defines the revival by distinguishing it from an earlier artistic movement; the second addresses the political goals of both the revival and its forerunner

D. The first presents an apparently plausible account of the relationship between the revival and is forerunner, the second calls that account into question

E. The first is concerned with the artistic aims and ambitions behind the San Francisco murals; the second considers their political significance

选 B

没啥好讲。

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