Amsden has divided Navajo weaving into four distinct styles. He argues that three of them can be identified by the type of design used to form horizontal bands: colored strips, zigzags, or diamonds. The fourth, or bordered, style he identifies by a distinct border surrounding centrally placed, dominating figures.

Amsden believes that the diamond style appeared after 1869 when, under Anglo influence and encouragement, the blanket became a rug with larger designs and bolder lines. The bordered style appeared about 1890, and, Amsden argues, it reflects the greatest number of Anglo influences on the newly emerging rug business. The Anglo desire that anything with a graphic designs have a top, bottom, and border is a cultural preference that the Navajo abhorred, as evidenced, he suggests, by the fact that in early bordered specimens strips of color unexpectedly break through the enclosing pattern.

Amsden argues that the bordered rug represents a radical break with previous styles. He asserts that the border changed the artistic problem facing weavers: a blank area suggests the use of isolated figures, while traditional, banded Navajo designs were continuous and did not use isolated figures. The old patterns alternated horizontal decorative zones in a regular order.//

Amsden’s view raises several questions. First, what is involved in altering artistic styles? Some studies suggest that artisans’ motor habits and thought processes must be revised when a style changes precipitously. In the evolution of Navajo weaving, however, no radical revisions in the way articles are produced need be assumed. After all, all weaving subordinates design to the physical limitations created by the process of weaving, which includes creating an edge or border. The habits required to make decorative borders are, therefore, latent and easily brought to the surface.

Second, is the relationship between the banded and bordered styles as simple as Amsden suggests? He assumes that a break in style is a break in psychology. But if style results from constant quests for invention, such stylistic breaks are inevitable. When a style has exhausted the possibilities inherent in its principles, artists cast about (v. 搜索, 想方设法) for new, but not necessarily alien, principles. Navajo weaving may have reached this turning point prior to 1890.

Third, is there really a significant stylistic gap? Two other styles lie between the banded styles and the bordered styles. They suggest that disintegration of the bands may have altered visual and motor habits and prepared the way for a border filled with separate units. In the Chief White Antelope blanket, dated prior to 1865, ten years before the first Anglo trading post on the Navajo reservation, whole and partial diamonds interrupt the flowing design and become separate forms. Parts of diamonds arranged vertically at each side may be seen to anticipate the border.

22. It can be inferred from the passage that Amsden views the use of “strips of color” (line 18) in the early bordered style as

(A) a sign of resistance to a change in style

(B) an echo of the diamond style

(C) a feature derived from Anglo culture

(D) an attempt to disintegrate the rigid form of the banded style（A）

(E) a means of differentiating the top of the weaving from the bottom

答案是A，可是我根据原文定位，我觉得D比较合适，因为原文说是意外的穿出原来的封闭式的地毯。

请大家指教

这个题目很容易排除BCE

回原文定位指出了strips of color 是Navajo的一种WEAVING方式,而The bordered style appeared about 1890, and, Amsden argues, it reflects the greatest number of Anglo influences on the newly emerging rug business. 说明ANGLO出现对于WEAVING的影响,所以我认为A是正确的,而且作者没有提到什么RIGID FORM所以可以排除.