题目内容

According to Aristotle, the subjects of tragic drama were rightly drawn
from ancient mythology, a source considered invariably reliable, for it was
believed that if man had invented such strange incidents, they would have
Line appeared impossible. Furthermore, the chief characters of a tragic action should
(5) be persons of consequence, of exalted station, according to Aristotle, and the
leading personage should not be a man characterized by great virtue or great
vice, but of a mixed nature, a proclivity for errors and weaknesses that lead him
into misfortune. Such a mixture of good and evil makes the protagonist seem
like ourselves, thus more quickly arousing the spectator's sympathy, saturating
(10) him with feelings of compassion, driving out his petty personal emotions, and
thus "purging" the soul through pity and terror. The crimes suitable for tragic
treatment may be committed either in ignorance, or intentionally, and are
commonly against friends or relatives, though crimes committed intentionally
are generally the more dramatic and impressive-this in spite of the fact that
(15) the central crime in Oedipus the King was committed in ignorance. As to
style, a certain archaic quality of diction is needful to the dignity of tragedy.
Another of the most famous of the Aristotelian rules were those relating to
the so-called unities-of time, place, and action. The unity of time limits the
supposed action to the duration of a single day, unity of place limits it to one
(20) general locality; and unity of action limits the play to a single set of incidents
related as cause and effect, "having a beginning, a middle, and an end."
Concerning the unity of time, Aristotle noted that all the plays since Aeschylus,
except two, did illustrate such unity, but he did not lay down such a precept as
obligatory. Perhaps tacitly he assumed that the observance of the unity of place
(25) would be the practice of good playwrights, since the chorus was present during
the whole performance, and it would indeed be awkward always to devise an
excuse for moving fifteen persons about from place to place.0
A third unity, that of action, is bound up with the nature not only of Greek
but of all drama, for Aristotle conceived the action, or plot, of a play as of far
(30) greater importance than the characters. This conception he gained from the
plays of the fifth century generally centered around a personified passion rather
than around a character. Second in importance was characterization, and third
were the sentiments aroused by the action, for Aristotle insisted very clearly
that in tragedy the plot does not rise out of the characters, but that the plot
(35) tests the characters through the working-out of destiny, or "blind fate". The
main duty of the dramatist, therefore, was to first organize the action, then
display the moral character of people suffering the blows of fate.
The primary purpose of the passage is to

A. compare a philosopher's system of dramatic principles with that of the author's
B. enumerate one philosopher's view of the principles underlying good drama
C. analyze the similarities and dissimilarities between the various dramatic principles at work in Greek drama
D. contrast one philosopher's dramatic principles with those of the tradition that preceded him
E. demonstrate the wisdom and longevity in one philosopher's dramatic principles

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According to the passage, which of the following cases of perception would a synesthete be

A. The musical note F, when heard by the synesthete, appears as a reddish shade of rust.
B. The synesthete occasionally tastes the numeral "3" as sour, and occasionally as sweet.
C. The word "mellifluous", when heard by the synesthete, triggers neither auditory or chromatic associations.
D. The number 3, when the synesthete imagines it, sounds like a bell in his imagination.
E. Without exception, the synesthete experiences an acidic taste when he sees a circle.

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SECTION 3
Directions: Each passage in this group is followed by questions based on its content. After reading a passage, choose the best answer to each question. Answer all questions following a passage on the basis of what is stated or implied in the passage.
Through the very symbolism of popular culture that molded, defined and
contained women in their role as the subservient half of society, the artist
Alexis Hunter used the techniques of advertising to subvert and question these
Line hitherto accepted norms. Full of irony and piquant wit, her art centered on
(5) subverting the male-dominated atmosphere now all but vanished in the visual
arts-a fact evidenced by the current prominence of fellow feminist Judy
Chicago-and critics rejected this early work for fear of its inner suppressed
violence. In the early 1980s Hunter withdrew, like many of her
contemporaries, from such an overtly political forum, partly due to doubts about
(10) the efficacy of didactic political art to execute change outside the liberal
chattering classes, and partly because of her awakening interest in psychology
and psychoanalysis and the desire for greater self-expression. In a decade where
it seemed possible to begin to take for granted certain social freedoms for
women, it became more important to examine deeper, more irrational fears. In
(15) abandoning the project of defining women's identities for male audiences, the
aim of new feminist art suddenly became the production of a concept of women
that women themselves might consume.
According to the passage, feminist art-production in the 1980's was typified by which of the following？

A. an open liberality toward social freedoms
B. a rejection of openly political art
C. a male-dominated perspective
D. less effective didactic art
E. more irrational fears than in art of previous decades

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Which of the following situations is most closely analogous to the situation described by

A. That of restaurant customers whose food has not arrived because the manager forgot to oversee its preparation.
B. That of a highway maintenance crew who cannot reach a pothole they must fix because the highway is congested with traffic from the pothole.
C. That of a man who saves his excess income in a bank account, only to find out the bank has charged fees so high that he has less money than when he began.
D. That of an unknown artist who dies just weeks before being recognized in an exhibition.
E. That of scientists trying to find a means of traveling at the speed of light, but find that their innovations can only asymptotically approach the speed, but never reach it.

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According to the passage, Aristotle argued for the use of morally fallible characters in drama in order that

A. Characters would be perceived as flawed but sympathetic
B. Characters would be viewed as dignified by their burdens
Characters would be presented as heroic and powerful
D. Characters would be depicted as doomed and powerless
E. Characters would be seen as ignorant and victimized

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