Jacob Burckhardt's view that Renaissance European women "stood on a footing of perfect equality" with Renaissance men has been repeatedly cited by feminist scholars as a prelude to their presentation of rich historical evidence of women's inequality. In striking contrast to Burckhardt, Joan Kelly in her famous 1977 essay, "Did Women Have a Renaissance?" argued that the Renaissance was a period of economic and social decline for women relative both to Renaissance men and to medieval women. Recently, however, a significant trend among feminist scholars has entailed a rejection of both Kelly's dark vision of the Renaissance and Burckhardt's rosy one. Many recent works by these scholars stress the ways in which differences among Renaissance women—especially in terms of social status and religion—work to complicate the kinds of generalizations both Burckhardt and Kelly made on the basis of their observations about upper-class Italian women.
The trend is also evident, however, in works focusing on those middle- and upper-class European women whose ability to write gives them disproportionate representation in the historical record. Such women were, simply by virtue of their literacy, members of a tiny minority of the population, so it is risky to take their descriptions of their experiences as typical of "female experience" in any general sense. Tina Krontiris, for example, in her fascinating study of six Renaissance women writers, does tend at times to conflate "women" and "women writers," assuming that women's gender, irrespective of other social differences, including literacy, allows us to view women as a homogeneous social group and make that group an object of analysis. Nonetheless, Krontiris makes a significant contribution to the field and is representative of those authors who offer what might be called a cautiously optimistic assessment of Renaissance women's achievements, although she also stresses the social obstacles Renaissance women faced when they sought to raise their "oppositional voices." Krontiris is concerned to show women intentionally negotiating some power for themselves (at least in the realm of public discourse) against potentially constraining ideologies, but in her sober and thoughtful concluding remarks, she suggests that such verbal opposition to cultural stereotypes was highly circumscribed; women seldom attacked the basic assumptions in the ideologies that oppressed them.
晕了,我把分号后面的当做最后一句了。结果选成了B
首先B这里意图不是反驳结论,而是为了提出结论;这里C就比B好了,再者B其实只说了不好的一方面,非常的绝对,因为这个说的是intentionally反抗,官方说辞中不反抗,并不是完全不反抗,也不是完全没有权力
view of effect of literacy on R women NOT effect of R women
前文:cautiously assess 本句:opposition is limited
what might be called a cautiously optimistic assessment of Renaissance women's achievements, although she also stresses the social obstacles Renaissance women faced when they sought to raise their "oppositional voices."
谨慎乐观的评价→虽然有成就,但也有反抗,但这种反抗是有局限性的
she suggests that such verbal opposition to cultural stereotypes was highly circumscribed; women seldom attacked the basic assumptions in the ideologies that oppressed them
分号后面的那句话就是为了具体解释说明:口头上的cutural sterotype是高度受限制的
T 535 最后一句话主要是为了 (句子目的题)
A(表明K的工作不是在最近女性主义者的代表,没有提到她是不是代表)
B(削弱了一个结论:文艺复兴时期的有学问的女性寻求反对他们的社会限制的方法)并不是削弱吗,因为有加强有削弱,有说到她们的口头反对
C(展现K的工作阐述了一个谨慎乐观的关于文艺复兴成就的评估)因为反对了但没彻底反
D(总结K的关于在上层和中层文艺复兴女性识字能力影响的观点,没有说上层点)
E(阐述K和B&K的不同,明显错误)
Krontiris makes a significant contribution to the field and is representative of those authors who offer what might be called a cautiously optimistic assessment of Renaissance women's achievements, although she also stresses the social obstacles Renaissance women faced when they sought to raise their "oppositional voices." 提到困难就是为了突出cautiously optimistic