6. ¿Qué alternativa presenta uso incorrecto de la preposición con? * 4 puntos A) El camino se realiza con el pueblo. B) El sociólogo investiga con ansias. C) Disiento con tu parecer individualista. D) Por favor limonada con nada de azúcar. E) La ensalada de frutas con leche condensada es un manjar. 7. Señale, a partir de los enunciados, la alternativa que contengan usos incorrectos de la preposición bajo. I. Bajo el reinado de Isabel II II. Nació bajo el signo de Capricornio. III. Trataremos el asunto bajo otro punto de vista. IV. Los mineros se ubican bajo la superficie del socavón. 8. Indique la alternativa donde se use correctamente la preposición de. A) Prometió de venir hoy muy temprano. B) Viajan de a miles de viejos camiones. C) La paciencia de Job es impresionante. D) Debajo la cama se ubican las pantuflas. E) Ellos siempre protestan de todo. Señale el enunciado que usa correctamente la preposición en 1. Yo solo cumplo en advertírselo. 2. El auto colisionó en el árbol del jardín. 3. Se exhiben esculturas en cobre. 4. Van a sentarse en la mesa para cenar. 5. Viajaré en la noche para citarme con la muerte. 10. Brillaba su risa la sombría atmósfera de la pena: nada parecía suficiente para borrar el dolor de los deudos. A) sobre - pero B) con - sin embargo C) a - a veces D) dentro - más E) en - más

perhaps donatello’s landmark work – and one of the greatest sculptural works of the early renaissance – was his bronze statue of david.  this work signals the return of the sculpture in the round figure, and because it was the first such work like this in over a thousand years, it is one of the most important works in the history of western art.

david is shown at a triumphal moment within the biblical storyline of his battle with the philistine, goliath.  according to the account, after david struck goliath with the stone from his slingshot, he cut off his head with goliath’s sword.  here, we see the aftermath of this event as david stands in a contemplative pose with one foot atop his enemy’s severed head.  david wears nothing but boots and a shepherd’s hat with laurel leaves on top of it, which may allude to his victory or to his role as a poet and musician.

before donatello’s work, david was typically depicted as a king, given his status in the old testament.  here, however, we have a stark change in the way david is depicted.  not only is he shown in the, but he’s also a youth.  in middle ages, nudity was not used in art except in certain moral contexts, such as the depiction of adam and eve, or the sending of souls off to the underworld.  in the classical world, was often used in a different, majestic context, such as with figures who were gods, heroes, or athletes.  here, donatello seems to be calling to mind the type of heroic nudity of antiquity, since david is depicted at triumphal point in the biblical narrative of his victory over goliath.

as for david’s youthfulness, donatello has gone back to the early life of the biblical david to depict him, rather than to his later life as a king.  it seems that donatello is trying to associate david’s youth with an innocent and virtuous life.  david looks young here – so young, in fact, that his muscles have barely developed enough to hold the large sword – that his victory over his foe is all the more improbable.  could david’s victory have been gained without divine intervention?   donatello’s work seems to imply that the answer is “no” – the victory was god’s rather than man’s.

in any case, donatello’s david is a classic work of renaissance sculpture, given its judaeo-christian subject matter modeled on a classical sculptural type.  it was revolutionary for its day – so much so that it did not get copied right away.  the idea of the life-sized sculpture-in-the-round evidently took some time to sink in and become an acceptable statue type