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Edward Hopper (1882-1967) is something of a success, if only his success had come swifter. At the age of 40, he was a failing artist who ______ to sell a single painting. As he approached 80, Time magazine ______ him on its cover. Today, half a century after his death, Hopper is considered a giant of modern expression, with an uncanny, unforgettable, and utterly ______ sense for mood and place.【仅支持A-H选项，选项超出支持范围】
Edward Hopper (1882-1967) is something of a success, if only his success had come swifter. At the age of 40, he was a failing artist who ______ to sell a single painting. As he approached 80, Time magazine ______ him on its cover. Today, half a century after his death, Hopper is considered a giant of modern expression, with an uncanny, unforgettable, and utterly ______ sense for mood and place.【仅支持A-H选项，选项超出支持范围】
Much of Hopper’s work excavates modern city experience. In canvas ______ canvas, he depicts diners, cafes, streetlights, gas stations, train stations, and hotel rooms. The scenes are marked by vivid color juxtapositions and stark, theatrical lighting, as well as by harshly contoured figures, who appear at once part of, and ______ to, their surroundings. The ambiance throughout his repertoire is of loneliness, and psychological tension, whereas his rural or coastal scenes offer a strong ______ of tranquility or optimism.【仅支持A-H选项，选项超出支持范围】
Much of Hopper’s work excavates modern city experience. In canvas ______ canvas, he depicts diners, cafes, streetlights, gas stations, train stations, and hotel rooms. The scenes are marked by vivid color juxtapositions and stark, theatrical lighting, as well as by harshly contoured figures, who appear at once part of, and ______ to, their surroundings. The ambiance throughout his repertoire is of loneliness, and psychological tension, whereas his rural or coastal scenes offer a strong ______ of tranquility or optimism.【仅支持A-H选项，选项超出支持范围】
Realistic ______ they may seem, Edward Hopper’s paintings are not mere representations of supposed reality. They deconstruct and reconstruct the real, transforming it beyond the purely experiential. Like the views Hopper regularly included as pictures within his pictures, a characteristic Hopper composition is not first and foremost an image of ______ fact but rather a gestalt created out of breakdown and fracture in the process of perception and indeed the capacity to perceive. His works have ______ been dubbed metaphors of silence. Just as all utterance is governed by what remains unsaid, and by silence, so too Hopper’s art has its center of gravity in what is not actually visible in the paintings. Hopper’s art enacts ways of seeing and understanding that anchor ______ situations in profound depths.【仅支持A-H选项，选项超出支持范围】
Realistic ______ they may seem, Edward Hopper’s paintings are not mere representations of supposed reality. They deconstruct and reconstruct the real, transforming it beyond the purely experiential. Like the views Hopper regularly included as pictures within his pictures, a characteristic Hopper composition is not first and foremost an image of ______ fact but rather a gestalt created out of breakdown and fracture in the process of perception and indeed the capacity to perceive. His works have ______ been dubbed metaphors of silence. Just as all utterance is governed by what remains unsaid, and by silence, so too Hopper’s art has its center of gravity in what is not actually visible in the paintings. Hopper’s art enacts ways of seeing and understanding that anchor ______ situations in profound depths.【仅支持A-H选项，选项超出支持范围】
Realistic ______ they may seem, Edward Hopper’s paintings are not mere representations of supposed reality. They deconstruct and reconstruct the real, transforming it beyond the purely experiential. Like the views Hopper regularly included as pictures within his pictures, a characteristic Hopper composition is not first and foremost an image of ______ fact but rather a gestalt created out of breakdown and fracture in the process of perception and indeed the capacity to perceive. His works have ______ been dubbed metaphors of silence. Just as all utterance is governed by what remains unsaid, and by silence, so too Hopper’s art has its center of gravity in what is not actually visible in the paintings. Hopper’s art enacts ways of seeing and understanding that anchor ______ situations in profound depths.【仅支持A-H选项，选项超出支持范围】
Reality is always a mutually agreed-upon social construct, a more or less common consensus about what is out there and what it all means to most people. Our shared ideas of truth, beauty, morality, politics, and the ______ we interpret the world and make decisions on how we act in it are determined by a complex process of education, ______ acculturation, and assent that begins at birth. It is a cliché that human beings are out of touch with nature, and that more than a few of us are out of touch with reality. The fact is, ______ when we are in touch, it’s not with some given natural world or some ______ existing reality. Being in touch with nature means acting ______ learned response to the natural world. As a matter of fact, responding with awe in the ______ of natural beauty dates back only to the eighteenth century and became a major cultural event only in the nineteenth century. Before the late seventeenth century, people in Western Europe did not pay much attention to nature’s grandeur. A mountain range was something in the way. A complex shift in sociological and ______ responses occurred in the early eighteenth century and can be traced in its development through travel literature and then in poetry, fiction, and philosophy. By the mid-eighteenth century, wild, mountainous landscapes became the site of grand, ______ emotional response. The mountains had not, themselves, changed; cultural response had. The “Sublime,” the effect of ______ transported before nature’s wildness and in front of representations of that wildness in painting and poetry, was born. With it came nineteenth-century romanticism and attitudes toward the natural world that ______ remain with us. Reality is not an objective, geophysical phenomenon like a mountain. Reality is always something said or understood about the world.【仅支持A-H选项，选项超出支持范围】
Reality is always a mutually agreed-upon social construct, a more or less common consensus about what is out there and what it all means to most people. Our shared ideas of truth, beauty, morality, politics, and the ______ we interpret the world and make decisions on how we act in it are determined by a complex process of education, ______ acculturation, and assent that begins at birth. It is a cliché that human beings are out of touch with nature, and that more than a few of us are out of touch with reality. The fact is, ______ when we are in touch, it’s not with some given natural world or some ______ existing reality. Being in touch with nature means acting ______ learned response to the natural world. As a matter of fact, responding with awe in the ______ of natural beauty dates back only to the eighteenth century and became a major cultural event only in the nineteenth century. Before the late seventeenth century, people in Western Europe did not pay much attention to nature’s grandeur. A mountain range was something in the way. A complex shift in sociological and ______ responses occurred in the early eighteenth century and can be traced in its development through travel literature and then in poetry, fiction, and philosophy. By the mid-eighteenth century, wild, mountainous landscapes became the site of grand, ______ emotional response. The mountains had not, themselves, changed; cultural response had. The “Sublime,” the effect of ______ transported before nature’s wildness and in front of representations of that wildness in painting and poetry, was born. With it came nineteenth-century romanticism and attitudes toward the natural world that ______ remain with us. Reality is not an objective, geophysical phenomenon like a mountain. Reality is always something said or understood about the world.【仅支持A-H选项，选项超出支持范围】
Reality is always a mutually agreed-upon social construct, a more or less common consensus about what is out there and what it all means to most people. Our shared ideas of truth, beauty, morality, politics, and the ______ we interpret the world and make decisions on how we act in it are determined by a complex process of education, ______ acculturation, and assent that begins at birth. It is a cliché that human beings are out of touch with nature, and that more than a few of us are out of touch with reality. The fact is, ______ when we are in touch, it’s not with some given natural world or some ______ existing reality. Being in touch with nature means acting ______ learned response to the natural world. As a matter of fact, responding with awe in the ______ of natural beauty dates back only to the eighteenth century and became a major cultural event only in the nineteenth century. Before the late seventeenth century, people in Western Europe did not pay much attention to nature’s grandeur. A mountain range was something in the way. A complex shift in sociological and ______ responses occurred in the early eighteenth century and can be traced in its development through travel literature and then in poetry, fiction, and philosophy. By the mid-eighteenth century, wild, mountainous landscapes became the site of grand, ______ emotional response. The mountains had not, themselves, changed; cultural response had. The “Sublime,” the effect of ______ transported before nature’s wildness and in front of representations of that wildness in painting and poetry, was born. With it came nineteenth-century romanticism and attitudes toward the natural world that ______ remain with us. Reality is not an objective, geophysical phenomenon like a mountain. Reality is always something said or understood about the world.【仅支持A-H选项，选项超出支持范围】
Reality is always a mutually agreed-upon social construct, a more or less common consensus about what is out there and what it all means to most people. Our shared ideas of truth, beauty, morality, politics, and the ______ we interpret the world and make decisions on how we act in it are determined by a complex process of education, ______ acculturation, and assent that begins at birth. It is a cliché that human beings are out of touch with nature, and that more than a few of us are out of touch with reality. The fact is, ______ when we are in touch, it’s not with some given natural world or some ______ existing reality. Being in touch with nature means acting ______ learned response to the natural world. As a matter of fact, responding with awe in the ______ of natural beauty dates back only to the eighteenth century and became a major cultural event only in the nineteenth century. Before the late seventeenth century, people in Western Europe did not pay much attention to nature’s grandeur. A mountain range was something in the way. A complex shift in sociological and ______ responses occurred in the early eighteenth century and can be traced in its development through travel literature and then in poetry, fiction, and philosophy. By the mid-eighteenth century, wild, mountainous landscapes became the site of grand, ______ emotional response. The mountains had not, themselves, changed; cultural response had. The “Sublime,” the effect of ______ transported before nature’s wildness and in front of representations of that wildness in painting and poetry, was born. With it came nineteenth-century romanticism and attitudes toward the natural world that ______ remain with us. Reality is not an objective, geophysical phenomenon like a mountain. Reality is always something said or understood about the world.【仅支持A-H选项，选项超出支持范围】
Reality is always a mutually agreed-upon social construct, a more or less common consensus about what is out there and what it all means to most people. Our shared ideas of truth, beauty, morality, politics, and the ______ we interpret the world and make decisions on how we act in it are determined by a complex process of education, ______ acculturation, and assent that begins at birth. It is a cliché that human beings are out of touch with nature, and that more than a few of us are out of touch with reality. The fact is, ______ when we are in touch, it’s not with some given natural world or some ______ existing reality. Being in touch with nature means acting ______ learned response to the natural world. As a matter of fact, responding with awe in the ______ of natural beauty dates back only to the eighteenth century and became a major cultural event only in the nineteenth century. Before the late seventeenth century, people in Western Europe did not pay much attention to nature’s grandeur. A mountain range was something in the way. A complex shift in sociological and ______ responses occurred in the early eighteenth century and can be traced in its development through travel literature and then in poetry, fiction, and philosophy. By the mid-eighteenth century, wild, mountainous landscapes became the site of grand, ______ emotional response. The mountains had not, themselves, changed; cultural response had. The “Sublime,” the effect of ______ transported before nature’s wildness and in front of representations of that wildness in painting and poetry, was born. With it came nineteenth-century romanticism and attitudes toward the natural world that ______ remain with us. Reality is not an objective, geophysical phenomenon like a mountain. Reality is always something said or understood about the world.【仅支持A-H选项，选项超出支持范围】
Reality is always a mutually agreed-upon social construct, a more or less common consensus about what is out there and what it all means to most people. Our shared ideas of truth, beauty, morality, politics, and the ______ we interpret the world and make decisions on how we act in it are determined by a complex process of education, ______ acculturation, and assent that begins at birth. It is a cliché that human beings are out of touch with nature, and that more than a few of us are out of touch with reality. The fact is, ______ when we are in touch, it’s not with some given natural world or some ______ existing reality. Being in touch with nature means acting ______ learned response to the natural world. As a matter of fact, responding with awe in the ______ of natural beauty dates back only to the eighteenth century and became a major cultural event only in the nineteenth century. Before the late seventeenth century, people in Western Europe did not pay much attention to nature’s grandeur. A mountain range was something in the way. A complex shift in sociological and ______ responses occurred in the early eighteenth century and can be traced in its development through travel literature and then in poetry, fiction, and philosophy. By the mid-eighteenth century, wild, mountainous landscapes became the site of grand, ______ emotional response. The mountains had not, themselves, changed; cultural response had. The “Sublime,” the effect of ______ transported before nature’s wildness and in front of representations of that wildness in painting and poetry, was born. With it came nineteenth-century romanticism and attitudes toward the natural world that ______ remain with us. Reality is not an objective, geophysical phenomenon like a mountain. Reality is always something said or understood about the world.【仅支持A-H选项，选项超出支持范围】
Reality is always a mutually agreed-upon social construct, a more or less common consensus about what is out there and what it all means to most people. Our shared ideas of truth, beauty, morality, politics, and the ______ we interpret the world and make decisions on how we act in it are determined by a complex process of education, ______ acculturation, and assent that begins at birth. It is a cliché that human beings are out of touch with nature, and that more than a few of us are out of touch with reality. The fact is, ______ when we are in touch, it’s not with some given natural world or some ______ existing reality. Being in touch with nature means acting ______ learned response to the natural world. As a matter of fact, responding with awe in the ______ of natural beauty dates back only to the eighteenth century and became a major cultural event only in the nineteenth century. Before the late seventeenth century, people in Western Europe did not pay much attention to nature’s grandeur. A mountain range was something in the way. A complex shift in sociological and ______ responses occurred in the early eighteenth century and can be traced in its development through travel literature and then in poetry, fiction, and philosophy. By the mid-eighteenth century, wild, mountainous landscapes became the site of grand, ______ emotional response. The mountains had not, themselves, changed; cultural response had. The “Sublime,” the effect of ______ transported before nature’s wildness and in front of representations of that wildness in painting and poetry, was born. With it came nineteenth-century romanticism and attitudes toward the natural world that ______ remain with us. Reality is not an objective, geophysical phenomenon like a mountain. Reality is always something said or understood about the world.【仅支持A-H选项，选项超出支持范围】
There is a curious cliche that says pictures don’t lie. It is part of that greater cliche that says seeing is believing. Somehow a thing seen directly—or through a(n) ______ representation like a painting, a photograph, or a film—brings us closer to some actual reality. Words are too ______ not things themselves; words are made-up sounds, developed throughout the life of a culture, represented by made-up letters, put together in a contrived ______ that everyone in a culture uses to communicate through a decision that the particular words will refer to particular things. Language is clearly ______ and not natural: it is human made and accepted with some variations throughout a particular culture. Every English speaker understands what the word “food” refers to, even ______ the particular kind of food that comes to mind may vary to each individual. But seeing a thing seems to bring us something very close to the thing itself—to “reality”. Things that are seen appear to be and even feel as if they are ______ ; that is, they seem to be conveyed directly to us, not conveyed indirectly. Nothing stands in their ______. They are true.【仅支持A-H选项，选项超出支持范围】
There is a curious cliche that says pictures don’t lie. It is part of that greater cliche that says seeing is believing. Somehow a thing seen directly—or through a(n) ______ representation like a painting, a photograph, or a film—brings us closer to some actual reality. Words are too ______ not things themselves; words are made-up sounds, developed throughout the life of a culture, represented by made-up letters, put together in a contrived ______ that everyone in a culture uses to communicate through a decision that the particular words will refer to particular things. Language is clearly ______ and not natural: it is human made and accepted with some variations throughout a particular culture. Every English speaker understands what the word “food” refers to, even ______ the particular kind of food that comes to mind may vary to each individual. But seeing a thing seems to bring us something very close to the thing itself—to “reality”. Things that are seen appear to be and even feel as if they are ______ ; that is, they seem to be conveyed directly to us, not conveyed indirectly. Nothing stands in their ______. They are true.【仅支持A-H选项，选项超出支持范围】
There is a curious cliche that says pictures don’t lie. It is part of that greater cliche that says seeing is believing. Somehow a thing seen directly—or through a(n) ______ representation like a painting, a photograph, or a film—brings us closer to some actual reality. Words are too ______ not things themselves; words are made-up sounds, developed throughout the life of a culture, represented by made-up letters, put together in a contrived ______ that everyone in a culture uses to communicate through a decision that the particular words will refer to particular things. Language is clearly ______ and not natural: it is human made and accepted with some variations throughout a particular culture. Every English speaker understands what the word “food” refers to, even ______ the particular kind of food that comes to mind may vary to each individual. But seeing a thing seems to bring us something very close to the thing itself—to “reality”. Things that are seen appear to be and even feel as if they are ______ ; that is, they seem to be conveyed directly to us, not conveyed indirectly. Nothing stands in their ______. They are true.【仅支持A-H选项，选项超出支持范围】
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