2006年度英語專業(yè)八級考試真題及答案(不包括聽力)

2006年度英語專業(yè)八級考試真題及答案(不包括聽力)(4)“museum”isaslipperyword.itfirstmeant(ingreek)anythingconsecratedtothemuses:ahill,ashrine,agarden,afestivalorevenatextbook.bothplatosacademyandaristotleslyceumhadamouseion,amusesshrine.althoughthegreeksalreadycollecteddetachedworksofart,manytemples—notablythatofheraatolympia(beforewhichtheolympicflameisstilllit)—hadcollectionsofobjects,someofwhichwereworksofartbywellknownmasters,whilepaintingsandsculpturesinthealexandrianmuseumwereincidentaltoitsmainpurpose.theromansalsocollectedandexhibitedartfromdisbandedtemples,aswellasmineralspecimens,exoticplants,animals;andtheyplunderedsculpturesandpaintings(mostlygreek)forexhibition.meanwhile,thegreekwordhadslippedintolatinbytransliteration(thoughnottosignifypicturegalleries,whichwerecalledpinacothecae)andmuseumstillmoreorlessmeant“muses-shrine”.theinspirationalcollectionsofpreciousandsemi-preciousobjectswerekeptinlargerchurchesandmonasteries—whichfocusedonthegold-enshrined,bejewelledrelicsofsaintsandmartyrs.princes,andlatermerchants,hadsimilarcollections,whichbecamethedepositsofnaturalcuriosities:largelumpsofamberorcoral,irregularpearls,unicornhorns,ostricheggs,fossilbonesandsoon.theyalsoincludedcoinsandgems—oftenantiqueengravedones—aswellas,increasingly,paintingsandsculptures.astheymultipliedandexpanded,tosupplementthem,theskillofthefakersgrewincreasinglyrefined.atthesametime,visitorscouldadmiretheverygrandestpaintingsandsculpturesinthechurches,palacesandcastles;theywerenot“collected”either,but“site-specific”,andwereconsideredanintegralpartbothofthefabricofthebuildingsandofthewayoflifewhichwentoninsidethem—andmostofthebuildingswerepublicones.however,duringtherevivalofantiquityinthefifteenthcentury,fragmentsofantiquesculptureweregivenhigherstatusthantheworkofanycontemporary,sothatdisplaysofantiquitieswouldinspireartiststoimitation,orevenbetter,toemulation;andsocouldbeconsideredmuses-shrinesintheformersense.themedicigardennearsanmarcoinflorence,thebelvedereandthecapitolinromewerethemostfamousofsuchearly“inspirational”collections.soontheymultiplied,and,gradually,exemplary“modern”heseventeenthcentury,scientificandprestigecollectingbecamesowidespreadthatthreeorfourcollectorsindependentlypublisheddirectoriestomuseumsallovertheknownworld.butitwastheageofrevolutionsandindustrywhichproducedthenextsharpshiftinthewaytheinstitutionwasperceived:thefuryagainstroyalandchurchmonumentspromptedantiquarianstosheltertheminasylum-galleries,ofwhichthemuseedesmonumentsfrancaiswasthemostfamous.then,inthefirsthalfofthenineteenthcentury,museumfundingtookoff,alliedtotheriseofnewwealth:londonacquiredthenationalgalleryandthebritishmuseum,thelouvrewasorganized,themuseum-inselwasbeguninberlin,andthemunichgallerieswerebuilt.invienna,thehugekunsthistorischesandnaturhistorischesmuseumstookovermuchoftheimperialtreasure.meanwhile,thedeclineofcraftsmanship(andofpublictastewithit)inspiredthecreationof“improving”collections.thevictoriaandalbertmuseuminlondonwasthemostfamous,aswellasperhapsthelargestofthem.25.thesentence“museumisaslipperyword”inthefirstparagraphmeansthat[a]themeaningoftheworddidn’tchangeuntilafterthe15thcentury.[b]themeaningofthewordhadchangedovertheyears.[c]thegreekshelddifferentconceptsfromtheromans.[d]princesandmerchantsaddedpaintingstotheircollections.26.theideathatmuseumcouldmeanamountainoranobjectoriginatesfrom[a]theromans.[b]florence.[c]olympia.[d]greek.27.“...theskillofthefakersgrewincreasinglyrefined”inthethirdparagraphmeansthat[a]therewasagreatdemandforfakers.[b]fakersgrewrapidlyinnumber.[c]fakersbecamemoreskillful.[d]fakersbecamemorepolite.28.paintingsandsculpturesondisplayinchurchesinthe15thcenturywere[a]collectedfromelsewhere.[b]madepartofthebuildings.[c]donatedbypeople.[d]boughtbychurches.29.modernmuseumscameintoexistenceinorderto[a]protectroyalandchurchtreasures.[b]improveexist