历年在职研究生考试真题

历年在职争辩生考试真题一、单项选择ABCD贝多芬《第九“合唱”交响曲》第四乐章合唱局部的歌词是取自德国诗人的作品ABCDABCD《黄河大合唱》是作曲家冼星海代表作，其中女高音独唱的名曲ABCD由田汉作词、聂耳谱曲的《义勇军实行曲》是影片的主题歌，1935A,《风云儿女》B《渔光曲》C《大路天使》D《大路》6.《兰亭序》是的作品ABCD7.《富春山居图》是的作品。ABCD意大利文艺复兴时期的画家拉斐尔创作了A《最终的审判》B《自由领导人民》C《雅典学派》D《日出·印象》法国雕塑家罗丹创作了A《加莱义民》B《大卫》C《舞女》D《骑士像》10.是后印象派画家梵高的代表作之一。A《向日葵》B《紫丁香》C《睡莲》D《郁金香》11.“离间效果”或“生疏化效果”理论是由提出的。ABCD1220A30B40C20D3013.金子是曹禺剧本中的人物。A《原野》B《北京人》C《雷雨》D《日出》14.是古希腊喜剧作家阿里斯多芬的作品。A《美狄亚》B《被束缚的普罗米修斯》C《安提戈涅》D《鸟》15.不是挪威剧作家易卜生的剧本。A《玩偶之家》B《樱桃园》C《社会支柱》D《培尔金特》16.《伪君子》是的作品。ABCD17.是中国的芭蕾表演艺术家，被誉为中国的第一只“白天鹅”。ABCD18.“英歌”是具有地区特色的舞蹈。ABC江苏D19.是春秋战国时期宫廷舞人西施表演的舞蹈。A《火凤舞》B《响屐舞》C《十色菊》D《踏谣娘》20.独舞《春江花月夜》是舞蹈艺术家的代表作。ABCD21.以“收缩-放松”的动作原理，创立了具有影响的现代舞训练体系A·圣丹尼丝B·邓肯C·格莱姆D·韩芙丽20ABCD艺名“白牡丹”，代表剧目为《红娘》和《金玉奴》的京剧演员是ABCD24.《中国戏曲通论》的主编是ABCD马彦祥ABCDA《打金枝》B《天仙配》C《朝阳沟》D《李慧娘》27.《牡丹亭》中的一出是A《寻梦》B《闻铃》C《佳期》D《活捉》28“同光十三绝”消灭的时代是ABC明代DABC木雕D相关的莲花ABCD31.漆艺包括漆器、漆画和ABC漆彩DABCD设计思维一般是指规律思维与的整合ABCDABCD35.2022A《煎饼侠》B《西游记之大圣归来》C《栀子花开》D《捉妖记》36.影片《城南旧事》的导演是ABCD37.瑞典导演伯格曼的影片有A《乱世佳人》B《野草莓》C《偷自行车的人》D《第四十一》A孙瑜B吴永刚C沈浮D39.大卫·里恩导演的电影有A《桂河大桥》B《第七封印》C《流浪儿》D《青春残酷物语》40.表现为画面与声音既相互独立又有内在联系ABCD41.影视“空镜头”指ABCD镜头20A60B70C80D90《艺术人生》属于节目A闻类B教育类C谈话类DABCD21645.以下乐曲属于江南丝竹的是。A.《行街》B.《中花六板》C.《雨打芭蕉》D.《三六》E.《百鸟朝凤》46.1949A.《宝莲灯》B.《红色娘子军》C.《凤鸣岐山》D.《白毛女》E.《大红灯笼高高挂》俄国戏剧家契科夫的作品有。A.《钦差大臣》B.《三姐妹》C.《海鸥》D.《无辜的罪人》E.《万尼亚舅舅》A.徐九经B.杨继业C.伍子胥D.偏颇E.杨七郎49.伊朗导演阿巴斯创作的影片包括。A.《哪里是我朋友的家》B.《秋刀鱼的味道》C.《橄榄树下》D.《樱桃的味道》E.《伊凡的童年》50.美学上的“电视时间”包括。A.现实时间B.屏幕时间C.心理时间D.现在时间E.过去时间51.艺术史家贡布里希撰写的均已译为中文。A.《艺术的故事》B.《艺术与错觉》C.《古典艺术》D.《秩序感》E.《意图的模式》中国四大名绣有。A.苏绣B.京绣C.粤绣D.湘绣E.蜀绣230Directions：Therearethreepassagesinthispart.Eachpassageisfollowedbysomequestionsorunfinishedstatements.Foreachofthemtherearefourchoicesmarked,B,CandD.Choosethebestanswertoeachquestion.Questions53to57arebasedonthefollowingpassage：Squaredanceisafast-paccd,livelytypeoffolkdance.Squaredanceisafunformofdanceinvolvingsocialinteractionbetweenseveraldancers.Squaredanceischaracterizedbyfourcouples,oreightdancers.Thefourcouplesarearrangedintheshapeofasquare,witheachcoupleformingoneofthesidesofthesquare.Twoofthecouplesarereferredtoasthe“headcouples”,withtheothertwothe“sidecouples”.Eachdanceisstartedandfinishedintheoriginalsquareformation.Duringasqaredance,a“squaredancecaller”usesamicrophonetoguidethedancersthoughasequenceofstepsintimetothemusic.Thecallercallsoutvariousmoves,steps,spins,turns,andpartnerchanges.Squaredanceoriginatedformdanceofthe17thcentury,mainlythequadrilleandtheMorrisdance.PopularinEngland,FranceandEurope,squaredancingalsohasrootsintheUnitedStates.Thesquaredancehasbeendesignatedastheofficialdanceof19statesintheUs.Theterm”squaredance”isusuallyassociatedwithlivelycallers.Acallermustcreatelogicaldancesequences,orcalls,thatmatchtheexpectationsandabilitiesofthedancers.A“call”isthenameofaspecificdancemovement.Squaredancecallsusuallyconisitofbetween4and32counts,orsteps.Callsequencesmaybelongorquiteshort.Squaredancemusicvariesdependingonthetypeofsquaredancebeingperformed.Traditionalsquaredanceareusuallyaccompaniedbyliveacousticbands.Traditionalcountrydancemusic,suchasIrishjigsandfolkmusicisoftenpreferred.Modernsqaredancemusicincludesvarioustypesofmusic,includingpop,countryrockandBroadwangmusicals.Themusicisusuallyfasterandoftenrecorded.Accordingtothepassage,squaredancecamefromallofthosecountriesEXCEPT EnglandB.FranceC.TheUnitedStatesD.ChinaThepossiblereasonwhyitiscalledsquaredanceisthat Squaredanceischaracterizedbyfourcouples,oreightdancersEachdanceisstartedandfinishedintheoriginalsquarformationsquaredancersoftengotodanceinpublicsquareorinaparksquaredanceisafast-paced,livelytypeoffolkdanceAccordingtothepassage,inasquaredanceacallermaydothefollowingthingsEXCEPT creatinglogicaldancesequencesnamingaspecificdancemovementmakingveryimportanttelephonecallsmakingdancecallsthatmatchtheexpectationsandabilitiesofthedancersThereaermanydifferentsquaredancemusicalsusedinsquaredanceaccordingto A.differentweatherB.differentpeopleC.differenttypeofsquaredanceD.differentsquaredancecallersInthesecondlineofthefirstparagraph,thephrase”ischaracterizedby”means A.isorderedbyB.isdonebyC.isfollowedbyD.isfeaturedbyQuestions58to62arebasedonthefollowingpassage：TheNewSpringPaintengExhibitionopensinFebruaryatSunYat-senPark,Beijing.Theshowfeaturessome40artistsfromdifferentgenerations,includinginfluentialolderartistssuchasLiuHaisuandWuZuoren,allofwhomadvocateanapoliticalapproachtoart-making.Asignificantmomentinthedevelopmentofthis“NewAcademicism”occursinSeptemberwhenseveralmuralsareunveiledattheBeijingIntemationalAirport.YuanYunsheng’sWater-SplashingFestival：OdetoLifeincludesnudefemalefigures,whichtriggersaseriouscontroversyovernudityinpublicart.(Themuralisboardedoverin1981.)InFebrualyagroupoftwelveartistsinShanghaiorganizeanexhibitionatthePalaceofinfants,HuangpudistrictitisChina’sfirstmodemistshowsincemid-century.TheworksareinfluencedimpressionismandPostimpressionism.consideredradicalinthepost-CulturalRevorurioncontext,althoughthesubjeetsaretraditional(birds,flowers,etc).Sear-PaintmgandtheSrargroupemergeasthetwomostimportantartmovementsof1979.Bothaimatcriticizing.therealitiesofcontemporaryChinaandoftenportraytheCulturalRevolutionnegatively.ScarPainting.partofabroadermovementcalledNewRealisticPainting.takesitsnamefromarelatedliterarytendency.ThetermreferstotheemotionalwoundsinflictedontheChinese-especiallyintellectuals,students,andoldercadrc-bytheCulturalRevolution.Forexample,ChengConglin’sPainting,ACertainMonthofaCertainDayin1968andtheillustrationstoZhengYi’sshortstory”Maple,”byLiuYulian,ChenYiming,andLiBin,describethetragicresultsofRedGuardbattlesduringtheCulturalRevoiution.Thegroup’sfirstexhibition,inSeptember1979,isaprovocativedisplayofworkhungwithoutofficialpermissiononthefenceoutsidetheNationalGallery,Beijing.Aftertheexhibitionisdisruptedbythepolice,theartistspostanoticeonDemocracyWallandstageaprotestmarch.TheStars’firstformalexhibition,heldinBeihaipark,Beijing,inNovember,includes163worksby23nonprofessionalartists.AccordingTotheauthor,TheNewSpringPaintingExhibitionincludes .A.theworksbyabout40famousartistsofdifferentgenerationsB.theworksbyabout40oldartistsC.theworksbyabout40youngartistsD.onlyabout40influentialvisitorsFromthethirdparagraph,wecanknowthatChina’firstmodernistshowsincemid-centurywasheld A.inBeijingB.inShanghaiC.inNanjingD.inbothBejingandShanghaiInthispassage,theword“exhibition”means .ashowofartisticworksB.ameetingofinfluentialpeopleC.amovementofartisticpaintingD.avisitofbeautifulplace61.Afierthedisruptedbytheexhibitionheldbythestarartistspolice,whatdidtheydo?wasTheylaunchedaprotestmarch.Theycelebratedtheirsuccess.Theyaskedthelocalgovemmentforhelp.TheywentoBeijingPark,Beijing.Inthelastlineofthelastparagraph,thephrase”nonprofessionalartists”means .allprofessionalartistsnotprofessionalartistsnotgoodartistsnotfamousartistsQuestions63to67arebasedonthefollowingpassage：TheItalianRenaissancewasoneofthemostproductiveperiodsinthehistoryofart,withlargenumbersofoutstandingmasterstobefoundinmanycentersandinallthemajorfieldspainting,seulpture,andarchitecture.InFlorence,inthefirsthalfofthefifteenthcentury,thereweregreatinnovatorsinallthesefilds,whoseworkmarkedabeginningofanewerainthehistoryofart.TheseinnovatorsincludedMasaccioinpainting,Brunelleschiinarchitecture,andDonatelloinsculpture.theirnewidealsandnethodsweresystematizedinthetheoreticalwritingsoftheirfriendandfellowartistLeonBattistaAlberti.Theretofore,hehadbeenanartisan,acraftsman.Nowtheattemptwasmadetoincludeartistsamongthepractitionersofthe“liberalarts,”whichwereregardedasbeingonahigherlevelthanthe“mechanical.”Theseeffortsborefruit,andsomeofthegreatmasters,forexample,TitianandMichelangelo,bytheforceoftheirgeniusandpersonality,wereabletoachieveameasureofsatatusandresoectrarelyenjoyedbytheirpredecessors.Theideaofartisticgeniusbecamepopular,Michelangelowascalled”divine’becauseofthegreatnessofhiscreativepowers.IntheRenaissance,artandsciencewerecloselyconnected.Boththeartistandthescientiststroveforthemasteryofthephysicalword,andtheartofpaintingprofitedbytwofieldsofstudythatmaybecalledscientific：anatomy,whichmadepossibleamoreaccuratereoresentationofthehumanbody,andmathematicalperspective.Perspectiveinpaintingistherenderingonatwo-dimensionalsurfaceoftheillusionofthreedimensions.Previouspaintershadachievedthissffectbyempiricalmeans,butthediscoveryofamathematicalmethodofattainingathree-dimensionalimpessionisattributedtoBrunelleschiinabout1420.Henceforth,themethodcouldbesystematicallystudiedandexplained,anditbecameoneofthechiefinstrumentsofartists,especiallypainters,intheirpursuitofreality.Somemenwerebothartistsandscientists,notablyLeonardodaVincianPierodellaFancesca.Itisdoubtfulwhethertheywouldhaveunderstoodourdistinctionbetweenartandscience.ThispassagemainlydiscussesthegreatartistswholivedduringtheperiodoftheRenaissance .inBritainB.inFranceC.inItalyD.inEuropeFromthe2ndparagraph,whatchangecanweknowabout