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25.What can we learn about active cities?A.They contribute to better health.B.They offer personalized activities.C.They rely on governmental support.D.They generally look like each other.26.What does Boldina think matters when we transform a place into an active city?A.Protecting the local environment.B.Adding a variety of safety equipment.C.Making it easy for people to use.D.Designing as many routes as possible.27.What does Boldina's study try to find?A.How to motivate citizens to use active routesB.How to make active routes functional and fun.C.Why citizens have little interest in active routes.D.Why Cambridge can succeed in adopting active routesI started to imagine how I'd lead my own tour.Working as a guard at the Guggenheim,I first likedreading the wall text-the paragraph-long explanation on the wall beside many of the artworks.Occasionally it's helpful,and for years I thought it was downright rude when museums and galleries didn'tlabel each work.But now,more often than not,I wanted to tear all the labels down.The wall text stays justto the side of art,like the answer key at the bottom of a word search,its definitive tone sending the messagethat there's only one right answer to the art.I realized that art historians could be unreliable narrators ()The Richard Serra sculpture"Tearing Lead,"consisting of wrinkled lead ()took on a different look every time it was exhibited.Guards were given a board with the original photo of the sculpture and instructions"Please indicate wherethe piece was touched,"so an assistant could reposition the sculpture to match the picture.But an assistant Italked with told me that the sculpture was meant to have the metal pieces arranged haphazardly (The work looks different every time it's shown-not that you'd know it from the wall text.Therefore,I insist that you don't look at the little label beside each artwork.When I guarded aBrancusi sculpture,I tried to stand in front of the wall label so people couldn't see it,and I heard theirinterpretations go wild.They saw a finger,a woman giving birth,graph,a Kurosawa character,a dolphin,a nose,a fishIf I learned one thing as a guard,it's that sometimes being forced to look at an artwork,even when youdon't want to,is life-changing.Fight the urge to see what you expect to be there;focus instead on what isthere.I'm not concered with whether you think it's good.Just watch the thing in front of you.28.What can we learn about the author from paragraph 1?A.He is forming his own judgement.B.He likes traveling with his friendsC.He wants to make his voice heard.D.He writes explanations for artworks.29.What is the author's purpose in mentioning"Tearing Lead"?A.To introduce a special assistant.B.To prove that wall texts can be wrongC.To call for protection of artworks on show.D.To show how art historians deseribe works30.Why did the author stand in front of the label on the wall?A.To prevent the visitors getting closer to the sculpture.B.To make visitors have a better view of the sculpture.C.Topush the visitors to appreciate on their own.D.To interact with the visitors in a fun way
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