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提问人:网友dongwen_wen 发布时间:2022-01-07
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In 17th-century New England, almost everyone believed in witches. Struggling to survive in

a vast and sometimes unforgiving land, America's earliest European settlers understood themselves to be surrounded by an inscrutable universe filled with invisible spirits, both benevolent and evil, that affected their lives. They often attributed a sudden illness, a household disaster or a financial setback to a witch's curse. The belief in witchcraft was, at bottom, an attempt to make sense of the Unknown.

While witchcraft was often feared, it was punished only infrequently. In the first 70 years of the New England settlement, about 100 people were formally charged with being witches; fewer than two dozen were convicted and fewer still were executed.

Then came 1692. In January of that year, two young girls living in the household of the Reverend Samuel Parris of Salem Village began experiencing strange fits. The doctor identified witchcraft as the cause. After weeks of questioning, the girls named Tituba, Parris's female Indian slave, and two local women were regarded as the witches who were tormenting them.

Judging by previous incidents, one would have expected the episode to end there. But it didn't. Other young Salem women began to suffer fits as well, Before the crisis ended, 19 people formally accused others of afflicting them, 54 residents of Essex County, confessed to being witches and nearly 150. people were charged with consorting with the devil. What led to this?

Traditionally, historians have argued that the witchcraft crisis resulted from. factionalism in Salem Village, deliberate faking, or possibly the ingestion of hallucinogens by the afflicted. I believe another force was at work. The events in Salem were precipitated by a conflict with the Indians on the northeastern frontier, the most significant surge of violence in the region in nearly 40 years.

In two little-known wars, fought largely in Maine, from 1675 to 1678 and from 1688 to 1699, English settlers suffered devastating losses at the hands of Wabanaki Indians and their French allies. The key afflicted accusers in the Salem crisis were frontier refugees whose families had been wiped out in the wars. These tormented young women said they saw the devil in the shape of an Indian. In testimony, they accused the witches' reputed ringleader--the Reverend George Burroughs, formerly pastor of Salem Village--of bewitching the soldiers dispatched to fight the Wabanakis. While Tituba, one of the first people, accused of witchcraft, has traditionally been portrayed as a black or, mulatto woman from Barbados, all the evidence points to her being an American Indian.

To the Puritan settlers, who believed themselves to he God's chosen people, witchcraft explained why they were losing the war so badly. Their Indian enemies had the devil on their side.

In late summer, some prominent blew Englanders began to criticize the witch prosecutions. In response to the dissent, Governor Sir William Phips of Massachusetts dissolved in October the special court he had established to handle the trials. But before he stopped the legal process, 14 women and 5 men had been hanged. Another man was crushed to death by stones for refusing to enter a plea. The war with the Indians continued for six more years, though sporadically. Slowly, northern New Englanders began to feel more secure, And they soon regretted the events of 1692.

Within five years, one judge and 12 jurors formally apologized as the colony declared a day of fasting and prayer to atone for the injustices that had been committed. In 1711, the state compensated the families of the victims.

And last year, more than three centuries after the settlers reacted to an external threat by lashing out irrationally, the convicted were cleared by name in a Massachusetts statute. It's a story worth remembering--and not just on Halloween.

W

A.Existent.

B.Mysterious.

C.Scared.

D.Fiendish.

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更多“In 17th-century New England, almost everyone believed in witches. Struggling to survive in”相关的问题
第1题
Puritan poetry in the 17th-century English literature is represented best by (), who produced Paradise Lost as his representative work.

A、John Miltion

B、John Donne

C、Robert Herrick

D、John Dryden

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第2题
听力原文:Modern science began when mathematical models replaced abstract ideas as ways of

听力原文: Modern science began when mathematical models replaced abstract ideas as ways of explaining how the world works, and how we might harness nature to enhance human power over it. In Britain, scientific development reached its peak in the 17th century, during the period known as the "scientific revolution".

By 1700 there were scientific institutions across Britain, and a commitment to science as the firm basis for success in commerce and industry. Britain's rapid industrialization over the next century, and its domination of world trade, confirmed the importance of science in driving the economy.

17th-century advances in microscopy, medicine, chemistry and biology and the development of precision instruments placed Britain in the forefront of specialist equipment-making. This kind of mass-produced new technology looked set to make the fortune of the inventor and patent-holder, and as a result, the smooth collaboration amongst members of the Royal Society was regularly marred by ugly priority and patent disputes. These indicate the growing tension between the "roup" model of science and the individual model.

With the inevitable increasing professionalism of science, the success of the activities of the gentlemen amateurs who had founded the Royal Society looked increasingly irrelevant. However, the patterns of group activity, documenting and corroborating experimental results, and public dissemination of outcomes set lastingly important standards for scientific practice. In the long run, these standard protocols and procedures may turn out to have left a more lasting legacy than "iscoveries" made by individual scientist-members.

What is this talk mainly about?

A.The scientific development in 17th century Britain and its historical significance.

B.The scientific discoveries made in 17th century Britain.

C.The difference between two models of scientific activities in 17th century Britain, i.e. between the "group" model and the individual model.

D.The impact on industrialization by scientific discoveries around 17th century in Britain.

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第3题
11. "Metaphysical Poetry" is commonly used to name the work of the 17th-century writers who wrote under the influence of _________.

A、A. John Milton

B、B. John Donne

C、C. Francis Bacon

D、D.William Shakespeare

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第4题
8. Plymouth Plymouth, town (township), Plymouth co...

8. Plymouth Plymouth, town (township), Plymouth county, southeastern Massachusetts, U.S. It lies on Plymouth Bay, 37 miles (60 km) southeast of Boston. It was the site of the first permanent settlement by Europeans in New England, Plymouth colony, known formally as the colony of New Plymouth. The town was founded by Pilgrims (separatists from the Church of England) who, in their search for religious toleration, had immigrated first to the Netherlands and then to North America. Sailing in the Mayflower from Plymouth, England, the settlers reached the shores of Cape Cod in November 1620, and an exploring party arrived in the Plymouth area on December 21 (now celebrated as Forefathers’ Day). According to tradition, the Pilgrims landed on Plymouth Rock on December 26 and built their first fort and watchtower on Burial Hill. Half their number died that first winter and were buried on Cole’s Hill, which was later leveled and planted in grain so that the Native Americans could not judge the extent of the colony’s depletion. Although never officially incorporated, the town was recognized in 1633 as the seat of Plymouth colony, which was absorbed into Massachusetts Bay Colony in 1691. Its seaside location and historic associations make Plymouth an outstanding summer resort. A tourist-based economy is supplemented by light manufacturing, the production of computer software, fishing, and various services. Seafaring was the heart of the early economy of the community, and active wharves and boatyards remain. Numerous historic attractions include Plymouth Plantation (a re-creation of the original Pilgrim village), Pilgrim Hall Museum (built in 1824), Harlow Old Fort House (a building depicting 17th-century household occupations of Plymouth women), and Mayflower II, a goodwill ship built at Brixham, England, that sailed across the Atlantic Ocean in 53 days in 1957. Many early colonial houses in the town have been restored, including the Richard Sparrow House (1640), the Edward Winslow House (1699), and the Jabez Howland House. Plymouth Rock, first identified in 1741, became a symbol of freedom in 1774 when it was split by being dragged to Liberty Pole Square in pre-Revolutionary agitation. It now rests on its original waterfront site under a portico of granite. On a hill behind the town is the 81-foot (25-metre) National Monument to the Forefathers (Pilgrim Monument), dedicated in 1889. Plymouth includes most of the 17-square-mile (44-square-km) Myles Standish State Forest. Area 96 square miles (248 square km). 16. Which attraction symbolize freedom in Plymouth in 1774?

A、Plymouth Plantation.

B、Pilgrim Hall Museum.

C、Harlow Old Fort House.

D、Plymouth Rock.

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第5题
Stupendous prices were paid in a historic sale of 19th- and 20th-century avant-garde paint
ings collected over a lifetime by John Hay Whitney and his wife, Betsy Cushing Whitney,

Picasso's "Garcon à la Pipe" (Boy With a Pipe), painted in 1905, shot up to $104.1 million at Sotheby's during a protracted bidding match over the telephone. That is nearly twice the previous record for the artist: the $55 million paid for "La Femme aux Bras Croisés" at Christie's New York in November 2000.

The huge figure reflects the double iconic value that the portrait derived from its mastery and from the aura of its owners, the very patrician Whitneys. The portrait is perhaps the artist's ultimate achievement. Constantly hailed as the giant of modem art, Picasso was probably at his greatest when working under the spell of Old Masters. The rigorous composition, the color balance and the profound psychological probe of the young sitter place the likeness in a category that begins with Italian Renaissance portraitists and continues tight through the 19th century with Corot and Degas.

Bought by Whitney in 1950, the painting was seen at distant intervals in major exhibitions dealing with the artist, from the 1967 Grand Palais retrospective in Paris to the 1996 portrait show at the Museum of Modern Art in New York. The portrait was thus both famous in art history and forgotten. This maximized its impact.

Not least, "Garcon à la Pipe" epitomized the taste of connoisseurs of the old school who bought on the strength of their convictions, not on advice. They collected for the sake of the art, neither for investment—they were already rich—nor to achieve social status, which they had by birth. In short, the Whitney sale marked the end of an era when the old cultivated elite of the Western world dominated the art market.

Buyers sensed the unique character of the occasion. They responded to pictures that played each other up, linked by affinities that went beyond style. or school.

Edouard Manet's "Les Courses au Bois de Boulogne" (Races in the Bois de Boulogne) is as important regarding the Impressionist's painting as "Garcon" is within Picasso's oeuvre. The complex composition worthy of 17th-century masters is combined with a sketchiness in much of the detail that already heralds the march toward Abstractionism.

The forward thrust of the horses in the foreground and the tense postures of their riders give the picture a vigor and an authority it shares with the Picasso. And like Picasso's portrait, it owes a soothing harmony to its color balance. The Manet brought $26.3 million—a figure deemed disappointing by some only because market prices are at an all-time high.

The same combination of boldness in composition and harmony in the color scheme can again be detected in Claude Monet's "Bateaux Sur le Galet" (Boats on the Strand), painted in 1004. Here too the work is unusual. The thrust of the Brush strokes that define the boats and the close-up view of hulls that seem to burst out of the space in which they are lodged create an Expressionist effect. At $4.46 million, the rare masterpiece was worth every peony of it.

With remarkable consistency, Whitney sought and found similar characteristics in the work of artists that seemed least likely to display them. Odilon Redon's admirable still life of flowers in a vase seems compressed in a space too small to contain it. Painted in oil rather than drawn in pastel, the still life has a brilliance in its color harmony that is quite unusual. Curiously, "Fleurs Dans un Vase Vert" cost a comparatively moderate $1.68 million. It was not obvious enough in the context of that evening's sale.

The collector's versatility where style, school and period were concerned was exceptional. He apparently bought with equal relish some paintings as extraordinarily advanced for their time as others seem rooted in timeless classicism.

"Nature Mo

A.the third is a subcategory of the second.

B.the third is the logical cause of the second.

C.the second generalizes and the third gives examples.

D.both present the value of Picasso's paintings.

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第6题
Ricci's "Operation Columbus"1 Ricci, 45, is now striking out on perhaps his boldest ventur

Ricci's "Operation Columbus"

1 Ricci, 45, is now striking out on perhaps his boldest venture yet. He plans to market an English-language edition of his elegant monthly art magazine, FMR, in the United States. Once again the skeptics are murmuring that the successful Ricci has headed for a big fall. And once again Ricci intends to prove them wrong.

2 Ricci is so confident that he has christen quest "Operation Columbus" and has set his sights on discovering an American readership of 300,000. That goal may not be too far-fetched. The Italian edition of FMR — the initials, of course, stand for Franco Maria Ricci— is only 18 months old. But it is already the second largest art magazine in the world, with a circulation of 65,000 and a profit margin of US $ 500,000. The American edition will be patterned after the Italian version, with each 160-page issue carrying only 40 pages of ads and no more than five articles. But the contents will often differ. The English-language edition will include more American works, Ricci says, to help Americans get over "an inferiority complex about their art". He also hopes that the magazine will become a vehicle for a two-way cultural exchange — what he likes to think of as a marriage of brains, culture and taste from both sides of the Atlantic.

3 To realize this version, Ricci is mounting one of the most lavish, enterprising — and expensive promotional campaigns in magazine-publishing history. Between November and January, eight jumbo jets will fly 8 million copies of a sample 16-page edition of FMR across the Atlantic. From a warehouse in Michigan, 6.5 million copies will be mailed to American subscribers of various cultural, art and business magazines. Some of the remaining copies will circulate as a special Sunday supplement in the New York Times. The cost of launching Operation Columbus is a staggering US $ 5 million, but Ricci is hoping that 600% of the price tag will be financed by Italian corporations. "To land in America Columbus had to use Spanish sponsors," reads one sentence in his promotional pamphlet. "We would like Italians."

4 Like Columbus, Ricci cannot know what his reception, will be on foreign shores. In Italy he gambled — and won — on a simple concept: it is more important to show art than to write about it. Hence, one issue of FMR might feature 32 full-colour pages of 17th-century tapestries, followed by 14 pages of outrageous eyeglasses. He is gambling that the concept is exportable. "I don't expect that more than 30% of my readers.., will actually read FMR," he says. "The magazine is such a visual delight that they don't have to. "Still, he is lining up an impressive stable of writers and professors for the American edition, including Noam Chomsky, Anthony Burgess, Eric Jong and Norman Mailer. In addition, he seems to be pursuing his own eclectic vision without giving a moment's thought to such established competitors as Connosisseur and Horizon. "The Americans can do almost everything better than we can, "says Ricci," But we (the Italians) have a 2,000 year edge on them in art."

Ricci intends his American edition of FMR to carry more American art works in order to

A.boost Americans' confidence in their art.

B.follow the pattern set by his Italian edition.

C.help Italians understand American art better.

D.expand the readership of his magazine.

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第7题
Ricci, 45, is now striking out on perhaps his boldest venture yet. He plans to market an E
nglish-language edition of his elegant monthly art magazine, FMR, in the United States. Once again the skeptics are murmuring that the successful Ricci has headed for a big fall. And once again Ricci intends to prove them wrong.

Ricci is so confident that he has christened his quest "Operation Columbus" and has set his sights on discovering an American readership of 300,000. That goal may not be too far-fetched. The Italian edition of FMRthe initials, of course, stand for Franco Maria Ricciis only 18 months old. But it is already the second largest art magazine in the world, with a circulation of 65,000 and a profit margin of US$500,000. The American edition will be patterned after the Italian version, with each 160-page issue carrying only 40 pages of ads and no more than five articles. But the contents will often differ. The English-language edition will include more American works, Ricci says, to help Americans get over "an inferiority complex about their art." He also hopes that the magazine will become a vehicle for a two-way cultural exchangewhat he likes to think of as a marriage of brains, culture and taste from both sides of the Atlantic.

To realize this Vision, Ricci is mounting one of the most lavish, enterprisingand expensivepromotional campaigns in magazine-publishing history. Between November and January, eight jumbo jets will fly 8 million copies of a sample 16-page edition of FMR across the Atlantic. From a warehouse in Michigan, 6.5 million copies will be mailed to American subscribers of various cultural, art and business magazines. Some of the remaining copies will circulate as a special Sunday supplement in the New York Times. The cost of launching Operation Columbus is a staggering US$5 million, but Ricci is hoping that 60% of the price tag will be financed by Italian corporations. "To

land in America Columbus had to use Spanish sponsors," reads one sentence in his promotional pamphlet. "We would like Italians."

Like Columbus, Ricci cannot know what his reception will be on foreign-shores. In Italy he gambledand wonon a simple concept: it is more important to show art than to write about it. Hence, one issue of FMR might feature 32 full-colour pages of 17th-century tapestries, followed by 14 pages of outrageous eyeglasses. He is gambling that the concept is exportable. "I don't expect that more than 30% of my readers.., will actually read FMR," he says. "The magazine is such a visual delight that they don't have to." Still, he is lining up an impressive stable of writers and professors for the American edition, including Noam Chomsky, Anthony Burgess, Eric Jong and Norman Mailer. In addition, he seems to be pursuing his own eclectic vision without giving a moment's thought to such established competitors as Connoisseur and Horizon. "The Americans can do almost everything better than we can," says Ricci, "but we (the Italians) have a 2,000 year edge on them in art."

Ricci wants his American edition of FMR to carry more American art works in order to ______.

A.boost Americans' confidence in their art.

B.follow the pattern set by his Italian edition.

C.help Italians understand American art better.

D.expand the readership of his magazine.

点击查看答案
第8题
Ricci's "Operation Columbus" Ricci, 45, is now striking out on perhaps ills boldest ventur

Ricci's "Operation Columbus"

Ricci, 45, is now striking out on perhaps ills boldest venture yet. He plans to market an English-language edition of his elegant monthly art magazine, FMR, in the United States. Once again the skeptics are murmuring that the successful Ricci has headed for a big fall. And once again Ricci intends to prove them wrong.

Ricci is so confident that he has christened. his quest "Operation Columbus" and has set his sights on discovering an American readership of 300,000.’That goal may not be too far-fetched. The Italian edition of FMR--the initials, of course, stand for Franco Maria Ricci--is only 18 months old. But it is already the second largest alt magazine in the world, with a circulation of 65,000 and a profit margin of US'500, 000. The American edition will be patterned after the Italian version, with each 160-page issue carrying only 40 pages of ads and no more than five articles. But the contents will often differ. The English-language edition will include more American works, Ricci says, to help Americans get over "an inferiority complex about their art." He also hopes that the magazine will become a vehicle for a two-way cultural ex-change--what he likes to think of as a marriage of brains, culture and taste from both sides of the Atlantic. To realize this vision, Ricci is mounting one of the most lavish, enterprising--and expensive--promotional campaigns in magazine-publishing history. Between November and January, eight jumbo. jets will fly 8 million copies of a sample 16-page edition of FMR across the Atlantic. From a warehouse in Michigan, 6. 5 million copies will be mailed to American subscribers of various cultural, art and business magazines. Some of the remaining copies will circulate as a special Sunday supplement in the New York Times. The cost of launching Operation Columbus is a staggering US's million, but Ricci is hoping that 60% of the price tag will be financed by Italian corporations. "To land in America Columbus had to use Spanish sponsors," reads one sentence in his promotional pamphlet. "We would like Italians."

Like Columbus, Ricci cannot know what his reception will be on foreign shores. In Italy he gambled--and won--on a simple concept: it is more important to show art than to write about it. Hence, one issue of FMR might feature 32 foil-color pages of 17th-century tapestries, followed by 14 pages of outrageous eyeglasses. He is gambling that the concept is exportable. "I don't expect that more than 30% of my readers ... will actually read FMR," he says. "The magazine is such a visual delight that they don't have to." Still, he is lining up an impressive stable of writers and professors for the American edition, including Noam Chomsky, Anthony Burgess, Eric Jong and Norman Mailer. In addition, he seems to be pursuing his own eclectic vision without giving a moment's thought to such established competitors as Connoisseur and Horizon. "The Americans can do almost everything better than we can," says Ricci, "But we (the Ital-ians) have a 2,000 year edge on them in art."

Ricci intends his American edition of FMR to carry more American art works in order to ______.

A.boost Americans’ confidence in their art.

B.follow the pattern set by his Italian edition.

C.help Italians understand American art better.

D.expand the readership of his magazine.

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第9题
The debate about problem drinking and how to stop it nowadays centres most on the working
-class young. They are【M1】______ highly visible—and inaudible—as they clog city centres on【M2】______ Saturday nights. But a chapter in a forthcoming book, Intoxication and Society, by Philip Withington, a Cambridge historian, argues that it was the educated elite whom taught Britons how to drink to【M3】______ excess. In the 17th century, England experienced a rise in educational enrolment unsurpassedly until the early 20th century. Illiteracy inclined and the universities of Cambridge and Oxford,【M4】______ as well as the Inns of Court and Chancery where barristers learned their craft, brimming with affluent young men. This was the【M5】______ crucial period which modern drinking culture was formed. Mr【M6】______ Withingtons description of 17th-century drinking practices will sound familiar to anybody who has been within a few miles of a British university. It was characterised by two conflicting aims. Men were to consume large qualities of alcohol in keeping with【M7】______ conventions of excess. Yet they also supposed to remain in control【M8】______ of their faculties, bantering and displaying wit. Students and would-be lawyers formed drinking societies, where they learned the social—and drinking—skills required of gentlemen. A market in instruction quickly emerged. Collections filled with jokes, quotes and fun facts proliferated, promised to teach, as【M9】______ John Cotgraves Wits Interpreter put it, "the art of drinking, by a most learned method". Mirroring the standardisation of language after the invention of the printing press, codes of intoxication were disseminated to many a wider audience as society became more【M10】______ literate and censorship declined.

【M1】

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第10题
Do you want to try ____?

A、new something

B、something new

C、new anything

D、anything new

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