【正文】 be pottery, furniture, or, especially, jewelry. The material used in jewelry was prized for its decorative and symbolic effects, not for its intrinsic value. Rejecting the cluttered overornamentation of the past, artists influenced by Art Nouveau sought to draw popular interest away from machinemade products by incorporating more delicate and fluid natural forms— peacock feathers, flower stalks, vine tendrils, even insect wings. 在這個(gè)大規(guī)模生產(chǎn)的爆發(fā)中，在這場(chǎng)藝術(shù)手工變革的很多藝術(shù)家和手工制作者覺得人們內(nèi)心的觸動(dòng)，對(duì)物質(zhì)的高要求，和完成品的完美感都全部丟失。珠寶，就如同其它的商品一般，變得不再是個(gè)人化（而是大眾消費(fèi)化）變得粗糙的做工，乏味的涉及。盡管有些藝術(shù)家依然保留那些浪漫主義情懷和完美主義的心境，但是大多數(shù)的他們?cè)诠S所造就的珠寶盒在那些中世紀(jì)的商會(huì)中所造的珠寶沒什么兩樣。（這里強(qiáng)調(diào)這時(shí)候工廠的藝術(shù)者和中世紀(jì)的商會(huì)所造的珠寶都不好。） 他們（應(yīng)該指的是那些工作的藝術(shù)家）想要造 出為大眾設(shè)置的廉價(jià)材料的珠寶，但是一個(gè)皇家的珠寶設(shè)計(jì)師獲取用同樣的關(guān)注和承諾在為貴族做珠寶。在中世紀(jì)時(shí)期，在城市和村莊有很多手工制造者，為基層百姓工作。那些這種運(yùn)動(dòng)的執(zhí)著者覺得很有必要回歸這種原始的手工對(duì)應(yīng)個(gè)人需要的關(guān)系。覺得非常重要的是：讓藝術(shù)者確保產(chǎn)品的意義是很重要的，無(wú)論這個(gè)產(chǎn)品是瓷器，家具，還是珠寶。 珠寶中所運(yùn)用的材料為一只被贊譽(yù)它裝飾性和象征性的效果而并不是內(nèi)在的價(jià)值。藝術(shù)家反對(duì)過去風(fēng)格中的復(fù)雜的過于裝飾，他們受新藝術(shù)形式的影響追求優(yōu)雅的自然形式來吸引大眾，讓大眾原來大規(guī)模生存。 11. According to the passage, massproduced jewelry and that produced by followers of the Arts and Crafts movement were alike in that both 細(xì)節(jié)題 (A) could be made quickly oil a largescale basis (B) could be customdesigned for a particular individual (C) were intended to be affordable (D) were as well crafted as the jewelry of the wealthy (E) were carefully marketed products 分析：文章首句講到 made available at economical prices 和第二段 They wanted to produce, handmade jewelry from lessexpensive materials for the general public都表 示想讓產(chǎn)品是能讓大眾消費(fèi)得起的。 12. For adherents of the Arts and Crafts movement, the guild concept represented 推理題 (A) a vulgar distortion of artistic principles (B) a regressive throwback to medieval times (C) a practical means to realize their ideals (D) a symbol of the privilege that only royalty could enjoy (E) an innovative approach to manufacturing luxury items on a wide scale 分析：此題屬于難題。得確定題干中的 adherents 其實(shí)就是原文中的 many artists and artisans of the Arts and Crafts movement。 和 some artists sought 。 再看有 guild 的句子： some artists sought to produce individually conceived and executed pieces in workshop situations similar to those of medieval guilds。從次句會(huì)發(fā)現(xiàn)這里將 medieval guild 和 workshop做了類別。那么 medieval guild 和 workshop 具備同樣是性質(zhì)。 At the same time, the Art Nouveau style was inspiring artists and artisans all over Europe, across the Atlantic and back again. Its flowing lines and graceful forms, drawing nature in its perfection and portraying idealized images, pervaded all areas of design, from fabrics and furniture to cutlery, as well as painting and sculpture. Born out of a direct opposition to unbridled mass production, Art Nouveau was intended to bring aesthetic values within the reach of the public and into functional areas. Perhaps it was in jewelry that Art Nouveau reached its pinnacle. Here the style represented a reaction against the imitation of styles from earlier periods and the emphasis given to precious stones. The material used in jewelry was prized for its decorative and symbolic effects, not for its intrinsic value. Rejecting the cluttered overornamentation of the past, artists influenced by Art Nouveau sought to draw popular interest away from machinemade products by incorporating more delicate and fluid natural forms— peacock feathers, flower stalks, vine tendrils, even insect wings. 與此同時(shí)，新藝術(shù)風(fēng)格正在激烈整個(gè)歐洲的手工制造者和藝術(shù)家恢復(fù)過去的樣子。完美的流線，優(yōu)雅的格調(diào)，畫出物質(zhì)本來美的一面侵襲這這個(gè)設(shè)計(jì)風(fēng)尚。這個(gè)風(fēng)尚蔓延著從布料，到家具，到畫幅，到雕塑。 新藝術(shù)的產(chǎn)生是由于大規(guī)模生存的驅(qū)使，新藝術(shù)想將新的美學(xué)感注入一定領(lǐng)域?？赡苁窃谥閷氼I(lǐng)域，讓新藝術(shù)到底了頂峰。在這個(gè)領(lǐng)域的風(fēng)格代表了反感模仿的反應(yīng)。 pinnacle noun a high pointed piece of rock 尖錐形巖石 ■a small pointed turret built as an ornament on a roof （屋頂上作裝飾的）小尖塔；尖頂 ■the most successful point。 the culmination 頂峰，巔峰，極點(diǎn)，頂點(diǎn) 13. In lines 2846, the author indicates that the designs of Art Nouveau objects were inspired by 細(xì)節(jié)題 (A) natural images (B) mythical figures (C) abstract ideas (D) functional objects (E) elaborate devices 分析：第三段最后一句話 draw popular interest away from machinemade products by incorporating more delicate and fluid natural forms— peacock feathers, flower stalks, vine tendrils, even insect 現(xiàn)象中吸取創(chuàng)造靈感。 14. Lines 4042 (The material... value) indicate that the materials that were most highly prized for Art Nouveau jewelry were those that 細(xì)節(jié)題 (A) were the most convenient to obtain (B) were both fashionable and precious (C) had been treasured over the centuries (D) could be massproduced economically (E) were beautiful and meaningful 分析：有定位句子字面意思可理解 prized for its decorative and symbolic effects是為美感。 The ideals of the Arts and Crafts movement were in plete sympathy with the concepts of Art Nouveau, and artists and artisans implemented them in practical ways by forming small groups, guilds, and workshops in Britain, Germany, and Austria. Yet in spite of all efforts, the Arts and Crafts movement could not survive its lack of wide mercial appeal. Because the movement relied on an unaggressive and unmercial approach to business, it never caught on with the people for whom its products were intended. Still, the movement produced farreaching repercussions long after its untimely death. Its international associations, its ideals of artists39。 involvement with the crafts, of the integrity of artists and artisans, and of social awareness were to inspire entire generations to e. 藝術(shù)和手工運(yùn)動(dòng)和新藝術(shù)風(fēng)的理念是一致的，藝術(shù)家們切實(shí)的貫徹這樣的風(fēng)尚。但是盡管他們很努力，這個(gè)運(yùn)動(dòng)和還是確定經(jīng)濟(jì)誘惑而以失敗告終。 因?yàn)檫@個(gè)運(yùn)動(dòng)依靠于非激進(jìn)非商業(yè)化的首段進(jìn)軍 商業(yè)，他從來沒有被他們的消費(fèi)者所吸引。但是，在這個(gè)運(yùn)動(dòng)完結(jié)后，它還是造成了深遠(yuǎn)的影響。它的國(guó)際化聯(lián)盟，它的理念深入了手工業(yè)，藝術(shù)家，手工制作者，社會(huì)的意識(shí)，這種理念激勵(lì)這全新一代的來臨。 15. Lines 5355 (Because .. . intended) primarily indicate that 細(xì)節(jié)題 (A) artists of the day yielded too easily to profitmaking motives (B) Arts and Crafts artists did not effectively market their products (C) the Arts and Crafts movement was promised by the Industrial Revolution (D) the wealthy were not open to experimenting with innovative designs in jewelry (E) an increasingl