4级冲刺试题 一.docx

4级冲刺试题 一.docx

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4级冲刺试题一

四级冲刺试题

（一）

PartIWriting（30minutes）

Directions:

Forthispart,youareallowed30minutestowriteashortessayonthetopicofWasteSorting.Youshouldwriteatleast120wordsfollowingtheoutlinegivenbelow.

1.目前许多人扔垃圾时不分类

2.由此带来的问题

3.提倡垃圾分类的意义

WasteSorting

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PartIIReadingComprehension（SkimmingandScanning）（15minutes）

Directions:

Inthispart,youwillhave15minutestogooverthepassagequicklyandanswerthequestionson

AnswerSheet1.Forquestions1-7,choosethebestanswerfromthefourchoicesmarkedA）,B）,C）andD）.

Forquestions8-10,completethesentenceswiththeinformationgiveninthepassage.

WhoseRulesAreThese,Anyway?

Thedirectoroftheart-richyetcash-poorNationalAcademyMuseuminNewYorkexpectedstrongoppositionwhenitsboarddecidedtoselltwoHudsonRiverSchoolpaintingsforaround$15million.

Thedirector,CarmineBranagan,hadalreadyapproachedleadersoftwogroupstowhichtheacademybelongedabouttheprospect.SheknewthatboththeAmericanAssociationofMuseums（AAM）andAssociationofArtMuseumDirectors（AAMD）hadfirmpoliciesagainstmuseums’sellingoffartworksbecauseoffinancialhardshipandwerenotgoingtomakeanexception.

Evenso,shesaid,shewasnotpreparedforthedirectorsgroup’s“immediateandpunitive”responsetothesale.Inane-mailmessageonDec.5toits190members,itcondemnedtheacademy,foundedin1825,for“breaching（违反）oneofthemostbasicandimportantAAMD’sprinciples”andcalledonmembers“tosuspendanyloansofworksofarttoandanycollaborationonexhibitionswiththeNationalAcademy.”

Ms.Branagan,whohadbythattimewithdrawnhermembershipfrombothgroups,saidshe“wasshockedbythetoneoftheletter,likewehadcommittedsomecrimes.”Shecalledthewithdrawalofloans“adeathknell（丧钟声）”forthemuseum,adding,“WhattheAAMDhavedoneisbasicallyshootuswhilewe’rewounded.”

Beyondshapingthefateofanyonemuseum,thisexchangehassparkedlargerquestionsoveraprinciplethathaslongseemedsacred.Why,severalexpertsask,isitsowrongforamuseumtosellartfromitscollectiontoraisebadly-neededfunds?

Andnowthatmanyinstitutionsarefacingfinancialhardship,shouldthebanonsellingarttocoveroperatingcostsbeeased?

LendingurgencytothediscussionarethepainfuleffortsoftheMuseumofContemporaryArtinLosAngeles,whichhasoneoftheworld’sbestcollectionsofcontemporaryartbutwhoseendowment（捐赠）issaidtohaveshrunkento$6millionfrommorethan$40millionoverthelastnineyears.Wouldn’titbepreferable,somepeopleaskedthismonth,tosellaMarkRothkopaintingoracoupleofRobertRauschenberg’slegendary“combines”—themuseumowns11—thantoriskclosingitsdoors?

（Ultimately,themuseumannounced$30millionbailout（援助）bythebillionaireEliBroadlastweekthatwouldpreventthesalesofanyartworks.）

Yetdefendersoftheprohibitionwarnthatsuchsalescandamageaninstitutionandthedamageisimpossibletorepair.“Sellinganobjectisaknee-jerk（下意识的）act,anditunderminescoreprinciplesofamuseum,”saidMichaelConforti,presidentofthedirectors’associationanddirectoroftheClarkArtInstituteinWilliamstown,Massachusetts.“Therearealwaysotheroptions.”

Thesaleofartworkfromamuseum’spermanentcollection,knownasdeaccessioning,isnotillegalintheUnitedStates,providedthatanytermsaccompanyingtheoriginaldonationofartworkarerespected.InEurope,bycontrast,manymuseumsarestate-financedandpreventedbynationallawfromdeaccessioning.

ButunderthecodeofethicsoftheAmericanAssociationofMuseums,theproceedsshouldbe“usedonlyfortheacquisition,preservation,protectionorcareofcollections.”ThecodeoftheAssociationofArtMuseumDirectorsisevenstricter,specifyingthatfundsshouldnotbeused“forpurposesotherthanacquisitionsofworksofartforthecollection.”

DonnZaretsky,aNewYorklawyerwhospecializesinartcases,hassympathizedwiththeNationalAcademy,askingwhyamuseumcansellarttobuymoreartbutnottocoveroverheadcostsoramuch-needededucationcenter.“Whyshouldweautomaticallyassumethatbuyingartalwaysjustifiesadeaccessioning,butthatnootheruseofproceeds—nomatterhowimportanttoaninstitution’smission—evercan?

”hewrote.

EvenPattyGerstenblith,alawprofessoratDePaulUniversityinChicagoknownforherstrongstandpointonprotectingculturalheritage,saidherpositionhadsoftenedovertheyears.“Ifit’sreallyalife-or-deathsituation,ifit’sachoicebetweensellingaRauschenbergandkeepingthemuseumdoorsopen,Ithinkthere’ssomejustificationforsellingthepainting,”shesaid.

Butseveraldirectorsdrewamuchharderline,notingthatmuseumsgettax-deductibledonationsofartandcashtosafeguardartcollectionsforthepublic.Sellingoffanyholdingsforprofitwouldthusbetraythattrust,theysay,nottomentionrobbingacommunityofart,sonoexceptionsforfinancialhardshipsshouldbeallowed.

DanMonroe,aboardmemberofthedirectors’groupandthedirectorofthePeabodyEssexMuseuminSalem,Mass.,saidthatalmostanymuseumcanclaimfinancialhardship,especiallynowthatendowmentsaresuffering.“It’swrongtolookatthesituationfromthestandpointofasingleinstitution,”hesaid.“Youhavetolookatwhatwouldhappenifeveryinstitutionwentthisroute.

It’saclassicslipperyslopethisthinkinggoes:

lettingonemuseumsellofftwopaintingspavesthewayfordozensofmuseumstoselloffthousandsofartworks,perhapsroutinely.“Thefactisassoonasyoubreachthisprinciple,everybody’sgotahardshipcase,”Mr.Monroesaid.“Itwouldbeimpossibletocontroltheoutcome.”

Deaccessioninghasproventhornyformuseumsevenwhenthemoneyisdirectedintoacceptedchannelslikeacquisitions.

Sometimesthecontroversycentersontheirreplaceablenatureoftheobjectforsale,aswhenThomasHoving,thenthedirectoroftheMetropolitanMuseumofArt,beganaggressivelysortingoutitscollectionintheearly1970s,sellinghigh-profilepaintingslikeVanGogh’s“OlivePickers”andRousseau’s“Tropics”.TheMetropolitanownedonlyoneotherpaintingbyRousseau,andtheresistancewasfierce.

Yetcriticsofstrictdeaccessioningrulesmakeapublic-accessargumentaswell.“Mostbigmuseumscan’tshow90percentoftheobjectstheyown—it’sallinstorage,”saidMichaelO’Hare,aculturalpolicyprofessorattheUniversityofCalifornia,Berkeley.“What’swrongwithsellingtheseobjectstosmallermuseumsorevenprivatecollectors,whoaremorelikelytoputthemondisplay?

”

AttheNationalAcademy,Ms.Branagancalleddeaccessioninganactoflastresort,onethatshewouldnothaveconsideredwithouta“long-rangefinancialandprogrammatic”plan.Branagansaidshetoldhermembersasmuchbeforetheyvotedforthesale—181to2infavor—inNovember:

“Iremembersaying:

unlessyoubelieveyoucansupportsweepingchange,thendonotvotefordeaccessioning,”shesaid.“Thetragedyisn’tthatwe’regoingtosellthesefourpieces.That’snotatragedy.Thetragedywouldbeifinl0or15yearswewerebackherehavingthesameconversation.”

1.WhatdowelearnabouttheNationalAcademyMuseumfromthepassage?

A）Itwillgobrokebecauseofthelackofartworkcollections.

B）Itdecidedtosellsomeartworksduetofundingproblems.

C）Itwonsupportfromthedirectorgroupsinthepaintingsales.

D）Itsdirectoropposedtheboard’sdecisiontosellthepaintings.

2.WhatdeliveredadeathblowtotheNationalAcademyaccordingtoMs.Branagan?

A）Thedecisiontosellart.B）Theresponseofthepublic.

C）Thesuspendingoftheloans.D）Hermembershipwithdrawal.

3.Accordingtothepassage,theMuseumofContemporaryArtinLosAngeles______.

A）overcamethefinancialdifficultyB）defendedthebanonsellingart

C）ownstheworld’slargestcollectionsD）succeededinitsartworkssale

4.DeaccessioninginEuropeisdifferentfromAmericainthat______.

A）itispermanentlylegalB）itisrespectedbyitspeople

C）itissupportedbythesta