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12 tháng 7 2019

C

Kiến thức: Liên từ

Tạm dịch:

William Clark không được ban cấp bậc đội trưởng. Đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về quyền lực và cấp bậc.

A. William Clark không được ban cấp bậc đội trưởng vì đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về thẩm quyền và cấp bậc. => sai nghĩa

B. William Clark không được ban cấp bậc đội trưởng, do đó, đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về quyền lực và cấp bậc. => sai nghĩa

C. Mặc dù William Clark không được ban cấp bậc đội trưởng, đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về quyền lực và cấp bậc.=> đúng

D. Vì William Clark không được ban cấp bậc đội trưởng, đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về thẩm quyền và cấp bậc. => sai nghĩa

Chọn C

9 tháng 3 2019

C

Kiến thức: Liên từ

Tạm dịch:

William Clark không được ban cấp bậc đội trưởng. Đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về quyền lực và cấp bậc.

A. William Clark không được ban cấp bậc đội trưởng vì đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về thẩm quyền và cấp bậc. => sai nghĩa

B. William Clark không được ban cấp bậc đội trưởng, do đó, đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về quyền lực và cấp bậc. => sai nghĩa

C. Mặc dù William Clark không được ban cấp bậc đội trưởng, đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về quyền lực và cấp bậc.=> đúng

D. Vì William Clark không được ban cấp bậc đội trưởng, đội trưởng Lewis ít nhiều đã bỏ qua điều này và coi Clark là người bình đẳng về thẩm quyền và cấp bậc. => sai nghĩa

Chọn C

Read the following passage and mark the letter A,B,C or D on your answer sheet to indicate thecorrect answer to each of the questionsReading to oneself is a modern activity which was almost unknown to the scholars of the classical and medieval worlds, while during the fifteenth century the term “reading” undoubtedly meant reading aloud. Only during the nineteenth century did silent reading become commonplace.One should be wary, however, of assuming that silent reading came about simply...
Đọc tiếp

Read the following passage and mark the letter A,B,C or D on your answer sheet to indicate the

correct answer to each of the questions

Reading to oneself is a modern activity which was almost unknown to the scholars of the classical and medieval worlds, while during the fifteenth century the term “reading” undoubtedly meant reading aloud. Only during the nineteenth century did silent reading become commonplace.

One should be wary, however, of assuming that silent reading came about simply because reading aloud was a distraction to others. Examinations of factors related to the historical development of silent reading have revealed that it became the usual mode of reading for most adults mainly because the tasks themselves changed in character.

The last century saw a steady gradual increase in literacy and thus in the number of readers. As the number of readers increased, the number of potential listeners declined and thus there was some reduction in the need to read aloud. As reading for the benefit of listeners grew less common, so came the flourishing of reading as a private activity in such public places as libraries, railway carriages and offices, where reading aloud would cause distraction to other readers. Towards the end of the century, there was still considerable argument over whether books should be used for information or treated respectfully and over whether the reading of materials such as newspapers was in some way mentally weakening. Indeed, this argument remains with us still in education. However, whateverits virtues, the old shared literacy culture had gone and was replaced by the printed mass media on the one hand and by books and periodicals for a specialised readership on the other.

By the end of the twentieth century, students were being recommended to adopt attitudes to books and to use reading skills which were inappropriate, if not impossible, for the oral reader. The social, cultural and technological changes in the century had greatly altered what the term “reading” implied.

Reading aloud was more common in the medieval world because ______.

A. people relied on reading for entertainment

B. silent reading had not been discovered

C. there were few places available for private reading

D. few people could read to themselves

1
27 tháng 6 2017

Đọc to là phổ biến hơn trong thế giới thời trung cổ bởi vì ______.

A. mọi người dựa vào việc đọc để giải trí

B. đọc thầm không được phát hiện

C. có vài nơi để đọc riêng

D. ít người có thể tự đọc

Dẫn chứng: Reading to oneself is a modern activity which was almost unknown to the scholars of the classical and medieval worlds, while during the fifteenth century the term “reading” undoubtedly meant reading aloud.

Tạm dịch:  Đọc cho chính mình là một hoạt động hiện đại mà hầu như các học giả của thế giới cổ điển và thời trung cổ gần như không biết đến, trong khi trong thế kỷ thứ mười lăm, thuật ngữ đọc sách chắc chắn có nghĩa là đọc to

Đáp án: D

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in...
Đọc tiếp

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

According to the passage, which of the following changes occured at the same time as the Arts and Crafts Movement?

A. The creation of brighter and more airy spaces inside homes.

B. The rejection of art that depicted nature in a realistic manner.

C. A decline of interest in art museum collections.

D. An increase in the buying of imported art objects.

1
22 tháng 1 2019

ĐÁP ÁN A

Theo đoạn văn, những thay đổi nào dưới đây xảy ra cùng lúc với sự thay đổi về nghệ thuật và thủ công?

A. Sự sáng tạo về không gian sáng và nhiều không khí hơn trong nhà cửa.

B. Sự chối bỏ rằng nghệ thuật phác hoạ thiên nhiên một cách chân thực hơn.

C. Sự hứng thú giảm đi với các bộ sưu tập ở bảo tàng.

D. Sự tăng hứng thú với việc mua các món đồ nghệ thuật.

Dẫn chứng: “The Arts and Crafts Movement was much more than a particular style, it was a philosophy of domestic life.”

Tạm dịch:  Những thay đổi về nghệ thuật và thủ công còn hơn cả một thể loại nhất định, nó là lí luận về cuộc sống thường nhật.

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in...
Đọc tiếp

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

According to the passage, which of the following changes occured at the same time as the Arts and Crafts Movement?

A. The creation of brighter and more airy spaces inside homes.

B. The rejection of art that depicted nature in a realistic manner.

C. A decline of interest in art museum collections.

D. An increase in the buying of imported art objects

1
27 tháng 11 2017

A

Theo đoạn văn, những thay đổi nào dưới đây xảy ra cùng lúc với sự thay đổi về nghệ thuật và thủ công?

A. Sự sáng tạo về không gian sáng và nhiều không khí hơn trong nhà cửa.

B. Sự chối bỏ rằng nghệ thuật phác hoạ thiên nhiên một cách chân thực hơn.

C. Sự hứng thú giảm đi với các bộ sưu tập ở bảo tàng.

D. Sự tăng hứng thú với việc mua các món đồ nghệ thuật.

Dẫn chứng: “The Arts and Crafts Movement was much more than a particular style, it was a philosophy of domestic life.”

Tạm dịch:  Những thay đổi về nghệ thuật và thủ công còn hơn cả một thể loại nhất định, nó là lí luận về cuộc sống thường nhật.

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in...
Đọc tiếp

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The passage primarily focuses on nineteenth century arts and crafts in terms of which of the following?

A. Their naturalistic themes.

B. Their importance in museum collections.

C. Their British origin.

D. Their role in an industrialized society.

1
18 tháng 8 2017

C

Đoạn văn chủ yếu tập trung vào nghệ thuật và thủ công ở thế kỉ 19 nhưng ở phương diện nào dưới đây?

A. Những chủ đề thiên nhiên.

B. Sự quan trọng của chúng trong các bộ sưu tập ở bảo tàng.

C. Nguồn gốc Anh quốc của chúng.

D. Vai trò của chúng trong một xã hội công nghiệp hoá.

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in...
Đọc tiếp

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The passage primarily focuses on nineteenth century arts and crafts in terms of which of the following?

A. Their naturalistic themes.

B. Their importance in museum collections.

C. Their British origin.

D. Their role in an industrialized society.

1
10 tháng 2 2017

ĐÁP ÁN C

Đoạn văn chủ yếu tập trung vào nghệ thuật và thủ công ở thế kỉ 19 nhưng ở phương diện nào dưới đây?

A. Những chủ đề thiên nhiên.

B. Sự quan trọng của chúng trong các bộ sưu tập ở bảo tàng.

C. Nguồn gốc Anh quốc của chúng.

D. Vai trò của chúng trong một xã hội công nghiệp hoá

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in...
Đọc tiếp

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs

B. people who produce handmade glass objects

C. operators of machines that automatically cut legs, for furniture

D. metalworkers who create unique pieces of jewelry

1
24 tháng 9 2019

ĐÁP ÁN C

Từ đoạn trích có thể suy ra rằng những thay đổi trong nghệ thuật và thủ công có để đều được coi là nghệ sĩ ngoại trừ:

A. những người sáng tạo thiết kế trên vải vóc.

B. những người sản xuất vật thuỷ tinh bằng tay.

C. những người điều hành máy tự động cắt tay cho đồ đạc.

D. thợ kim loại sản xuất những trang sức độc đáo.

Dẫn chứng: “The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise.”

Tạm dịch: “Những thay đổi về nghệ thuật và thủ công phản đối quá trình máy móc hoá đã đe doạ đồ thủ công và dẫn đến những hàng hoá rẻ mạt, một màu.”

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in...
Đọc tiếp

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs

B. people who produce handmade glass objects

C. operators of machines that automatically cut legs, for furniture

D. metalworkers who create unique pieces of jewelry

1
20 tháng 7 2018

C

Từ đoạn trích có thể suy ra rằng những thay đổi trong nghệ thuật và thủ công có để đều được coi là nghệ sĩ ngoại trừ:

A. những người sáng tạo thiết kế trên vải vóc.

B. những người sản xuất vật thuỷ tinh bằng tay.

C. những người điều hành máy tự động cắt tay cho đồ đạc.

D. thợ kim loại sản xuất những trang sức độc đáo.

Dẫn chứng: “The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise.”

Tạm dịch: “Những thay đổi về nghệ thuật và thủ công phản đối quá trình máy móc hoá đã đe doạ đồ thủ công và dẫn đến những hàng hoá rẻ mạt, một màu.”

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in...
Đọc tiếp

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

According to paragraph 2, the handcrafted objects in the homes of middle and working-class families usually were __________.

A. made by members of the family

B. the least expensive objects in their homes

C. regarded as being morally uplifting 

D. thought to symbolize progress

1
7 tháng 9 2018

ĐÁP ÁN C

Theo đoạn 2, những vật thủ công trong nhà của những gia đình lao động tầm trung thường:

A. được làm bởi các thành viên trong gia đình.

B. ít đắt nhất trong các đồ vật trong nhà họ.

C. được coi là đồ vật mang lại tinh thần tốt.

D. được cho là biểu tượng hoá quá trình.

Dẫn chứng: “Most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle and working-class homes craft was the only form of art.”

Tạm dịch: “Hầu hết những người Victoria đều đồng tình rằng đồ nghệ thuật là một món đồ tinh thần không thể thiếu với không khí gia đình, và ở những gia đình lao động tầm trung, đồ thủ công là những đồ mang tính nghệ thuật duy nhất.