第1页:仿真试题1及其答案第2页:仿真试题2及其答案

　　（61）The earliest controversies about the relationship between photography and art centered on whether photography’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art.Throughout the nineteenth century，the defense of photography was identical with the struggle to establish it as a fine art.（62）Against the charge that photography was a soulless，mechanical copying of reality，photographers asserted that it was instead a privileged way of seeing，a revolt against commonplace vision，and no less worthy an art than painting.

　　Ironically，now that photography is securely established as a fine art，many photographers find it pretentious or irrelevant to label it as such.Serious photographers variously claim to be finding，recording，impartially observing，witnessing events，exploring themselves anything but making works of art.In the nineteenth century，photography’s association with the real world placed it in an ambivalent（对人或事物有矛盾情绪或看法的）relation to art:late in the twentieth century an ambivalent relation exists because of the modernist heritage in art.（63）That important photographers are no longer willing to debate whether photography is or is not a fine art，except to proclaim that their own work is not involved with art，shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism:the better the art，the more subversive it is of the traditional aims of art.

　　Photographers’disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art.（64）For example，those photographers who suppose that，by taking pictures，they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting.Much of photograph’s prestige today derives from the convergence of its aims with those of recent art，particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the1960’s.Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art.Classical Modernist painting that is，abstract art as developed in different ways by Picasso，Candinsky，and Matisse Presupposes highly developed skills of looking and a familiarity with other paintings and the history of art，photography，like Pop painting，reassures viewers that art is not hard;photography seems to be more about its subjects than abort art.

　　Photography，however，has developed all the anxieties and self_consciousness of a classic Modernist art.（65）Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short，an art.

　　答案

　　文章大意 :摄影虽然已经确凿无疑被认为是一种美术，但许多摄影家认为把摄影称之为美的艺术是矫揉造作或名不副实的。摄影家除了宣称他们本人的作品与艺术没有直接关系外，不再愿意争论摄影是否是一种美术的问题。这说明了当代艺术观所处的困扰境地。欣赏摄影作品使观赏者消除顾虑，意识到艺术并不难欣赏，因为摄影作品重视题材似乎更甚于艺术技巧。许多摄影专家私下里开始担心:提倡摄影作为一种反对实现艺术的传统要求的活动已经干得太过分了，结果使得公众将忘记摄影是一种独特而典雅的活动，总之，是一种艺术。

　　（61）结构分析 :句子的框架是...controversies...centered on whether...。whether引导的从句做介词宾语。此从句中it代指前面提到的photography。fidelity此处译为“确切，精确”，不应译成“忠诚、忠实”;machine此处指“照相机”;fine art意为“美的艺术”

　　参考译文: 关于摄影与艺术之间相互关系的最早期的争论集中于:摄影对景象的精确表现和对摄影机的依赖是否能使其成为一种与实用技艺相区别的美的艺术。

　　（62）结构分析 :句子的框架是photographers asserted that it was...a revolt...，and no less worthy an art...。that引导宾语从句做asserted的宾语。在against引导的介词短语中又套嵌一个that引导的同位语从句做the charge的同位语。charge在本文中意为“指责”，而不能译为“控告、指控”;privileged原意是“享有特权的，特许的”，此处转意为“特有的”;no less...than...译为“和……一样、不亚于……”。

　　参考译文: 为了反驳摄影是对现实的没有灵魂的机械摹写的指责，摄影家断言:恰恰相反，摄影是观看事物的一种特有形式，是对普通视觉的一种背离，是一种与绘画有同样价值的艺术。

　　（63）结构分析 :句子的框架是That important photographers are no longer willing to debate...shows the extent...。that引导的从句做主语，此从句中又有一个whether引导的宾语从句。介词except+不定式后又接that引导的宾语从句。介词to加关系代词which引导定语从句修饰the extent;此定语从句中，imposed by the triumph of Modernism为过去分词短语做定语修饰宾语the concept of art，冒号后的句子是对the concept of art的具体说明，运用了the more...，the more...固定句型，译成“越……，越……”。to the extent that...意为“达到……程度”。be subversive of相当于subvert，意为“颠覆、（暗中）破坏”。

　　参考译文: 重要的摄影家除了宣称他们本人的作品与艺术没有直接关系以外，不再愿意争论摄影是否是一种美艺术的问题。这表明他们对于现代主义非凡成功所强加的“越是好的艺术，越是反对实现艺术的传统目标”的艺术观，认为理所当然因而不予重视的程度。

　　（64）结构分析 :句子的框架是those photographers who...remind us of those Abstract Expressionist painters who...。两个who引导定语从句分别修饰those photographers和those Abstract Expressionist painters，两个定语从句中又分别套嵌一个宾语从句。句尾的宾语从句省略了关系代词that。as exemplified by painting，作方式状语。pretensions译为“要求”;be emplified by意为“以……为例子（或榜样等）”，austerity意为“严正，严肃”。

　　参考译文: 例如，那些认为进行照相就可以摆脱以绘画为典范的艺术要求的摄影家使我们想起那些想像通过全神贯注于绘画的身体动作，就可以摆脱传统现代派绘画作品要求的那种高度理解力的抽象表现主义画家。

　　（65）结构分析 :句子的框架为...professionals...have begun to worry that...。that引导宾语从句做worry的宾语。此宾语从句又套嵌一个so...that...结构引导的结果状语从句;此状语从句中又套嵌一个that引导的宾语从句。subversive of the traditional pretensions of art为形容词短语做后置定语修饰activity，相当于an activity that is subversive of the traditional pretensions of art。

　　参考译文: 许多摄影专家私下里开始担心:提倡摄影作为一种反对实现艺术的传统要求的活动已经干得太过分了，结果使得公众将忘记摄影是一种独特而典雅的活动，总之，是一种艺术。