點解依家中學啲reading咁難 (求答案)

啱啱表弟(中三)問依篇reading 答案係咩, 我睇完半明半唔明......但完全唔識做啲MC題...各位英文高手幫幫忙 利申:半英文系,但都唔識做, 我知我廢......屌細力啲

The positioning of Diane Arbus as a documentary photographer stems from the two exhibits that made her reputation, both curated by John Szarkowski: the group show New Documents in 1967 claimed to show documentary photography’s new direction, which Szarkowski said aimed “not to reform life, but to know it”, and Diane Arbus, the posthumous one-woman show five years later, which turned her into an icon. Even as Szarkowski identified Arbus’ work with the documentary tradition, both the American reformist line and the European taxonomic line represented by August Sanders (who came to be known in the United States in the 1960s), he also indicated the ways in which her work did not fit. If the documentary tradition displayed a consistent style of clarity and directness toward reality, it also displayed in the American tradition a particular emphasis on human suffering and a blend of realism and emotional charge, which was meant, in the words of Roy Stryker, the director of the Farm Security Administration, which sponsored the great documentary photography of the Depression era, to “incite change” by mobilizing sympathy. These two documentary modes—that of “knowing” and that of “reforming”—were tangling and untangling in the 1960s. For instance Walker Evans, who made his name with the Farm Security Administration in the 1930s, delivered his important lecture on “lyric documentary at Yale in 1964 in which he eschewed the social reform agenda; in 1966, the year before New Documents, the Farm Security Administration spirit had been revived by Cornell Capa’s exhibition The Concerned Photographer, and its similarly titled catalog, and the documentary practices it celebrated made for some of the most arresting images and photo-essays of the Vietnam War.

That Arbus fulfilled the realist impulse of the documentary tradition could hardly be more obvious, whatever her subject matter. But documentary stuck to Arbus through the powerful intervention not only of Szarkowski but also of Susan Sontag, Arbus first and still most influential critic. Sontag’s essay on the 1972 exhibit, which launched her inquiry into the medium of photography, is still routinely cited in reviews and scholarship on Arbus’ work. Sontag framed the problem of Arbus’s photographs within the documentary tradition following Szarkowski, and defined her work as a misappropriation of its form. Sontag claimed that Arbus photographed and collected other people’s pain but offered no “compassionate purpose” to the viewer. In these terms, Arbus lacked empathy and the photographs offered a “self-willed test of hardness,” one that inured the viewer to ugliness and pain. Sontag attached Arbus to one version of the documentary tradition, the US reformist agenda, and found Arbus’ ability to mobilize sentiment not only deficient but also corrosive of sympathetic sensibilities more broadly.

1. The passage suggests that the photographs of August Sanders were
A) an important influence on Diane Arbus’ work
B) likely viewed in Europe as misappropriating the documentary form
C) probably not familiar to most viewers of Arbus’ work
D) included in exhibits that were curated by Szarkowski
E) not intended to elicit sympathy from viewers

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2. According to the passage, which of the following is a way in which the American documentary tradition and European documentary tradition differed?
A) The American tradition encompassed a greater diversity of subjects than was typically found in the European tradition.
B) The European tradition drew on long-standing aesthetic precedents derived from other representational arts, whereas the American tradition did not.
C) The American tradition was meant to evoke an empathetic response in the viewer, whereas the European tradition was not.
D) Photographs in the European tradition displayed a more consistent clarity of style than those in the American tradition.
E) The American tradition was motivated by a greater realist impulse than the European tradition was.

3. The author of the passage mentions “Sontag’s essay on the 1972 exhibit” primarily in order to
A) show how Arbus’ work altered Sontag’s view of documentary photography
B) suggest that Arbus’ motivations were revealed in her selection of subjects
C) give evidence for the claim that Sontag is Arbus’ harshest critic
D) illustrate how Sontag affected discussion surrounding Arbus’ work
E) support the idea that Arbus’ work does not fit in any specific documentary tradition

4. The author of the passage would most likely agree with which of the following statements about Arbus’ photographs?
A) They exemplified the contradictions inherent in the American tradition of documentary photography.
B) Their inclusion in Szarkowski’s 1967 group show accounts for much of the attention received by that exhibition.
C) They adhered to the norms established by the European tradition of documentary photography in many ways.
D) They were representative of the practice of documentary photography in American in the 1960s.
E) They were an essential part of a larger global project to reform the practice of documentary photography.

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先上黎連登搵英文5星星幫手

將黛安-阿勃絲定位為紀實攝影師，源於使她聲名鵲起的兩個展覽，這兩個展覽都是由約翰-薩科夫斯基策劃的：1967年的群展《新文件》聲稱展示了紀實攝影的新方向，薩科夫斯基說其目的 "不是為了改革生活，而是為了認識生活"，而五年後的黛安-阿勃絲的遺作個人展，則將她變成一個偶像。即使薩科夫斯基將阿巴斯的作品與紀錄片傳統，包括美國的改革主義路線和奧古斯特-桑德斯（1960年代在美國聞名）所代表的歐洲分類學路線聯繫起來，他也指出了她的作品不適合的方式。如果說紀錄片傳統展示了對現實的清晰和直接的一貫風格，那麼在美國的傳統中，它也展示了對人類苦難的特別強調，以及現實主義和情感衝鋒的融合，用贊助大蕭條時代偉大的紀實攝影的農場安全管理局局長羅伊-史崔克的話說，這是為了通過調動同情心來 "煽動變革"。這兩種紀錄片模式--"了解 "和 "改革 "的模式--在1960年代糾纏不清。例如，沃克-埃文斯（Walker Evans）在1930年代因農場安全局而成名，1964年他在耶魯大學發表了關於 "抒情紀錄片 "的重要演講，他在演講中迴避了社會改革議程；1966年，即《新文獻》的前一年，農場安全局的精神因康奈爾-卡帕的展覽《關注的攝影師》及其類似標題的目錄而復蘇，它所頌揚的紀錄片實踐使越南戰爭的一些最引人注目的圖像和照片散文得以出現。

阿巴斯滿足了紀實傳統的現實主義衝動，無論她的主題是什麼，這一點再明顯不過了。但是，紀錄片通過薩科夫斯基和蘇珊-桑塔格（Susan Sontag）的強有力的干預粘住了阿巴斯，後者是阿巴斯第一個也是最有影響力的批評家。桑塔格關於1972年展覽的文章，開啟了她對攝影媒介的探究，至今仍經常在關於阿巴斯作品的評論和學術研究中被引用。桑塔格將阿巴斯的照片問題歸入薩科夫斯基之後的紀實傳統，並將她的作品定義為對其形式的盜用。桑塔格聲稱，阿巴斯拍攝並收集了其他人的痛苦，但沒有向觀眾提供 "同情的目的"。在這些術語中，阿巴斯缺乏同情心，照片提供了一個 "自我意志的硬度測試"，一個使觀眾對醜陋和痛苦的測試。桑塔格將阿巴斯歸入紀錄片傳統的一個版本，即美國的改革主義議程，並發現阿巴斯調動情感的能力不僅有缺陷，而且更廣泛地腐蝕了同情心的感覺。

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國際學校？
普通英文報紙雜誌嘅難度

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standing aesthetic precedents derived from other representational arts, whereas the American tradition did not.

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上黎問功課？

唔該晒你5星星

我year4.............
我表弟中三問我(半英文系), 點知睇唔明,估唔到咁難,未上黎問

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