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[主观题]

Realism is often seen as a reaction against romanticism. What is NOT a typical charact

eristic of literary romanticism？

A.Romantic writing tends to represent life according to the author’s imagination.

B.Romantic writing is mostly author-centered and subjective.

C.Romantic writers use romantic love as its theme.

D.Romantic writing favors the author’s expression of emotion or aspiration.

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更多“Realism is often seen as a rea…”相关的问题

第1题

Fellini is known for combining realism and fantasy, often making up the story as he g

oes along.(翻译)

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第2题

People often compare realism to a mirror. But this mirror analogy neglects _____.A.th

A.the development of the characters

B.the writer’s creative role

C.the social and historical background

D.the broad context of a situation

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第3题

Turn on the television or open a magazine, and you___advertisements advocating reduci

ng carbon footprints.

A. will often see

B. often see

C. are often seeing

D. have often seen

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第4题

_____see him at the railway station, but not every day.

A.Seldom

B.Never

C.Often

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第5题

How often do you （)shopping？

A.have

B.make

C.see

D.do

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第6题

I often ________ the magazine because it is very interesting.

A.look

B.see

C.look at

D.read

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第7题

On my way home, I quite often （) the milk man.A. see withB. meet intoC. come across

On my way home, I quite often () the milk man.

A. see with

B. meet into

C. come across

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第8题

Thomas Hardy's impulses as a writer, all of which he indulged in his novels, were numerous

and divergent, and they did not always work together in harmony. Hardy was to some degree interested in exploring his characters' psychologies, though impelled less by curiosity than by sympathy. Occasionally he felt the impulse to comedy (in all its detached coldness) as well as the impulse to farce, but he was more often inclined to see tragedy and record it. He was also inclined to literary realism in the several senses of that phrase. He wanted to describe ordinary human beings; he wanted to speculate on their dilemma rationally (and, unfortunately, even schematically); and he wanted to record precisely the material universe. Finally, he wanted to be more than a realist. He wanted to transcend what he considered to be the banality of solely recording things exactly and to express as well his awareness of the occult and the strange.

In his novels these various impulses were sacrificed to each other inevitably and often. Inevitably, because Hardy did not care in the way that novelists such as Flaubert or James cared, and therefore took paths of least resistance. Thus, one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist-scientist to record exactly and concretely the structure and texture of a flower. In this instance, the new impulse was at least an energetic one, and thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous, risky, and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style. —that sure index of an author's literary worth —was certain to become verbose. Hardy's weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted to first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses —a desire to be a realist-historian and a desire to be a psychologist of love —but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.

The most appropriate title for the passage could be ______.

A．Under the Greenwood Tree: Hardy's Ambiguous Triumph

B．The Real and the Strange: the Novelist's Shifting Realms

C．Hardy's Novelistic Impulses: the Problem of Control

D．Divergent Impulses: the Issue of Unity in the Novel

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第9题

Turn on the television or open a magazine and you ______ advertisements showing happy fami

lies.

A．will often see

B．often see

C．are often seeing