TPO 42 听力原文Word下载.docx

TPO 42 听力原文Word下载.docx

《TPO 42 听力原文Word下载.docx》由会员分享，可在线阅读，更多相关《TPO 42 听力原文Word下载.docx（15页珍藏版）》请在冰豆网上搜索。

Oh,sorryaboutthat.

Iprobablyhaveafewextraprintoutsonhand.

Great!

Oh,andInoticedonthesyllabuswe'

llbelearningaboutandeventuallywritingapaperon"

TheBauhaus1styleofart"

?

Soundsinteresting.Tmlookingforwardtoit.

Right,buttechnicallyitdoesn'

tsayBauhausstyleofart.ItonlysaystheBauhaus.

Oh,what'

sthedifference?

Well,theBauhausisnotreallyanartisticstylelikecubism.

ItwasthenameofanartanddesignschoolinGermanyintheearly20thcentury.

TheBauhauswasstartedasanexperimentineducation,andoneground-breakingtechniqueusedinitsteachingwasthatstudentsactivelyparticipatedinworkshopsinsteadofjustsittinginclasses.

Interesting!

Idon'

thavemuchbackgroundinorderoranything.

I'

maneconomicsmajorandTmtakingthisclassasanelective,decidedIwantedtobroadenmyawareness,trysomethingnew!

Excellent!

I'

mreallygladtohearthat.

So,wasthefocusoftheBauhausarchitecture,Imean,IstudiedGermanandBauhaustranslatesinto"

houseforbuilding"

...

Well,thefoundingdirectorwasanarchitect.However,heaimedtocombineanincrediblybroadvarietyoffineartsandcraftsunderoneartisticroof.

Asamatteroffact,whentheBauhausfirstopened,itwaswithoutanarchitecturedepartmentforseveralyears.

Butlater,itbecameveryinfluentialinarchitecture.

SoIwasn'

tallwrong.

You'

llseeonthesyllabusthatyouarerequiredtovisittheRutherfordMuseumexhibit.

TheexhibitwillhelpyouseethatthereisnosingleBauhausstyle.

Ithinkit;

srefreshingthatthisparticularexhibitdepartsfromthestandardwaysinwhichartfromtheBauhausisoftenpresented.

Whichare?

Well,forexample,byaspecificartist.

Ithinkit'

samistaketofocusonasingleBauhausartistandthatperson'

sindividualspecialty.Imean,thedifferentartistsfromtheschoolcreateddifferentthings:

fabric,sculpture,furniture,graphicdesign,paintings,eventheatricalperformances.

TheexhibitintheRutherfordMuseumuniteallthesespecialtiesthroughconnectingthemessuchasmotionorthebody.

Soundsfascinating!

Say,I'

veheardofsomethingaboutdiscountnightsatthatmuseum?

Weekendsarefullprice.

It'

stypicallybesttogoThursdaynights.

That'

sstudentdiscountnight,50%offHowever,nextWednesdayisopentothepublicforfree.It'

saspecialpromotion.SoIknowwhatIwoulddo.

Lecture1

Listentopartofalectureinanarthistoryclass.

Iamsureyou'

veallbeentomuseum,whereyou'

veseenbeautifulwhitemarblestatuessculptedbytheGreeksandRomans,oratleastthatyou'

veseenphotosofsuchstatues,right?

We'

vecometoexpecttheseclassicalGreekandRomanstatuestobemonochrome,justonecolor,whiteskin,whitehair,whiteeyes,whiteeverything,thenaturalcolorofthemarblethey'

recarvedfrom.

Now,theidealofplainwhitesculpturegoesbackto15thcenturyEuropewhenRenaissanceartistsrediscoveredancientGreekandRomanculture.

Theywereinspiredbysculpturesthatappearedmonochromesotheycreatedwhitemarblestatues.

TheimpactoftheseRenaissancestatues,suchasMichelangelo'

sDavid,gaverisetonewstandardsforsculpture,standardsthatemphasizedformratherthancolor.

Butwhatifmanyofthoseancientstatueswereoriginallypolychrome,coloredfromheadtotoe?

Earlyinthe19thcentury,archeologistsfoundtracesofpaintonancientsculpturesandsincethen,classicalarthistorianshavebeguntorealizethatGreekandRomanmarblesculptureswereoriginallycolored.

Evenifanancientmarblestatuedoesn'

thaveanyvisibletracesofpaint,thatdoesnotmeanitwasoriginallymonochrome.

Inmanycases,thepigmentwould'

vesimplydeteriorated.

Ancientartistsusedmineral-basedpaintswithorganicbindingmediathatwould'

vedisintegratedonitsownovertime.

Inothercases,thepigmentmayhavebeenweatheredawaywhileexposedtotheelementsorsomeonemayhaverigorouslycleanedthestatuesandunknowinglyremovedthelasttracesofpigment.

So,thefactis,wedohaveevidenceofpolychromesculpturesfromGreeceandRomefromthe7thcenturyB.C.E.allthewaythroughatleastthethirdorfourthcenturyC.E.

snowgenerallyacceptedthatmost,maybeevenallmarblesculpturesfromthattimeperiod,receivesomekindofsurfacetreatment,liketheapplicationofpigments,coloredstonesormetalsthatwould'

vemodifiedtheircolor.

Sodoweinterpretthestatuedifferentlyifwehadknownithadoriginallybeenpolychrome?

Ifeelstronglywhenitcomestothis.

Amarblesculpturethathadbeencoloredhasanotherlayerofmeaningthatwasmeanttoaffecttheviewer.

Asarthistorians,wemusttrytointerprettheintentionsoftheartists.

Whatweretheartiststryingtoachieve?

Certainfeaturesofthesculpturewerehighlightedthroughcolor,weremadetostandout.

Inotherwords,theycausedtheviewertofocusoncertainfeatures.

Andcertaincolorsrepresentedcertainthingstotheancientartistsandcultures.

Acolormightsymbolizeheroism,divinityoryouth.

OneexampletoconsideristhestatueofRomanemperorAugustus.

ThisparticularstatueofAugustusthatIamreferringtowasdiscoveredjustoutsideofRomein1863andwasinterrificcondition.

sabout2meterstall,justlargerthanlifesize.

Itwasmadefromanexpensivehighqualitytypeofmarbleandwasobviouslycarvedbyanexpert.

Now,itstillhadvisibletracesofcoloronthehair,eyesanditsclothingandarmor.

Thepaintshavebeenverycarefullystudied.

Anditturnsoutthatthecolorsweren'

tjustfromanypigments.

Theywerefromexpensivepigments.

TheuseofthesepigmentsshowedtheimportanceofAugustusandthatheshouldbehonored.

Andlet'

sconsidertheextensivetracesofaredpigmentthatwerefoundonthestatue'

scloak.

Thecloakisaspecialgarmentthatwastraditionallywornbyanemperoronthebattlefield.

Andinreallifeitwasaredcolor,whichtotheRomans,signifiedtheemperor'

sauthority,militaryandpoliticalauthority.

Ok,Iwon'

tpointoutanyfurtherdetailsaboutthecolorsontheAugustusstatue,becauseyoucanalreadybegintoseethattherewasculturalimportanceassociatedwiththecolors,symbolism,whichshouldhelpusunderstandthestatusbetter.

Therearemany,manymoresculpturesthathavetracesofpigmentsleftonthemandwehavethetechnologythesedaystobeabletocarryouteffectivestudiesofthesepigments.

Thereisalotofworktobedone,butitneedstobedonefast.

LikeIsaidbefore,thesepigmentsdeterioraterapidlysowereallyneedtodotheresearchbeforethetracesaregonesothatwecanincreaseourunderstandingofancientpolychromesculpturesandthecultureswhichcreatedthem.

Lecture2

Listentopartofalectureinanastronomyclass.

Beforewecontinuetalkingaboutthepropertiesofindividualgalaxies,it'

sworthtalkingaboutthedistributionofgalaxiesinspace.

Effortsatmappingorsurveyingtheuniverse,makingasortofatlasofgalaxies,havebeengoingonformorethan50years.

AndthecreatorsofthefirstmajormapoftheuniverseweretheastronomersHarlowShapley*1andAdelaideAmes.

In1932,ShapleyandAmes3cataloguedthepositionsof1250galaxiesbyphotographingwhattheysawthroughtheirtelescopes.

Andtheymadeanimportantdiscovery.

Theirsurveywasthefirsttoindicatethatgalaxieswerenotdistributeduniformlyinspace.

Someareashadalotofgalaxies,andotherareashadjustafew.Anotherwayofputtingthisistosaythatgalaxiesareclustered.

They'

renotspreadevenlythroughouttheuniverse.

Sowehavestarsgroupedtogetheringalaxiesandgalaxiesgroupedtogetherinclusters.Okay?

Now,aftertheirsurvey,otherastronomerscompletedsurveysthataddedtothenumberofclusterscatalogued.

OneofthemostimportantwasdonebytheastronomerGeorgeAbell4

Abellcompletedhissurveyin1958.

ItaddedconsiderablytothemapmadebyShapleyandAmes.

Infact,hismaphadover2700clustersofgalaxies.

Thatis2700clustersofgalaxies!

Notjustgalaxies.

Butthere'

sanotheraspectofAbell'

sworkthatmakesthismapsovaluabletoastronomers.

Heintroducedaclassificationschemeforthegalaxyclusters5

Now,surveyscompletedsinceAbell'

shavecataloguedadditionalgalaxiesandsurveyedmoreouterspace,butnoonehasimproveduponAbell'

sclassificationscheme.

Infact,theAbellcatalogueisusedasastartingpointforastronomerswhostudytheseobjects.

Oneofthereasonshisschemehasbeensowidelyacceptedisbecauseofhissamplesize.

Withalltheclustersinhissample,hecoulddeterminethedifferentcharacteristicsofclusters.

Andthesecharacteristicsformthebasisofhisclassificationscheme.

Now,twoofthecharacteristicscrucialtohisclassificationwererichnessandsymmetry.

Sowhatdidhemeanby"

richness"

Well,basicallyitreferstothenumberofgalaxiestherearewithinacluster.

Isthatthesameasdensity?

sright.Bothr