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题目没出来，我们自己回忆！！大家一起努力啊~~~一个记一点说不定就全了~~~！！！
最新汇总如下： 原文见本楼最后面
21.选B答案肯定
问的是我们能得出什么结论 从前面两段B大致意思是过去新闻中有很多关于文艺什么的评论
22是问 过去那个报纸的风格，二战前二战后之类
大部分说应该选C，elaborate精耕细作的。。。
A free mode~
B casual style
C elaborate layout
D radical
23题 答案是C或者D，争议中。。。更多人选的是D
D:评论者不是每个记者都能做得的
C:觉得责任感不够什么的
24 选A 答案肯定
好像是问为什么文章中举例的那个人的作品在现在不流行（好像就这个意思）
是关于某个早先的音乐评论家的介绍，A选项是他的作品在市面上已经不像以前那享受欢迎了
25 问文章的标题
答案大部分人说是B，但是D为什么不对我也不明白，找出的原文的标题是The Amateur as Critic，有哪个选项是这个的吗？？
B选项是 报纸消失的视野 B the lost horizon in newspaper
D 是 那些出众的评论只能在记忆当中了old memories
还有个选项有moanly之类
大家加油！！！
Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage. Not only have many newspapers done away with their book-review sections, but several major papers, including the Chicago Sun-Times and the Minneapolis Star-Tribune, no longer employ full-time classical-music critics. Even those papers that continue to review fine-arts events are devoting less space to them, while the “think pieces” on cultural subjects that once graced the pages of big-city Sunday papers are becoming a thing of the past.
It is, I suspect, difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century, including Virgil Thomson’s The Musical Scene (1945), Edwin Denby’s Looking at the Dance (1949), Kenneth Tynan’s Curtains (1961), and Hilton Kramer’s The Age of the Avant-Garde (1973) consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their erudite contents were once deemed suitable for publication in general-circulation dailies.
We are even farther removed from the discursive newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared. In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered.1 Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men (for they were all men) believed in journalism as a calling, and were proud to be published in the daily press. “So few authors have brains enough or literary gift enough to keep their own end up in journalism,” Newman wrote, “that I am tempted to define ‘journalism’ as ‘a term of contempt applied by writers who are not read to writers who are.’”
Why, then, are virtually all of these critics forgotten? Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England’s foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored. Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists. How is it possible that so celebrated a critic should have slipped into near-total obscurity?
[ 本帖最后由 lwletgo 于 2010-1-12 18:46 编辑 ] |
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发表于 2010-1-12 14:57
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