历年GRE考试真题精选系列二十三

会计考友 · 发表于 2012-8-15 12:45:20

ective world and for expressing the singular self.
Photographs depict objective realities that already
exist, though only the camera can disclose them. And
they depict an individual photographer’s tempera-
ment discovering itself through the camera’s cropping
of reality. That is, photography has two antithetical
ideals: in the first, photography is about the world
and the photographer is a mere observer who counts
for little; but in the second, photography is the
instrument of intrepid, questing subjectivity and the
photographer is all.
These conflicting ideals arise from a fundamental
uneasiness on the part of both photographers and
viewers of photographs toward the aggressive compo-
nent in “taking” a picture. Accordingly, the ideal of a
photographer as observer is attractive because it
implicitly denies that picture-taking is an aggressive
act. The issue, of course, is not so clear-cut. What
photographers do cannot be characterized as simply
predatory or as simply, and essentially, benevolent.
As a consequence, one ideal of picture-taking or the
other is always being rediscovered and championed.
  An important result of the coexistence of these two
ideals is a recurrent ambivalence toward photog-
raphy’s means. Whatever the claims that photography
might make to be a form of personal expression on a
par with painting, its originality is inextricably linked
to the powers of a machine. The steady growth of
these powers has made possible the extraordinary
informativeness and imaginative formal beauty of
many photographs, like Harold Edgerton’s high-speed
photographs of a bullet hitting its target or of the
swirls and eddies of a tennis stroke. But as cameras
become more sophisticated, more automated, some
photographers are tempted to disarm themselves or to
suggest that they are not really armed, preferring to
submit themselves to the limits imposed by premodern
camera technology because a cruder, less high-
powered machine is thought to give more interesting
or emotive results, to leave more room for creative
accident. For example, it has been virtually a point of
honor for many photographers, including Walker
Evans and Cartier-Bresson, to refuse to use modern
equipment. These photographers have come to doubt
the value of the camera a an instrument of “fast
seeing.” Cartier- Bresson, in fact, claims that the
modern camera may see too fast.
This ambivalence toward photographic means
determines trends in taste. The cult of the future (of
faster and faster seeing) alternates over time with the
wish to return to a purer past—when images had a
handmade quality. This nostalgia for some pristine
state of the photographic enterprise is currently wide-
spread and underlies the present-day enthusiasm for
daguerreotypes and the work of forgotten nineteenth-
century provincial photographers. Photographers and
viewers of photographs, it seems, need periodically to
resist their own knowingness.

21. According to the passage, interest among photo-
graphers in each of photography’s two ideals
can be described as
(A) rapidly changing
(B) cyclically recurring
(C) steadily growing
(D) unimportant to the viewers of photographs
(E) unrelated to changes in technology

会计考友 · 发表于 2012-8-15 12:45:21

22. The author is primarily concerned with
(A) establishing new technical standards for
   contemporary photography
(B) analyzing the influence of photographic
   ideals on picture-taking
(C) tracing the development of camera
   technology in the twentieth century
(D) describing how photographers’ individual
   temperaments are reflected in their work
(E) explaining how the technical limitations
   imposed by certain photographers on
   themselves affect their work

23. The passage states all of the following about
photographs EXCEPT:
(A) They can display a cropped reality.
(B) They can convey information.
(C) They can depict the photographer’s
   temperament.
(D) They can possess great formal beauty.
(E) They can change the viewer’s sensibilities.

24. The author mentions the work of Harold
Edgerton in order to provide an example of
(A) how a controlled ambivalence toward
   photography’s means can produce
   outstanding pictures
(B) how the content of photographs has
   changed from the nineteenth century to
   the twentieth
(C) the popularity of high-speed photography
   in the twentieth century
(D) the relationship between photographic
   originality and technology
(E) the primacy of formal beauty over
   emotional content

会计考友 · 发表于 2012-8-15 12:45:22

25. The passage suggests that photographers such as
Walker Evans prefer old-fashioned techniques
and equipment because these photographers
(A) admire instruments of fast seeing
(B) need to feel armed by technology
(C) strive for intense formal beauty in their
   photographs
(D) like the discipline that comes from self-
   imposed limitations
(E) dislike the dependence of photographic
   effectiveness on the powers of a machine

26. According to the passage, the two antithetical
ideals of photography differ primarily in the
(A) value that each places on the beauty of the
   finished product
(B) emphasis that each places on the emotional
   impact of the finished product
(C) degree of technical knowledge that each
   requires of the photographer
(D) extent of the power that each requires of
   the photographer’s equipment
(E) way in which each defines the role of the
   photographer

27. Which of the following statements would be
most likely to begin the paragraph immediately
following the passage?
(A) Photographers, as a result of their
   heightened awareness of time, are con-
   stantly trying to capture events and
   actions that are fleeting.
(B) Thus the cult of the future, the worship of
   machines and spend, is firmly established
   in spite of efforts to the contrary by some
   photographers.
(C) The rejection of technical knowledge, how-
   ever, can never be complete and photog-
   raphy cannot for any length of time
   pretend that it has no weapons.
(D) The point of honor involved in rejecting
   complex equipment is, however, of no
   significance to the viewer of a photo-
   graph.
(E) Consequently the impulse to return to the
   past through images that suggest a hand-
   wrought quality is nothing more than a
   passing fad.
21.B 22.B 23.E 24.D 25.E 26.E 27.C

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[GRE真题] 历年GRE考试真题精选系列二十三

历年GRE考试真题精选系列二十三

历年GRE考试真题精选系列二十三