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LSAT考试全真试题三SECTION4(2)

19
6. It can be inferred from the passage as a whole that the author s purpose in the third paragraph is primarily to

(A) cast doubt on the usefulness of Temperley s study of the London Pianoforte school
(B) introduce a discussion of the coherency of the London Pianoforte school
(C) summarize Ringer s argument about the London Pianoforte school
(D) emphasize the complex nature of the musicological elements shared by members of the London Pianoforte school.
(E) identify the unique contributions made to music by the London Pianoforte school

7. The author of the passage is primarily concerned with

(A) explaining the influence of the development of the pianoforte on the music of Beethoven
(B) describing Tempetley s view of the contrast between the development of piano music in England and the development of plano music elsewhere in Europe
(C) presenting Temperley s evaluation of the impact of changes in piano construction on styles and forms of music composed in the era of the London Pianoforte school
(D) considering an altermnative theory to that proposed by Ringer concerning the London Pianoforte school
(E) discussing the contribution of Temperley s anthology to what is known of the history of the London Pianoforte school

8. It can be inferred that Temperley s anthology treats the London Pianoforte school as

(A) a group of pianist-composers who shared certain stylistic principles and arustic creeds
(B) a group of people who contributed to the development of piano music between 1766 and 1873
(C) a group of composers who influenced the music of Beethoven in the decades just before and just after 1800
(D) a series of compositions for the pianoforte published in the decades just before and just after 1800
(E) a series of compositions that had a significant influence on the music of the Continent in the eighteenth and nineteenth centuries

 What is "law"? By what processes do judges arrive at opinions. those  documents that justify their belief that the "law" dictates a conclusion one  way or the other? These are among the oldest questions in

(5) jurisprudence, debate about which has traditionally been dominated by  representatives of two schools of thought: proponents of natural law, who see  law as intertwined with a moral order independent of society s rules and  mores, and legal positivists, who see law

(10) solely as embodying the commands of a society s ruling authority

 Since the early 1970s, these familiar questions have received some new  and surprising answers in the legal academy. This novelty is in part a  consequence of the

(15) increasing influence there of academic disciplines and intellectual traditions  previously unconnected with the study of law. Perhaps the most influential  have been the answers given by the Law and Economics school. According  to these legal economists, law consists and

(20) ought to consist of those rules that maximize a society s material wealth  and that abet the efficient operation of markets designed to generate wealth.  More controversial have been the various answers provided by members of  the Critical Legal Studies movement

(25) according to whom law is one among several cultural mechanisms by  which holders of power seek to legitimate their domination. Drawing on  related arguments developed in anthropology, sociology, and history, the  critical legal scholars contend that law is an

(30) expression of power, but not, as held by the positivists, the power of the  legitimate sovereign government. Rather, it is an expression of the power of  elites who may have no legitimate authority, but who are intent on preserving  the privileges of their race, class, or gender.

(35) In the mid-1970s, James Boyd White began to articulate yet another  interdiseiplinary response to the traditional questions, and in so doing  spawned what is now known as the Law and Literature movement White has  insisted that law, particularly as it is

(40) interpreted in judicial opinions, should be understood as an essentially  literary activity. Judicial opinions should be read and evaluated not primarily  as political acts or as atte mpts to maximize society s wealth through  efficient rules, but rather as artistic

(45) performances. And like all such performances, White argues, each judicial  opinion attempts in its own way to promote a particular political or ethical  value.

 In the recent Justice as Translation, White argues that opinion-writing  should be regarded as an act of

(50) "translation," and judges as "translators." As such, judges find themselves  mediating between the authoritative legal text and the pressing legal problem  that demands resolution. A judge must essentially "re-constitute" that text by  fashioning a new one, which

(55) is faithful to the old text but also responsive to and informed by the  conditions, constraints, and aspirations of the world in which the new legal  problem has arisen

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