题目内容
The other morning on the subway I sat next to an attractive young blonde woman who was reading something on her iPad. She was very well-dressed, carrying a Prada bag with tastefully applied make-up indeed, she had an unmistakable air of wealth, material success and even authority. I suspected she worked as a highly-paid Wall Street lawyer or stockbroker or something of that sort. So, I was curious to see what she was so focused on. The Wall Street Journal perhaps? The Economist?
Quite the contrary; rather, she was concentrating on a romance novel. Then I realized that I have known many women who love romance novels—smart, attractive, successful, “liberated,” modem females who nonetheless find some kind of deep satisfaction and thrill from those hyper-romantic, artificial and extremely unrealistic tales of handsome, manly heroes falling in love with virginal women, enduring a series of adventures, then no doubt having a happy ending.
These romance stories are to literature what hot dogs are to fine food. Yet, the genre(体裁) remains enormously popular. Consider some of these surprising statistics from the good folks at the Romance Writers of America (RWA):
*More than 9,000 romance titles were released last year, with sales of about $1.44 billion (more than triple the revenues generated by classic literary fiction).
*More than 90 percent of the market are women (okay, that’s not at all surprising).
* Readers are typically women between the ages 30 and 54 who are themselves involved in a romantic relationship (betraying the stereotype that only lonely women long for these tales of love and adventure).
*Almost 40 percent of romance book consumers have an annual income of between $50,000 and $99,900 (placing them firmly in the middle class).
I had thought that romance novels accounted for a very small share of the literary market, so I was quite surprised that this part has such enormous popularity. But I must wonder why so many women—forty years after the women’s liberation movement continue to indulge in the fanciful tales?
I’m not sure if it represents a kind of “rejection” of the women’s liberation movement, but clearly something is missing in the lives of contemporary ladies. A romance author named Donna Hatch who focuses on the Regency period (early 19th century Britain) explained the appeal of such books this way: “Regency men were civilized and treated women with courtesy. When a lady entered the room, gentlemen stood, doffed their hats, offered an arm, bowed, and a hundred other little things I wish men still did today. But they were also very athletic; they hunted, raced, boxed, rode horses. They were manly. Strong. Noble. Honorable. And that is why I love them!”
Mrs. Hatch may have expressed the secret desires and attitudes of untold millions of her peers---that is, in the early 21st century, have women grown tired of the burdens and expectations that the “freedoms” they have gained give them? Is this a rejection of modem feminism? Do women long for days of old when men were masculine gentlemen and women were feminine and protected as precious treasures and regarded as possessions?
Perhaps most women (even the ones who get lost in romance novels) do not want to go all the way back but it is obvious, .
1.What is the function of the opening paragraph?
A. To summarize the whole passage.
B. To prove the author’s argument.
C. To lead in the main topic of the passage.
D. To raise problems that will be solved later.
2.What does the underlined sentence in the third paragraph imply?
A. Romance novels are satisfying and thrilling.
B. Romance novels are not of much “nutrition”.
C. Romance novels are as popular as hot dogs.
D. Romance novels are an essential part of contemporary life.
3.In the author’s opinion, what is missing in the lives of contemporary women?
A. Authority. B. Dignity. C. Liberty. D. Care.
4.Which sentence can be put in the blank in the last paragraph?
A. they prefer tales of innocent romance to classics
B. they are unhappy with how the world has turned out
C. true love described in romance novels does exist in reality
D. romance novels provide them with an access to society
考前必练系列答案At Japan’s Studio Ghibli, which has produced extraordinary animated films(动画片）since 1985, the best-known figure has always been one of the company’s founders, Hayao Miyazaki.
But an equally key figure is co-founder Isao Takahata, who has recently made a new feature, The Tale of Princess Kagnya. It is an unforgettable feature with an unusual hand-drawn aesthetic(美感).
The title character is a tiny baby girl who appears in a bamboo plant. She is found by a woodcutter, who takes her home and brings her up. He believes the little girl is a princess, and sets about preparing what he regards as a suitable world for her.
This original story is the oldest work of fiction in Japan; every child knows it in its simplified folktale form.
“It is a fascinating story with elements of wonder, humour, and sorrow,’’ Takahata says, “but these three elements are scattered(分散）about.” The chief challenge for anyone trying to adapt it is that “we are completely unable to comprehend what was in the heart of Princess Kaguya. Because of this, despite its being well known, few people consider it interesting. There have been several attempts at making a film out of the story, but they ended up being abandoned.”
He was connected with one of these attempts, but no one paid any attention to his concept.
“Fifty-five years later, I thought my concept was still appealing, and used it as a basis for turning the story into a feature film.”
His concept involves the princess’s origins, her expectations and her access to “the full range of human emotions”.
To realize his vision, Takahata says, “I needed to take the extremely individualistic brushwork and key designs of Osamu Tanabe and Kazuo Oga, two brilliantly talented artists, and have them permeate(扩散）throughout the film. The two of them drew many pictures, but they weren’t nearly enough. The most challenging part was to have all the other animation staff copy their styles in a free and easy way.”
The Tale of Princess Kaguya has been released, and people are saying that the two founders, now in their seventies, have directed their final films. But is it as clear-cut as that? When I ask Takahata about a scene of escape and urgency with a particularly distinctive (独特的) visual style, he says he had intended to use “this type of rough-drawn, forceful animation, in a project before this film.
“That project hasn’t been realized yet, but if it comes to pass, this style is essential.”
A hint, perhaps, there's still more to come.
1.Which of the following choices has got the right match?
①Hayao Miyazaki | a. one of the founders of Studio Ghibli |
② Isao Takahata | b. fictional character |
③ Kazuo Oga | c. famous artist |
④ Princess Kaguya | d. animation staff member of The Tale of Princess Kaguya |
A.① d B. ② a C.③ b D.④ c
2.Why is it challenging to adapt the original story to a feature film according to the passage?
A. Because people are in the dark about the feelings of Princess Kaguya.
B. Because the story itself offers a combination of wonder, humour and sorrow.
C. Because the story is too old to appeal to the audience nowadays.
D. Because every Japanese has been familiar with the story ever since childhood
3.From the Takahata version of The Tale of Princess Kaguya, we can expect the following except ________.
A. more details about the Princess’s origins and expectations
B. a forceful animation type featuring fine images and gentle brushwork
C. the distinctive brushwork and key designs from two gifted artists
D. a hand-drawn visual effect that brings out a unique sense of beauty