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This is no mere coincidence. Our starting point in this study is a world of pictorial representation in which childhood is unknown; literary historians such as Calve have made the same observation about the medieval epic, in which child prodigies behave with
the courage and physical strength of doughty warriors. This undoubtedly meant that the people of the tenth and eleventh centuries did not dwell on the image of childhood and that the image had neither interest nor even reality of for them. It suggests too that in the realm of real life, and not simply in that of aesthetic translation, childhood was just a period of transition that passed quickly and that was just as quickly forgotten. Prodigies Ìì²Å Doughty ²»Çü²»Ä Aesthetic ÃÀѧµÄ
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19. The first two paragraphs(line1-37) primarily serve to ( C )
A argue against the depiction of children in artwork ÕùÂÛÔÚÒÕÊõ´´×÷Öк¢Í¯µÄ¿Ì»
B suggest that medieval Western art was particularly conservative °µÊ¾µ½ÖÐÊÀ¼ÍÎ÷·½ÒÕÊõÖ÷ÒªÊÇÊØ¾ÉµÄ
C describe the unrealistic portrayal of children in medieval art
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D trace the evolution of realistic representation in Western art
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E postulate a theory about the thematic focuses of medieval Western art
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20 The author¡¯s argument about the depiction of children in medieval art assumes that the depictions( E )
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A suggest the connection between medieval art and religion
°µÊ¾ÖÐÊÀ¼ÍÒÕÊõºÍ×ڽ̵ÄÁªÏµ
B prefigure the gradual shift to realism ԤʾÖð½¥µ½ÏÖʵÖ÷ÒåµÄת»»
C are too varied to support any one argument ¶ÔÓÚÈκÎÒ»¸ö¹ÛµãÀ´Ëµ¶¼Ì«¶àÑùÁË
D reflect earlier civilizations¡¯ corruption ·´Ó¦ÔçÆÚÎÄÃ÷µÄ¸¯»µ
E offer an indication of commonly held attitudes Ìṩһ¸öÆÕ±éµÄ̬¶ÈµÄָʾ
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