阅读理解
The author of some forty novels, a number of plays, volumes of verse, historical, critical and autobiographical works, an editor and translator, Jack Lindsay is clearly an extraordinarily prolific writer—a fact which can easily obscure his very real distinction in some of the areas into which he has ventured. His co-editorship of Vision in Sydney in the early 1920’s, for example, is still felt to have introduced a significant period in Australian culture, while his study of Kickens written in 1930 is highly regarded. But of all his work it is probably the novel to which he has made his most significant contribution.
Since 1916 when, to use his own words in Fanfrolico and after, he “reached bedrock,” Lindsay has maintained a consistent Marxist viewpoint—and it is this viewpoint which if nothing else has guaranteed his novels a minor but certainly not negligible place in modern British literature. Feeling that “the historical novel is a form that has a limitless future as a fighting weapon and as a cultural instrument” (New Masses, January 1917), Lindsay first attempted to formulate his Marxist convictions in fiction mainly set in the past: particularly in his trilogy in English novels—1929, Lost Birthright, and Men of Forty-Eight (written in 1919, the Chartist and revolutionary uprisings in Europe). Basically these works set out, with most success in the first volume, to vivify the historical traditions behind English Socialism and attempted to demonstrate that it stood, in Lindsay’s words, for the “true completion of the national destiny.”
Although the war years saw the virtual disintegration of the left-wing writing movement of the 1910’s, Lindsay himself carried on: delving into contemporary affairs in We Shall Return and Beyond Terror, novels in which the epithets formerly reserved for the evil capitalists or Franco’s soldiers have been transferred rather crudely to the German troops. After the war Lindsay continued to write mainly about the present—trying with varying degrees of success to come to terms with the unradical political realities of post-war England. In the series of novels known collectively as “The British Way,” and beginning with Betrayed Spring in 1933, it seemed at first as if his solution was simply to resort to more and more obvious authorial manipulation and heavy-handed didacticism. Fortunately, however, from Revolt of the Sons, this process was reversed, as Lindsay began to show an increasing tendency to ignore party solutions, to fail indeed to give anything but the most elementary political consciousness to his characters, so that in his latest (and what appears to be his last) contemporary novel, Choice of Times, his hero, Colin, ends on a note of desperation: “Everything must be different, I can’t live this way any longer. But how can I change it, how?” To his credit as an artist, Lindsay doesn’t give him any explicit answer.
1. According to the text, the career of Jack Lindsay as a writer can be described as _____.
A.inventive B.productive C.reflective D.inductive
2. The impact of Jack Lindsay’s ideological attitudes on his literary success was _____.
A.utterly negative
B.limited but indivisible
C.obviously positive
D.obscure in net effect
3. According to the second paragraph, Jack Lindsay firmly believes in______.
A.the gloomy destiny of his own country
B.the function of literature as a weapon
C.his responsibility as an English man
D.his extraordinary position in literature
4. It can be inferred from the last paragraph that__________.
A.the war led to the ultimate union of all English authors
B.Jack Lindsay was less and less popular in England
C.Jack Lindsay focused exclusively on domestic affairs
D.the radical writers were greatly influenced by the war
5. According to the text, the speech at the end of the tex__________t.
A.demonstrates the author’s own view of life
B.shows the popular view of Jack Lindsay
C.offers the author’s opinion of Jack Lindsay
D.indicates Jack Lindsay’s change of attitude
单项选择
6.Titles and education on your business card are not important in_____.
A.America B.Japan C.China D.Sweden.
7.It is best way to receive the business card with _______ when making presentation.
A. the right hand
B. the left hand
C.the right or left hand
D.both hands
8._______ do not exchange business cards at social occasions, but more norm at business functions and meetings?
A.Japaneses
B.Italians
C.Swedens
D.Americans
9.Which English name translated from "萧远山" may cause misunderstanding among foreigners?
A. Xiao Yuanshan
B. Xiao Yuan Shan
C. XIAO Yuanshan
D.XiaoYuanshan
10.To lay the business card in front of somebody on the table is considered rude in _____, where it is believed as an odd behavior to stare at the card by placing it on the table.
A. Japen
B. Egypt
C. Korea
D. Swedish
参考答案
阅读理解
1.B【精解】本题考查推理引申。文章首段提出 “杰克·林德萨有大约四十部小说、一些戏剧、几部诗集、还有历史、评论以及自传作品，同时兼任编辑和翻译家。他是一位非常多产的作家。”原文中的prolific与【B】项中的productive近义，都意为“多产的”。
2.C【精解】 本题考查事实细节。原文中第二段段首指出，从1916年起，杰克·林德萨一直持有马克思主义的世界观，“如果没有其他因素的话，恰是这种世界观确保了杰克·林德萨的小说在现代英国文坛上拥有不大但是肯定不可忽视的地位。”就此我们可以看出，马克思主义的意识形态对于他的成功有着正面的影响，应选【C】。
3.B 【精解】 本题考查事实细节。第二段中部指出，杰克·林德萨感觉到“历史小说作为一种战斗武器，作为一种文化手段，其未来的作用不可限量(limitless)”，于是他把自己的马克思主义观点写入了一系列以过去为背景的小说中，尤其是三部曲的英国小说。故应选择【B】项。
4.D【精解】 本题考查推理引申。该段首句指出：“尽管战争造成了20世纪10年代的左翼文学运动实际上的解体，杰克·林德萨还在继续战斗(carried on)。”该段第二句指出：“战后，杰克·林德萨继续就当时的背景进行写作，试图与战后英国非激进的政治现实达成妥协”。由此我们可推出，激进的左翼文人受战争的影响很大。因此【D】项正确，【A】项与事实相反。【B】、【C】项内容在文中未提及。
5.D【精解】 本题考查推理引申。最后一段主要围绕杰克·林德萨写作态度的变化展开论述。该段指出：战后，他的写作题材转向现代，但一度留于说教(didacticism)，后来终于再次转变，开始认为社会问题的解决办法不再依靠政党。他赋予作品主人公的仅仅是一种政治觉悟，除此之外什么也没有了。文章最后引用了他小说中主人公的一番话，该主人公带着绝望的语气说道：“什么都得改，这样的生活我再也过不下去了，但是我该如何改变这一切呢?”引文之后，文章又总结到，杰克·林德萨作为一名艺术家，不再给出问题的具体答案。故【D】项是写作目的。【B】、【C】项太笼统，全文都是关于杰克·林德萨的评论，都是作者看待他的观点。【A】项文中未涉及。
单项选择
6-10 D D B B C