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In most museums, there’s no shouting and no running. But the Science Museum in London is ______.
A: quiet
B: noisy
C: empty
D: crowded
参考答案
更多 “ In most museums, there’s no shouting and no running. But the Science Museum in London is ______.A: quietB: noisyC: emptyD: crowded ” 相关考题
考题
The house is very close to the railway station, so it's very () for transport.
A、expensiveB、noisyC、convenient
考题
The text is most probably a ________.A. science news reportB. book reviewC. newspaper adD. science fiction story
考题
Which of the following applieans is most likely to be employed?A.A school teacher with a master’s degree.B.A university graduate in computer science.C.A director from a with a master’s degree.D.A eler company
考题
He's still as () as ever in spite of all his disappointments.
A、quietB、calmC、cheerfulD、painful
考题
"Did you enjoy your vacation in New York City?"" Very much. We had a good time _______?A. the visiting of museumsB. for museum visitingC. visiting the museumsD. to visit the museums
考题
A:The area is too noisy.B: Yes, I agree. It's ( ).A. no enough quietB. not enough quietC. not quiet enough
考题
To be inspired by other people's creativity，children should______.A．write ideasB．make up storiesC．buy good notebooksD．visit museums，libraries，and science centers
考题
48．—Mary，would you like to visit the science museum with me?—__________but surfing the net seems more interesting．A． l’d love to．B． That's itC． You're welcomeD． No problem
考题
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,a
festival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although the
Greeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympic
flame is still lit)—had collections of objects,some of which were works of art by well-known masters,while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose.
The Romans also collected and exhibited art from disbanded temples,as well as mineral specimens,exotic plants,
animals;and they plundered sculptures and paintings(mostly Greek)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more or
less meant“Muses-shrine”.
The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—which
focused on the gold-enshrined,bejewelled relics of saints and martyrs.Princes,and later merchants,had similar collections,
which became the deposits of natural curiosities:large lumps of amber or coral,irregular pearls,unicorn horns,ostrich eggs,
fossil bones and so on.They also included coins and gems—often antique engraved ones—as well as,increasingly,paintings and sculptures.As they multiplied and expanded,to supplement them,the skill of the fakers grew increasingly refined.
At the same time,visitors could admire the very grandest paintings and sculptures in the churches,palaces and castles;
they were not“collected”either,but“site-specific”,and were considered an integral part both of the fabric of the buildings and of the way of life which went on inside them—and most of the buildings were public ones.However,during the revival of
antiquity in the fifteenth century,fragments of antique sculpture were given higher status than the work of any contemporary,
so that displays of antiquities would inspire artists to imitation,or even better,to emulation;and so could be considered Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome were
the most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.
In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums all over the known world.But it was the age of revolutions and industry which produced the next sharp shift in the way the institution was perceived:the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries,of which the Musee des Monuments Francais was the most famous.Then,in the first
half of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries were
built.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.
Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.The
Victoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.
Which is the main idea of the passage?A.Collection and collectors.
B.The evolution of museums.
C.Modern museums and their functions.
D.The birth of museums
考题
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,a
festival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although the
Greeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympic
flame is still lit)—had collections of objects,some of which were works of art by well-known masters,while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose.
The Romans also collected and exhibited art from disbanded temples,as well as mineral specimens,exotic plants,
animals;and they plundered sculptures and paintings(mostly Greek)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more or
less meant“Muses-shrine”.
The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—which
focused on the gold-enshrined,bejewelled relics of saints and martyrs.Princes,and later merchants,had similar collections,
which became the deposits of natural curiosities:large lumps of amber or coral,irregular pearls,unicorn horns,ostrich eggs,
fossil bones and so on.They also included coins and gems—often antique engraved ones—as well as,increasingly,paintings and sculptures.As they multiplied and expanded,to supplement them,the skill of the fakers grew increasingly refined.
At the same time,visitors could admire the very grandest paintings and sculptures in the churches,palaces and castles;
they were not“collected”either,but“site-specific”,and were considered an integral part both of the fabric of the buildings and of the way of life which went on inside them—and most of the buildings were public ones.However,during the revival of
antiquity in the fifteenth century,fragments of antique sculpture were given higher status than the work of any contemporary,
so that displays of antiquities would inspire artists to imitation,or even better,to emulation;and so could be considered Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome were
the most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.
In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums all over the known world.But it was the age of revolutions and industry which produced the next sharp shift in the way the institution was perceived:the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries,of which the Musee des Monuments Francais was the most famous.Then,in the first
half of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries were
built.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.
Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.The
Victoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.
The sentence “Museum is a slippery word” in the first paragraph means thatA.the meaning of the word didn’t change until after the 15th century.
B.the meaning of the word had changed over the years.
C.the Greeks held different concepts from the Romans.
D.princes and merchants added paintings to their collections.
考题
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,a
festival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although the
Greeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympic
flame is still lit)—had collections of objects,some of which were works of art by well-known masters,while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose.
The Romans also collected and exhibited art from disbanded temples,as well as mineral specimens,exotic plants,
animals;and they plundered sculptures and paintings(mostly Greek)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more or
less meant“Muses-shrine”.
The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—which
focused on the gold-enshrined,bejewelled relics of saints and martyrs.Princes,and later merchants,had similar collections,
which became the deposits of natural curiosities:large lumps of amber or coral,irregular pearls,unicorn horns,ostrich eggs,
fossil bones and so on.They also included coins and gems—often antique engraved ones—as well as,increasingly,paintings and sculptures.As they multiplied and expanded,to supplement them,the skill of the fakers grew increasingly refined.
At the same time,visitors could admire the very grandest paintings and sculptures in the churches,palaces and castles;
they were not“collected”either,but“site-specific”,and were considered an integral part both of the fabric of the buildings and of the way of life which went on inside them—and most of the buildings were public ones.However,during the revival of
antiquity in the fifteenth century,fragments of antique sculpture were given higher status than the work of any contemporary,
so that displays of antiquities would inspire artists to imitation,or even better,to emulation;and so could be considered Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome were
the most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.
In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums all over the known world.But it was the age of revolutions and industry which produced the next sharp shift in the way the institution was perceived:the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries,of which the Musee des Monuments Francais was the most famous.Then,in the first
half of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries were
built.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.
Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.The
Victoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.
Paintings and sculptures on display in churches in the 15th century were_______.A.collected from elsewhere.
B.made part of the buildings.
C.donated by people.
D.bought by churches.
考题
根据下面资料，回答
As we know, museums are buildings where many valuable and important objects are kept so that people can go and see them. For examples, art museums are places where people can learn about (56) v ______ cultures. More and more popular "design museums" that are opening today, however, perform quite a different role. (57) U ______ most art museums, the design museum shows objects that are easily found in our daily life, such as fridges and washing machines.
The (58) ______ (优势) of design museums is that they are places where people feel familiar with the exhibits. Being different from the art museum visitors, design museums visitors (59) s ______ feel frightened or puzzled. This is partly because design museums clearly show how and why mass-products work and look as they do, and how design has (60) i ______ the quality of our lives. Art museum exhibits, on the other hand, would most probably fill visitors with a feeling that there is something (61) b ______ their understanding.
Several new design museums have opened their doors in (62)______ years. Each of these museums has tried to satisfy the public′s growing interest in the field with new (63) i ______ London′s Design Museum, for example, shows a collection of mass-produced objects from electric typewriters to a group of Italian fish-tins. The choices open to design museums seem (64) f______ less strict than those to art museums, and visitors may also sense the humorous part of our society while walking around such exhibits as interesting and unusually attractive toys (65) ______(收集) from our everyday life.
第（63）题答案
考题
From here you can see the city's landscape of high barren mountains.A:hairless
B:bare
C:empty
D:dead
考题
共用题干
Changes in MuseumsMuseums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.In America today,all science museums are open to the public and free.A:Right B:WrongC:Not mentioned
考题
共用题干
Changes in MuseumsMuseums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.New York's American Museum of Natural History is opened recently.A:Right B:Wrong C:Not mentioned
考题
共用题干
Changes in MuseumsMuseums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.Young people who are well-educated like the art they can participate in.A:Right B:Wrong C:Not mentioned
考题
共用题干
Changes in MuseumsMuseums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.People can afford to get into the modern museums since they have more time now.A:Right B:Wrong C:Not mentioned
考题
共用题干
Changes in MuseumsMuseums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.In science museums today,people no longer feel strange in the world of science but gain scientific knowledge by themselves.A:Right B:Wrong C:Not mentioned
考题
The main idea of the last paragraph is that( ) A.London still keeps buildings familiar to Dickens so as to commemorate him
B.many places in London offered inspirations to Dickens
C.a museum has been set up in honor of Dickens
D.for all the drastic changes，some places are still reminiscent of London in Dickens’s time
考题
单选题The situation involving the repatriation of the Elgin Marbles to Athens is most similar to which of the following ______.A
A Native American tribe in Oregon requests that a museum in Chicago return some ceremonial masks that could help in fundraising efforts to build a proposed museum in Portland.B
The nation of Peru in South America threatens the nation of Ecuador with military action if Ecuador does not hand over various gold artifacts of the Inca Empire, which originated in Peru.C
The National Archeology Museum of Cairo in Egypt requests that the Louvre return eight mummies from the time of Ramses the Great for the Gairo Museum’s new exhibit hall dedicated to artifacts from Ramses’ court.D
The nation of Greece requests the nation of Turkey to provide Greek archeologists with free access to ancient Greek sites on the Ionian coast of Turkey, and to transfer any cultural artifacts found there to the National Archeology Museum in Athens.E
A museum in Baton Rouge, Louisiana, requests that the Texas History Museum in Austin, Texas, send the original “Lone Star” flag to Baton Rouge for a new exhibit entitled, “Texas: Our Neighbor to the East.”
考题
单选题Of the following, the most appropriate title for the passage above would be: ______.A
The Elgin Marbles: Timeless Symbols of the Glory That Was GreeceB
The Role of Great Museums in the Preservation of Cultural ArtifactsC
Repatriation of Cultural Treasures: The British Museum’s Dirty Little SecretD
The Value of Cultural Treasures in Defining National IdentityE
A Curious Curator: Lord Elgin and the Rise of the British Museum
考题
问答题Should museums charge for admission? Museums are expensive to run, with the cost of acquisitions, conservation, maintenance, staff salaries and special exhibitions all weighing heavily upon their budgets. But others think as a non-profit organization, museum should not charge for admission since it can get government support. The following is an article about this issue. Read it carefully and write your response in about 300 words, in which you should: 1. Summarize briefly the author’s opinion on the issue; 2. give your comment. Marks will be awarded for content relevance, content sufficiency, organization and language quality. Failure to follow the above instructions may result in a loss of marks. Britain’s museums are in crisis. On the surface, things look good. Our galleries have benefited from years of expansion. But all over Britain, a darker reality is emerging in the wake of spending cuts. A survey has shown that since the spending review 58% of museums have suffered cuts, and a fifth have been hit by devastating cuts of 25%. On that measure, yes, 42% have not yet suffered cuts—but surely it’s a policy of divide and rule, with councils, not central government, making the big decisions, and less fashionable venues taking the biggest hits (at least as far as I can see). But an overall climate of contraction will surely hit all museums and all aspects of what they do. And there is little chance of this improving in the near future. The worst option is for museums and public collections to start selling works to pay the bills. The recent sale of a Millais by one cash-strapped council is a terrible mistake, a betrayal of our cultural heritage. The best option, I am starting to think, may be to introduce admission fees. I spat out this notion earlier this week in the wake of the attack on two paintings recently in the National Gallery. The debate was taken up by the Telegraph. Obviously, attacks on art happen at museums that charge an entry fee as well as at free ones. But this is about much more than security. I remember the drab, uncared-for feeling of some of Britain’s biggest museums in the 1980s and 90s. They seemed to be straggling now, with no big plans and no sense of splendor. Free museums with a supportive government are very different from free museums in a climate of austerity. Going to the Louvre or to American museums 20 years ago was like entering a different universe of cultural pride and enjoyment—these museums really wanted to thrill, and they did justice to their collections. So do ours—right now. Britons have realized how precious our great collections are. The world shares the passion, and if you visit the British Museum this summer the sheer crowd numbers startle. How about turning that popularity into money? We can’t let recent progress in our galleries and museums be destroyed by a cost-cutting mentality that first freezes, then rolls back, everything that has been achieved. Charging for entry cannot be a taboo. I probably make more use of free entry than most people; there are obviously ways to make entrance fees egalitarian. Free entry for everyone under 20 and all students, membership schemes for the rest of us, something like the new National Art Pass for those who want to purchase annual overall access. I think free museums are a great British tradition, but I don’t want these museums to decay. Charging for entry is a better remedy than selling paintings, closing galleries or sacking staff. Might it even give visitors a keener sense of the value of some of the greatest experiences it is possible to have?
考题
单选题_____A
To the Science Museum.B
To the History Museum.C
To the Art Museum.D
To the Space Museum.
考题
单选题What is Seattle’s most visible landmark?A
Seattle Art Museum.B
A Contemporary Theater.C
Hammering Man sculpture.D
The Space Needle.
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