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OFFICIAL47 Look at the four squares [■] that indicate where the following sentence could be added to the passage. Where would the sentence best fit? Click on a square [■] to add the sentence to the passage.

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Roman Cultural Influence on Britain
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After the Roman Empire’s conquest of Britain in the first century A.D., the presence of administrators, merchants, and troops on British soil, along with the natural flow of ideas and goods from the rest of the empire, had an enormous influence on life in the British Isles. Cultural influences were of three types: the bringing of objects, the transfer of craft workers, and the introduction of massive civil architecture. Many objects were not art in even the broadest sense and comprised utilitarian items of clothing, utensils, and equipment. We should not underestimate the social status associated with such mundane possessions which had not previously been available. The flooding of Britain with red-gloss pottery from Gaul (modern-day France), decorated with scenes from Classical mythology, probably brought many into contact with the styles and artistic concepts of the Greco-Roman world for the first time, whether or not the symbolism was understood. Mass-produced goods were accompanied by fewer more aesthetically impressive objects such as statuettes. Such pieces perhaps first came with officials for their own religious worship; others were then acquired by native leaders as diplomatic gifts or by purchase. Once seen by the natives, such objects created a fashion which rapidly spread through the province.

In the most extreme instances, natives literally bought the whole package of Roman culture. The Fishbourne villa, built in the third quarter of the first century A.D., probably for the native client king Cogidubnus, amply illustrates his Roman pretensions. It was constructed in the latest Italian style with imported marbles and stylish mosaics. It was lavishly furnished with imported sculptures and other Classical objects. A visitor from Rome would have recognized its owner as a participant in the contemporary culture of the empire, not at all provincial in taste. Even if those from the traditional families looked down on him, they would have been unable to dismiss him as uncultured. Although exceptional, this demonstrates how new cultural symbols bound provincials to the identify of the Roman world.

Such examples established a standard to be copied. One result was an influx of craft worker, particularly those skilled in artistic media like stone-carving which had not existed before the conquest. Civilian workers came mostly from Gaul and Germany. The magnificent temple built beside the sacred spring at Bath was constructed only about twenty years after the conquest. Its detail shows that it was carved by artists from northeast Gaul. In the absence of a tradition of Classical stone-carving and building, the desire to develop Roman amenities would have been difficult to fulfill. Administrators thus used their personal contacts to put the Britons in touch with architects and masons. As many of the officials in Britain had strong links with Gaul, it is not surprising that early Roman Britain owes much to craft workers from that area. Local workshops did develop and stylistically similar groups of sculpture show how skills in this new medium became widespread. Likewise skills in the use of mosaic, wall painting, ceramic decoration, and metal-working developed throughout the province with the eventual emergence of characteristically Romano-British styles.

This art had a major impact on the native peoples, and one of the most importance factors was a change in the scale of buildings. Pre-Roman Britain was highly localized, with people rarely traveling beyond their own region. On occasion large groups amassed for war or religious festivals, but society remained centered on small communities. Architecture of this era reflected this with even the largest of the fortified towns and hill forts containing no more than clusters of medium-sized structures. The spaces inside even the largest roundhouses were modest, and the use of rounded shapes and organic building materials gave buildings a human scale. [■]But the effect of Roman civil architecture was significant;the sheer size of space enclosed within buildings like the basilica of London must have been astonishing. [■] This was an architecture of dominance in which subject peoples were literally made to feel small by buildings that epitomized imperial power. [■] Supremacy was accentuated by the unyielding straight lines of both individual buildings and planned settlements since these too provided a marked contrast with the natural curvilinear shapes dominant in the native realm. [■]

13.Look at the four squares [■] that indicate where the following sentence could be added to the passage. Where would the sentence best fit? Click on a square [■] to add the sentence to the passage.

Practical and unimpressive, most were barely taller than the average adult..

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正确答案:A
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【题目翻译】看四个正方形[■],它们表示下面的句子可以加到文章的哪个地方。这个句子最适合哪儿? A:实用而且不引人注目,大多数人几乎不比一般成年人高。 【判定题型】:根据题目问法,题目要求将句子插入到文中最恰当的空格处,故判断本题为句子插入题。 【待插入句分析】待插入句子意为,大多数都非常实用普通,比成年人略高。可以推出这句句子在形容罗马征服英国之前房子的情况。 【原文分析】即使是最大的圆屋内部空间也很小,使用圆形形状和有机建筑材料使建筑具有人为的规模。■ 但是,罗马民用建筑的影响是巨大的;像伦敦大教堂这样的建筑所包围的空间之大肯定是惊人的。■这是一座占统治地位的建筑,在这个建筑中,主体人民被象征着皇权的建筑弄得感觉渺小。■至高无上。由于这些建筑和计划中的居民点都具有不屈服的直线,所以它们也与当地主要的自然曲线形状形成了鲜明的对比。■ 这个段落讲了2部分,第一部分是:其外形和建筑材料。第二部分是后面建筑的影响。 【选项分析】从A处But the effect of Roman civil architecture was significant之后都是罗马征服英国之后房子的情况,所以待插入句子只能放在A处

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