《文化萬(wàn)象：英語(yǔ)視聽(tīng)說(shuō)（高級(jí)篇）》課件Chapter 7 Art

Part1:FamousQuotesPart2:BackgroundknowledgePart3:ListeningandSpeakingPracticePart4:聽(tīng)說(shuō)秘籍之聽(tīng)寫（Dictation）Chapter7ArtPart1:FamousQuotesThepurposeofartiswashingthedustofdailylifeoffoursouls.---PabloPicasso藝術(shù)的目的，就是從靈魂中洗去日常生活之塵。

——巴勃羅畢加索Creativityisallowingyourselftomakemistakes.Artisknowingwhichonestokeep.---ScottAdams創(chuàng)造力允許你犯錯(cuò)誤，藝術(shù)則告訴你哪些錯(cuò)誤值得保留。

——司各特亞當(dāng)斯Part2:BackgroundknowledgeOnArtandArtists(ByErnstH.Gombrich,TheStoryofArt)Vocabularybison [?ba?sn] n.野牛hoarding [?h?:d??] n.囤積，積蓄rebuff [r??b?f]

vt.斷然拒絕，阻礙stumbling-block n.絆腳石chubby [?t??bi] adj.胖乎乎的，圓胖的loathe [l??e] vt.極不喜歡，厭惡crucifix [?kru:s?f?ks] n.耶穌受難像wizard [?w?z?d] n.男巫，奇才wrinkly [?r??kli] adj.有皺紋的preconceive [?pri:k?n'si:v] vt.預(yù)想，預(yù)設(shè)theSavior ['se?vj?] （大寫）救世主thePassion （單數(shù)）（基督教里）耶穌的受難TherereallyisnosuchthingasArt.Thereareonlyartists.Oncethereweremenwhotookcoloredearthandroughedouttheformsofabisononthewallofacave;todaysomebuytheirpaints,anddesignpostersforhoardings;theydidanddomanyotherthings.ThereisnoharmincallingalltheseactivitiesartaslongaswekeepinmindthatsuchawordmaymeanverydifferentthingsindifferenttimesandplacesActuallyIdonnotthinkthatthereareanywrongreasonsforlikingastatueorapicture.Someonemaylikealandscapepaintingbecauseitremindshimofhome,oraportraitbecauseitremindshimofafriend.Thereisnothingwrongwiththat.Allofus,whenweseeapainting,areboundtoberemindedahundred-and-onethingswhichinfluenceourlikesanddislikes.Aslongasthesememorieshelpustoenjoywhatwesee,weneednotworry.Itisonlywhensomeirrelevantmemorymakesusprejudiced,whenweinstinctivelyturnawayfromamagnificentpictureofanalpinescenebecausewedislikeclimbing,thatweshouldsearchourmindforthereasonsfortheaversionwhichspoilsapleasurewemightotherwisehavehad.Therearewrongreasonsfordislikingaworkofart.Mostpeopleliketoseeinpictureswhattheywouldalsoliketoseeinreality.Thisisquiteanaturalpreference.Wealllikebeautyinnature,andaregratefultotheartistswhohavepreserveditintheirworks.Norwouldtheseartistthemselveshaverebuffedusforourtaste.WhenthegreatFlemishpainterRubensmadeadrawingofhislittleboy,hewassurelyproudofhisgoodlooks.Hewantedus,too,toadmirethechild.Butthisbiasfortheprettyandengagingsubjectisapttobecomeastumbling-blockifitleadsustorejectworkswhichrepresentalessappealingsubject.ThegreatGermanpainterAlbrechtDuerercertainlydrewhismotherwithasmuchdevotionandloveasRubensfeltforhischubbychild.Histruthfulstudyofcarewornoldagemaygiveusashockwhichmakesusturnawayfromit—andyet,ifwefightagainstourfirstrepugnancewemayberichlyrewarded,forDuerer’sdrawinginitstremendoussincerityisagreatwork.Infact,weshallsoondiscoverthatbeautyofapicturedoesnotreallylieinthebeautyofitssubjectmatter.Thetroubleaboutbeautyisthattastesandstandardsofwhatisbeautifulvarysomuch.

Whatistrueofbeautyisalsotrueofexpression.Infact,itisoftentheexpressionofafigureinthefaintingwhichmakesuslikeorloathethework.Somepeoplelikeanexpressionwhichtheycaneasilyunderstand,andwhichthereforemovesthemprofoundly.Whentheseventeenth-centuryItalianpainterGuidoRenipaintedtheheadofChristonthecross,heintended,nodoubt,thatthebeholdershouldfindinthisfaceallagonyandallthegloryofthePassion.ManypeoplethroughoutsubsequentcenturieshavedrawnstrengthandcomfortfromsucharepresentationoftheSavior.Thefeelingitexpressesissostrongandsoclearthatcopiesofthisworkcanbefoundinsimplewaysideshrinesandremotefarmhouseswherepeopleknownothingabout“Art”.Butevenifthisintenseexpressionoffeelingappealstousweshouldnot,forthatreason,turnawayfromworkswhoseexpressionisperhapslesseasytounderstand.TheItalianpainteroftheMiddleAgeswhopaintedthecrucifixsurelyfeltassincerelyaboutthePassionasdidReni,butwemustfirstlearntoknowhismethodsofdrawingtounderstandthesedifferentlanguages,wemayevenpreferworksofartwhoseexpressionislessobviousthanReni’s.Justassomepreferpeoplewhousefewwordsandgesturesandleavesomethingtobeguessed,sosomepeoplearefondofpaintingsorsculptureswhichleavethemsomethingtoguessandponderabout.Inthemore“primitive”periods,whenartistswerenotasskilledinrepresentinghumanfacesandhumangesturesastheyarenow,itisoftenallthemoremovingtoseehowtheytriedneverthelesstobringoutthefeelingtheywantedtoconvey.ButherenewcomerstoartareoftenbroughtupagainstanotherDifficulty.Theywanttoadmiretheartist’sskillinrepresentingthethingstheysee.Whattheylikebestarepaintingswhich“l(fā)ookreal”.Idonotdenyforamomentthatthisisanimportantconsideration.Thepatienceandskillwhichgointothefaithfulrenderingofthevisiblewouldareindeedtbeadmired.ButwhowouldsaythatRembrandt’sdrawingofanelephantisnecessarilylessgoodbecauseitshowsfewerdetails?IndeedRembrandtwassuchawizardthathegaveusthefeeloftheelephant’swrinklyskinwithafewlinesofhischalk.Peopleareevenmoreoffendedbyworkswhichtheyconsidertobeincorrectlydrawn,particularlywhentheybelongtoamoremodernperiodwhentheartist“oughttohaveknownbetter”.Asamatteroffact,thereisnomysteryaboutthesedistortionsofnatureaboutwhichwestillhearcomplaintsonmodernart.EveryonewhohaseverseenaDisneyfilmoracomicstripknowsallaboutit.Heknowsthatitissometimesrighttodrawthingsotherwisethantheylook..Therearetwothings,therefore,whichweshouldalwaysaskourselvesifwefindfaultwiththeaccuracyofapicture.Oneiswhethertheartistmaynothavehadhisreasonsforchangingtheappearanceofwhathesaw.Weshallhearmoreaboutsuchreasonsasthestoryofartunfolds.Theotheristhatweshouldnevercondemnaworkforbeingincorrectlydrawnunlesswehavemadequitesurethatwearerightandthepainteriswrong.Ifwetrytoforgetallwehaveheardaboutgreengrassandblueskies,andlookattheworldasifwehadjustarrivedfromanotherplanetonavoyageofdiscoveryandwereseeingitfrothefirsttime,wemayfindthatthingsareapttohavethemostsurprisingcolors.Nowpainterssometimesfeelasiftheywereonsuchavoyageofdiscovery.Theywanttoseetheworldafreshandtodiscardalltheacceptednotionsandprejudicesaboutfleshbeingpinkandapplesyelloworred.Itisnoteasytogetridofthesepreconceivedideas,buttheartistswhosucceedbestindoingsooftenproducethemostexcitingworks.Itistheywhoteachustoseeinnaturenewbeautiesofwhoseexistencewehaveneverdreamt.Ifwefollowthemandlearnfromthem,evenaglanceoutofourownwindowmaybecomeathrillingadventure.II.Whatis“Art”?ByRichardHickman,WhyWeMakeArtandWhyItIsTaughtVocabularyprevalent [?prev?l?nt]adj.流行的，普遍存在的accommodate [??k?m?de?t]vt.容納，為……提供空間paradoxically [?p?r?'d?ks?kl?]adv.荒謬地，自相矛盾地commodification [?m?d?f??ke??n]n.商品化

ephemeral [??fem?r?ladj.短暫的，瞬息的supplant

[s??plɑ:nt]vt.取代（尤其是年老或落后的事物）elite

[e??li:t]n.精英，上層集團(tuán)

fuzzy [?f?zi]adj.模糊的，含糊不清的ambiguity [??mb??gju:?ti]n.模棱兩可的話，意義不明確induct

[?n?d?kt]vt.正式吸收（成為成員）residein 存在，屬于，歸于Itwasnotuntilthelate18thcenturythatthedistinctionbetween‘a(chǎn)rtisan’and‘a(chǎn)rtist’becamemoregeneral;thetermssharethesameroot–theLatinartisorartem,whichreferstoskill.Dictionariesgiveatleast14differentsensesoftheword‘a(chǎn)rt’asitrelatestoskill;onlyoneoftheseisinthesenseofwhatisoftenreferredtoas‘FineArt’.Thegeneralassociationofartwithcreativityandtheimaginationinmanysocietiesdidnotbecomeprevalentuntilthelate19thcentury.Inindustrializedsocietiesacommonlyacceptednotionofwhat‘a(chǎn)rt’isincludestheconceptsofnotjustskillbutalsoexpressionandorganization,inadditiontocreativityandimagination..Thedistinctionbetween‘a(chǎn)rt’and‘design’andthatbetween‘a(chǎn)rt’and‘craft’isrelativelyrecentandisgenerallyregardedbymanycommentatorsasawesternphenomenon.However,therearecertaindistinctionsthatcanbemadeandsomeauthoritieshavefeltitnecessarytodistinguishbetween‘a(chǎn)rt’and‘craft’,drawingattentiontowhataresometimesconsideredtobebasiccharacteristicsofcraftthatareabsentinart.Firstly,craftsinvolvetheideaofanendproduct,suchasabasketorpot,whichhassomeutility;secondly,thereisadistinctionbetweentheplanningandtheexecutionofacraft;thirdly,everycraftrequiresaparticularmaterialthatistransformedintoanendproductandwhichtherebydefinestheparticularcraft.Thesethreedistinctionsbetweenartandcraftmightapplyalsotoartanddesign,beingmoreamatterofemphasisanddegree,ratherthanofkind.Theconceptofarthasundergonemanychanges.Itdoesnotresideinartobjectsbutinthemindsofpeople;thecontentofthosemindshaschangedradicallytoaccommodatenewconceptsandmakenovelconnections.Itisperhapsoddthatwhatispopularlyreferredtoas‘modernart’isoftenworkfromtheearlypartofthelastcentury.‘Modernism’isapreferabletermand,paradoxically,manypeopleappeartobemoreawareofthistermasaresultofthecomingofageof‘postmodernism’.Itis,ofcourse,ironicthattheworkofartists,whoarealreadyvaluedbytheartestablishmentas‘importantfigures’,choosetoattempttosubvertthecommodificationofartbysendingtheirworkasafax,bymakingmultiplecopiesorbymakingitoutofephemeralmaterial.Theirony,intruepost-modernistfashion,iscompoundedwhensuchworkisitselfconsideredtobeofvalueasacommodity,representing‘cuttingedge’contemporaryart.Therealirony,however,isthatmuchofwhatpassesforcontemporaryartisevenmoreinaccessiblethanthemodernistartitsupplants.Morethanever,contemporaryartisinneedofinterpretationbycriticsbeforemanypeoplecanbegintoappreciateit,bywhichtimepotentialviewerswillhavelostinterestorwillhavedeemedthatsuchartisonlytobeviewedbyprivilegedelite.

Artremainsacontestedconcept,allthemoresowhenweexaminetheshakyfoundationsuponwhichitisbuilt.Somemightsaythat‘a(chǎn)rt’issuchafuzzyconceptwithcontradictionandambiguitythatweneedtosub-dividewhatcurrentlycomesunderitsumbrellaintoseveraldifferentconcepts,orthatartitselfisbutoneaspectofabroaderconceptofvisualculture.Ofcentralsignificanceistheneedforthoseconcernedwithinductingyoungpeopleintoagreaterunderstandingoftheirworldtoexaminecarefullytheirownpresuppositionsaboutartanditsrelationtothatworld.Part3:ListeningandSpeakingPracticePass1:PaintedwithWordsVocabularyego [?i:g??]n.自大，自我意識(shí)avant-garde [??v??'ɡɑ:d]n.（藝術(shù)的）先鋒派palette [?p?l?t]n.調(diào)色盤，調(diào)色板bearing [?be?r??]n.方位，（用羅盤測(cè)定的）方向cicada [s??kɑ:d?]n.蟬depression [d??pre?n]n.情緒低落，抑郁bipolar

[?p??l?(r)]adj.雙向的，雙極的disorder

[d?s??:d?(r)]

n.（身心機(jī)能的）紊亂studio [?stju:di??]n.工作室，畫室Vocabularycollegiate [k??li:d?i?t]adj.集體組織的combustible

[k?m?b?st?bl]adj.易燃的takeitstoll(onsb.) （向……）收費(fèi)，（讓……）付出代價(jià)livercomplaint 肝臟疾病onend 連續(xù)地Arles 【地名】（法國(guó)）阿爾勒Provence 【地名】（法國(guó)）普羅旺斯Gauguin 高更，法國(guó)著名后印象派畫家Brittany 【地名】布列塔尼，法國(guó)西北部一地區(qū)Task1:MakingInferencesDirections:Watchtheclipandtrytofigureouttheidentityofthefirst-personmonologist(獨(dú)白者)init.Givesomereasonstosupportyouridea.______________________________________________________

_______________________________________________________

ThemonologistmustbethefamousDutchpainterVincentvanGogh,because:1)wheatfieldsisapopularsubjectofhispaintings;2)thepaintingusedasthebackgroundisofhischaracteristic;3)itwasvanGoghwhoenjoyedabsenceofcolorinhis20sandadoptedvividcolorslaterwhenhewasinsouthernFrance.Task2:ListeningComprehensionDirections:ListentothematerialandchoosethebestanswerfromthechoicesmarkedA),B),C)andD)..1）WhydidVincentleaveParisforArles?Hewasofferedanavant-gardejobthere.Helongedforcountrysidepeace.HehadayellowhouseinArles.Hewantedtoimprovehispaintingskills.2）WhichofthefollowingstatementistruewithVincentinArles?HethoughthewasinJapan.Thecharmofcoloreffectsmadehimfeelquiteblue.Hesettoworklongafterhearrived.Hispalettebecameincreasinglyvivid.3）HowdidthingsdevelopforVincentinArles?Hesufferedfrombipolardisorderforhavingnofriends.Somethingwentwrongwithhisliveragain.Heestablishedanartisticcolony.Hebegantobuytoomuchfoodhedidnotneed.Keys:1)B 2)D 3)ATask3:DubbingPracticeDirections:Watchthe“monologue”clipacoupleoftimesandrepeatthewordsthatyou’vejustheardsentencebysentence.ThenturndownitsvolumeanddubthismonologueuntilyousoundjustliketheactorBenedictCumberbatch.Belowisthereference.“Nowthat…,I’mbeginningto...Formyself,I’m…Ieven…Andthereyouare,I…Ifonly…thenIwas…orrather,...Butthis!Idon’tneed..,because...I’dliketo…Ican’tdoanythingbut...Ihopeto…,whichIreallyneedtodo.”

NowthatI’vefoundmybearingsalittlemore,I’mbeginningtoseetheadvantageshere.Formyself,I’minbetterhealthherethaninthenorth.Ievenworkinthewheatfieldinthemiddayinthefullheatofthesunwithoutanyshadewhatever.Andthereyouare,Irevelinitlikeacicada.IfonlyIhadknownthiscountrywhenIwas25insteadofcominghereat35…thenIwasenthusiasticaboutgreyorrather,absenceofcolor.Butthis!Idon’tneedJapanesepaintshere,becauseIamalwayssayingtomyselfI’minJapan.I’dliketododrawingsinthestyleofJapanese.Ican’tdoanythingbutstriketheironwhileit’shot.Ihopetomakerealprogressthisyear,whichIreallyneedtodo.Pass2:PowerofArt—RembrandtVocabularydisgrace [d?s?gre?s]n.丟臉，恥辱defamation

[?def??me??n]n.誹謗，中傷glittering [?gl?t?r??]adj.華麗奪目的，閃耀的mutilate

[?mju:t?le?t]

vt.切斷，使……殘缺不全limelight [?la?mla?t]vt.使……受到關(guān)注barbarian [bɑ:?be?ri?n]n.野蠻人Vocabularyrefinement [r??fa?nm?nt]n.精煉，提純，極致，優(yōu)雅cockofthewalk 有威望的人amusementpark 游樂(lè)場(chǎng)townhall 市政廳Task1:GeneralUnderstandingDirections:Listentothecliponceandmakeaninferencebasedonwhatyouhavereadinthebackgroundinformationandwhatyouhaveheardintheclip.ThisclipisprobablytalkingaboutRembrandt’slifewhen______.hewasinhisapprenticedays.hewasmetwithcold-shoulders.hewasinhistimeofdying.hewasatthetopofhissuccess.

Key:BTask2BlankFillingDirections:Watchtheclipagainandfillinthefollowingblanks.

Youareapainter,whatistheworstthatmighthappentoyou？(1)___________ordefamation.No,theworstthingistohaveto(2)_________yourlastpiece.WhatbroughtHolland’sgreatestpaintertothismomentof(3)______________？OnceRembrandt’dbeencockofthewalkinacitythatcouldn’t(4)_______________—glittering,fat,prosperousAmsterdam.Butthatwasthen.Nowheislivingoppositeanamusementpark,(5)_______________________________,knifefightseveryFridaynight.Butwhyishemutilatinghispainting?It’dbeen(6)_____________________________________,butthenadecisionwasmade:takeitdownandsomethingelsetofillthespace.DisgracecutoffartisticsuicidegetenoughofhimdrunksthrowinguponhisdoorstepshangingonthewallsofAmsterdamtownhallTask3BackTranslationDirections:PleasewatchtheclipattentivelyandthentranslatethefollowingChinesesentencesintoEnglish.這是個(gè)殘忍的懲罰，最可怕的懲罰。倫勃朗何至于受到這樣的懲罰呢？因?yàn)樗慌c時(shí)尚同步，畫風(fēng)中帶著不受任何畫派約束的鮮明個(gè)性。但那個(gè)時(shí)候他對(duì)雕琢之后的精致美并不感興趣，他厭倦了。他創(chuàng)作的是我們，你我這樣，有血有肉的人。藝術(shù)之所以存在，是要展示人類生存的真實(shí)面貌。一直以來(lái)，倫勃朗為此感到自豪榮耀，但這最終卻也成為了他的麻煩。Key:Itwasabrutalpunishment,theworst.ForwhatisexactlyRembrandtpunished?Foroutofstepwithmoderntaste,forpaintinglikeabarbarian.Butthenheisn’tinterestedinrefinementbeauty;itboreshim.Hedoesus,fleshandblood,youandme.Artthatexistsistotellthetruthaboutthehumancondition.That’shisover-lastingglory,butintheendthat’salsogoingtobehisproblem.Pass3:TheArtCityofLondonVocabulary

academy

[??k?d?mi]n.學(xué)院，?？茖W(xué)校proportion

[pr??p?:?n]

n.比例，比率resonance [?rez?n?ns]n.共鳴，反響instructive [?n?str?kt]adj.指導(dǎo)性的coincidence [k????ns?d?ns]n.巧合，小概率事件Task1:Arrangement.Directions:Pleaselistentotheclipandrearrangethefollowingsentencesinalogicalorder.Howdifficultisitforyoungartiststobesuccessful,andtobeabletomakealivingfromtheart？TheteachinginGoldSmithisstillbasedonthesameprinciplehowever.Thiswasin1980sand90swhenalargeproportionofthestarsoftheso-calledBritishyoungartistswerestudentsofGoldSmith.TheartcityofLondonoffersyoungartistsextensivetraininginmanyoutstandingartacademiesandcolleges.Key:4；3；2；1Task2:TrueorFalseDirections:Watchtheclipagainandtellwhetherthefollowingstatementsaretrueorfalse(T/F).()ItisagoodopportunitytoexperienceagreatvarietyofBritishyoungartwhentheartstudentspresenttheirworkstothepublicintheopenstudioseveryJune.()ManyGoldSmithgraduatesarefamousaroundtheglobe,sovisitorsandstudentsexpectalotofthepublicstudios.()InGoldSmithCollege,teachersteachthestudentsinaninstructiveway,whichisdifferentfromotherartcolleges.()Luckplaysthemostimportantpartinbeinganartist.Keys:1)T;2)T;3)F;4)FTask3:QuestionsandAnswersDirections:Watchtheclipagainandanswerthefollowingquestionsincompletesentencesorallyaccordingtowhatyouhavejustheard.WhatdoyouknowaboutMichaelCraigMartin？WhyarethestudentstreatedasartistsfromthefirstdayinGoldSmithCollege？Howcananartstudentbesuccessful？

1)MichaelCraigMartinlefthismarkasavaluedteacheratoneofthemostfamousofthese—GoldSmithCollege.WhyarethestudentstreatedasartistsfromthefirstdayinGoldSmithCollege？2)“Luckplaysabigpartinbeinganartistdoingtherightthingattherightmoment,beinghavingseenbytherightperson.Allthecoincidencesareextremelyimportant.Butifyoudon’thavethework,thecoincidencesdon’twork.”Task4:OralPracticeDirections:Readthefollowingstatements,andselectonetodiscusswithyourdeskmatebeforeyoudelivera1-minutepresentationonit..ComparedwithNewYork,Idon’tthinkLondondeservesthetitle“artcity”.Thereisnosuchthingasart.Thereareonlyartists.Itisverydifficultforthemajorityofartiststosupportthemselvesfinancially.Pass4:EyeonBrazil:GraffitiVocabularycanvas [?k?nv?s]n.帆布，油畫布vandalism [?v?nd?l?z?m]

n.故意破壞，毀壞favela [f??vel?]n.（巴西的）棚屋，平民窟calligraphy

[k?'ligr?fi]n.書法manipulate [m??n?pjule?t]vt.巧妙地控制，操縱catchupwith 終于找到，終于查到RiodeJaneiro [?ri(:)?ud?d???ni?r?u]【地名】（巴西首都）里約熱內(nèi)盧Task1:GeneralUnderstandingDirections:Watchthisclipcarefully,anddefinetheword“graffiti”withyourownwordsinsimpleEnglish.

Key:Graffiti

iswordsorpicturesthatarewrittenordrawninpublicplaces,forexampleonwallsorposters.Task2:TrueorFalseDirections:Watchthevideoclipagainandtellwhetherthefollowingstatementsaretrueorfalse(T/F):()Thefamousartistsconsiderothers’graffitivandalism.()Fortheartists,graffitiisameanstoexpresstheirideasandopentheirpersonalitiestothegeneralaudience.()Wheneverhegoesouttopaint,thefamousartisthasalreadygotsomeinspiration.()Intheeyesofthisartist,graffiti,likemanyotherthings,shouldbeart.Keys:1)F;2)T;3)F; 4)TTask3:Self-dictationDirections:Pleasedictatethe“graffiti”cliponapieceofpaper.Youmaypausewordbywordatthebeginning;graduallypausephrasebyphrase;andthensentencebysentence.Youmaypauseanywhereyouneedduringthedictation.Payattentiontothestress,rhythm,linkage,toneifthereareany.

Key:Therealgraffiti,thekindinwhichyougettoexpresswhatyou’rethinking,it’sinevitablyillegal.Whenyougetpermission,thepersonwhogaveyouthepermissionwantstomanipulateyourwork.Andsothewholethingstartsgoingadifferentway,awayfromtheartist’sway.IhavetodowhatIhavetodo.Ican’tleavethesewallsallblankandabandonedhere.Nobodyelsefixesthem,soit’sleftformetotakecareofbusiness.Task4:VisualTranslationDirections:TranslatethewholepassageintoChinese.Pleasenotethatyourtranslationshouldbeinaccordwiththeoriginalmaterialintermsofgenreandstyle.

里約熱內(nèi)盧的墻就是他們的畫布。涂鴉藝術(shù)家認(rèn)為自己的行為構(gòu)成故意破壞甚至有幾個(gè)聯(lián)合起來(lái)，為那些他們眼中的蒼白墻面帶去色彩。今天的《看巴西》節(jié)目終于請(qǐng)來(lái)了一位著名的涂鴉藝術(shù)家，和我們聊聊這個(gè)話題。

對(duì)我來(lái)說(shuō)，涂鴉真的僅僅只是表達(dá)想法的一種方式，把腦子的想的放到街上去。

我喜歡創(chuàng)造不一樣的世界，通過(guò)涂鴉把我的性格展示給觀眾們。

我出門涂鴉之前并沒(méi)有明確的想法，走到要涂鴉的地方，靈感就會(huì)出現(xiàn)在我腦中。我經(jīng)常想起我的朋友們，他們當(dāng)中有些人現(xiàn)在還住在棚戶區(qū)，成天睡覺(jué)，完全和社會(huì)脫節(jié)。他們的里約天堂正在飛速消失。我們得讓他們思考，喚醒他們。

涂鴉首先是藝術(shù)。它是一種藝術(shù)。我知道藝術(shù)的定義，涂鴉非常接近這個(gè)定義。如今很多東西都被當(dāng)成藝術(shù)。但我相信，即使一個(gè)人將名字簽在墻上也是藝術(shù)，因?yàn)樽帜笇儆跁?。涂鴉中有關(guān)懷和愛(ài)。

但是，為一個(gè)地方帶去色彩也很好，棚戶區(qū)破破爛爛的，也有了色彩，有人要去毀掉它，而我們是去鞏固它的。

真正的涂鴉，就是你說(shuō)你要表達(dá)自己想法的那種，不可能不違法。你要是得到涂鴉許可，同意你涂鴉的人一定是要操控你的創(chuàng)作。然后事情整個(gè)就變味了，就不再是藝術(shù)了。我得做我自己必須做的事情。我不能讓這些墻面被人遺忘在這兒，上面一點(diǎn)兒內(nèi)容也沒(méi)有。沒(méi)人來(lái)管這些強(qiáng)，就留給我來(lái)負(fù)責(zé)吧。Pass5:APassionateLifeVocabularyspell

[spel]

n.魅力，咒語(yǔ)benchmark [?bent?mɑ:k]n.基準(zhǔn)，測(cè)量尺度skew

[skju:]vt.歪曲，曲解，影響……的準(zhǔn)確性frock [fr?k]n.長(zhǎng)工作袍wig

[w?g]n.假發(fā)hunch [h?nt?]n.第六感，直覺(jué)Mendelssohn ['mendlsn]（德國(guó)音樂(lè)家）門德?tīng)査葿rahms [brɑ:mz]（德國(guó)音樂(lè)家）勃拉姆斯DukeEllington （爵士音樂(lè)家）艾靈頓爵士

theBeatles 披頭士樂(lè)隊(duì)Task1:MakingInferencesDirections:Listentooneofthecommentsonthemusician(the“comment”clip)andfigureoutwhothemovieisdiscussingaboutaccordingly.Themusicianmustbe______A.Beethoven B.Bach C.Chopin D.MozartKey:BTask2:GeneralUnderstandingDirections:Listentothewholematerialonceandtrytograspitsmainidea.ThenanswerthequestionsorallyeitherinChineseinEnglish.1)Whatisthemusician’spopularimageamongus?__________________________________________________________________________________________________________________________________________2)Whatkindofcharacteristheprogramgoingtoreveal?__________________________________________________________________________________________________________________________________________

Key:1)Ourimageofhimisskewedbystatuesandpaintingsofastern,forbiddingfigureinafrockcoatandapowderedwig.2)Inthisfilm,IwanttobuildanewstatueofBachtoseeifwecandetectabeatingheartandamoreapproachablepersonalityunderneathawig.Task3:BackTranslationDirections:PleasewatchtheclipattentivelyandthentranslatethefollowingChinesesentencesintoEnglish.他是作曲家中的萬(wàn)世師表，影響了后世不計(jì)其數(shù)的音樂(lè)家，從莫扎特到門德?tīng)査桑瑥呢惗喾业讲匪?，并不僅限于古典音樂(lè)界，從艾靈頓爵士到披頭士，爵士音樂(lè)家和流行音樂(lè)家折服于他的魅力，學(xué)習(xí)他的作曲技巧。他是永遠(yuǎn)的泰山北斗。JohannSebastianBachistheultimatecomposers’composer,influencingcountlessotherswhofollowedhim.FromMozarttoMendelssohn,fromBeethoventoBrahms.Andnotjustinclassicalmusic.FromDukeEllingtontotheBeatles.Musiciansinjazzandpophavealsofallenonhisspellandlearntfromhistechniques.Bachisstillthebenchmark,amusicalgoldstandard.Task4:BlankFillingDirections:Watchtheclipagainandfillinthefollowingblanks.Overalifetimeofgettingtoknow,singingandconductingBach’smusic,I’veformedaseriesofhunchesabout(1)_________________________.Inthisfilm,I’mgoingtotestthemoutwithfellowBach(2)________________________,andperformsomeofhismostimportantworkstoseewhattheycantellusabouttheextraordinarymanwhocomposedthem.“Hereallythrowseverythingatit.Youknow,it’ssuchof(3)__________________________________whatistobeahumanbeing.”“Ithinkhe’sascientistatwork,andinsteadofusingthelanguageofmathematics,he’sascientistusingmusic.”“Thelevelofinspirationonwhichheworksonis,Ithink,unparallel,intherestofmusic.”Suchsplendorandwonderfulnessthat,onitsown,convincemethatthereisaGod,(4)____________________________________.Inthisfilm,IwanttobuildanewstatueofBachtosee(5)_____________________________________________.hispersonalityandcharacterenthusiastsandscholars

anoverwhelmingexploration;ifIfeelinclinedtotakethatconclusionfromitifwecandetectabeatingheartandamoreapproachablepersonalityunderneathawigPass6:Mozartvs.MadonnaVocabularytitan

[?ta?tn]n.巨人，成就非凡的人reconciliation

[?rek?ns?li?e??n]n.和解accusation [??kju?ze??n]n.指責(zé)，譴責(zé)repose

[r??p??z]n.寧?kù)o，安詳，思想平和geisha [?ge???]n.（日本）藝妓，歌妓diva

[?di:v?]n.著名女歌唱家（尤指歌劇女主角）embodiment

[?m?b?dim?nt]n.具體化，化身choreographer

[?k?r?'?ɡr?f?(r)]

n.編舞者taxlyrical

[t?ks?l?r?kl]興高采烈的討論，熱烈地談?wù)揂ndrogynous

[?n?dr?d??n?s]adj.雌雄同體的

（麥當(dāng)娜一專輯的名字）Task1:GeneralUnderstandingDirections:Watchthecliponceandtrytograspitsmainidea.YoumaydothiseitherinChineseorEnglish.Task2:WordsHuntingDirections:TryyourbesttospottheequivalentEnglishexpressionsofthefollowingwordsandexpressionswhilelisteningtothe“powerofMozart”clip.指著人的鼻子訓(xùn)斥_____________________________以暴制暴 _____________________________取得和解的空間_____________________________心平氣和的空間_____________________________尋求慰藉的空間_____________________________finger-pointingaccusations

thespaceofreconciliationthecycleofviolencethespaceofreposethespaceofrefugeTask3:QuestionsandAnswersDirections:Listento

the“Madonna”clipandtrytoanswert