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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 following question. The term "Hudson River school" was applied to the foremost representatives of nineteenth–century North American landscape painting. Apparently unknown during the golden days of the American landscape movement, which began around 1850 and lasted until the late 1860's, the Hudson River school seems to have emerged in the 1870's as a direct result of the struggle between the old and the new generations of artists, each to assert its own style as the representative American art. The older painters, most of whom were born before 1835, practiced in a mode often self–taught and monopolized by landscape subject matter and were securely established in and fostered by the reigning American art organization, the National Academy of Design. The younger painters returning home from training in Europe worked more with figural subject matter and in a bold and impressionistic technique; their prospects for patronage in their own country were uncertain, and they sought to attract it by attaining academic recognition in New York. One of the results of the conflict between the two factions was that what in previous years had been referred to as the "American", "native", or, occasionally, "New York" school–the most representative school of American art in any genre–had by 1890 become firmly established in the minds of critics and public alike as the Hudson River school. The sobriquet was first applied around 1879. While it was not intended as flattering, it was hardly inappropriate. The Academicians at whom it was aimed had worked and socialized in New York, the Hudson's port city, and had painted the river and its shores with varying frequency. Most important, perhaps, was that they had all maintained with a certain fidelity a manner of technique and composition consistent with those of America's first popular landscape artist, Thomas Cole, who built a career painting the Catskill Mountain scenery bordering the Hudson River. A possible implication in the term applied to the group of landscapists was that many of them had, like Cole, lived on or near the banks of the Hudson. Further, the river had long served as the principal route to other sketching grounds favored by the Academicians, particularly the Adirondacks and the mountains of Vermont and New Hampshire.The word "it" in paragraph 1 refers to _______.

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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 following question. The term "Hudson River school" was applied to the foremost representatives of nineteenth–century North American landscape painting. Apparently unknown during the golden days of the American landscape movement, which began around 1850 and lasted until the late 1860's, the Hudson River school seems to have emerged in the 1870's as a direct result of the struggle between the old and the new generations of artists, each to assert its own style as the representative American art. The older painters, most of whom were born before 1835, practiced in a mode often self–taught and monopolized by landscape subject matter and were securely established in and fostered by the reigning American art organization, the National Academy of Design. The younger painters returning home from training in Europe worked more with figural subject matter and in a bold and impressionistic technique; their prospects for patronage in their own country were uncertain, and they sought to attract it by attaining academic recognition in New York. One of the results of the conflict between the two factions was that what in previous years had been referred to as the "American", "native", or, occasionally, "New York" school–the most representative school of American art in any genre–had by 1890 become firmly established in the minds of critics and public alike as the Hudson River school. The sobriquet was first applied around 1879. While it was not intended as flattering, it was hardly inappropriate. The Academicians at whom it was aimed had worked and socialized in New York, the Hudson's port city, and had painted the river and its shores with varying frequency. Most important, perhaps, was that they had all maintained with a certain fidelity a manner of technique and composition consistent with those of America's first popular landscape artist, Thomas Cole, who built a career painting the Catskill Mountain scenery bordering the Hudson River. A possible implication in the term applied to the group of landscapists was that many of them had, like Cole, lived on or near the banks of the Hudson. Further, the river had long served as the principal route to other sketching grounds favored by the Academicians, particularly the Adirondacks and the mountains of Vermont and New Hampshire.According to the passage, what was the function of the National Academy of Design for the painters born before 1835?

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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 following question. The term "Hudson River school" was applied to the foremost representatives of nineteenth–century North American landscape painting. Apparently unknown during the golden days of the American landscape movement, which began around 1850 and lasted until the late 1860's, the Hudson River school seems to have emerged in the 1870's as a direct result of the struggle between the old and the new generations of artists, each to assert its own style as the representative American art. The older painters, most of whom were born before 1835, practiced in a mode often self–taught and monopolized by landscape subject matter and were securely established in and fostered by the reigning American art organization, the National Academy of Design. The younger painters returning home from training in Europe worked more with figural subject matter and in a bold and impressionistic technique; their prospects for patronage in their own country were uncertain, and they sought to attract it by attaining academic recognition in New York. One of the results of the conflict between the two factions was that what in previous years had been referred to as the "American", "native", or, occasionally, "New York" school–the most representative school of American art in any genre–had by 1890 become firmly established in the minds of critics and public alike as the Hudson River school. The sobriquet was first applied around 1879. While it was not intended as flattering, it was hardly inappropriate. The Academicians at whom it was aimed had worked and socialized in New York, the Hudson's port city, and had painted the river and its shores with varying frequency. Most important, perhaps, was that they had all maintained with a certain fidelity a manner of technique and composition consistent with those of America's first popular landscape artist, Thomas Cole, who built a career painting the Catskill Mountain scenery bordering the Hudson River. A possible implication in the term applied to the group of landscapists was that many of them had, like Cole, lived on or near the banks of the Hudson. Further, the river had long served as the principal route to other sketching grounds favored by the Academicians, particularly the Adirondacks and the mountains of Vermont and New Hampshire.The word "monopolized" in paragraph 1 is closest in meaning to _______. 

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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 43 to 50.    Icebergs are among nature’s most spectacular creations, and yet most people have never seen one. A vague air of mystery envelops them. They come into being somewhere-in faraway, frigid waters, amid thunderous noise and splashing turbulence, which in most cases no one hears or sees. They exist only a short time and then slowly waste away just a unnoticed.    Objects of sheerest beauty, they have been called. Appearing in an andless variety of shapes they may be dazzlingly white, or they may be glassy blue, green, or purple, tinted faintly or in darker hues. They are graceful, stately, inspiring-in calm, sunlit seas.    But they are also called frightening and dangerous, and that they are-in the night, in the fog, and in storms. Even in clear weather one is wise to stay a safe distance away from them. Most of their bulk is hidden below the water, so their underwater parts may extend out far beyond the visible top. Also, they may roll over uexpectedly, churning the waters around them.    Icebergs are parts of glaciers that break off, drift into the water, float about awhile, and finally melt. Icebergs afloat today are made of snowflakes that have fallen over long ages of time. They embody snows that drifted down hundreds, or many thousands, or in some cases maybe a milliom years ago. The snows fell in polar regions and on cold mountains, where they melted only a little or not at all, and so collected to great depths over the years and centuries.          As each year’s snow accumulation lay on the surface, evaporation and melting caused the snowflakes slowly to lose their feathery points and become tiny grains of ice. When new snow fell on top of the old, it too turned to icy grains. So blankets of snow and ice grains mounted layer upon layer and were of such great thickness that the weight of the upper layers compressed the lower ones. With time and pressure from above, the many small ice grains joined and changed to larger crystals, and eventually the deeper crystals merged into a solid mass of iceThe attitude of the author toward icebergs is one of

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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 43 to 50.    Icebergs are among nature’s most spectacular creations, and yet most people have never seen one. A vague air of mystery envelops them. They come into being somewhere-in faraway, frigid waters, amid thunderous noise and splashing turbulence, which in most cases no one hears or sees. They exist only a short time and then slowly waste away just a unnoticed.    Objects of sheerest beauty, they have been called. Appearing in an andless variety of shapes they may be dazzlingly white, or they may be glassy blue, green, or purple, tinted faintly or in darker hues. They are graceful, stately, inspiring-in calm, sunlit seas.    But they are also called frightening and dangerous, and that they are-in the night, in the fog, and in storms. Even in clear weather one is wise to stay a safe distance away from them. Most of their bulk is hidden below the water, so their underwater parts may extend out far beyond the visible top. Also, they may roll over uexpectedly, churning the waters around them.    Icebergs are parts of glaciers that break off, drift into the water, float about awhile, and finally melt. Icebergs afloat today are made of snowflakes that have fallen over long ages of time. They embody snows that drifted down hundreds, or many thousands, or in some cases maybe a milliom years ago. The snows fell in polar regions and on cold mountains, where they melted only a little or not at all, and so collected to great depths over the years and centuries.          As each year’s snow accumulation lay on the surface, evaporation and melting caused the snowflakes slowly to lose their feathery points and become tiny grains of ice. When new snow fell on top of the old, it too turned to icy grains. So blankets of snow and ice grains mounted layer upon layer and were of such great thickness that the weight of the upper layers compressed the lower ones. With time and pressure from above, the many small ice grains joined and changed to larger crystals, and eventually the deeper crystals merged into a solid mass of iceIn line 20, the expression “from above” refers to

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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 43 to 50.    Icebergs are among nature’s most spectacular creations, and yet most people have never seen one. A vague air of mystery envelops them. They come into being somewhere-in faraway, frigid waters, amid thunderous noise and splashing turbulence, which in most cases no one hears or sees. They exist only a short time and then slowly waste away just a unnoticed.    Objects of sheerest beauty, they have been called. Appearing in an andless variety of shapes they may be dazzlingly white, or they may be glassy blue, green, or purple, tinted faintly or in darker hues. They are graceful, stately, inspiring-in calm, sunlit seas.    But they are also called frightening and dangerous, and that they are-in the night, in the fog, and in storms. Even in clear weather one is wise to stay a safe distance away from them. Most of their bulk is hidden below the water, so their underwater parts may extend out far beyond the visible top. Also, they may roll over uexpectedly, churning the waters around them.    Icebergs are parts of glaciers that break off, drift into the water, float about awhile, and finally melt. Icebergs afloat today are made of snowflakes that have fallen over long ages of time. They embody snows that drifted down hundreds, or many thousands, or in some cases maybe a milliom years ago. The snows fell in polar regions and on cold mountains, where they melted only a little or not at all, and so collected to great depths over the years and centuries.          As each year’s snow accumulation lay on the surface, evaporation and melting caused the snowflakes slowly to lose their feathery points and become tiny grains of ice. When new snow fell on top of the old, it too turned to icy grains. So blankets of snow and ice grains mounted layer upon layer and were of such great thickness that the weight of the upper layers compressed the lower ones. With time and pressure from above, the many small ice grains joined and changed to larger crystals, and eventually the deeper crystals merged into a solid mass of iceThe formation of an iceberg is most clearly analogous to which of the following activities?

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