单项选择题

"The emancipation of women," James Joyce told one of his friends, "has caused the greatest revolution in our time in the most important Line relationship there is—that between men and women." Other modernists agreed: Virginia Woolf, claiming that in about 1910, "human character changed," and, illustrating the new balance between the sexes, urged "Read the ’Agamemnon,’ and see whether your sympathies are not almost entirely with Clytemnestra." D. H. Lawrence wrote, "per-haps the deepest fight for 2000 years and more,has been the fight for women’s independence."But if modernist writers considered women’srevolt against men’s domination one of their "greatest" and "deepest" themes, only recently—in perhaps the past 15 years—has literary criticism begun to catch up with it. Not that the images of sexual antagonism that abound in modern literature have gone unre-marked; far from it. But what we are able to see in literary works depends on the perspectives we bring to them, and now that women—enough to make a difference—are reforming canons and interpreting literature, the land-scapes of literary history and the features of individual books have begun to change.

According to the passage, women are changing literary criticism by()

A. noting instances of hostility between men and women
B. seeing the literature from fresh points of view
C. studying the works of early 20th-century writers
D. reviewing books written by feminists
E. resisting masculine influence

热门 试题

单项选择题
When you first saw a piece of African art, it impressed you as a unit; you did not see it as a collection of shapes or forms. This, of Line course, means that the shapes and volumes within the sculpture itself were coordinated so successfully that the viewer was affected emo-tionally.It is entirely valid to ask how, from a purely artistic point of view, this unity was achieved.And we must also inquire whether there is a recurrent pattern or rules or a plastic language and vocabulary that is responsible for the powerful communication of emotion which the best African sculpture achieves. If there is such a pattern of rules, are these rules applied consciously or instinctively to obtain so many works of such high artistic quality It is obvious from the study of art history that an intense and unified emotional experi-ence, such as the Christian credo of the Byzantine or 12th or 13th century Europe,when espoused in art forms, gave great unity,coherence, and power to art. But such an inte-grated feeling was only the inspirational ele-ment for the artist, only the starting point of the creative act. The expression of this emo-tion and its realization in the work could be done only with discipline and thorough knowledge of the craft. And the African sculp-tor was a highly trained workman. He started his apprenticeship with a master when a child,and he learned the tribal styles and the use of tools and the nature of woods so thoroughly that his carving became what Boas calls motor action. He carved automatically and instinctively.The information in the passage suggests that a mature African carver might best be compared to a()

A.chef following a recipe
B.fluent speaker of English just now beginning to study French
C.batter who hits a home run the first time at bat
D.veteran fiddler expertly varying a traditional tune
E.senior editor correcting the prose of an unidiomatic author