题目内容

【题目】When Frida Kahlos paintings were on show in London, a poet described her paintings as a ribbon (丝带)around a bomb. Such comments seem to suggest Kahlo had a big influence on the art world of her time. Sadly, she is actually a much bigger name today than she was during her time.

Born in 1907 in a village near Mexico City , Kahlo suffered from polio(小儿麻痹症)at the age of seven. Her spine (脊柱)become bent as she grew older. Then, in 1925, her back was broken in several places in a school-bus accident. Throughout the rest of her life, the artist had many operations, but noting was able to cure the terrible pain in her back. However, the accident had an unexpected side effect. While lying in her bed recovering, Kahlo taught herself to paint.

In 1929, she got married to Diego Rivera, another famous Mexican artist. Rivera’s strong influences on Kahlo’s style can be seen in her early works, but her later works from the 1940s, known today as her best works, show less influence from her husband.

Unfortunately, her works did not attract much attention in the 1930s and1940s, even in her home country. Her first one-woman show in Mexico was not held until 1953.For more than a decade after her death in 1954, Kahlo’s works remained largely unnoticed by the world, but in the 1970s her works began to gain international fame at last.

【1】What does the phrase “a much bigger name” in paragraph 1 most nearly mean?

A. a far better artist

B. a for more gifted artist

C. a much stronger person

D. a much more famous person

【2】The terrible pain Kahlo suffered was caused by ________.

A. polio

B. her bent spine

C. back injuries

D. the operations she had

【3】Kahlo’s style had become increasingly independent since the________.

A. 1930s

B. 1940s

C. 1950s

D. 1970s

【4】What is author’s attitude toward Kahlo?

A. Devotion

B. Sympathy

C. Worry

D. Encouragement

【答案】【1】D

【2】C

【3】B

【4】B

【解析】【1】根据语境可知D项正确。

【2】在文章中的依据就是“…her back was brokenschool bus accident.

【3】细节题。从第三段最后一句可以找到答案。

【4】推理题。根据全文内容可推断。

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【题目】阅读下面的文字,回答问题。

悲剧与人生的距离

朱光潜

悲剧中有人生,人生中不必有悲剧。我们的世界中有的是凶灾险恶。但是说这种凶灾险恶是悲剧,只是在用比譬。悲剧所描写的固然也不外乎凶灾险恶,但是悲剧的凶灾险恶是在艺术的锅炉中蒸馏过的。

像一切艺术一样,戏剧要有几分近情理,也要有几分不近情理。它要有几分近情理,否则它和人生没有接触点,读来兴味索然;它也要有几分不近情理,否则你会把舞台真正看做世界,看《奥塞罗》会想到自己的妻子,或者老实递消息给司马懿,说诸葛亮是在演空城计。

悲剧和人生之间自有一种不可跨越的距离,你走进舞台,你便须暂时丢开世界。

悲剧都有些古色古香。希腊悲剧流传于人间的几十部之中只有《波斯人》一部是写当时史实,其余都是写人和神还没有分家时的老故事老传说;莎士比亚并不醉心于古典,在这一点上他却近乎守旧。他的悲剧事迹也大半是代远淹的。世纪法国悲剧也是如此。拉辛在《巴雅泽》序文里说:说老实话,如果剧情在哪一国发生,剧本就在哪一国表演,我不劝作家拿这样近代的事迹做悲剧。他自己用近代的巴雅泽事迹,因为它发生在土耳其,国度的辽远可以稍稍补救时间的邻近,这是以空间的远救时间的近。

悲剧和平凡是不相容的,而实际上不平凡就失人生世相的真面目。所谓主角同时都有几分英雄气。普罗米修斯、哈姆雷特都不是你我凡人所能望其项背的,你我凡人没有他们的伟大魄力,也没有他们那股傻劲儿。许多悲剧情境移到我们日常世界中来,都会被妥协酿成一个平凡收场,不至于引起轩然大波。如果你我是俄狄浦斯,要逃弑父娶母的预言,索性不杀人,独身到老,便什么祸事也没有。悲剧的产生就由于不平常人睁着大眼睛向我们平常人所避免的灾祸里闯。悲剧的世界和我们是隔着一层的。

这种另一世界的感觉往往因神秘色彩而更加浓厚。悲剧压根儿就是一个不可解的谜语,如果能拿理性去解释它的来因去果,便失其为悲剧了。善有善报,恶有恶报,这是人类的普遍希望,而事实往往不如人所期望,不能尤人,于是怨天,说一切都是命运。悲剧是不虔敬的,它隐约指示冥冥之中有一个捣乱鬼,但是这个捣乱鬼的面目究竟如何,它却不让我们知道,本来它也无法让我们知道:

艺术往往在不自然中寓自然。一部《红楼梦》所写的完全是儿女情,作者却要把它摆在金玉缘这个神秘的轮廓里。一部《水浒传》所写的完全是侠盗生活,作者却要把它的根源埋到伏魔之洞。戏剧在人情物理上笼上一层神秘障,也是惯技:梅特林克的《普莱雅斯和梅丽桑德》写叔嫂的爱,本是一部人间性极重的悲剧,作者却把场合的空气渲染得阴森冷寂如地窖,把剧中人的举止言笑描写得如僵尸活鬼,使观者察觉不到它的人间性。

悲剧把生活的苦恼和死的幻灭通过放大镜,射到某种距离以外去看。苦闷的呼号变成庄严灿烂的意象,霎时间使人脱开现实的重压而游魂于幻境,这就是尼采所说的从形相得解脱

(选自《我与文学及其他》,有改动)

1悲剧把生活的苦恼和死的幻灭通过放大镜,射到某种距离以外去看一句中放大镜某种距离分别指什么?

【2】请简要说明全文的思路。

3文章题为悲剧与人生的距离,文中也说悲剧和人生之间自有一种不可跨越的距离。请结合全文内容,概括不可跨越的距离包含哪些内容。

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