题目内容
（请给出正确答案）
A.whomever
B.whichever
C.wherever
D.whatever
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更多“History is the story of( )happ…”相关的问题
History is the story of ______ happened to the people before today.
A．whichever
B．whomever
C．whatever
D．wherever
Jacob decided to paint a series of pictures dramatizing the story of a black hero because
A．the achievements of African Americans were neglected in history books
B．no one had ever painted black heroes
C．he wanted black people to write books
D．he was a black man from the Caribbean island of Haiti
The passage you've just read would most likely be found in a ______.
A．guide-book for tourists
B．book about American history
C．notice
D．short story
Because, sometimes, the voice of experience can (5)_____ us to stop, look and listen. And because, sometimes, past records, (6)_____ interpreted, can give us (7)_____ of what to do and what not to do.
If we are to create (8)_____ peace forever, we must seek (9)_____ origins in human experience and in the record of human (10)_____. From the story of the endurance, courage and (11)_____ of men and women, we create the inspiration of youth. From stories of the Christian men, right down to Budapest's heroic men of today, history records the suffering, the self-denial, the loyalty and the heroic (12)_____ of men. Surely from these records there can come help to mankind in our (13)_____ and perplexities, and in our yearnings (14)_____ peace.
The (15)_____ purpose of history is a better world. History gives a warning to those who would (16)_____ war. History (17)_____ inspiration to those who seek peace. (18)_____, history helps us learn. Yesterday's records can keep us from (19)_____ yesterday's mistakes. And from the pieces of mosaic assembled by historians come the great printings (20)_____ represent the progress of mankind.
A．right
B．good
C．important
D．fine
根据下列材料，请回答 41～45 题：
Read the following text and answer the questions by finding information from the left column that corresponds to each of the marked details given in the right column. There are two extra choices in the right column. Mark your answers on ANSWER SHEERT 1.（10 points）
“Universal history, the history of what man has accomplished in this world, is at bottom the History of the Great Men who have worked here,” wrote the Victorian sage Thomas Carlyle. Well, not any more it is not.
Suddenly, Britain looks to have fallen out with its favourite historical form. This could be no more than a passing literary craze, but it also points to a broader truth about how we now approach the past: less concerned with learning from forefathers and more interested in feeling their pain. Today, we want empathy, not inspiration.
From the earliest days of the Renaissance, the writing of history meant recounting the exemplary lives of great men. In 1337, Petrarch began work on his rambling writing De Viris Illustribus - On Famous Men, highlighting the virtus （or virtue） of classical heroes. Petrarch celebrated their greatness in conquering fortune and rising to the top. This was the biographical tradition which Niccolo Machiavelli turned on its head. In The Prince, the championed cunning, ruthlessness, and boldness, rather than virtue, mercy and justice, as the skills of successful leaders.
Over time, the attributes of greatness shifted. The Romantics commemorated the leading painters and authors of their day, stressing the uniqueness of the artist's personal experience rather than public glory. By contrast, the Victorian author Samual Smiles wrote Self-Help as a catalogue of the worthy lives of engineers , industrialists and explores . "The valuable examples which they furnish of the power of self-help, if patient purpose, resolute working and steadfast integrity, issuing in the formulation of truly noble and many character, exhibit,"wrote Smiles."what it is in the power of each to accomplish for himself"His biographies of James Walt, Richard Arkwright and Josiah Wedgwood were held up as beacons to guide the working man through his difficult life.
This was all a bit bourgeois for Thomas Carlyle, who focused his biographies on the truly heroic lives of Martin Luther, Oliver Cromwell and Napoleon Bonaparte. These epochal figures represented lives hard to imitate, but to be acknowledged as possessing higher authority than mere morals.
Communist Manifesto. For them, history did nothing, it possessed no immense wealth nor waged battles:“It is man, real, living man who does all that.” And history should be the story of the masses and their record of struggle. As such, it needed to appreciate the economic realities, the social contexts and power relations in which each epoch stood. For:“Men make their own history, but they do not make it just as they please; they do not make it under circumstances chosen by themselves, but under circumstances directly found, given and transmitted from the past.”
This was the tradition which revolutionized our appreciation of the past. In place of Thomas Carlyle, Britain nurtured Christopher Hill, EP Thompson and Eric Hobsbawm. History from below stood alongside biographies of great men. Whole new realms of understanding - from gender to race to cultural studies - were opened up as scholars unpicked the multiplicity of lost societies. And it transformed public history too: downstairs became just as fascinating as upstairs.
[A] emphasized the virtue of
classical heroes. 41. Petrarch [B] highlighted the public glory of
the leading artists. 42. Niccolo Machiavellli [C] focused on epochal figures whose
lives were hard to imitate. 43. Samuel Smiles [D] opened up new realms of understanding
the great men in history. 44. Thomas Carlyle [E] held that history should be the story
of the masses and their record of struggle. 45. Marx and Engels [F] dismissed virtue as unnecessary for
successful leaders. [G] depicted the worthy lives of engineer
industrialists and explorers.
第 41 题 请在（41）处填上最佳答案。
Hemingway was born on July 21, 1899 in a doctor's family in Oak Park, in the【4】of Chicago. The novel【5】established Hemingway's【6】was The Sun Also Rises (1926). The story described a group of【7】Americans and Britons living in France. That is to【8】, it described the life of the members of the【9】Lost Generation after World War I. Hemingway's second major novel was A Farewell to Arms (1929), a love story【10】in wartime Italy. That novel was【11】by Death in the Afternoon (1932) and Green Hills of Africa (1935). His two【12】of short stories Men without Women (1927) and Winner Take Nothing (1933) established his fame【13】the master of short stories.
In the late 1930's, Hemingway began to express【14】about social problems. His novel To Have and Have Not (1937)【15】economic and political injustices. The novel For Whom the Bell Tolls (1940)【16】the conflict of the Spanish Civil War. In 1952, Hemingway published em＞The Old Man and the Sea, for【17】he won the 1953 Pulitzer Prize. In 1954, Hemingway was【18】the Nobel Prize of Literature. Later, being【19】and ill, he shot【20】on July 2, 1961.
(1)
A．outstanding
B．monotonous
C．awkward
D．modest
Of these factors, usefulness has probably been the most decisive. In ancient societies, as people settled into stable patterns of agriculture and trade, it became useful for some of them to read and write in order to keep records, to transact business, and to measure amounts of land, animals, goods, materials, and produce. Since all economic aspects of a society were closely tied to the operations of government, literary became useful and even necessary for the keeping of records by officials. The responsibilities of citizenship led to a fairly high level of literacy in ancient Greece and Rome, but in addition to that, there also grew an appreciation of good literature, poetry, drama, history, and philosophy.
During the early Middle Ages, with the general breakdown of society in Europe and the decrease of commerce, literary became largely confined to the church. But in the late Middle Ages, in the period of the Renaissance, the great expansion of commerce and banking led to a revival in literacy for the same reason that had caused it to increase in the ancient world usefulness.
With the invention of the printing press and inexpensive paper late in the 15th century there was for the first time a great availability of reading material for a much greater number of people. Religious reformers were among the first to utilize the situation, quickly getting translations of the Bible and educational tracts and booklets into the hands of many people.
The broadened religious enlightenment that resulted was followed in later centuries by a political one. Political theorists who favored doctrines promoting the natural rights of man called for an attack upon illiteracy. Political revolutions, particularly in the United States and France, helped inaugurate an era in which all classes were called upon to become informed on public policy for their own welfare. Against this political background there emerged the movement for universal popular education. Literacy came to be understood as a means whereby the individual could benefit and advance, and gradually whole societies began to acknowledge that universal literacy among their citizens was an avenue to greater economic well-being.
From the first paragraph we learn that
A．it is fairly easy to determine literacy.
B．there is no illiteracy in a rich family.
C．history sees an even progress towards literacy.
D．in history literacy suffers ups and downs.
That is what the story of mankind has on the whole been like. Even our own age has fought the two greatest wars in history, in which millions of people were killed or mutilated. And while today it is true that people do not fight and kill each other in the streets—while, that is to say, we have got to the stage of keeping the rules and behaving properly to each other in daily life—nations and countries have not learnt to do this yet, and still behave like savages.
But we must not expect too much. After all, the race of men has only just started. From the point of view of evolution, human beings are very young children indeed, babies, in fact, of a few months old. Scientists reckon that there has been life of some sort on the earth in the form. of jellyfish and that kind of creature for about twelve hundred million years; but there have been men for only one million years, and there have been civilized men for about eight thousand years at the outside. These figures are difficult to grasp; so let us scale them down. Suppose that we reckon the whole past of living creatures on the earth as one hundred years; then the whole past of man works out at about one month, and during that month there have been civilizations for between seven and eight hours. So you see there has been little time to learn in, but there will be oceans of time in which to learn better. Taking man's civilized past at about seven or eight hours, we may estimate his future, that is to say, the whole period between now and when the sun grows too cold to maintain life any longer on the earth, at about one hundred thousand years. Thus mankind is only at the beginning of its civilized life, and as I say, we must not expect too much. The past of man has been on the whole a pretty beastly business, a business of fighting and bullying and gorging and grabbing and hurting. We must not expect even civilized peoples not to have done these things. All we can ask is that they will sometimes have done something else.
The first sentence of the opening paragraph indicates that
A．most history books were written by conquerors, generals and soldiers.
B．no one who really helped civilisation forward is mentioned in any history book.
C．history books neglect the real heroes behind civilisation.
D．conquerors, generals and soldiers should not be mentioned in history books.
Like other forms of representation, architecture is the embodiment of the decisions that go into its making, not the result of impersonal forces, market or history. Therefore, says Mr. Rykwert, adapting Joseph de Maistre's dictum that a nation has the government it deserves, our cities have the faces they deserve.
In this book, Mr. Rykwert. a noted urban historian of anthropological love, offers a flaneur's approach to the city's exterior surface rather than an urban history from the conceptual inside out. He does not drive, so his interaction with the city affords him a warts-and-all view with a sensual grasp of what it is to be a "place".
His story of urbanization begins, not surprisingly, with the industrial revolution when populations shifted and increased, exacerbating problems of housing and crime. In the 19th century many planning programs and utopias (Ebenezer Howard's garden city and Charles Fourier's "phalansteries" among them) were proposed as remedies. These have left their mark on 20th-century cities, as did Baron Hausmann's boulevards in Paris, Eugene Viollet-le-Duc's and Owen Jones's arguments for historical style, and Adolf Loos's fateful turn-of-the-century call to abolish ornament which, in turn, inspired Le Corbusier's bare functionalism. The reader will recognize all these ideas in the surfaces of the cities that hosted them: New York, Paris, London, and Vienna.
Cities changed again after the Second World War as populations grew, technology raced and prosperity spread. Like it or not, today's cities are the muddled product, among other things, of speed, greed, outmoded social agendas and ill-suited postmodern aesthetics. Some lament the old city's death; others welcome its replacement by the electronically driven "global village". Mr. Rykwert has his worries, to be sure, but he does not see ruin or chaos everywhere. He defends the city as a human and social necessity. In Chandigarh, Canberra and New York he sees overall success; in New Delhi, Paris and Shanghai, large areas of falling. For Mr. Rykwert, a man on foot in the age of speeding virtual, good architecture may still show us a face where flaneurs can read the story of their urban setting in familiar metaphors.
An argument made by supporters of functionism is that______.
A．post-war modernist architecture was coming under fire
B．UN building in New York blocks the housing projects
C．windswept plazas present "face" to the inhabitants of the city
D．functionism reflects the needs of the social body
The year was 1930. The depression (经济萧条) had brought hard times.
As he walked through Harlem, Jacob noticed the people on the sidewalks. He looked hard at the churches, the funeral parlors and barbershops. Jacob stored those images in his mind, along with the images of paintings he saw in the museum.
Jacob came from a poor family. His mother believed there was little chance that her son could grow up to be a successful painter. She wanted him to aim for something more practical. But Jacob's teacher in an after-school art program saw that the youngster was talented. Alston showed him how to use poster paints and crayons (蜡笔) to make masks and stage sets.
As time passed, Alston let Jacob rent work space in his own studio. That was an exciting place for a young black man struggling to become an artist. Many creative people gathered there to talk about art and literature and history.
From these conversations, Jacob learned that history books often ignored the accomplishments of African Americans. He decided to paint a series of pictures dramatizing the story of a black hero. He chose Toussaint, a slave from the Caribbean island of Haiti, who had helped free his people from French ruling.
Many people admired Jacob's pictures, but he needed more than admiration. To help his family, he often had to work at jobs that took him away from painting. Then something encouraging happened. The government set up the Federal Art Project to help struggling artists survive the depression, and a sculptor (雕刻家) named Augusta got Jacob a job with the project. For eighteen months, Jacob was paid a salary to paint pictures. For the first time, he felt like a professional artist.
All of the following are TRUE about Jacob EXCEPT that ______.
A．he often visited the Metropolitan Museum of Art on foot when he was young
B．he grew up in poor circumstances
C．he took art classes in art programs
D．his mother loved him and supported him to become an artist
