Unit 4 Meeting the muse（单元分层自测·基础通关卷）英语外研版选择性必修第一册

2026—2027学年高二选择性必修第一册英语单元复习 Unit 4 Meeting the muse·基础通关 学校：___________　班级：___________　姓名：___________　分数：___________ （时间：100分钟　满分：120分） 注意事项： 1．答题前，考生务必将学校、班级、姓名填写在相应位置。 2．选择题选出答案后填涂在答题卡上；非选择题写在答题卡相应区域。 3．本卷不设听力，其他题型与全国新高考英语非听力部分一致。 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A Choose Your Route at the Student Art Lab Sound into Shape Bring a thirty-second recording from daily life: bicycle bells, rain on a window or a market seller's call. In the studio, you will turn its rhythm into lines and colour. No musical training is needed, but headphones are required. Best for students who notice the world through sound. At the end, you will add a two-sentence note explaining why your chosen marks fit the sound. Curator for an Afternoon Work with three objects from the school archive and write labels that help visitors connect them. A curator will show how order, lighting and a few well-chosen words can change the story an exhibition tells. Applicants must submit a 100-word sample label by Tuesday. Pairs may apply, provided each student writes a separate label. Digital Cave Explorer Use panoramic images to study how artists guided viewers through a painted space. Your group will then design a simple virtual room for one class artwork. Bring a laptop if possible; shared devices are available. Best for students interested in both cultural heritage and technology. A tutor will demonstrate the software before group work begins. Materials Rescue Studio Turn clean packaging, damaged umbrellas and fabric offcuts into small sculptures. The challenge is not to hide the material's former use but to make it part of the work's meaning. Wear old clothes and bring one safe, reusable object. Finished pieces will be displayed in the library. The library team will also collect visitors' short responses. 1．Which route requires students to show some work before joining? A. Sound into Shape. B. Curator for an Afternoon. C. Digital Cave Explorer. D. Materials Rescue Studio. 2．What is a special aim of Materials Rescue Studio? A. To make recycled materials look completely new. B. To teach students how to repair umbrellas. C. To let an object's earlier use contribute to meaning. D. To prepare artworks for sale outside school. 3．What do the four routes have in common? A. They train students for museum jobs. B. They depend on advanced digital equipment. C. They copy methods used by famous artists. D. They turn close observation into creative expression. 【答案】1．B　2．C　3．D 【语篇导读】应用文。四条校园艺术实验路线分别从声音、策展、数字空间和旧材料出发，引导学生把观察转化为表达。 1．B。细节理解。Curator for an Afternoon要求申请者周二前提交100词样例标签；其余项目只要求携带工具或材料。A、C、D均把参加时需准备的物品偷换成事先提交作品。 2．C。细节理解。该项目明确要求不掩盖材料原来的用途，而让旧用途成为作品意义的一部分。A与原文相反；B只抓住材料名称；D无依据。 3．D。主旨归纳。四项活动都先观察声音、物件、空间或材料，再进行艺术创造。A仅适合策展路线，B仅部分适用，C原文未要求模仿名家。 【题源】教师原创校园活动文本；活动结构依据本单元“从生活寻找灵感、选择媒介并说明作品”的项目要求设计；题源S3。 【教师点拨】应用文先匹配限制条件，再概括共同任务链。第3题的共同点必须覆盖四个项目，不能被单一项目的职业或技术词汇吸引。 B The Loop That Learned to Breathe Stand beneath one of Ruth Asawa's hanging wire sculptures and the first surprise is that the empty space seems as carefully shaped as the metal. Light passes through the repeated loops, throwing a second, shifting sculpture onto the wall. The work looks both solid and weightless, as if a drawn line had left the page and learned to breathe. Asawa's visual memory was formed by ordinary experience. Growing up on a California farm, she observed rows of plants, insect wings and the patterns made by work. During the Second World War, her Japanese American family was forced into incarceration camps. Even there, she kept drawing and learned from artists around her. Art did not remove difficulty, but it gave attention somewhere to go. Later, at Black Mountain College, Asawa studied in a community where making, observing and experimenting were closely connected. A decisive lesson came during a trip to Mexico. Local craftspeople showed her how to loop wire while making baskets. What she carried away was not a finished shape to copy but a repeatable action: one loop joined to the next. Back in the studio, she tested that action again and again. Small changes in the distance between loops or in the weight of wire produced forms that widened, narrowed, folded inside themselves or held one shape within another. The method was simple enough to remember, yet open enough to generate endless variation. Shadows and air became materials alongside wire. Her career therefore offers a useful correction to the romantic idea of inspiration as a sudden message delivered to a waiting genius. Inspiration can begin with a basket, a plant or a hard day closely observed. It becomes art through patient transformation. Asawa did not merely preserve what she had seen; she gave an everyday technique a new visual language and later worked to make art education part of public life. 4．Why does the author describe the shadows made by Asawa's sculpture? A. To show that the wire was too weak to hold its shape. B. To explain why the sculptures needed coloured lighting. C. To illustrate how space and light become part of the work. D. To prove that viewers preferred shadows to the sculpture. 5．What did Asawa mainly take from her experience in Mexico? A. A flexible method that could produce many forms. B. A complete basket design that she reproduced in metal. C. A belief that sculpture should avoid natural patterns. D. A plan to replace drawing with traditional craft. 6．What can be inferred about Asawa's view of inspiration? A. It depends on escaping difficult experience. B. It belongs mainly to formally trained artists. C. It arrives before an artist begins to observe. D. It grows when experience is patiently reworked. 7．Which title best captures the text? A. Why Empty Space Is Not Real Material B. From an Everyday Loop to a New Language C. The College That Ended Traditional Craft D. How Public Art Replaced Studio Practice 【答案】4．C　5．A　6．D　7．B 【语篇导读】记叙性说明文。Ruth Asawa把日常观察和在墨西哥学到的套圈技法转化为独特的悬挂铁丝雕塑语言。 4．C。写作意图。首段由透光和投影说明作品不仅塑造金属，也塑造空气、光与空白。A、B、D均把视觉效果误读为材料缺陷或观众偏好。 5．A。细节理解。第三段强调她带走的不是可复制的成品，而是可反复变化的动作方法。B与原文直接相反；C、D均无依据。 6．D。推理判断。末段反驳“灵感突然降临”，提出灵感可从日常观察开始，并通过耐心转化成为艺术。A、B、C均把灵感来源过度限定。 7．B。标题归纳。文章主线是“墨西哥套圈技法—持续试验—形成个人语言”。A否认正文观点，C和D夸大局部信息。 【题源】根据Whitney Museum of American Art的Ruth Asawa艺术家资料与展览资料教学改编并重新设题；题源S2。 【教师点拨】注意第三段not...but...和末段therefore引出的观点：素材来源并不等于作品意义，真正的创造发生在持续变形与重组中。 C When the Viewer Enters the Work A visitor walks into a dark room. Her movement changes a field of light, and a low sound follows her across the floor. Has she helped make the artwork, or has she merely pressed an invisible button? Interactive art turns this practical question into an artistic one because the work cannot appear in exactly the same way without a participant. It is tempting to call every responsive installation democratic: the artist gives up control and the audience becomes creative. But physical activity alone proves little. A lift door also responds when someone approaches it. If an installation offers only the brief pleasure of making something flash, the technology may be impressive while the artistic idea remains thin. The more useful concept is distributed authorship. The artist still chooses the rules, materials and range of possible results. The visitor supplies timing, movement and attention. Neither side controls the complete event. Like musicians following a score that leaves room for improvisation, participants work within a structure whose limits make variation meaningful. Good interactivity, then, is not measured by how many buttons a visitor may press. It is measured by how clearly an action changes understanding. A slowly fading image may make a visitor aware of memory; a sound that grows crowded as more people enter may reveal how individuals share public space. The response matters because it carries the idea, not because it is technically difficult. Access also deserves a careful look. Digital tools can allow remote audiences to explore works they may never see in person, and adjustable sound or image can support different needs. Yet access can become shallow if a bright screen replaces patient looking. Designers must ask who can participate, what information is collected and whether the experience still leaves room for reflection. Interactive art does not erase the artist or automatically free the audience. At its strongest, it makes their relationship visible. The work becomes a meeting place: the artist proposes a system, the visitor tests it, and meaning emerges from the consequences. 8．Why does the author compare an installation with a lift door? A. To argue that lifts are a neglected art form. B. To show that responsive technology is always democratic. C. To stress that reaction alone does not create artistic depth. D. To explain why visitors prefer familiar machines. 9．What does “distributed authorship” mean in the text? A. Several artists divide the cost of one installation. B. Artist-made rules and visitor choices jointly shape the event. C. Museums allow visitors to take artworks home. D. Digital works are copied across many public spaces. 10．What is the main function of paragraph 4? A. To list the newest tools used in digital exhibitions. B. To show that complex technology guarantees strong art. C. To explain why visitors should control every result. D. To provide a standard for judging meaningful interaction. 11．What is the author's attitude towards interactive art? A. Supportive, but dependent on purpose, access and reflection. B. Doubtful, because participation weakens artistic control. C. Uncritical, because technology always widens access. D. Indifferent, because traditional and digital art are identical. 【答案】8．C　9．B　10．D　11．A 【语篇导读】议论文。文章以“回应不等于艺术深度”为起点，讨论互动艺术中的作者权、意义生成、可及性与反思空间。 8．C。类比作用。电梯门也会回应动作，说明技术反应本身不能证明艺术意义。A把类比对象当结论；B、D与作者立场不符。 9．B。概念理解。艺术家提供规则与可能范围，观众提供时机、动作和注意，二者共同形成具体事件。A、C、D均误解authorship。 10．D。段落功能。该段先否定“按钮越多越好”，再以记忆和公共空间为例提出判断标准：互动是否改变理解。 11．A。观点态度。作者认可互动艺术的潜力，同时设置艺术目的、参与可及性、数据与反思等条件。B过度否定，C过度肯定，D无依据。 【题源】教师原创议论文；概念设计依据教材核心语篇“Art & Technology”关于互动、可及性及艺术与技术边界的讨论；题源S1、S4。 【教师点拨】科技类艺术文本常考“条件性立场”。抓住but、yet、at its strongest等限制语，避免把“有潜力”偷换为“必然有效”。 D A Closer Look Is Not the Final Word In 2022 the Rijksmuseum released a 717-gigapixel photograph of Rembrandt's The Night Watch. The number attracts attention, but the image was not made simply to win a contest for sharpness. It is a research instrument: a record detailed enough for specialists to study tiny particles of pigment and for future teams to compare how the painting changes. Creating it required 8,439 individual photographs. Lasers first mapped the uneven surface so that the camera could be focused precisely. Artificial intelligence then helped join the small images and check colour and sharpness. For the public, the result offers extraordinary access. For conservators, it creates a baseline—a fixed point against which later signs of ageing can be measured. Other imaging methods used in Operation Night Watch look below the visible paint. They helped researchers identify a preparatory sketch and changes Rembrandt made while searching for the composition. A helmet once had feathers; a leg began in another position; an additional sword may have been considered. The scans therefore do more than reveal hidden objects. They present creativity as a process of choice and revision. These material traces can turn a confident story about genius into a better-supported account of experimentation. Still, a machine does not explain why Rembrandt rejected one line or kept another. Instruments produce evidence about materials and layers; interpretation connects that evidence with art history, workshop practice and the questions researchers decide to ask. Even the most complete image is selective: it records some features brilliantly while leaving intention to be argued. This creates a productive paradox. Technology can move us closer to the physical painting than an unaided eye can go, while reminding us that seeing more is not the same as understanding everything. The digital image neither replaces the original nor ends debate. Its achievement is to enlarge the field in which careful human judgement can operate. 12．Why were lasers used before the individual photographs were taken? A. To remove damaged paint from the surface. B. To map the surface for accurate camera focus. C. To decide which colours Rembrandt preferred. D. To project the finished image for visitors. 13．What does “a baseline” in paragraph 2 refer to? A. A rule deciding when a painting is complete. B. A line showing the original size of the canvas. C. A public ranking of conservation projects. D. A detailed record used for future comparison. 14．Why are Rembrandt's compositional changes mentioned? A. To show that imaging can reveal the artist's process of revision. B. To prove that the final composition was accidental. C. To argue that hidden details are more valuable than visible ones. D. To explain why the painting should be digitally corrected. 15．What is the main idea of the text? A. Digital copies will soon make original paintings unnecessary. B. Artificial intelligence can settle debates about artistic intention. C. Technology expands evidence, while human interpretation remains essential. D. Conservation succeeds only when researchers avoid historical questions. 【答案】12．B　13．D　14．A　15．C 【语篇导读】说明性议论文。以《夜巡》的超高分辨率图像和隐藏草图为例，说明技术扩大可见证据，但不能替代人的历史解释与判断。 12．B。细节理解。第二段说明激光先绘制不平整表面，以便相机精确对焦。A、C、D把后续研究或展示功能错置为激光用途。 13．D。词义理解。破折号后的解释指出，它是未来比较老化变化的固定参照记录。A、B、C均缩小或误换概念。 14．A。举例作用。羽毛、腿位和剑的变化证明扫描能呈现画家寻找构图的修改过程；B、C、D均作过度推断。 15．C。主旨大意。全文先写技术获得证据，再强调机器不能解释意图，结论是技术扩展判断空间而非终结解释。 【题源】根据Rijksmuseum 2022年717吉像素图像公告及2021年《夜巡》底层草图发现公告教学改编并重新设题；题源S5—S6。 【教师点拨】D篇结构是“技术成就—研究发现—认识边界—综合结论”。最后两段不是否定技术，而是界定技术与人文解释的不同职责。 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。 Build an Inspiration Archive People often wait for inspiration as if it were a visitor who knows their address. A more reliable approach is to build an archive: a small, searchable collection of things that make you pause. It can include words, sounds, shapes, questions and unfinished thoughts. 　16　 Begin with a narrow noticing rule. For one week, you might record only unexpected colour combinations, overheard comparisons or shadows that change a familiar object. A limit reduces the pressure to collect everything.　17　 Because the rule directs attention, ordinary surroundings begin to offer material. Record context, not just the object. A photograph of a cracked wall may look unimportant a month later. Add where you were, what had just happened and why the pattern held your attention. 　18　 Such notes preserve the relationship between the image and your response. Next, place unlike entries beside one another. Pair a bus announcement with the rhythm of a poem, or a family recipe with the map of a neighbourhood. 　19　 Do not demand an immediate result; the value lies in creating a question that neither item could produce alone. Leave room for incubation. After arranging several pairs, step away and do something routine. Walking, washing dishes or organising materials gives the mind time to continue working without direct pressure. Returning later often reveals a connection that forced concentration hid. Finally, choose according to meaning rather than novelty. Ask what you want a viewer to notice or reconsider. 　20　 The archive is not the artwork. It is a field of possibilities from which a purposeful work can grow. A. Soon you will notice examples that would previously have passed unseen. B. Expensive equipment is therefore the first requirement for serious artists. C. The distance between the two entries can produce a useful tension. D. Once an entry is collected, never change or remove it. E. A surprising idea is useful only when it serves that intention. F. Its purpose is to train attention, not to store perfect ideas. G. One sentence about your feeling may later become more valuable than the photograph. 【答案】16．F　17．A　18．G　19．C　20．E 【语篇导读】说明文。文章提出建立“灵感档案”的五步方法：设定观察范围、记录语境、异质组合、留出酝酿时间、按表达意图筛选。 16．F。前文定义档案，后文说明可收集多种未完成材料；F项说明其目的在训练注意，而非储存完美创意。 17．A。前句说明限制能减轻收集压力，后句以Because解释规则引导注意；A项承接“开始看到过去忽略的例子”。 18．G。本段中心为记录语境与反应。G项中的one sentence和photograph与前文形成指代与对比。 19．C。前句要求把不同条目并置，后句说由此产生新问题；C项的distance与tension解释组合机制。 20．E。前句要求先明确希望观众注意什么，E项用that intention回指表达目的，并说明新奇必须服务意义。 【题源】教师原创学习策略文本，依据教材项目“从生活寻找灵感—选择形式—说明主旨”的任务链设计；题源S7。 【教师点拨】先圈每段中心词：noticing rule、context、unlike entries、incubation、meaning；再核对指代词与因果连接。 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 阅读下面短文，从每题所给的A、B、C、D四个选项中选出可以填入空白处的最佳选项。 The art club had been asked to paint a mural for the wall beside the school dining hall. Mina arrived with a design: a giant tree whose leaves formed the school name. She expected quick approval. Instead, the caretaker Mr Zhou looked at the drawing and 　21　, “It is attractive, but whose story does it tell?” Mina felt defensive. The wall was 　22　, and her picture would certainly improve it. Yet the art teacher did not offer a replacement. She asked the students to 　23　 material before choosing an image. For three days they interviewed cooks, gardeners, younger pupils and parents, listening for details that usually went 　24　. A cook described the first sunlight 　25　 in steel bowls before breakfast. A gardener saved the shapes of 　26　 leaves because insects had drawn pale paths through them. One child remembered paper birds hanging in the hall when she arrived frightened. These fragments did not 　27　 one design, but they changed the question. The club made a rough draft from bowl-like circles, leaf paths and bird shapes. They 　28　 it on the wall with large blank areas and invited passers-by to add notes. At first Mina worried that the project would lose 　29　. Then she watched Mr Zhou draw the outline of the keys he had carried for twenty years. The image felt more connected to the place than her perfect tree had. The students did not accept every suggestion. They discussed which marks 　30　 to the theme and how colours could hold very different memories together. The limits of the wall became a 　31　 rather than a problem: every element had to earn its space. Mina gradually understood that leading the project meant making careful choices, not guarding her first idea. When the mural was finally 　32　, no single person could point to it and say, “That is mine.” Mina was surprised to feel proud rather than disappointed. By giving up complete 　33　, she had not weakened the artwork. She had discovered a different creative 　34　—one in which attention was collected, shaped and finally 　35　. 21．A. whispered B. asked C. promised D. announced 22．A. hidden B. ancient C. narrow D. ordinary 23．A. collect B. replace C. protect D. deliver 24．A. wrong B. free C. unnoticed D. unfinished 25．A. disappearing B. reflected C. separated D. painted 26．A. wet B. green C. fresh D. discarded 27．A. suggest B. require C. prevent D. copy 28．A. covered B. corrected C. displayed D. divided 29．A. patience B. direction C. balance D. colour 30．A. returned B. belonged C. objected D. compared 31．A. framework B. secret C. failure D. distance 32．A. imagined B. delayed C. completed D. exchanged 33．A. control B. attention C. memory D. support 34．A. argument B. process C. accident D. competition 35．A. shared B. measured C. repaired D. hidden 【答案】21—25：B D A C B　26—30：D A C B B　31—35：A C A B A 【语篇导读】记叙文。Mina从守护个人“完美设计”转向倾听校园共同记忆，理解共同创作同样需要选择、限制与责任。 21．B。Mr Zhou随后提出疑问，asked与引语功能一致。whispered强调音量，promised/announced不合语境。 22．D。Mina认为普通墙面需要改善，ordinary与polished design构成对比；其余形容词无上下文支持。 23．A。下文访谈并收集细节，collect material搭配自然。replace/protect/deliver均偏离命题阶段。 24．C。访谈关注通常被忽视的生活细节，went unnoticed为固定意义组合。 25．B。晨光映在钢碗里，was reflected in省略为reflected；其他选项不符合光与容器的关系。 26．D。园丁保存被丢弃的叶子形状，discarded与“保存”形成有意义对比。 27．A。不同碎片尚未直接给出统一图案，但改变了问题，suggest最贴合“提供设计线索”。 28．C。粗稿被展示在墙上以征集留言，displayed符合公开呈现。 29．B。多人补充可能让项目失去方向，direction与后文讨论筛选标准呼应。 30．B。学生判断哪些痕迹属于主题，belong to为固定搭配。 31．A。墙面限制成为组织选择的框架，framework与“每个元素都要争取位置”呼应。 32．C。语境进入作品完成后的感受，completed正确。 33．A。Mina放弃完全控制但作品未被削弱，control复现前文守护首个设计。 34．B。共同创作是一种不同的创作过程，process统摄收集、塑形与分享。 35．A。注意被收集、塑形并分享，shared完成公共艺术意义。 【题源】教师原创校园共同创作情境；不标注为真题；题源S8。 【教师点拨】全文主线为“个人方案—收集观察—共同筛选—共享作品”。先确定转变方向，再处理动词搭配和抽象名词。 第二节（共10小题；每小题1.5分，满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 Digital Dunhuang brings cave art, documents and research resources to online visitors. The project's central aim is 36．________ (preserve) cultural heritage while widening access. For many first-time users, the most exciting part is 37．________ (enter) a panoramic cave from an ordinary screen. They often remain 38．________ (absorb) as painted walls seem to surround them. The first impression is visual, but the resource is also designed for careful study rather than quick entertainment. The platform brings together images, video and three-dimensional data, 39．________ allow users to examine details closely. Large quantities of material 40．________ (collect) over many years. Each image is 41．________ (careful) processed so that colour and position remain useful for research. Users can move 42．________ one area to another without touching the fragile original. Scholars can compare repeated motifs, while teachers can guide students towards details that a crowded visit might miss. The result is not 43．________ replacement for visiting a real site. Instead, it makes distance less limiting, 44．________ (allow) more people to learn before or after a journey. What is most 45．________ (inspire) is the partnership behind it: artistic heritage and modern technology are treated not as enemies, but as tools that can support one another. 【答案】36．to preserve　37．entering　38．absorbed　39．which　40．have been collected　41．carefully　42．from　43．a　44．allowing　45．inspiring 36．to preserve。不定式作表语，说明project's central aim的具体内容。 37．entering。动名词作表语，说明part所指的体验；与主语可形成概念对应。 38．absorbed。过去分词作表语，表示使用者处于“全神贯注”的状态。 39．which。非限制性定语从句指代前面的多种数字资料，并在从句中作主语。 40．has been collected。主语material与collect为被动关系，over many years提示现在完成时。 41．carefully。副词修饰过去分词processed。 42．from。from one area to another为固定表达。 43．a。replacement为可数名词单数，泛指“一种替代品”。 44．allowing。现在分词作结果状语，表示“从而让更多人学习”。 45．inspiring。现在分词形容词作表语，修饰事物，表示“令人鼓舞的”。 【题源】根据敦煌研究院“数字敦煌”平台简介进行事实核验后教学改编；题源S9。 【教师点拨】36—38和45集中考查本单元表语形式：不定式说明目标，动名词说明活动，-ed说明人的状态，-ing说明事物特征。 第三部分　写作（共两节，满分40分） 第一节（满分15分） 假定你是校英语艺术社负责人李华，社团将举办主题为“My Everyday Muse”的学生艺术展。请给外教Ms Brown写一封邮件，邀请她作开幕短讲，内容包括： 1．活动目的； 2．时间、地点和主要形式； 3．发出邀请。 注意： 1．写作词数应为80个左右； 2．请按如下格式在答题卡的相应位置作答。 Dear Ms Brown, 【写作思路】说明主题目的 → 交代时间、地点与展览形式 → 邀请作开幕短讲并点明期待内容。 【参考范文】 Dear Ms Brown, Our English Art Club will open a student exhibition called “My Everyday Muse” in the school library at 4:30 p.m. next Friday. The event aims to show how ordinary sights, sounds and memories can be transformed into art. It will include paintings, recycled-material sculptures and two interactive digital works, each with a short English introduction. We would be honoured if you could give a five-minute opening talk on finding inspiration in daily life. Your ideas would encourage our young artists and visitors. Yours sincerely, Li Hua 【评分建议】内容覆盖5分，语言准确与得体5分，连贯和格式3分，主题表达2分。能自然使用to-infinitive、-ing或-ed作表语可作为语言亮点，但不机械要求。 第二节（满分25分） 阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 Maya had three days left to create a piece for the school exhibition “My Everyday Muse”, but her sketchbook was still almost empty. Around her, classmates were building moving lights, painting enormous faces and recording city sounds. Maya wanted an idea that looked equally impressive. Every possibility seemed too small. After school she visited her grandmother, who was wrapping pieces of a broken blue bowl in newspaper. The bowl had stood on the kitchen table for years, holding oranges, keys or whatever the family dropped into it. “I knocked it down this morning,” Grandmother said. “Some things finish quietly.” Maya asked whether she was sad. “Of course,” Grandmother replied, “but a memory is not trapped inside an object.” Maya carried the wrapped pieces home with permission, imagining a dramatic sculpture. Her art teacher, Mr Lin, stopped her before she glued anything. The edges were sharp, and the bowl might still matter to the family. “Use what you noticed,” he advised, “not necessarily the object itself.” Maya felt disappointed. Without the real blue pieces, her idea seemed to have disappeared again. That evening she unwrapped each piece carefully on a cloth. Instead of joining them, she placed paper over them and traced their outlines. The shapes looked like islands. She added the faint rings left by years of oranges and keys, then wrote fragments of family memory along the edges: winter tea, a lost button, Grandmother laughing at a burnt cake. Soon the page was crowded, but it still felt private and unfinished. Maya remembered the exhibition's theme. A muse, she realised, did not have to deliver a complete picture. It could offer a way of paying attention. She wondered whether other people also carried memories of ordinary objects that seemed too small for art. Before bed, Maya photographed the paper and sent it to Mr Lin. His reply was short: “The empty spaces are inviting. What might happen if you let others enter them?” Maya read the sentence twice. For the first time that week, she stopped searching for a bigger idea. The next morning, Maya placed the paper full of blue outlines on the studio wall. _______________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ At the exhibition, Grandmother stopped in front of the finished work. _____________________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 【续写要点】第一段：同学被蓝色轮廓吸引，在空白处补写普通物件的记忆，Maya由担心失控转为主动组织；第二段：祖母看到共同完成的作品，理解碎碗被转化为联结众人的方式，Maya明确“灵感来自注意与分享”。 【参考范文】 The next morning, Maya placed the paper full of blue outlines on the studio wall. At first her classmates only looked. Then one wrote beside an empty shape, “Dad's red toolbox—the sound of Saturday mornings.” Another added a bus ticket kept from her first day in the city. Notes about a wooden spoon, a worn football and an old scarf slowly crossed the page. Maya resisted the urge to arrange every line. Instead, she grouped related memories with thin blue threads and left space for exhibition visitors. The work was no longer only about Grandmother's bowl, yet the bowl's broken outline held the memories together. At the exhibition, Grandmother stopped in front of the finished work. She found “winter tea” along one blue edge and smiled, then read the strangers' memories filling the spaces between the pieces. “So the bowl became larger after it broke,” she said. Maya handed her the safely wrapped fragments, still unglued. Grandmother pressed them to her chest, while Maya watched a young visitor add a note about his grandfather's radio. Her classmates' huge works still looked impressive, but she no longer measured her idea against them. Her muse had been an ordinary object, and her real work had been to notice what it could invite people to share. 【评分建议】内容与原文衔接10分，语言与句式8分，篇章连贯5分，价值导向与书写2分。重点检查“邀请他人进入空白”与两段首句的自然承接。 【题源】读后续写为教师原创情境，不标注为真题；主题依据本单元“日常灵感—媒介选择—共同表达”设计；题源S11。 原创精品资源学科网独家享有版权，侵权必究！1 学科网（北京）股份有限公司1 / 23 学科网（北京）股份有限公司 $ 2026—2027学年高二选择性必修第一册英语单元复习 Unit 4 Meeting the muse·基础通关 第一部分　阅读（满分50分） 第一节　阅读理解 1—5：B　C　D　C　A　　6—10：D　B　C　B　D　　11—15：A　B　D　A　C 第二节　七选五 16—20：F　A　G　C　E 第二部分　语言运用（满分30分） 第一节　完形填空 21—25：B　D　A　C　B　　26—30：D　A　C　B　B　　31—35：A　C　A　B　A 第二节　语法填空 36．to preserve　　37．entering　　38．absorbed　　39．which　　40．have been collected　　41．carefully　　42．from　　43．a　　44．allowing　　45．inspiring 第三部分　写作（满分40分） 第一节　应用文写作参考 Dear Ms Brown, Our English Art Club will open a student exhibition called “My Everyday Muse” in the school library at 4:30 p.m. next Friday. The event aims to show how ordinary sights, sounds and memories can be transformed into art. It will include paintings, recycled-material sculptures and two interactive digital works, each with a short English introduction. We would be honoured if you could give a five-minute opening talk on finding inspiration in daily life. Your ideas would encourage our young artists and visitors. Yours sincerely, Li Hua 第二节　读后续写参考 The next morning, Maya placed the paper full of blue outlines on the studio wall. At first her classmates only looked. Then one wrote beside an empty shape, “Dad's red toolbox—the sound of Saturday mornings.” Another added a bus ticket kept from her first day in the city. Notes about a wooden spoon, a worn football and an old scarf slowly crossed the page. Maya resisted the urge to arrange every line. Instead, she grouped related memories with thin blue threads and left space for exhibition visitors. The work was no longer only about Grandmother's bowl, yet the bowl's broken outline held the memories together. At the exhibition, Grandmother stopped in front of the finished work. She found “winter tea” along one blue edge and smiled, then read the strangers' memories filling the spaces between the pieces. “So the bowl became larger after it broke,” she said. Maya handed her the safely wrapped fragments, still unglued. Grandmother pressed them to her chest, while Maya watched a young visitor add a note about his grandfather's radio. Her classmates' huge works still looked impressive, but she no longer measured her idea against them. Her muse had been an ordinary object, and her real work had been to notice what it could invite people to share. 原创精品资源学科网独家享有版权，侵权必究！1 学科网（北京）股份有限公司1 / 2 学科网（北京）股份有限公司 $………………○………………外………………○………………装………………○………………订………………○………………线………………○……………… ………………○………………内………………○………………装………………○………………订………………○………………线………………○……………… 此卷只装订不密封 ………………○………………内………………○………………装………………○………………订………………○………………线………………○……………… ………………○………………外………………○………………装………………○………………订………………○………………线………………○……………… … 学校：______________姓名：_____________班级：_______________考号：______________________ 2026—2027学年高二选择性必修第一册英语单元复习 Unit 4 Meeting the muse·基础通关 学校：___________　班级：___________　姓名：___________　分数：___________ （时间：100分钟　满分：120分） 注意事项： 1．答题前，考生务必将学校、班级、姓名填写在相应位置。 2．选择题选出答案后填涂在答题卡上；非选择题写在答题卡相应区域。 3．本卷不设听力，其他题型与全国新高考英语非听力部分一致。 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A Choose Your Route at the Student Art Lab Sound into Shape Bring a thirty-second recording from daily life: bicycle bells, rain on a window or a market seller's call. In the studio, you will turn its rhythm into lines and colour. No musical training is needed, but headphones are required. Best for students who notice the world through sound. At the end, you will add a two-sentence note explaining why your chosen marks fit the sound. Curator for an Afternoon Work with three objects from the school archive and write labels that help visitors connect them. A curator will show how order, lighting and a few well-chosen words can change the story an exhibition tells. Applicants must submit a 100-word sample label by Tuesday. Pairs may apply, provided each student writes a separate label. Digital Cave Explorer Use panoramic images to study how artists guided viewers through a painted space. Your group will then design a simple virtual room for one class artwork. Bring a laptop if possible; shared devices are available. Best for students interested in both cultural heritage and technology. A tutor will demonstrate the software before group work begins. Materials Rescue Studio Turn clean packaging, damaged umbrellas and fabric offcuts into small sculptures. The challenge is not to hide the material's former use but to make it part of the work's meaning. Wear old clothes and bring one safe, reusable object. Finished pieces will be displayed in the library. The library team will also collect visitors' short responses. 1．Which route requires students to show some work before joining? A. Sound into Shape. B. Curator for an Afternoon. C. Digital Cave Explorer. D. Materials Rescue Studio. 2．What is a special aim of Materials Rescue Studio? A. To make recycled materials look completely new. B. To teach students how to repair umbrellas. C. To let an object's earlier use contribute to meaning. D. To prepare artworks for sale outside school. 3．What do the four routes have in common? A. They train students for museum jobs. B. They depend on advanced digital equipment. C. They copy methods used by famous artists. D. They turn close observation into creative expression. B The Loop That Learned to Breathe Stand beneath one of Ruth Asawa's hanging wire sculptures and the first surprise is that the empty space seems as carefully shaped as the metal. Light passes through the repeated loops, throwing a second, shifting sculpture onto the wall. The work looks both solid and weightless, as if a drawn line had left the page and learned to breathe. Asawa's visual memory was formed by ordinary experience. Growing up on a California farm, she observed rows of plants, insect wings and the patterns made by work. During the Second World War, her Japanese American family was forced into incarceration camps. Even there, she kept drawing and learned from artists around her. Art did not remove difficulty, but it gave attention somewhere to go. Later, at Black Mountain College, Asawa studied in a community where making, observing and experimenting were closely connected. A decisive lesson came during a trip to Mexico. Local craftspeople showed her how to loop wire while making baskets. What she carried away was not a finished shape to copy but a repeatable action: one loop joined to the next. Back in the studio, she tested that action again and again. Small changes in the distance between loops or in the weight of wire produced forms that widened, narrowed, folded inside themselves or held one shape within another. The method was simple enough to remember, yet open enough to generate endless variation. Shadows and air became materials alongside wire. Her career therefore offers a useful correction to the romantic idea of inspiration as a sudden message delivered to a waiting genius. Inspiration can begin with a basket, a plant or a hard day closely observed. It becomes art through patient transformation. Asawa did not merely preserve what she had seen; she gave an everyday technique a new visual language and later worked to make art education part of public life. 4．Why does the author describe the shadows made by Asawa's sculpture? A. To show that the wire was too weak to hold its shape. B. To explain why the sculptures needed coloured lighting. C. To illustrate how space and light become part of the work. D. To prove that viewers preferred shadows to the sculpture. 5．What did Asawa mainly take from her experience in Mexico? A. A flexible method that could produce many forms. B. A complete basket design that she reproduced in metal. C. A belief that sculpture should avoid natural patterns. D. A plan to replace drawing with traditional craft. 6．What can be inferred about Asawa's view of inspiration? A. It depends on escaping difficult experience. B. It belongs mainly to formally trained artists. C. It arrives before an artist begins to observe. D. It grows when experience is patiently reworked. 7．Which title best captures the text? A. Why Empty Space Is Not Real Material B. From an Everyday Loop to a New Language C. The College That Ended Traditional Craft D. How Public Art Replaced Studio Practice C When the Viewer Enters the Work A visitor walks into a dark room. Her movement changes a field of light, and a low sound follows her across the floor. Has she helped make the artwork, or has she merely pressed an invisible button? Interactive art turns this practical question into an artistic one because the work cannot appear in exactly the same way without a participant. It is tempting to call every responsive installation democratic: the artist gives up control and the audience becomes creative. But physical activity alone proves little. A lift door also responds when someone approaches it. If an installation offers only the brief pleasure of making something flash, the technology may be impressive while the artistic idea remains thin. The more useful concept is distributed authorship. The artist still chooses the rules, materials and range of possible results. The visitor supplies timing, movement and attention. Neither side controls the complete event. Like musicians following a score that leaves room for improvisation, participants work within a structure whose limits make variation meaningful. Good interactivity, then, is not measured by how many buttons a visitor may press. It is measured by how clearly an action changes understanding. A slowly fading image may make a visitor aware of memory; a sound that grows crowded as more people enter may reveal how individuals share public space. The response matters because it carries the idea, not because it is technically difficult. Access also deserves a careful look. Digital tools can allow remote audiences to explore works they may never see in person, and adjustable sound or image can support different needs. Yet access can become shallow if a bright screen replaces patient looking. Designers must ask who can participate, what information is collected and whether the experience still leaves room for reflection. Interactive art does not erase the artist or automatically free the audience. At its strongest, it makes their relationship visible. The work becomes a meeting place: the artist proposes a system, the visitor tests it, and meaning emerges from the consequences. 8．Why does the author compare an installation with a lift door? A. To argue that lifts are a neglected art form. B. To show that responsive technology is always democratic. C. To stress that reaction alone does not create artistic depth. D. To explain why visitors prefer familiar machines. 9．What does “distributed authorship” mean in the text? A. Several artists divide the cost of one installation. B. Artist-made rules and visitor choices jointly shape the event. C. Museums allow visitors to take artworks home. D. Digital works are copied across many public spaces. 10．What is the main function of paragraph 4? A. To list the newest tools used in digital exhibitions. B. To show that complex technology guarantees strong art. C. To explain why visitors should control every result. D. To provide a standard for judging meaningful interaction. 11．What is the author's attitude towards interactive art? A. Supportive, but dependent on purpose, access and reflection. B. Doubtful, because participation weakens artistic control. C. Uncritical, because technology always widens access. D. Indifferent, because traditional and digital art are identical. D A Closer Look Is Not the Final Word In 2022 the Rijksmuseum released a 717-gigapixel photograph of Rembrandt's The Night Watch. The number attracts attention, but the image was not made simply to win a contest for sharpness. It is a research instrument: a record detailed enough for specialists to study tiny particles of pigment and for future teams to compare how the painting changes. Creating it required 8,439 individual photographs. Lasers first mapped the uneven surface so that the camera could be focused precisely. Artificial intelligence then helped join the small images and check colour and sharpness. For the public, the result offers extraordinary access. For conservators, it creates a baseline—a fixed point against which later signs of ageing can be measured. Other imaging methods used in Operation Night Watch look below the visible paint. They helped researchers identify a preparatory sketch and changes Rembrandt made while searching for the composition. A helmet once had feathers; a leg began in another position; an additional sword may have been considered. The scans therefore do more than reveal hidden objects. They present creativity as a process of choice and revision. These material traces can turn a confident story about genius into a better-supported account of experimentation. Still, a machine does not explain why Rembrandt rejected one line or kept another. Instruments produce evidence about materials and layers; interpretation connects that evidence with art history, workshop practice and the questions researchers decide to ask. Even the most complete image is selective: it records some features brilliantly while leaving intention to be argued. This creates a productive paradox. Technology can move us closer to the physical painting than an unaided eye can go, while reminding us that seeing more is not the same as understanding everything. The digital image neither replaces the original nor ends debate. Its achievement is to enlarge the field in which careful human judgement can operate. 12．Why were lasers used before the individual photographs were taken? A. To remove damaged paint from the surface. B. To map the surface for accurate camera focus. C. To decide which colours Rembrandt preferred. D. To project the finished image for visitors. 13．What does “a baseline” in paragraph 2 refer to? A. A rule deciding when a painting is complete. B. A line showing the original size of the canvas. C. A public ranking of conservation projects. D. A detailed record used for future comparison. 14．Why are Rembrandt's compositional changes mentioned? A. To show that imaging can reveal the artist's process of revision. B. To prove that the final composition was accidental. C. To argue that hidden details are more valuable than visible ones. D. To explain why the painting should be digitally corrected. 15．What is the main idea of the text? A. Digital copies will soon make original paintings unnecessary. B. Artificial intelligence can settle debates about artistic intention. C. Technology expands evidence, while human interpretation remains essential. D. Conservation succeeds only when researchers avoid historical questions. 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。 Build an Inspiration Archive People often wait for inspiration as if it were a visitor who knows their address. A more reliable approach is to build an archive: a small, searchable collection of things that make you pause. It can include words, sounds, shapes, questions and unfinished thoughts. 　16　 Begin with a narrow noticing rule. For one week, you might record only unexpected colour combinations, overheard comparisons or shadows that change a familiar object. A limit reduces the pressure to collect everything.　17　 Because the rule directs attention, ordinary surroundings begin to offer material. Record context, not just the object. A photograph of a cracked wall may look unimportant a month later. Add where you were, what had just happened and why the pattern held your attention. 　18　 Such notes preserve the relationship between the image and your response. Next, place unlike entries beside one another. Pair a bus announcement with the rhythm of a poem, or a family recipe with the map of a neighbourhood. 　19　 Do not demand an immediate result; the value lies in creating a question that neither item could produce alone. Leave room for incubation. After arranging several pairs, step away and do something routine. Walking, washing dishes or organising materials gives the mind time to continue working without direct pressure. Returning later often reveals a connection that forced concentration hid. Finally, choose according to meaning rather than novelty. Ask what you want a viewer to notice or reconsider. 　20　 The archive is not the artwork. It is a field of possibilities from which a purposeful work can grow. A. Soon you will notice examples that would previously have passed unseen. B. Expensive equipment is therefore the first requirement for serious artists. C. The distance between the two entries can produce a useful tension. D. Once an entry is collected, never change or remove it. E. A surprising idea is useful only when it serves that intention. F. Its purpose is to train attention, not to store perfect ideas. G. One sentence about your feeling may later become more valuable than the photograph. 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 阅读下面短文，从每题所给的A、B、C、D四个选项中选出可以填入空白处的最佳选项。 The art club had been asked to paint a mural for the wall beside the school dining hall. Mina arrived with a design: a giant tree whose leaves formed the school name. She expected quick approval. Instead, the caretaker Mr Zhou looked at the drawing and 　21　, “It is attractive, but whose story does it tell?” Mina felt defensive. The wall was 　22　, and her picture would certainly improve it. Yet the art teacher did not offer a replacement. She asked the students to 　23　 material before choosing an image. For three days they interviewed cooks, gardeners, younger pupils and parents, listening for details that usually went 　24　. A cook described the first sunlight 　25　 in steel bowls before breakfast. A gardener saved the shapes of 　26　 leaves because insects had drawn pale paths through them. One child remembered paper birds hanging in the hall when she arrived frightened. These fragments did not 　27　 one design, but they changed the question. The club made a rough draft from bowl-like circles, leaf paths and bird shapes. They 　28　 it on the wall with large blank areas and invited passers-by to add notes. At first Mina worried that the project would lose 　29　. Then she watched Mr Zhou draw the outline of the keys he had carried for twenty years. The image felt more connected to the place than her perfect tree had. The students did not accept every suggestion. They discussed which marks 　30　 to the theme and how colours could hold very different memories together. The limits of the wall became a 　31　 rather than a problem: every element had to earn its space. Mina gradually understood that leading the project meant making careful choices, not guarding her first idea. When the mural was finally 　32　, no single person could point to it and say, “That is mine.” Mina was surprised to feel proud rather than disappointed. By giving up complete 　33　, she had not weakened the artwork. She had discovered a different creative 　34　—one in which attention was collected, shaped and finally 　35　. 21．A. whispered B. asked C. promised D. announced 22．A. hidden B. ancient C. narrow D. ordinary 23．A. collect B. replace C. protect D. deliver 24．A. wrong B. free C. unnoticed D. unfinished 25．A. disappearing B. reflected C. separated D. painted 26．A. wet B. green C. fresh D. discarded 27．A. suggest B. require C. prevent D. copy 28．A. covered B. corrected C. displayed D. divided 29．A. patience B. direction C. balance D. colour 30．A. returned B. belonged C. objected D. compared 31．A. framework B. secret C. failure D. distance 32．A. imagined B. delayed C. completed D. exchanged 33．A. control B. attention C. memory D. support 34．A. argument B. process C. accident D. competition 35．A. shared B. measured C. repaired D. hidden 第二节（共10小题；每小题1.5分，满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 Digital Dunhuang brings cave art, documents and research resources to online visitors. The project's central aim is 36．________ (preserve) cultural heritage while widening access. For many first-time users, the most exciting part is 37．________ (enter) a panoramic cave from an ordinary screen. They often remain 38．________ (absorb) as painted walls seem to surround them. The first impression is visual, but the resource is also designed for careful study rather than quick entertainment. The platform brings together images, video and three-dimensional data, 39．________ allow users to examine details closely. Large quantities of material 40．________ (collect) over many years. Each image is 41．________ (careful) processed so that colour and position remain useful for research. Users can move 42．________ one area to another without touching the fragile original. Scholars can compare repeated motifs, while teachers can guide students towards details that a crowded visit might miss. The result is not 43．________ replacement for visiting a real site. Instead, it makes distance less limiting, 44．________ (allow) more people to learn before or after a journey. What is most 45．________ (inspire) is the partnership behind it: artistic heritage and modern technology are treated not as enemies, but as tools that can support one another. 第三部分　写作（共两节，满分40分） 第一节（满分15分） 假定你是校英语艺术社负责人李华，社团将举办主题为“My Everyday Muse”的学生艺术展。请给外教Ms Brown写一封邮件，邀请她作开幕短讲，内容包括： 1．活动目的； 2．时间、地点和主要形式； 3．发出邀请。 注意： 1．写作词数应为80个左右； 2．请按如下格式在答题卡的相应位置作答。 Dear Ms Brown, ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Yours sincerely, Li Hua 第二节（满分25分） 阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 Maya had three days left to create a piece for the school exhibition “My Everyday Muse”, but her sketchbook was still almost empty. Around her, classmates were building moving lights, painting enormous faces and recording city sounds. Maya wanted an idea that looked equally impressive. Every possibility seemed too small. After school she visited her grandmother, who was wrapping pieces of a broken blue bowl in newspaper. The bowl had stood on the kitchen table for years, holding oranges, keys or whatever the family dropped into it. “I knocked it down this morning,” Grandmother said. “Some things finish quietly.” Maya asked whether she was sad. “Of course,” Grandmother replied, “but a memory is not trapped inside an object.” Maya carried the wrapped pieces home with permission, imagining a dramatic sculpture. Her art teacher, Mr Lin, stopped her before she glued anything. The edges were sharp, and the bowl might still matter to the family. “Use what you noticed,” he advised, “not necessarily the object itself.” Maya felt disappointed. Without the real blue pieces, her idea seemed to have disappeared again. That evening she unwrapped each piece carefully on a cloth. Instead of joining them, she placed paper over them and traced their outlines. The shapes looked like islands. She added the faint rings left by years of oranges and keys, then wrote fragments of family memory along the edges: winter tea, a lost button, Grandmother laughing at a burnt cake. Soon the page was crowded, but it still felt private and unfinished. Maya remembered the exhibition's theme. A muse, she realised, did not have to deliver a complete picture. It could offer a way of paying attention. She wondered whether other people also carried memories of ordinary objects that seemed too small for art. Before bed, Maya photographed the paper and sent it to Mr Lin. His reply was short: “The empty spaces are inviting. What might happen if you let others enter them?” Maya read the sentence twice. For the first time that week, she stopped searching for a bigger idea. The next morning, Maya placed the paper full of blue outlines on the studio wall. ______________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ At the exhibition, Grandmother stopped in front of the finished work. ____________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 试题 第3页（共8页） 试题 第4页（共8页） 试题 第1页（共8页） 试题 第2页（共8页） 学科网（北京）股份有限公司 $ 2026—2027学年高二选择性必修第一册英语单元复习 Unit 4 Meeting the muse·基础通关 学校：___________　班级：___________　姓名：___________　分数：___________ （时间：100分钟　满分：120分） 注意事项： 1．答题前，考生务必将学校、班级、姓名填写在相应位置。 2．选择题选出答案后填涂在答题卡上；非选择题写在答题卡相应区域。 3．本卷不设听力，其他题型与全国新高考英语非听力部分一致。 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A Choose Your Route at the Student Art Lab Sound into Shape Bring a thirty-second recording from daily life: bicycle bells, rain on a window or a market seller's call. In the studio, you will turn its rhythm into lines and colour. No musical training is needed, but headphones are required. Best for students who notice the world through sound. At the end, you will add a two-sentence note explaining why your chosen marks fit the sound. Curator for an Afternoon Work with three objects from the school archive and write labels that help visitors connect them. A curator will show how order, lighting and a few well-chosen words can change the story an exhibition tells. Applicants must submit a 100-word sample label by Tuesday. Pairs may apply, provided each student writes a separate label. Digital Cave Explorer Use panoramic images to study how artists guided viewers through a painted space. Your group will then design a simple virtual room for one class artwork. Bring a laptop if possible; shared devices are available. Best for students interested in both cultural heritage and technology. A tutor will demonstrate the software before group work begins. Materials Rescue Studio Turn clean packaging, damaged umbrellas and fabric offcuts into small sculptures. The challenge is not to hide the material's former use but to make it part of the work's meaning. Wear old clothes and bring one safe, reusable object. Finished pieces will be displayed in the library. The library team will also collect visitors' short responses. 1．Which route requires students to show some work before joining? A. Sound into Shape. B. Curator for an Afternoon. C. Digital Cave Explorer. D. Materials Rescue Studio. 2．What is a special aim of Materials Rescue Studio? A. To make recycled materials look completely new. B. To teach students how to repair umbrellas. C. To let an object's earlier use contribute to meaning. D. To prepare artworks for sale outside school. 3．What do the four routes have in common? A. They train students for museum jobs. B. They depend on advanced digital equipment. C. They copy methods used by famous artists. D. They turn close observation into creative expression. B The Loop That Learned to Breathe Stand beneath one of Ruth Asawa's hanging wire sculptures and the first surprise is that the empty space seems as carefully shaped as the metal. Light passes through the repeated loops, throwing a second, shifting sculpture onto the wall. The work looks both solid and weightless, as if a drawn line had left the page and learned to breathe. Asawa's visual memory was formed by ordinary experience. Growing up on a California farm, she observed rows of plants, insect wings and the patterns made by work. During the Second World War, her Japanese American family was forced into incarceration camps. Even there, she kept drawing and learned from artists around her. Art did not remove difficulty, but it gave attention somewhere to go. Later, at Black Mountain College, Asawa studied in a community where making, observing and experimenting were closely connected. A decisive lesson came during a trip to Mexico. Local craftspeople showed her how to loop wire while making baskets. What she carried away was not a finished shape to copy but a repeatable action: one loop joined to the next. Back in the studio, she tested that action again and again. Small changes in the distance between loops or in the weight of wire produced forms that widened, narrowed, folded inside themselves or held one shape within another. The method was simple enough to remember, yet open enough to generate endless variation. Shadows and air became materials alongside wire. Her career therefore offers a useful correction to the romantic idea of inspiration as a sudden message delivered to a waiting genius. Inspiration can begin with a basket, a plant or a hard day closely observed. It becomes art through patient transformation. Asawa did not merely preserve what she had seen; she gave an everyday technique a new visual language and later worked to make art education part of public life. 4．Why does the author describe the shadows made by Asawa's sculpture? A. To show that the wire was too weak to hold its shape. B. To explain why the sculptures needed coloured lighting. C. To illustrate how space and light become part of the work. D. To prove that viewers preferred shadows to the sculpture. 5．What did Asawa mainly take from her experience in Mexico? A. A flexible method that could produce many forms. B. A complete basket design that she reproduced in metal. C. A belief that sculpture should avoid natural patterns. D. A plan to replace drawing with traditional craft. 6．What can be inferred about Asawa's view of inspiration? A. It depends on escaping difficult experience. B. It belongs mainly to formally trained artists. C. It arrives before an artist begins to observe. D. It grows when experience is patiently reworked. 7．Which title best captures the text? A. Why Empty Space Is Not Real Material B. From an Everyday Loop to a New Language C. The College That Ended Traditional Craft D. How Public Art Replaced Studio Practice C When the Viewer Enters the Work A visitor walks into a dark room. Her movement changes a field of light, and a low sound follows her across the floor. Has she helped make the artwork, or has she merely pressed an invisible button? Interactive art turns this practical question into an artistic one because the work cannot appear in exactly the same way without a participant. It is tempting to call every responsive installation democratic: the artist gives up control and the audience becomes creative. But physical activity alone proves little. A lift door also responds when someone approaches it. If an installation offers only the brief pleasure of making something flash, the technology may be impressive while the artistic idea remains thin. The more useful concept is distributed authorship. The artist still chooses the rules, materials and range of possible results. The visitor supplies timing, movement and attention. Neither side controls the complete event. Like musicians following a score that leaves room for improvisation, participants work within a structure whose limits make variation meaningful. Good interactivity, then, is not measured by how many buttons a visitor may press. It is measured by how clearly an action changes understanding. A slowly fading image may make a visitor aware of memory; a sound that grows crowded as more people enter may reveal how individuals share public space. The response matters because it carries the idea, not because it is technically difficult. Access also deserves a careful look. Digital tools can allow remote audiences to explore works they may never see in person, and adjustable sound or image can support different needs. Yet access can become shallow if a bright screen replaces patient looking. Designers must ask who can participate, what information is collected and whether the experience still leaves room for reflection. Interactive art does not erase the artist or automatically free the audience. At its strongest, it makes their relationship visible. The work becomes a meeting place: the artist proposes a system, the visitor tests it, and meaning emerges from the consequences. 8．Why does the author compare an installation with a lift door? A. To argue that lifts are a neglected art form. B. To show that responsive technology is always democratic. C. To stress that reaction alone does not create artistic depth. D. To explain why visitors prefer familiar machines. 9．What does “distributed authorship” mean in the text? A. Several artists divide the cost of one installation. B. Artist-made rules and visitor choices jointly shape the event. C. Museums allow visitors to take artworks home. D. Digital works are copied across many public spaces. 10．What is the main function of paragraph 4? A. To list the newest tools used in digital exhibitions. B. To show that complex technology guarantees strong art. C. To explain why visitors should control every result. D. To provide a standard for judging meaningful interaction. 11．What is the author's attitude towards interactive art? A. Supportive, but dependent on purpose, access and reflection. B. Doubtful, because participation weakens artistic control. C. Uncritical, because technology always widens access. D. Indifferent, because traditional and digital art are identical. D A Closer Look Is Not the Final Word In 2022 the Rijksmuseum released a 717-gigapixel photograph of Rembrandt's The Night Watch. The number attracts attention, but the image was not made simply to win a contest for sharpness. It is a research instrument: a record detailed enough for specialists to study tiny particles of pigment and for future teams to compare how the painting changes. Creating it required 8,439 individual photographs. Lasers first mapped the uneven surface so that the camera could be focused precisely. Artificial intelligence then helped join the small images and check colour and sharpness. For the public, the result offers extraordinary access. For conservators, it creates a baseline—a fixed point against which later signs of ageing can be measured. Other imaging methods used in Operation Night Watch look below the visible paint. They helped researchers identify a preparatory sketch and changes Rembrandt made while searching for the composition. A helmet once had feathers; a leg began in another position; an additional sword may have been considered. The scans therefore do more than reveal hidden objects. They present creativity as a process of choice and revision. These material traces can turn a confident story about genius into a better-supported account of experimentation. Still, a machine does not explain why Rembrandt rejected one line or kept another. Instruments produce evidence about materials and layers; interpretation connects that evidence with art history, workshop practice and the questions researchers decide to ask. Even the most complete image is selective: it records some features brilliantly while leaving intention to be argued. This creates a productive paradox. Technology can move us closer to the physical painting than an unaided eye can go, while reminding us that seeing more is not the same as understanding everything. The digital image neither replaces the original nor ends debate. Its achievement is to enlarge the field in which careful human judgement can operate. 12．Why were lasers used before the individual photographs were taken? A. To remove damaged paint from the surface. B. To map the surface for accurate camera focus. C. To decide which colours Rembrandt preferred. D. To project the finished image for visitors. 13．What does “a baseline” in paragraph 2 refer to? A. A rule deciding when a painting is complete. B. A line showing the original size of the canvas. C. A public ranking of conservation projects. D. A detailed record used for future comparison. 14．Why are Rembrandt's compositional changes mentioned? A. To show that imaging can reveal the artist's process of revision. B. To prove that the final composition was accidental. C. To argue that hidden details are more valuable than visible ones. D. To explain why the painting should be digitally corrected. 15．What is the main idea of the text? A. Digital copies will soon make original paintings unnecessary. B. Artificial intelligence can settle debates about artistic intention. C. Technology expands evidence, while human interpretation remains essential. D. Conservation succeeds only when researchers avoid historical questions. 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。 Build an Inspiration Archive People often wait for inspiration as if it were a visitor who knows their address. A more reliable approach is to build an archive: a small, searchable collection of things that make you pause. It can include words, sounds, shapes, questions and unfinished thoughts. 　16　 Begin with a narrow noticing rule. For one week, you might record only unexpected colour combinations, overheard comparisons or shadows that change a familiar object. A limit reduces the pressure to collect everything.　17　 Because the rule directs attention, ordinary surroundings begin to offer material. Record context, not just the object. A photograph of a cracked wall may look unimportant a month later. Add where you were, what had just happened and why the pattern held your attention. 　18　 Such notes preserve the relationship between the image and your response. Next, place unlike entries beside one another. Pair a bus announcement with the rhythm of a poem, or a family recipe with the map of a neighbourhood. 　19　 Do not demand an immediate result; the value lies in creating a question that neither item could produce alone. Leave room for incubation. After arranging several pairs, step away and do something routine. Walking, washing dishes or organising materials gives the mind time to continue working without direct pressure. Returning later often reveals a connection that forced concentration hid. Finally, choose according to meaning rather than novelty. Ask what you want a viewer to notice or reconsider. 　20　 The archive is not the artwork. It is a field of possibilities from which a purposeful work can grow. A. Soon you will notice examples that would previously have passed unseen. B. Expensive equipment is therefore the first requirement for serious artists. C. The distance between the two entries can produce a useful tension. D. Once an entry is collected, never change or remove it. E. A surprising idea is useful only when it serves that intention. F. Its purpose is to train attention, not to store perfect ideas. G. One sentence about your feeling may later become more valuable than the photograph. 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 阅读下面短文，从每题所给的A、B、C、D四个选项中选出可以填入空白处的最佳选项。 The art club had been asked to paint a mural for the wall beside the school dining hall. Mina arrived with a design: a giant tree whose leaves formed the school name. She expected quick approval. Instead, the caretaker Mr Zhou looked at the drawing and 　21　, “It is attractive, but whose story does it tell?” Mina felt defensive. The wall was 　22　, and her picture would certainly improve it. Yet the art teacher did not offer a replacement. She asked the students to 　23　 material before choosing an image. For three days they interviewed cooks, gardeners, younger pupils and parents, listening for details that usually went 　24　. A cook described the first sunlight 　25　 in steel bowls before breakfast. A gardener saved the shapes of 　26　 leaves because insects had drawn pale paths through them. One child remembered paper birds hanging in the hall when she arrived frightened. These fragments did not 　27　 one design, but they changed the question. The club made a rough draft from bowl-like circles, leaf paths and bird shapes. They 　28　 it on the wall with large blank areas and invited passers-by to add notes. At first Mina worried that the project would lose 　29　. Then she watched Mr Zhou draw the outline of the keys he had carried for twenty years. The image felt more connected to the place than her perfect tree had. The students did not accept every suggestion. They discussed which marks 　30　 to the theme and how colours could hold very different memories together. The limits of the wall became a 　31　 rather than a problem: every element had to earn its space. Mina gradually understood that leading the project meant making careful choices, not guarding her first idea. When the mural was finally 　32　, no single person could point to it and say, “That is mine.” Mina was surprised to feel proud rather than disappointed. By giving up complete 　33　, she had not weakened the artwork. She had discovered a different creative 　34　—one in which attention was collected, shaped and finally 　35　. 21．A. whispered B. asked C. promised D. announced 22．A. hidden B. ancient C. narrow D. ordinary 23．A. collect B. replace C. protect D. deliver 24．A. wrong B. free C. unnoticed D. unfinished 25．A. disappearing B. reflected C. separated D. painted 26．A. wet B. green C. fresh D. discarded 27．A. suggest B. require C. prevent D. copy 28．A. covered B. corrected C. displayed D. divided 29．A. patience B. direction C. balance D. colour 30．A. returned B. belonged C. objected D. compared 31．A. framework B. secret C. failure D. distance 32．A. imagined B. delayed C. completed D. exchanged 33．A. control B. attention C. memory D. support 34．A. argument B. process C. accident D. competition 35．A. shared B. measured C. repaired D. hidden 第二节（共10小题；每小题1.5分，满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 Digital Dunhuang brings cave art, documents and research resources to online visitors. The project's central aim is 36．________ (preserve) cultural heritage while widening access. For many first-time users, the most exciting part is 37．________ (enter) a panoramic cave from an ordinary screen. They often remain 38．________ (absorb) as painted walls seem to surround them. The first impression is visual, but the resource is also designed for careful study rather than quick entertainment. The platform brings together images, video and three-dimensional data, 39．________ allow users to examine details closely. Large quantities of material 40．________ (collect) over many years. Each image is 41．________ (careful) processed so that colour and position remain useful for research. Users can move 42．________ one area to another without touching the fragile original. Scholars can compare repeated motifs, while teachers can guide students towards details that a crowded visit might miss. The result is not 43．________ replacement for visiting a real site. Instead, it makes distance less limiting, 44．________ (allow) more people to learn before or after a journey. What is most 45．________ (inspire) is the partnership behind it: artistic heritage and modern technology are treated not as enemies, but as tools that can support one another. 第三部分　写作（共两节，满分40分） 第一节（满分15分） 假定你是校英语艺术社负责人李华，社团将举办主题为“My Everyday Muse”的学生艺术展。请给外教Ms Brown写一封邮件，邀请她作开幕短讲，内容包括： 1．活动目的； 2．时间、地点和主要形式； 3．发出邀请。 注意： 1．写作词数应为80个左右； 2．请按如下格式在答题卡的相应位置作答。 Dear Ms Brown, ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Yours sincerely, Li Hua 第二节（满分25分） 阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 Maya had three days left to create a piece for the school exhibition “My Everyday Muse”, but her sketchbook was still almost empty. Around her, classmates were building moving lights, painting enormous faces and recording city sounds. Maya wanted an idea that looked equally impressive. Every possibility seemed too small. After school she visited her grandmother, who was wrapping pieces of a broken blue bowl in newspaper. The bowl had stood on the kitchen table for years, holding oranges, keys or whatever the family dropped into it. “I knocked it down this morning,” Grandmother said. “Some things finish quietly.” Maya asked whether she was sad. “Of course,” Grandmother replied, “but a memory is not trapped inside an object.” Maya carried the wrapped pieces home with permission, imagining a dramatic sculpture. Her art teacher, Mr Lin, stopped her before she glued anything. The edges were sharp, and the bowl might still matter to the family. “Use what you noticed,” he advised, “not necessarily the object itself.” Maya felt disappointed. Without the real blue pieces, her idea seemed to have disappeared again. That evening she unwrapped each piece carefully on a cloth. Instead of joining them, she placed paper over them and traced their outlines. The shapes looked like islands. She added the faint rings left by years of oranges and keys, then wrote fragments of family memory along the edges: winter tea, a lost button, Grandmother laughing at a burnt cake. Soon the page was crowded, but it still felt private and unfinished. Maya remembered the exhibition's theme. A muse, she realised, did not have to deliver a complete picture. It could offer a way of paying attention. She wondered whether other people also carried memories of ordinary objects that seemed too small for art. Before bed, Maya photographed the paper and sent it to Mr Lin. His reply was short: “The empty spaces are inviting. What might happen if you let others enter them?” Maya read the sentence twice. For the first time that week, she stopped searching for a bigger idea. The next morning, Maya placed the paper full of blue outlines on the studio wall. _______________________ ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ At the exhibition, Grandmother stopped in front of the finished work. _____________________________ ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 原创精品资源学科网独家享有版权，侵权必究！1 1 / 12 学科网（北京）股份有限公司 学科网（北京）股份有限公司 $