单选题According to the talk, for what is the Glasgow School of Art famous?A Its educational faculty.B Its collection of art works.C Its architectural design.D Its museums and art galleries.

What kind of experience does Mr. Nixon have with Eployco?

A.He worked for it in the past
B.He has used its website before
C.He is currently one of its headhunters
D.He was disappointed with its service

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Two related paradoxes also emerge from the same basic conception of the aesthetic experience. The first was given extended consideration by Hegel, who argued roughly as follows: our sensuous attention and that gives to the work of art its peculiar individuality. Because it addresses itself to our sensory appreciation, the work of art is essentially concrete, to be understood by an act of perception rather than by a process of discursive thought.
At the same time, our understanding of the work of art is in part intellectual; we seek in it a conceptual content, which it presents to us in the form of an idea. One purpose of critical interpretation is to expound this idea in discursive form—to give the equivalent of the content of the work of art in another, nonsensuous idiom. But criticism can never succeed in this task, for, by separating the content from the particular form, it abolishes its individuality. The content presented then ceases to be the exact content of that work of art. In losing its individuality, the content loses its aesthetic reality; it thus ceases to be a reason for attending to the particular work and that first attracted our critical attention. It cannot be this that we saw in the original work and that explained its power over us.
For this content, displayed in the discursive idiom of the critical intellect, is no more than a husk, a discarded relic of a meaning that eluded us in the act of seizing it. If the content is to be the true object of aesthetic interest, it must remain wedded to its individuality: it cannot be detached from its "sensuous embodiment" without being detached from itself. Content is, therefore, inseparable from form and form in turn inseparable from content. (It is the form that it is only by virtue of the content that it embodies.)
Hegel's argument is the archetype of many, all aimed at showing that it is both necessary to distinguish form from content and also impossible to do so. This paradox may be resolved by rejecting either of its premises, but, as with Kant's antinomy, neither premise seems dispensable. To suppose that content and form are inseparable is, in effect, to dismiss both ideas as illusory, since no two works of art can then share either a content or a form-the form being definitive of each work's individuality.
In this case, no one could ever justify his interest in a work of art by reference to its meaning. The intensity of aesthetic interest becomes a puzzling, and ultimately inexplicable, feature of our mental life. If, on the other hand, we insist that content and form are separable, we shall never be able to find, through a study of content, the reason for attending to the particular work of art that intrigues us. Every work of art stands proxy for its paraphrase. An impassable gap then opens between aesthetic experience and its ground, and the claim that aesthetic experience is intrinsically valuable is thrown in doubt.
1. Hegel argued that .

A. it is our sensuous appreciation that gives peculiar individuality to the work of art
B. it is the content of the work of art that holds our attention
C. the work of art cannot be understood without a process of logical thinking
D. the form of the work of art is what our sensuous appreciation concentrates on

Emerging in the late Sixties and reaching a peak in the Seventies,Land Art was one of a range of new forms,including Body Art,Performance Art,Action Art and Installation Art,which pushed art beyond the traditional confines of the studio and gallery.Rather than portraying landscape,land artists used the physical substance of the land itself as their medium.The British Land Art,typified by Long's piece,was not only more domestically scaled,but a lot quirkier than its American counterpart.Indeed,while you might assume that an exhibition of Land Art would consist only of records of works rather than the works themselves,Long's photograph of his work is the work.Since his“action”is in the past,the photograph is its sole embodiment.That might seem rather an obscure point,but it sets the tone for an exhibition that contains a lot of blackandwhite photographs and relatively few natural objects.Long is Britain's bestknown Land Artist and his Stone Circle,a perfect ring of purplish rocks from Portishead beach laid out on the gallery floor,represents the elegant,rarefied side of the form.The Boyle Family,on the other hand,stands for its dirty,urban aspect.Comprising artists Mark Boyle and Joan Hills and their children,they recreated random sections of the British landscape on gallery walls.Their Olaf Street Study,a square of brickstrewn waste ground,is one of the few works here to embrace the commonplaceness that characterises most of our experience of the landscape most of the time.Parks feature,particularly in the earlier works,such as John Hilliard's very funny Across the Park,in which a longhaired stroller is variously smiled at by a pretty girl and unwittingly assaulted in a sequence of images that turn out to be different parts of the same photograph.Generally however British land artists preferred to get away from towns,gravitating towards landscapes that are traditionally considered beautiful such as the Lake District or the Wiltshire Downs.While it probably wasn't apparent at the time,much of this work is permeated by a spirit of romantic escapism that the likes of Wordsworth would have readily understood.Derek Jarman's yellowtinted film Towards Avebury,a collection of long,mostly still shots of the Wiltshire landscape,evokes a tradition of English landscape painting stretching from Samuel Palmer to Paul Nash.In the case of Hamish Fulton,you can't help feeling that the Scottish artist has simply founda way of making his love of walking pay.A typical work,such as Seven Days,consists of a single beautiful blackandwhite photograph taken on an epic walk,with the mileage and number of days taken listed beneath.British Land Art as shown in this well selected,but relatively modestly scaled exhibition wasn't about imposing on the landscape,more a kind of landscapeorientated light conceptual art created passing through.It had its origins in the great outdoors,but the results were as gallerybound as the paintings of Turner and Constable.Towards Avebury_____

A.originates from a long walk that the artist took
B.illustrates a kind of landscape-orientated light conceptual art
C.reminds people of the English landscape painting tradition.
D.represents the elegance of the British land art
E.depicts the ordinary si

It can be inferred from this passage that .

A. the paradox that it is both necessary to distinguish form content and also impossible to do so cannot be resolved by rejecting its premises
B. both content and form of the work of art are illusory
C. the content and form of the work of art are separable
D. aesthetic experience is not intrinsically valuable

This town is famous__its historical homes.

A.for
B.about
C.with
D.by

According to Jarold Ramsey，American Indian poetry is an art form characterized by its( )

A.unusual depictions of landscapes
B.adaptability to public performance
C.universal accessibility
D.highly original plots