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[G-讨论|求助] 求解答GRE阅读

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speedster 发表于 2016-9-10 20:36:38 | 显示全部楼层 |阅读模式

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求问两道阅读题
By far the most popular United States literature of its time was a body of now-neglected novels written between 1820 and 1870 by, for, and about women. According to Nina Baym, who has termed this genre “woman’s fiction,” the massive popularity of these novels claimed a place for women in the writing profession. The novels chronicle the experiences of women who, beset with hardships, find within themselves qualities of intelligence, will, resourcefulness, and courage sufficient to overcome their obstacles. According to Baym, the genre began with Catharine Sedgwick’s New-England Tale (1822), manifested itself as the best-selling reading matter of the American public in the unprecedented sales of Susan Warner’s Wide, Wide World (1850), and remained a dominant fictional type until after 1870. The critical, as opposed to popular, reception of these novels in their own time was mixed. Theoretical opposition by those who saw fiction as a demoralizing and corrupting influence was by no means dead in mid-nineteenth-century America, and popular successes naturally bore a significant proportion of the attack. The moralistic tone of much woman’s fiction did not placate these antagonists; on the contrary, many clerical opponents of the novel thought that women were trying to take over the clergy’s functions and hence attacked all the more fiercely. Similarly, some male authors, disgruntled by the emergence of great numbers of women writers, expressed contempt for the genre.
On the other hand, the women had a powerful ally—their publishers, who not only put these works into print but advertised them widely and enthusiastically. Some few reviewers wrote about these works with attention and respect, distinguishing between the works of the different authors and identifying individual strengths and weaknesses. These approving contemporary critics were particularly alert to each writer’s contribution to the depiction of American social life, especially to regional differences in manners and character types. On the whole, however, even these laudatory critics showed themselves uninterested in the stories that this fiction told, or in their significance. Baym acknowledges that these novels are telling—with variations--a single familiar tale, and correctly notes that this apparent lack of artistic innovation has been partly responsible for their authors’ exclusion from the canon of classic American writers traditionally studied in university literature courses. Baym points out, however, that unlike such male contemporaries as Nathaniel Hawthorne, these women did not conceive of themselves as “artists,” but rather as professional writers with work to do and a living to be made from fulfilling an obligation to their audience. This obligation included both entertainment and instruction, which are not, says Baym, at odds with one another in these books, nor is entertainment the sweet coating on a didactic pill. Rather, the lesson itself is an entertainment: the central character’s triumph over adversity is profoundly pleasurable to those readers who identify with her.

3. The author of the passage implies which of the following about the members of the clergy mentioned in the first paragraph?
A. They also opposed works of fiction that were outside the genre of woman’s fiction.
B. They opposed journalism as well as imaginative writing.
C. Their influence reached its pinnacle in the mid-nineteenth century.
D. They were unable to obtain the support of other critics for their views.
E. Their attacks on the genre of the novel did not extend to novels written by male writers.
4. Which of the following can be inferred from the passage concerning the majority of the nineteenth-century reviewers of woman’s fiction?
A. They considered the position taken by the clergy in regard to woman’s fiction self-serving. B. They did not make fine distinctions between different authors.
C. They placed a higher value on plot than on social significance.
D. They subscribed to the view of writers as purveyors of popular entertainment rather than as artists
E. They regarded woman’s fiction as high as publishers did
sundance1 发表于 2016-9-13 15:38:16 | 显示全部楼层
3. The author of the passage implies which of the following about the members of the clergy mentioned in the first paragraph?
A. They also opposed works of fiction that were outside the genre of woman’s fiction. 文中没说
B. They opposed journalism as well as imaginative writing. 文中没说
C. Their influence reached its pinnacle in the mid-nineteenth century. 文中没说
D. They were unable to obtain the support of other critics for their views. 应该是能得到其他不看好的评论家的支持,文中提到 The critical, as opposed to popular, reception of these novels in their own time was mixed. 除了神父,还有其他人反对呢。
E. Their attacks on the genre of the novel did not extend to novels written by male writers. 选这个,文中没说神父对男作家有攻击。
4. Which of the following can be inferred from the passage concerning the majority of the nineteenth-century reviewers of woman’s fiction?
A. They considered the position taken by the clergy in regard to woman’s fiction self-serving. 文中没提读者对女性作家在道德方面的作用被神父取代有什么看法。
B. They did not make fine distinctions between different authors. 文中没提。Some few reviewers wrote about these works with attention and respect, distinguishing between the works of the different authors and identifying individual strengths and weaknesses. 这里的reviewers的看法应该是publisher的看法,而不是普通读者的看法。
C. They placed a higher value on plot than on social significance. 这一句the central character’s triumph over adversity is profoundly pleasurable to those readers who identify with her. 说了读者对plot很感兴趣。全篇没有提读者对social significance的看法,所以plot应该比social significance更重要。选这个。
D. They subscribed to the view of writers as purveyors of popular entertainment rather than as artists 文中没提
E. They regarded woman’s fiction as high as publishers did 文中没提是不是两者的评价是不是一样高

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