考研英语新题型是整个英语试卷中，考生较容易做的题目。接下来，小编为帮助广大考研者们，在考研英语新题型上面少失分，特意分享-考研英语(二)新题型真题解析句子匹配(2014年)，供考生参考。

考研英语(二)新题型真题解析句子匹配(2014年)

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 Act 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 Richard 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 black-and-white photographs and relatively few natural objects.

Long is Britain's best-known 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 brick-strewn waste ground, is one of the few works here to embrace the mundanity that characterizes 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 long-haired 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 the work is permeated by a spirit of romantic escapism that the likes of Wordsworth would have readily understood. Derek Jarman's yellow-tinted 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 found a way of his love of walking pay. A typical work, such as Seven Days, consists of a single beautiful black-and-white 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 landscape-orientated light conceptual art created passing through. It had its origin in the great outdoors, but the results were as gallery-bound as the paintings of Turner and Constable.

参考译文

大地艺术出现于60年代晚期，在70年代达到顶峰。大地艺术是一系列新的艺术形式，包括人体艺术、表演艺术、行为艺术和装置艺术。这将艺术推向工作室和画廊的传统局限范围之外。大地艺术家使用大地本身的物理物质作为他们的媒介，而不仅仅是描绘风景。

英国大地艺术——以理查德·朗的作品为代表——比起美国的大地艺术不仅在国内规模更大，而且风格也更为怪异。确实，尽管你可能认为大地艺术的展览仅仅展示作品纪录，而非作品本身，但朗的摄影就是作品。由于他的“行为”发生在过去，他的摄影是其唯一的体现。

那看上去似乎是一个模糊的观点，但它为含括大量黑白摄影和相对少的自然物体的展览设置了基调。

朗是英国较著名的大地艺术家，他的作品“石环”(展示在画廊地面，用来自波蒂斯黑德海滩的紫色岩石形成的环状)代表了这种艺术形式优雅、纯洁的一面。而波义耳家族，从另一方面说，代表了其肮脏、世俗的一面。马克·波义耳，琼·希尔斯和他们的子女，他们在画廊的墙壁上重新创造出任意地区的英国风景。他们的“奥拉夫街研究”，一处撒满砖块的废弃地点，是为数不多的“概括大多数时期我们对于地貌的体验”刻画尘俗的作品之一。

公园特色，尤其是早期的作品，比如约翰·希利亚德非常有趣的“穿过公园"。在照片中，一个长发的流浪汉被一位漂亮的女孩嘲笑着，并不知不觉地被一系列图片攻击，而这些图片恰恰是同一张照片的不同部分。

然而，通常英国大地艺术家选择远离城市，把目光吸引到传统被认为美丽的风景中去，如湖区或者威尔特郡。尽管当时可能没有那么明显，但是大多数作品被一种浪漫的逃避主义精神渗透。这种浪漫逃避主义已经被华兹华斯之类的人理解了。德里克·贾曼的以黄色为色调的照片“走向埃夫伯里”是一系列关于威尔特郡风景的长时间、大多静止的拍摄。这个作品唤起了从塞缪尔·帕尔默绵延至保罗纳什的英国风景绘画的传统。

提到哈米什·富尔顿，你会不禁感到：这位苏格兰艺术家发现了一种他热爱的方式——漫步。比如说“七天”这幅典型的作品，它包含了一张在史诗般的漫步中拍摄的简单黑白相片，相片下面列出了走的英里数和花费的天数。在这精挑细选但相对中等规模的展览中，英国大地艺术并不仅是关于风景，