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    Some unwelcome visitors from North America have been turning up in the waters off the coast of Great Britain.

    North American lobsters (龙虾) have been found in the North Sea (between Great Britain and Northwest Europe), far from their own habitat. The lobsters usually live along the eastern coast of Canada and the United States.

    It is impossible that the lobsters could have made the 5,600-kilometre journey on their own. They were probably brought to Britain and then got away from containers. Some of the lobsters that were caught had elastic bands (松紧带) holding their legs shut, like lobsters that are kept in containers in stores or restaurants.

    Many may have been “set free” from some ships passing through the area. Sometimes passengers order a live lobster from a tank in the dining room and then ask the waiter to throw it overboard instead of cooking it.

    According to official records, 26 North American lobsters have been caught in waters off Great Britain since 1988. However, it is believed many more have been found but not reported.

    It is against the law to let North American lobsters come into British waters. If they settle down in European waters, it would be bad for the local lobsters. The two live in the same place and eat the same food. But North American lobsters are larger, stronger and more aggressive (好斗的) than European lobsters, and they produce young more quickly.

    As a result, they could take food and space away from the local lobsters, and from other types of shellfish that live in the same area. These lobsters may also carry diseases that could harm the local lobsters.

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阅读下面的作品,完成下列小题。

细节忠实和诗意追求

李泽厚

    ①传统画中的美学趣味从北宋前期经后期过渡到南宋,由“无我之境”逐渐向“有我之境”推移。

    ②北宋前期的宫廷画院,因为极度闲暇和条件优越,把追求细节的逼真写实,发展到了顶峰。所谓“孔雀升高必先举左”以及论月季四时朝暮、花蕊叶不同等故事,说明这种对细节真实的追求成了宫廷画院的重要审美标准。

    ③与细节真实并行更值得重视的另一审美趣味,是对诗意的极力提倡。与上述的孔雀升高等故事同时也同样著名的,是画院用诗句如“踏花归去马蹄香”等做题目,要求画师既含蓄又准确地表达诗意。画面的诗意追求开始成了中国山水画的自觉的重要标准。

    ④这种审美趣味在北宋后期即已形成,南宋时达到最高水平和最佳状态。创造了与北宋前期山水画很不相同的艺术意境。

    ⑤从马远、夏珪等南宋许多名家的山水小品如深堂琴趣、寒江独钓等来看,这一特色极为明显。它们大都是在工致精细的,极有选择的有限场景、对象、题材和布局中,传达出某种特定的浓郁的诗情画意。细节真实和诗意追求正是它们的美学特色,与北宋前期那种整体而多义、丰满而不细致的情况迥异。它们在对有限对象的细节忠实描绘里,表达出某种较为确定的情调诗意。比起北宋的意境,南宋山水画题材、对象、场景、画面更小了,一角山岩、半截树枝都成了重要内容,占据了很大画面,但刻画却更精巧细致,抒情性更浓厚、鲜明。像被称为“马一角”的马远的山水小幅里,空间感非常突出,画面大部分是空白或远水平野,只一角有一点点画,令人看来辽阔无垠而心旷神怡。南宋山水画把人们审美感受中的想象、情感、理解诸因素引向更为确定的方向,导向更为明确的意念或主题,这就是宋元山水画发展历程中的第二种艺术意境。

    ⑥这是不是“有我之境”呢?是,又不是。相对于第一种意境,可以说是:艺术家的主观情感、观念有了更多的直接表露。但相对于下一阶段来说,它又不是:因为无论在对对象的忠实描写上,或抒发主观情感上,它仍然保持了比较客观的态度。诗意的追求和情感的抒发,尽管比北宋山水远为自觉和突出,但基本上仍属于对自然景色的真实再现。所以,它处在“无我之境”到“有我之境”的过渡中,是厚重的院体画而非意气的文人画。它基本仍应属“无我之境”。

(选自《美的历程》,有改动)