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  3. Collapses this spring at a couple of ancient sites here caused weary archaeologists to warn, yet again, about other imminent cal

Collapses this spring at a couple of ancient sites here caused weary archaeologists to warn, yet again, about other imminent cal

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问题     Collapses this spring at a couple of ancient sites here caused weary archaeologists to warn, yet again, about other imminent calamities threatening Rome’s precarious architectural birthright.
    Meanwhile, the smart set went crazy when a splendid national museum for contemporary art, Maxxi, opened recently, along with an expansion to the city-run new-art museum, Macro. That was just after Rome’s mayor, Gianni Alemanno, convened a conference for planners and architects to sketch a bid for the 2020 Olympics as an incentive to update Italy’s capital. Contemporary architecture now promises to be the engine and symbol of a new creative identity for Rome that, if development is done right for a change, would complement the city’s glorious past.
    "What does Rome want to be when it grows up?" is how Richard Burdett, a planner from London with Italian roots, put the situation the other day. He meant the situation of Rome at a crossroads, struggling ahead, falling behind.
    Change is never easy here. When a museum designed by Richard Meier, a glass and marble building to house the Ara Pacis, opened a few years ago, Romans howled. Maxxi, whose style presents a whole other set of problems, has fared much better in terms of public approval, attracting some 74,000 visitors in its first month and accelerating talk by leaders like Mr. Alemanno about Rome in the 21st century.
    But it’s one thing for politicians to support a new headline-grabbing museum. The art crowd rolls into town, bestows its blessing, then  rolls  out. It’s  another to take on greater challenges like immigration, transportation and sprawl. Even culture: a nation whose identity and fiscal survival rests on it now devotes 0.21 percent of its state budget, which is about one-fifth of the percentage that France devotes, to theater, film, exhibitions, music and museums, not to mention the upkeep of all those thousands of historical sites for which there is still no master conservation plan.
    And there’s nothing close to a thought-out approach to shaping this city’s new identity, either, just a burst of mixed architecture creating facts on the ground and a fresh hunger for something better. The problems facing Rome are not going to be solved by a few big stars designing buildings but by a larger effort to rethink a city that has swiftly grown to 3.7 million inhabitants, almost all of them outside the historic center, where its past is crumbling.
What is Richard Burdett’s attitude towards a new creative identity for Rome?
选项 A、Strongly supportive.
B、Barely concerned.
C、Somewhat doubtful.
D、Completely opposed.
答案C
解析 本题是细节题，要求考生理解来自伦敦的意大利籍规划师Richard Burdett对于罗马新的创意身份的怀疑态度，即对上文提到如果当代建筑的开发工作做得好，罗马将一改往日的颓势，与城市辉煌的过去相得益彰的观点，而Richard Burdett却认为罗马面临关于过去和将来的选择。关键点：situation of Rome at a crossroads，struggling ahead，falling behind…。
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