分析：从作者的态度可以推断出她对于带着一个高于自己脑袋的创作作品是觉得十分荒谬和可笑的
18 To the narrator, her sister’s question (line 62-63) implies that(A )
根据叙述者，她姐姐的问题暗示（）
A mother represented the last true vestige of the sisters’ Japanese heritage
妈妈展示了最后的姐妹的日本传统的真正遗迹
B mother should have made more of an effort to educate her daughters about their background 妈妈应该更加致力于教授她女儿关于她们背景的东西 C Mother’s education in California extended beyond the confines of the university 妈妈在C接受的教育超越了大学的限制
D sisters were saddened by their mother’s decision to move
姐妹们因为母亲搬离的决定而伤心
E sisters would not regret the absence of traditional family rituals
姐妹们并不会因为缺席传统家庭仪式而后悔
长单
The following passage is excerpted from a historian’s examination of European attitudes towards childhood.
Medieval European art until about the twelfth century did not know childhood or did not attempt to portray it. It is hard to believe that neglect was due to incompetence or incapacity; it seems more probable that there was no place for childhood in the medieval world. A miniature painted during the twelfth century provides us with a striking example of the deformity that an artist at that time would inflict on the representation of children’s bodies. The subject is a Biblical scene in which Jesus is surrounded by little children. Yet the miniature has grouped around Jesus what obviously eight men, without any characteristics of childhood; they have simple been depicted on a smaller scale. In a French miniature of the late eleventh century, three children brought to life by a saint are also reduced to a smaller scale than adults, without any other difference in expression or features. A painter would
not hesitate to give the body of a child the musculature of an adult
attempt to 尝试
incompetence or incapacity 缺乏能力的 deformity畸形 inflict on 使。。。承受 miniature 微型画 小画像
中世纪的欧洲艺术直至十二世纪才知道幼年时期和尝试去描绘它。很难相信的是这种忽略是源于缺乏能力，看起来更可能的是在中世纪的世界里面没有童年的存在空间。一幅十二世纪的微型画可以为我们提供一个让人震惊的例子，那个时候的艺术家将孩童的身体呈现的很畸形。主题是关于圣经里面的场景，耶稣被一群小孩子围绕。但是围绕再耶稣周围的小画像显然是八个男人，没有任何孩童的特征，他们仅仅是被缩小了一号。在一幅十一世纪末期的法国微型画，被圣徒重新赋予生命的三个小孩同样是成人版的缩小，没有任何特征表现上的不同。一个画家会毫不犹豫地赋予一个小孩成人身体结构。
In the world of pictorial formulas inherited from ancient Rome, right up to the end of the thirteenth
century, there are no children characterized by a special expression, but only adults on a reduced scale. This refused to accept child morphology in art is to be found too in most of the ancient civilizations. A fine Sardinian bronze of the ninth century BC shows a mother holding in her arms the bulky body of her son. The museum catalog tells us:‖ the little masculine figure could also be a child which,（ in accordance with the formula adopted in ancient times by other peoples）, had been represented as an adult.‖ Everything in fact would seem to suggest that the realistic representation of children or the idealization of childhood was confined to ancient Greek art. Representations of Eros, the Greek child god of love, proliferated in that Hellenistic period, but childhood disappeared from art together with the other Hellenistic themes, and the subsequent Romanesque art returned to the rejection of the special features of childhood. Pictorial 图示的 inherited from 继承于 morphology 形态学