Many artists today are in what is called applied art. They usetheir ability in advertise,

sts' only job is to explore emotions, and yet they choose to focus on the ones that feel bad. This wasn't always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century, more artists began seeing happiness as insipid, phony or, worst of all, boring as we went from Wordsworth's daffodils to Baudelaire's flowers of evil. You could argue that art became more skeptical of happiness because modern times have seen such misery. But it's not as if earlier times didn't know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there is too much damn happiness in the world today. After all, what is the one modern form. of expression almost completely dedicated to depicting happiness？ Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology. People in earlier eras were surrounded by reminders of misery. They worked until exhausted, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. Given all this, they did not exactly need their art to be a bummer too. Today the messages your average Westerner is bombarded with are not religious but commercial, and forever happy. Fast-food eaters, news anchors, text messengers, all smiling, smiling. Our magazines feature beaming celebrities and happy families in perfect homes. And since these messages have an agenda--to lure us to open our wallets to make the very idea of happiness seem unreliable. "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks. What we forget--what our economy depends on is forgetting--is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us as religion once did, Memento mori: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It's a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air.

第36题：By citing the example of poets Wordsworth and Baudelaire, the author intends to show that

A. Poetry is not as expressive of joy as painting or music. B. Art grow out of both positive and negative feeling. C. Poets today are less skeptical of happiness. D. Artist have changed their focus of interest.

A．It has been gaining support among today’ s scholars．

B．It is accurate for Michelangelo, but not for Raphael．

C．It is accurate for Renaissance artists, but not for today’ s artists．

D．It does not apply to artists working on frescoes．

A.present

B.preliminary

C.neglect

D.necessity

A.distribution

B.separation

C.application

D.inspiration

A.receive

B.deserve

C.reserve

D.conserve

a small community. They were ______ .

A、emigrants

B、expatriates

C、immigrants

h century _____ their feelings and ideas in abstract art.

A:in the beginning to reveal

B:began to reveal

C:revealed the beginning

D:to begin revealing

ed its spontaneity and its freedom of expression. Jazz is so much more than music， it is a lifestyle. and a tool for dialogue， even social change. The history of jazz tells of the power of music to bring together artists from different cultures and backgrounds， as a driver of integration and mutual respect. Jazz gave rhythm to the struggles of the civil rights movement in the United States， and has done so elsewhere in the word. Through jazz， millions of people have sung and still sing today their desire for freedom， tolerance and human dignity

rom its current location in the suburban town of Merion, Pa., to a site in Philadelphias museum district caused an argument — not only because it shamelessly went against the will of the founder, Albert C. Barnes, but also because it threatened to dismantle(拆开)a relationship among art, architecture and landscape critical to the Barness success as a museum.

For any architect taking on the challenge of the new space, the confusion of moral and design questions might seem overwhelming. What is an architects responsibility to Barness vision of a marvelous but odd collection of early Modern artworks housed in a rambling(布局凌乱的)1920s Beaux-Arts pile？ Is it possible to reproduce its spirit in such a changed setting？ Or does trying to replicate(复制)the Barness unique atmosphere only doom you to failure？ The answers of the New York architects taking the commission are not reassuring. The new Barnes will include many of the features that have become virtually mandatory(强制性的)in the museum world today — conservation and education departments, temporary exhibition space, auditorium, bookstore, cafe — making it four times the size of the old Barnes. The architects have tried to compensate for this by laying out these spaces in an elaborate architectural procession that is clearly intended to replicate the peaceful-ness, if not the fantastic charm, of the old museum.

But the result is a complicated design. Almost every detail seems to ache from the strain of trying to preserve the spirit of the original building in a very different context. The failure to do so, despite such an earnest effort, is the strongest argument yet for why the Barnes should not be moved in the first place.

The old Barnes is by no means an obvious model for a great museum. Inside the lighting is far from perfect, and the collection itself, mixing masterpieces by Cezanne, Picasso and Soutine with second-rate paintings by lesser-known artists, has a distinctly odd flavor. But these apparent flaws are also what have made the Barnes one of the countrys most charming exhibition spaces. But today the new Barnes is after a different kind of audience. Although museum officials say the existing limits on crowd size will be kept, it is clearly meant to draw bigger numbers and more tourist dollars. For most visitors the relationship to the art will feel less immediate.

The Old Barnes becomes a successful museum mainly because of______.

A. the beneficial geographical position in a suburban town

B. its unique design and orderly collection of arts

C. the influence of its founder Albert C. Barnes

D. the perfect connection among art, architecture and landscape