《文化万象：英语视听说（高级篇）》课件Chapter 7 Art.pptx

1、Part 1:Famous QuotesPart 2:Background knowledgePart 3:Listening and Speaking PracticePart 4:听说听说秘籍秘籍之之听写听写（Dictation）Chapter 7 ArtPart 1:Famous QuotesThe purpose of art is washing the dust of daily life off our souls.-Pablo Picasso艺术的目的，就是从灵魂中洗去日常生活之尘。巴勃罗毕加索Creativity is allowing yourself to make mi

2、stakes.Art is knowing which ones to keep.-Scott Adams创造力允许你犯错误，艺术则告诉你哪些错误值得保留。司各特亚当斯Part 2:Background knowledge1.On Art and Artists(By Ernst H.Gombrich,The Story of Art)Vocabularybison basn n.野牛hoarding h:d n.囤积，积蓄rebuff rbfvt.断然拒绝，阻碍stumbling-block n.绊脚石chubby tbi adj.胖乎乎的，圆胖的loathe l vt.极不喜欢，厌恶cru

3、cifix kru:sfks n.耶稣受难像wizard wzd n.男巫，奇才wrinkly rkli adj.有皱纹的preconceivepri:knsi:v vt.预想，预设the Savior sevj（大写）救世主the Passion（单数）（基督教里）耶稣的受难There really is no such thing as Art.There are only artists.Once there were men who took colored earth and roughed out the forms of a bison on the wall of a cave

4、;today some buy their paints,and design posters for hoardings;they did and do many other things.There is no harm in calling all these activities art as long as we keep in mind that such a word may mean very different things in different times and placesActually I don not think that there are any wro

5、ng reasons for liking a statue or a picture.Someone may like a landscape painting because it reminds him of home,or a portrait because it reminds him of a friend.There is nothing wrong with that.All of us,when we see a painting,are bound to be reminded a hundred-and-one things which influence our li

6、kes and dislikes.As long as these memories help us to enjoy what we see,we need not worry.It is only when some irrelevant memory makes us prejudiced,when we instinctively turn away from a magnificent picture of an alpine scene because we dislike climbing,that we should search our mind for the reason

7、s for the aversion which spoils a pleasure we might otherwise have had.There are wrong reasons for disliking a work of art.Most people like to see in pictures what they would also like to see in reality.This is quite a natural preference.We all like beauty in nature,and are grateful to the artists w

8、ho have preserved it in their works.Nor would these artist themselves have rebuffed us for our taste.When the great Flemish painter Rubens made a drawing of his little boy,he was surely proud of his good looks.He wanted us,too,to admire the child.But this bias for the pretty and engaging subject is

9、apt to become a stumbling-block if it leads us to reject works which represent a less appealing subject.The great German painter Albrecht Duerer certainly drew his mother with as much devotion and love as Rubens felt for his chubby child.His truthful study of careworn old age may give us a shock whi

10、ch makes us turn away from itand yet,if we fight against our first repugnance we may be richly rewarded,for Duerers drawing in its tremendous sincerity is a great work.In fact,we shall soon discover that beauty of a picture does not really lie in the beauty of its subject matter.The trouble about be

11、auty is that tastes and standards of what is beautiful vary so much.What is true of beauty is also true of expression.In fact,it is often the expression of a figure in the fainting which makes us like or loathe the work.Some people like an expression which they can easily understand,and which theref

12、ore moves them profoundly.When the seventeenth-century Italian painter Guido Reni painted the head of Christ on the cross,he intended,no doubt,that the beholder should find in this face all agony and all the glory of the Passion.Many people throughout subsequent centuries have drawn strength and com

13、fort from such a representation of the Savior.The feeling it expresses is so strong and so clear that copies of this work can be found in simple wayside shrines and remote farmhouses where people know nothing about“Art”.But even if this intense expression of feeling appeals to us we should not,for t

14、hat reason,turn away from works whose expression is perhaps less easy to understand.The Italian painter of the Middle Ages who painted the crucifix surely felt as sincerely about the Passion as did Reni,but we must first learn to know his methods of drawing to understand these different languages,we

15、 may even prefer works of art whose expression is less obvious than Renis.Just as some prefer people who use few words and gestures and leave something to be guessed,so some people are fond of paintings or sculptures which leave them something to guess and ponder about.In the more“primitive”periods,

16、when artists were not as skilled in representing human faces and human gestures as they are now,it is often all the more moving to see how they tried nevertheless to bring out the feeling they wanted to convey.But here newcomers to art are often brought up against another DifficultyDifficulty.They w

17、ant to admire the artists skill in representing the things they see.What they like best are paintings which“look real”.I do not deny for a moment that this is an important consideration.The patience and skill which go into the faithful rendering of the visible would are indeed t be admired.But who w

18、ould say that Rembrandts drawing of an elephant is necessarily less good because it shows fewer details?Indeed Rembrandt was such a wizard that he gave us the feel of the elephants wrinkly skin with a few lines of his chalk.People are even more offended by works which they consider to be incorrectly

19、 drawn,particularly when they belong to a more modern period when the artist“ought to have known better”.As a matter of fact,there is no mystery about these distortions of nature about which we still hear complaints on modern art.Everyone who has ever seen a Disney film or a comic strip knows all ab

20、out it.He knows that it is sometimes right to draw things otherwise than they look.There are two things,therefore,which we should always ask ourselves if we find fault with the accuracy of a picture.One is whether the artist may not have had his reasons for changing the appearance of what he saw.We

21、shall hear more about such reasons as the story of art unfolds.The other is that we should never condemn a work for being incorrectly drawn unless we have made quite sure that we are right and the painter is wrong.If we try to forget all we have heard about green grass and blue skies,and look at the

22、 world as if we had just arrived from another planet on a voyage of discovery and were seeing it fro the first time,we may find that things are apt to have the most surprising colors.Now painters sometimes feel as if they were on such a voyage of discovery.They want to see the world afresh and to di

23、scard all the accepted notions and prejudices about flesh being pink and apples yellow or red.It is not easy to get rid of these preconceived ideas,but the artists who succeed best in doing so often produce the most exciting works.It is they who teach us to see in nature new beauties of whose existe

24、nce we have never dreamt.If we follow them and learn from them,even a glance out of our own window may become a thrilling adventure.II.What is“Art”?By Richard Hickman,Why We Make Art and Why It Is TaughtVocabularyprevalent prevlnt adj.流行的，普遍存在的accommodate kmdet vt.容纳，为提供空间paradoxically prdkskl adv.荒

25、谬地，自相矛盾地commodification mdfken n.商品化ephemeral femrl adj.短暂的，瞬息的supplant spl:nt vt.取代（尤其是年老或落后的事物）elite eli:t n.精英，上层集团fuzzy fzi adj.模糊的，含糊不清的ambiguity mbgju:ti n.模棱两可的话，意义不明确inductndkt vt.正式吸收（成为成员）reside in 存在，属于，归于It was not until the late 18th century that the distinction between artisan and arti

26、st became more general;the terms share the same root the Latin artis or artem,which refers to skill.Dictionaries give at least 14 different senses of the word art as it relates to skill;only one of these is in the sense of what is often referred to as Fine Art.The general association of art with cre

27、ativity and the imagination in many societies did not become prevalent until the late 19th century.In industrialized societies a commonly accepted notion of what art is includes the concepts of not just skill but also expression and organization,in addition to creativity and imagination.The distinct

28、ion between art and design and that between art and craft is relatively recent and is generally regarded by many commentators as a western phenomenon.However,there are certain distinctions that can be made and some authorities have felt it necessary to distinguish between art and craft,drawing atten

29、tion to what are sometimes considered to be basic characteristics of craft that are absent in art.Firstly,crafts involve the idea of an end product,such as a basket or pot,which has some utility;secondly,there is a distinction between the planning and the execution of a craft;thirdly,every craft req

30、uires a particular material that is transformed into an end product and which thereby defines the particular craft.These three distinctions between art and craft might apply also to art and design,being more a matter of emphasis and degree,rather than of kind.The concept of art has undergone many ch

31、anges.It does not reside in art objects but in the minds of people;the content of those minds has changed radically to accommodate new concepts and make novel connections.It is perhaps odd that what is popularly referred to as modern art is often work from the early part of the last century.Modernis

32、m is a preferable term and,paradoxically,many people appear to be more aware of this term as a result of the coming of age of postmodernism.It is,of course,ironic that the work of artists,who are already valued by the art establishment as important figures,choose to attempt to subvert the commodific

33、ation of art by sending their work as a fax,by making multiple copies or by making it out of ephemeral material.The irony,in true post-modernist fashion,is compounded when such work is itself considered to be of value as a commodity,representing cutting edge contemporary art.The real irony,however,i

34、s that much of what passes for contemporary art is even more inaccessible than the modernist art it supplants.More than ever,contemporary art is in need of interpretation by critics before many people can begin to appreciate it,by which time potential viewers will have lost interest or will have dee

35、med that such art is only to be viewed by privileged elite.Art remains a contested concept,all the more so when we examine the shaky foundations upon which it is built.Some might say that art is such a fuzzy concept with contradiction and ambiguity that we need to sub-divide what currently comes und

36、er its umbrella into several different concepts,or that art itself is but one aspect of a broader concept of visual culture.Of central significance is the need for those concerned with inducting young people into a greater understanding of their world to examine carefully their own presuppositions a

37、bout art and its relation to that world.Part 3:Listening and Speaking Practice Pass 1:Painted with WordsVocabularyego i:g n.自大，自我意识avant-garde v:d n.（艺术的）先锋派palette plt n.调色盘，调色板bearingber n.方位，（用罗盘测定的）方向cicada sk:d n.蝉depression dpren n.情绪低落，抑郁bipolar pl(r)adj.双向的，双极的disorder ds:d(r)n.（身心机能的）紊乱stud

38、io stju:di n.工作室，画室Vocabularycollegiate kli:dit adj.集体组织的combustible kmbstbl adj.易燃的take its toll(on sb.)（向）收费，（让）付出代价liver complaint肝脏疾病on end 连续地Arles【地名】（法国）阿尔勒Provence【地名】（法国）普罗旺斯Gauguin 高更，法国著名后印象派画家Brittany【地名】布列塔尼，法国西北部一地区Task 1:Making InferencesDirections:Watch the clip and try to figure out

39、 the identity of the first-person monologist(独白者)in it.Give some reasons to support your idea._ The monologist must be the famous Dutch painter Vincent van Gogh,because:1)wheat fields is a popular subject of his paintings;2)the painting used as the background is of his characteristic;3)it was van Go

40、gh who enjoyed absence of color in his 20s and adopted vivid colors later when he was in southern France.Task 2:Listening ComprehensionDirections:Listen to the material and choose the best answer from the choices marked A),B),C)and D).1）Why did Vincent leave Paris for Arles?A.He was offered an avant

41、-garde job there.B.He longed for countryside peace.C.He had a yellow house in Arles.D.He wanted to improve his painting skills.2）Which of the following statement is true with Vincent in Arles?A.He thought he was in Japan.B.The charm of color effects made him feel quite blue.C.He set to work long aft

42、er he arrived.D.His palette became increasingly vivid.3）How did things develop for Vincent in Arles?A.He suffered from bipolar disorder for having no friends.B.Something went wrong with his liver again.C.He established an artistic colony.D.He began to buy too much food he did not need.Keys:1)B2)D3)A

43、Task 3:Dubbing PracticeDirections:Watch the“monologue”clip a couple of times and repeat the words that youve just heard sentence by sentence.Then turn down its volume and dub this monologue until you sound just like the actor Benedict Cumberbatch.Below is the reference.“Now that,Im beginning to.For

44、myself,Im I even And there you are,I If only then I was or rather,.But this!I dont need.,because.Id like to I cant do anything but.I hope to,which I really need to do.”Now that Ive found my bearings a little more,Im beginning to see the advantages here.For myself,Im in better health here than in the

45、 north.I even work in the wheat field in the midday in the full heat of the sun without any shade whatever.And there you are,I revel in it like a cicada.If only I had known this country when I was 25 instead of coming here at 35 then I was enthusiastic about grey or rather,absence of color.But this!

46、I dont need Japanese paints here,because I am always saying to myself Im in Japan.Id like to do drawings in the style of Japanese.I cant do anything but strike the iron while its hot.I hope to make real progress this year,which I really need to do.Pass 2:Power of ArtRembrandt Vocabularydisgrace dsgr

47、es n.丢脸，耻辱defamation defmen n.诽谤，中伤glittering gltr adj.华丽夺目的，闪耀的mutilatemju:tletvt.切断，使残缺不全limelight lamlat vt.使受到关注barbarian b:berin n.野蛮人Vocabularyrefinement rfanmnt n.精炼，提纯，极致，优雅cock of the walk 有威望的人amusement park 游乐场town hall 市政厅Task 1:General UnderstandingDirections:Listen to the clip once and

48、 make an inference based on what you have read in the background information and what you have heard in the clip.This clip is probably talking about Rembrandts life when _.A.he was in his apprentice days.B.he was met with cold-shoulders.C.he was in his time of dying.D.he was at the top of his succes

49、s.Key:BTask 2 Blank FillingDirections:Watch the clip again and fill in the following blanks.You are a painter,what is the worst that might happen to you？(1)_ or defamation.No,the worst thing is to have to(2)_ your last piece.What brought Hollands greatest painter to this moment of(3)_？Once Rembrandt

50、d been cock of the walk in a city that couldnt(4)_ glittering,fat,prosperous Amsterdam.But that was then.Now he is living opposite an amusement park,(5)_,knife fights every Friday night.But why is he mutilating his painting?Itd been(6)_ _,but then a decision was made:take it down and something else