GRE阅读题目解析:十七世纪荷兰绘画

　　P52

　　1

　　In the late nineteenth century, art critics regarded seventeenth-century Dutch paintings as direct reflections of reality.

　　十九世纪后期，艺术评论家们把十七世纪的荷兰绘画视为对现实的直接反映。

　　2

　　The paintings were discussed as an index of the democracy of a society that chose to represent its class, action, and occupations exactly as they were, wide-ranging realism was seen as the great accomplishment of Dutch art.

　　在讨论中，绘画作为一个社会民主程度的指标，如实地反映了社会阶层，活动，和职业，包罗万象的现实主义被视为荷兰艺术的巨大成就。

　　3

　　However, the achievement of more recent study of Dutch art has been the recovery of the fact that such paintings are to be taken as symbolizing mortality, the renaissance of earthly life, and the power of God, and as message that range from the mildly moralizing to the firmly didactic.

　　然而，更晚近的关于荷兰艺术的研究发现，这些画作被理解为象征死亡，世俗生命的复活，以及神的力量，也被解释为各种信息，从温和地道德教化到强硬地说教。

　　(take A as B 把 A 理解 / 解释为 B)

　　4

　　How explicit and consistent the symbolizing process was intended to be is a much thornier matter, but anyone who has more familiarity than a passing acquaintance with Dutch literature or with the kinds of images used in illustrated books (above all emblem books) will know how much less pervasive was the habit of investing ordinary objects than of investing scenes with meaning that go beyond their surface and outward appearance.

　　这种刻意为之的象征过程有多明显以及多稳定，是另一个更为棘手的问题，但任何对荷兰文学或图书(包括所有 emblem books)中出现过的那些画面稍有了解的人，都会意识到，采用超越表象另有深意的画面，比采用常见实物的图片的情况更普遍。

　　(抓狂，慢慢来。

　　加粗部分为主干，will know 后面有个小倒装，还原为：

　　…… will know how much less pervasive the habit of investing ordinary objects was than(the habit)of investing scenes with meaning that ……

　　above 在 … 之上，超出某种范围。不知道用在这是什么意思，只能猜测，all emblem books 中都存在这种现象，即 use certain kinds of images，所以把 above 意译为包括。这种译法我自己也不太相信。

　　invest 投资，付出(时间、精力等)于某事物，授予(职位、地位或荣誉)。我不确定这是不是合乎规格的用法，只能猜测在文段中，是在书中 采用 图片的意思。

　　emblem book

　　An emblem book is a book collecting emblems (allegorical illustrations) with accompanying explanatory text, typically morals or poems. This category of books was popular in Europe during the 16th and 17th centuries.

　　(https://en.wikipedia.org/wiki/Emblem_book)

　　百度说这东西叫 寓意画册，大家体会下。)

　　5

　　In the mid-1960s, Eddy de Jongh published an extraordinary array of material — especially from the emblem books and vernacular literature — that confirmed the unreliability of taking Dutch pictures at surface value alone.

　　1960 年代中期，E d J 公布了一系列不寻常的材料 —— 尤其是来自于 emblem books 和白话文学 —— 证实了荷兰绘画不能只看表面价值。

　　6

　　The major difficulty, however, with the findings of critics such as de Jongh is that it is not easy to assess the multiplicity of levels in which Dutch viewers interpreted these pictures.

　　然而，像 d J 这样的评论者的研究发现的主要困难，在于难以评估荷兰观众对这些画作的解读的多种不同层次。

　　7

　　De Jongh’s followers typically regard the pictures as purely symbolic.

　　D J 的后继者们特别地把这些画视为纯象征性的。

　　8

　　Not every object within Dutch paintings need be interpreted in terms of the gloss given to its equivalent representation in the emblem books.

　　不是荷兰绘画中出现的每种事物，都有必要解释为像 emblem books 里那样有什么寓意。

　　9

　　Not every foot warmer is to be interpreted in terms of the foot warmer in Rowmer Visscher’s Sinnepoppen of 1614, not every bridle is an emblem of restraint (though many were indeed just that).

　　不是每个暖脚炉都要解释为 1614 年 R V 的作品 S 中出现的暖脚炉，不是每副马笼头都象征着约束(尽管很多时候确实象征着约束)。

　　10

　　To maintain as Brown does, that the two children in Netscher’s painting A Lady Teaching a Child to Read stand for industry and idleness is to fail to understand that the painting has a variety of possible meanings, even though the picture undoubtedly carriers unmistakable symbolic meanings, too.

　　正如 B 认为 N 的作品 A Lady Teaching a Child to Read 代表勤劳和懒惰，未能理解这幅画包含的其他可能的含义，尽管这幅画无疑也带有明显的象征意味。

　　11

　　Modern Art historians may well find the discovery of parallels between a painting and a specific emblem exciting, they may, like seventeenth-century viewers, search for the double that lie behind many paintings.

　　当代艺术史学者可能也认为，发现一幅画和一种特定的象征之间的对比关系很有趣，他们也许会像十七世纪的观众那样，寻找许多画背后的类比对象。

　　12

　　But seventeenth-century response can hardly be reduced to the level of formula.

　　但十七世纪的观众的反应，很难概括成公式。

　　13

　　To suggest otherwise is to imply a laboriousness of mental process that may well characterize modern interpretations of seventeenth-century Dutch Art, but that was, for the most part, not characteristic in the seventeenth century.

　　否则就意味着一种更复杂的心理过程，也可以定义对十七世纪荷兰艺术的现代解读，但那很大程度上已经跟十七世纪没什么关系了。

　　1. The passage is primarily concerned with which of the following?

　　A. Reconciling two different points of view about how art reflects

　　B. Criticizing a traditional method of interpretation

　　C. Tracing the development of an innovative scholarly approach

　　D. Describing and evaluating a recent critical approach

　　E. Describing a long-standing controversy and how it was resolved

　　选 D

　　描述以及评估一种近期出现的批评方法。

　　以前人们认为荷兰绘画的特点是写实，后来发现其中有很多象征意义，后者就是 recent critial approach，代表人物是 Eddy de Jongh 以及后面出现的 Brown 。

　　2. The author of the passage mentions bridles in the highlighted portion of the passage most likely in order to

　　A. Suggest that restraint was only one of the many symbolic meanings attached to bridles

　　B. Provide an example of an everyday, physical object that was not endowed with symbolic meaning

　　C. Provide an example of an object that modern critics have endowed with symbolic meaning different from the meaning assigned it by seventeenth-century Dutch artists

　　D. Provide an example of an object with symbolic meaning that was not always used as a symbol

　　E. Provide an example of an everyday object that appears in a significant number of seventeenth century Dutch paintings

　　选 D

　　句 9：

　　…… not every bridle is an emblem of restraint (though many were indeed just that)

　　没啥解释的。

　　3. Which of the following best describes the function of the last paragraph(句 10 - 13) of the passage?

　　A. It provides specific applications of the critical approach introduced in the preceding paragraph

　　B. It present a caveat about the critical approach discussed in the preceding paragraph

　　C. It presents the research on which a theory presented in the preceding paragraph is based

　　D. It refutes a theory presented in the preceding paragraph and advocates a return to a more traditional approach

　　E. It provides further information about the unusual phenomenon described in the preceding paragraph

　　选 B

　　句 8 - 9 出现的三个 not every … 已经提示我们，把画上出现的所有元素都视为象征是不可取的，进入第三段，作者进一步明确指出，这样看待作品可能产生的后果，… fail to understand that the painting has a variety of possible meanings, …(句 10)。

　　可以认为这是一种 caveat 警告，告诫。

　　所以选 B 。

　　4. The passage suggests which of the following about emblem books in seventeenth-century Holland?

　　A. They confirm that seventeenth century Dutch painting depict some objects and scenes rarely found in daily life.

　　B. They are more useful than vernacular literature in providing information about the symbolic content of seventeenth-century Dutch painting.

　　C. They have been misinterpreted by art critics, such as de Jongh, who claim seventeenth century Dutch paintings contain symbolic meaning

　　D. They are not useful in interpreting seventeenth-century Dutch landscape painting.

　　E. They contain material that challenges the assumptions of the nineteenth-century critics about seventeenth-century Dutch painting.

　　选 E

　　当你以为这是一道综合全局信息才能判断的题，其实它是一道细节题。

　　题目所问的 emblem books 寓意画册，第一次出现在句 4：

　　How explicit and consistent the symbolizing process was intended to be is a much thornier matter, but anyone who has more familiarity than a passing acquaintance with Dutch literature or with the kinds of images used in illustrated books (above all emblem books) will know how much less pervasive was the habit of investing ordinary objects than of investing scenes with meaning that go beyond their surface and outward appearance.

　　只要对荷兰文学和图书(包括 emblem books)中所采用的图片有基本的熟悉，就知道多数是象征性的，而不是写实的。

　　回溯句 1：

　　In the late nineteenth century, art critics regarded seventeenth-century Dutch paintings as direct reflections of reality.

　　十九世纪的评论家认为荷兰画是对现实的直接反映，即写实的。

　　综合两部分，可以确定 E 正确。

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