東大過去問 1996年 第5問(総合)

/ 4月 1, 2020/ 第5問(総合), 東大過去問, 過去問/ 0 comments



Daguerreotypes are an early form of photographs. Paris street scenes, as they appear in those daguerreotypes, have an unreal quality about them. There are no people. Did the photographer wait until everybody was ( 1 )? Did he or she snap the picture at dawn before anyone was up?
It look many minutes for these early cameras to take a picture, and during that time people would have come and gone, leaving not even a trace in the final print. What remained was only the solid, motionless part of the city. It probably did not strike these early photographers as strange that only permanent things appeared in the photograph; for them only the permanent was “real”. Perhaps they would have found a modern photograph of a street scene unreal, with people caught in the middle of taking a step, or a child jumping rope miraculously suspended in the air, never to touch the ground again. On the other hand, it is equally possible that the modern photograph might have looked more real to them than their own, because even in their own time painters included people walking, and children playing, in their street scenes.
But whatever they might have felt, the “reality” of an image appears to be a matte of ( 3 ). The story is told about a man who approached Picasso after seeing Les Demoiselles d’Avignon and asked the artist, (4)“Why don’t you paint people the way they really look?” “Well,” said Picasso, “how do they really look?” The man then took a photograph of his wife from his wallet. “Like this,” he said. Picasso looked at the picture; then handing it back, he said, (5)“She is small, isn’t she? And flat.
Often we do not realize just how much information our brain has to add to a picture to make it a recognizable scene. The canvas by the American painter Mark Tansey, entitled The Innocent Eye Test, portrays a cow being shown a life-size painting of cows. A group of scientists is standing by, ready to record the cow’s reaction. There doesn’t seem to be (6)any. (7)The cow could be looking at a blank wall.  Neither the painting — the one that is hanging in the Metropolitan Museum of Art in New York — nor the painting within the painting is in full color. Instead, they are both the color of old photographs. This is to emphasize, no doubt, the fact that the “real” cow, the one being shown the image, is itself a painting, as flat and lifeless as the others. They are all painted, same size, same style, but we see one as a real cow, the others as a ( 8 ) of cows. The first cow is unimpressed. It has no concept of art, therefore it can’t understand the painting.

(注) Les Demoiselles d’Avignon: 「アヴィニョンの娘たち」。ピカソの作品の題名。



(1) 空所(1)を埋めるのに最も適当な語句を次のうちから選び、その記号を記せ。

(ア) empty
(イ) in place
(ウ) left
(エ) out of the way
(オ) turned off

(2) もし初期の写真家たちが現代の写真を見たとしたら、彼らが示すであろう反応について、この文章の筆者の考えに一致するものを次のうちから2つ選び、その記号を記せ。

(ア) They might find a modern photograph real because it looks like some paintings from their own time.
(イ) A modern photograph might impress them as real, because only the permanent appears in it.
(ウ) A modern photograph might look strange because nothing permanent appears in it.
(エ) They might be surprised to find people in a modern photograph.
(オ) They might find modern people’s behavior strange.

(3) 空所(3)を埋めるのに最も適当な語は、次のうちどれか。その記号を記せ。

(ア) convention
(イ) course
(ウ) fact
(エ) minutes

(4) 下線部(4)を和訳せよ。

(5) 下線部(5)でピカソが言いたかったことに最も近いものは、次のうちのどれか。その記号を記せ。

(ア) Photography does not interest me because it is too realistic.
(イ) Since your wife is not interesting enough, I don’t want to paint her.
(ウ) This picture of your wife is only one way of representing reality.
(エ) Small, flat photographs can’t compete with life-size paintings.

(6) 下線部(6)のあとに補うのに最も適当な英語1語を記せ。

(7) 下線部(7)の解釈として最も適当なものは、次のうちのどれか。その記号を記せ。

(ア) きっと牛は塀ばかり眺めていたのだろう。
(イ) 牛の見てきた塀には何も描かれていなかった。
(ウ) 牛は絵の描かれた塀には興味を示さなかった。
(エ) 牛から見れば、絵も塀と変わりがなかった。

(8) 空所(8)を埋めるのに最も適当な英語1語を記せ。








(1)  エ
(2)  ア、エ
(3)  ア
(4)  「なぜあなたは人を見たまま書かないのですか?」
(5)  ウ
(6)  reaction
(7)  エ
(8)  painting
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