大学英语之泛读第一册1~5单元答案

Careful Reading – Passage 3

The HMS Ontario is one of the most famous shipwrecks and was discovered by two Rochester engineers Jim Kennard, 64, who has spent more than half his life pursuing The HMS Ontario, along with Dan Scoville, 35, a shipwreck diver. They discovered The HMS Ontario deep off the southern shore of Lake Ontario when side-scanning sonar system that Mr. Kennard, a retired Kodak engineer, designed and built himself, showed a picture of something deep in Lake Ontario. The location of the shipwreck had been unknown for 228 years.

Experienced ship wreck divers Jim Kennard and Dan Scoville have discovered seven of Lake Ontario‘s estimated 500 shipwrecks in the last six years alone. Jim Kennard also designed a microwave-sized remote submersible that they deployed to go down and take the shipwreck‘s video. The shipwreck is quite deep in Lake Ontario, so the remote machine with video was very useful.

―Right away we saw the quarter gallery, the windows in the stern, the cannons,‖ said Jim Kennard. ―There was no mistaking. That‘s when we started getting excited.‖ The discovery of the ship wreck was confirmed by The HMS Ontario expert Canadian Arthur Britton Smith, who authored the definitive book on the HMS Ontario.

The loss of the HMS Ontario, is one of the worst-ever disasters recorded on Lake Ontario. In her time The HMS Ontario was the most-feared ship on the Great Lakes. It was 1780 and the Yankees were threatening to storm across Lake Ontario and seize Montreal from the British. But the intimidating 226-ton Ontario – 22 cannons, two 80-foot masts, a beamy hull with cargo space for 1000 barrels, was intimidating. On Oct. 31, 1780, she sailed into a storm with around 120 passengers on board and was never seen again. The British tried to keep the news of the ship wreck hush hush.

The HMS Ontario appears to be in perfect shape and The HMS Ontario has aged remarkably well though zebra mussels cover much of the woodwork. Leaning on a 45-degree angle, her masts still jut straight up from her decks where several guns lie upside-down and a brass bell, brass cleats and the stern lantern are perfectly visible. The Seven windows across her stern still have glass. Shipwrecks in cold freshwater are well preserved, that is why great lakes shipwrecks are prized. At 500 feet deep, where the HMS Ontario lies, there is no light and no oxygen to speed up the decomposition, and little marine life to feed on the wood.

There was no evidence of the roughly 113 Canadian men, women, children and American prisoners who went down with the ship - the passengers – mostly Canadian soldiers from the 34th regiment – were never found. Nobody knows for sure how many passengers perished on the Ontario; the British kept their prisoner counts secret.

Out of worries over looting, Mr. Jim Kennard and Mr. Dan Scoville are not revealing The HMS Ontario‘s location. The vessel sits in water up to 500 feet deep and cannot be reached by anyone other than experienced divers. It is not believed to have any shipwreck treasure on it as was reported other than a few shipwreck coins that belonged to the passengers.

Kennard said he and his partner have gathered enough ship wreck video of the ship that it will not be necessary to return to the site. He added that they hope to make a documentary about the discovery with the video of the shipwreck.

The Great Lakes host many shipwreck locations and there are an estimated 4,700 shipwrecks in total, of which 500 are in Lake Ontario. Freshwater shipwrecks are famous for their preservation of the vessels and make popular diving spots.

1. The two discoverers of the HMS Ontario saw its video __________.

A. with the help of a scanning sonar system B. with the help of a remote submersible C. on an Ontario TV channel D. on a DVD about history

2. The HMS Ontario was most probably a __________.

A. cruise liner B. fishing boat C. war ship D. cargo ship

3. Great Lakes shipwrecks are highly valued because __________.

A. they are well protected against decomposition B. they need to be explored with high technology C. they are of great use to the research of history D. they have much well-preserved treasure on board 4. What is Not true about the HMS Ontario?

A. No trace of human being has been found in the shipwreck. B. The passengers were evacuated before the ship sank.

5

C. The ship used to belong to the British Navy. D. There was not much treasure on the ship.

5. What will Jim and Dan do with the HMS Ontario shipwreck?

A. They will take it to the surface when they get more financial fund. B. They will make it a popular diving spot.

C. They will reveal the location of the ship when the video is released. D. They will leave the shipwreck where it is.

6. Which paragraph is Not about the finding of Jim and Dan?

A. Paragraph 3. B. Paragraph 4. C. Paragraph 5. D. Paragraph 6.

Careful Reading – Passage 4

Self-Portrait with Straw Hat (1887), a van Gogh self-portrait done in Paris, is one of his most intriguing yet most neglected works. The artist‘s gloomy eyes stare out from his face in half-profile, facing to the left, and the world-weary expression initially appears to support the view of critics such as James Risser, who explains van Gogh‘s self-portraits as a sustained search for identity.

Self-Portrait with Straw Hat (1887) initially appears to comply with Risser‘s evaluation. In this work, the painter depicted himself wearing a jumper of intense blue before a background done almost entirely in gray but with noticeable blurs of blue—most notably in the top right corner. Overall the painting appears to be unfinished, a hastily done portrait that the painter abandoned to create more lasting works.

In its incomplete state we can precisely read ―an unfinished life,‖ and in the wild strokes of casual blue in the background and splashed across the artist‘s garments we are instantly confronted with the sense of growing ―more and more out of control.‖

But is this an accurate evaluation? On the one hand, Risser seems to have legitimate cause for envisioning van Gogh‘s self-portrait as psychological self-analysis, a painting that ―reveals an emotional intensity hiding beneath the surface‖. But is the chaotic surface effect of the blue in this painting actually a form of self-criticism, the artist‘s own intense and emotional despair over his loss of control—or is it representative of an underlying aesthetic whose focus is not the painter himself? An intriguing alternative exists: van Gogh may not have painted the self-portraits as psychoanalytical evaluations of himself, but instead merely as experiments in technique. The artist often stated that he painted himself only because he lacked other models, a view found in the critical work of both Richard Kendall and T.J. Shackelford. Perhaps, then, van Gogh was not trying to learn about himself but about art as a whole while painting these portraits and hence we ought to read the self-portraits as a series of statements about art itself. The key to this analysis may be a careful exploration of the special color symbolism van Gogh attached to the color blue. Unlike our everyday association of blue with melancholy or boredom, the artist imagined blue as a symbol for the infinite or the limitless. Such a view calls into question the idea that self-portraits such as van Gogh‘s Self-Portrait with Straw Hat (1887) were a psychological profile of the artist‘s melancholy or despair. Instead, when we consider blue‘s special symbolic role as the infinite in van Gogh‘s Paris self-portraits, we discover a new narrative describing the painter‘s own aesthetic: his insistence that the future of art lay in expressive rather than realistic methods.

1. What does James Risser think of van Gogh‘s self-portraits?

A. Different self-portraits represent van Gogh‘s different attitude towards life. B. Many of his self-portraits have been neglected by critics. C. Van Gogh sought for identity through all his self-portraits.

D. Van Gogh expressed his weariness of the world in most of his self-portraits.

2. Which description is mentioned in the second paragraph about van Gogh‘s Self-portrait with a Straw Hat?

A. The painting is not well done. B. The painting mainly used gray.

C. The painter used blue but erased it later. D. The portrait showed a depressed emotion.

3. Who felt that the self-portrait showed ―an unfinished life‖?

A. Van Gogh himself. B. Risser‘s opponents. C. The author. D. James Risser.

4. According to Richard Kendall and T.J. Shackelford, the Self-portrait with a Straw Hat may not have anything

6

to do with __________.

A. van Gogh‘s painting technique B. the symbolism of color

C. the psychological analysis of the painter D. the painter‘s aesthetic

5. According to van Gogh himself, his self-portraits were intended to be __________.

A. narrative B. expressive C. analytic D. artistic

Careful Reading – Passage 5

It took me a decade to realize that the world has no shortage of fashion designers who are capable of making trendy, elegant, sexy and sophisticated garments, but that it is badly in need of, simply, clothes designers. My own definitions would set fashion and clothing greatly apart. It is a fact that, in the world of metropolitan shopping malls and high-end boutiques, there are plenty of beautiful garments whose very unpredictability make our life colorful, and compel a multitude of desires. You are almost convinced: you can buy whatever you dare to think. As experience grew with age, my attraction to art became ever stronger. The world of art revealed new spiritual prospects, a food for the heart and the sense of happiness that comes from catching sight of a friend from a past life. My journeys into the remote countryside, far away from urban life, carry me to deeper thoughts and explorations of the values of life. I am no longer satisfied by the practical and ornamental functions of clothing that are changing in modality, nor breakthroughs in form, much less does the drive for reputation or profit enter into my work. I yearn strongly for clothing to stand as does paint to the painter, as does stone to the sculptor, as a simple and particular language of an individual creation, which draws the audience from an appreciation of the surface to deeper thoughts and conversations with the world of the soul. I have a strong desire to explore the mental life and spiritual world of human beings. And through the works of hand that have touched me deeply, I believe that the most sublime and most meaningful creative motives should arise through caring for other people, the ultimate care of humanity—a concern for human feeling and spirituality. This includes love, but it is bigger than love, and it is unconditional. I believe the greatest works of art can touch the deepest and strongest parts of human feeling and the world of the spirit, and only these works can be the memories of history, preserving the most valuable feelings that have ever existed, and inspiring a greater awareness of ourselves.

I am not satisfied if people only appreciate clothing if it makes them happy, or visually appealing, or merely serves their needs. I believe clothing could be a specific creative language, and has infinite possibilities for communicating ideas and transmitting thoughts, for inspiring you and shaping your behavior. The spiritual qualities which I pursue stand in complete opposition to the trends of modern fashion What I find profoundly engaging are the primitive eras of human history, when people held nature in the deepest reverence and made objects of the utmost simplicity. Those crafts fashioned out of necessity, and not by the hands of celebrated masters, possess a power that can endure across the ages. These designs may still resonate through the millennia and arrest the values of contemporary fashion. This is what I have pursued, for clothing to return to its original simplicity. For our sensibilities which have been over-stimulated by fashion, we must regain a natural sense of clothing. Genuine fashion today should not follow the glamor of trends. It should instead uncover the extraordinary in the ordinary, for I believe that the ultimate luxury is not the price of the clothing, but its spirit.

1. According to the author, the fundamental factor a fashion designer needs to consider is __________.

A. the unpredictability of the clothing B. the desires of the consumers C. the creation of the clothing itself D. the shifting trend in fashion

2. The author‘s desire for art was inspired by __________.

A. the life of one of his friends‘ B. his experience as a designer C. his journey in the countryside D. the consumers‘ changed need

7

3. Which of the following is of least interest to the author in his designing work?

A. The functions of clothing. B. The spirit implied in clothing. C. The appreciation of the consumers. D. The prospect of reputation and profit.

4. By saying ―This includes love‖ (Sentence 7, Paragraph 2), the author regards love as __________.

A. that can be achieved through the works of hand B. a form of concern for human feeling and spirituality C. the most important component of the spiritual world D. one of the most sublime and meaningful creative motives

5. The author indicated that the primitive crafts were made as a result of __________.

A. respect for nature B. simplicity C. necessity D. spiritual pursuit

8