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ART AND CULTURE OF PACIFIC NORTHWEST COM

游客2025-02-04  32
问题                                         ART AND CULTURE OF PACIFIC NORTHWEST COMMUNITIES
    (1) The 1,600-kilometer stretch of the northwestern Pacific coast of North America (from southern Alaska to Washington State) provided an ideal environment for the growth of stable communities. Despite the northerly latitude, the climate is temperate. Natural resources were originally so rich that the inhabitants could subsist by fishing and hunting and gathering, without the need to domesticate livestock or cultivate the land. Forests yielded an abundance of wood for buildings, for boats, and for sculpture. Beyond them the Rocky Mountains were an impenetrable barrier against raids. The area appears to have been settled around 500 A.D. by tribes of diverse origins speaking mutually unintelligible languages: from north to south they include the Tlingit, the Haida, the Tsimshian, the Bella Coola, the Kwakiutl, and the Nootka. The culture to which they contributed has, nevertheless, an underlying homogeneity and a distinct visual character.
    (2) The peoples of the Northwest engaged in trade as well as warfare with one another, and this may account for the diffusion of cultural traits and artistic motifs throughout the area. Much of their art was concerned with religious ritual objects. But the rest is secular and springs from a preoccupation with the hereditary basis of their complex social structures.
    (3) The Tlingit and other nations or language groups were collections of autonomous village communities composed of one or more families, each with its own chief, who inherited his position through matrilineal descent. They had no centralized political or religious organization, but cohesion was given by extensive kinship networks established through marriage, and men and women were obliged to marry outside the larger divisions of clans and moieties (tribal subdivisions) into which they were born and into which the social group was divided by matrilineal or patrilineal descent. Thus families built up riches by marriage without any one family acquiring a dominant position.
    (4) Totem poles, the most distinctive artistic product of the Northwest, were conspicuous declarations of prestige and of the genealogy (family history) by which it had been attained. These magnificent sculptures that probably originated as funerary monuments were first described by travelers in the late 18th century. Each one was carved from a single trunk of cedar, and the increasing availability of metal tools both permitted and encouraged more complex compositions and greater height—up to 27.4 meters. Their superimposed figures—eagles, beavers, whales, and so on—were crests (symbols of identity) that a chief inherited from his lineage, his clan, and his moiety. They were not objects of worship, though the animals carved on them might represent guardian spirits. Poles were designed according to a governing principle of bilateral symmetry, with their various elements interlocked so that they seem to grow organically out of one another, creating a unity of symbolism, form, and surface.
    (5) [A] Masks are the most varied of the carvings from the Northwest, where they were an essential part of communal life. [B] In style they range from an almost abstract symbolism to combinations of human and animal features and to a lifelike naturalism sometimes bordering on caricature (a style that strongly exaggerates features or characteristics), taken to its extreme in Tlingit war helmets. Some differences must have been due to those among the cultures in which they were created, but their place of origin cannot always be ascertained as they seem to have passed from one contiguous nation to another in the course of trade or warfare. [C] Although carvers worked according to established conventions, no two masks are identical and those with basic similarities reveal varying degrees of skill. [D]
    (6) The major differences between masks were determined by their purpose. Some were representations of chiefs and their ancestors and made to be displayed and treasured as heirlooms. Although they appear to record the styles of facial tattooing customary in different groups, it is difficult to say how far they were intended to be portraits rather than generalized images. Many masks, sometimes quite large, were carved to be worn in dance dramas that re-enacted and kept alive the cohesive myths of a culture. Often, Tlingit masks were made for religious leaders and incorporated the animals that were believed to be their spirit helpers. Conjuring up forces of nature from the ocean, the forests, or the sky, they mediated between life on Earth and the inscrutable powers around and above. [br] Paragraph 6 mentions all of the following as purposes of masks EXCEPT________.
选项 A、They were made to be worn in dance-dramas.
B、They were used as models for tattoo artists to copy.
C、They were made for religious leaders and showed their animal spirit helpers.
D、They were valued family possessions representing chiefs and their ancestors.
答案 B
解析 否定事实信息题，问第6段在描述面具的用途时，没有提到哪项。本题可以用排除法。A项“舞蹈剧上可以穿戴”对应原文第6段第4句，故符合原文说法，不符合题意，不选。C项“它们是给宗教领袖制作的，也体现了动物作为灵魂救赎者的形象”对应第6段倒数第2句，故也符合原文说法，不符合题意。D项“它们代表首领及其先辈，是贵重的家族财产”对应第6段第2句，故也不符合题意，可排除。B项“文身艺术家拿面具上的图案来临摹”在文中没有依据，符合题意，故选。
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