artVIChapter
牛津英语9B单词表(Word-List-by-Chapter)
牛津英语9B单词表(Word-List-by-Chapter)Word List by Chapter Chapter 1accidentally[,æksi'dentli] adv. 意外地;偶然地act[ækt]v. 表演,扮演;行动anywhere['enihwεə]adv. 在任何地方;无论何处atmosphere['ætməsfiə]n. 气氛;大气author['ɔ:θə]n. 作者,作家billion['bɪljən]num. 十亿burn[bə:n]v. 燃烧;使烧伤;使晒黑carbon dioxide ['kɑ:bən daɪ'ɒksaɪd] n.二氧化碳classical['klæsikəl]adj. 古典的;经典的club sandwich[klʌb 'sænwidʒ]总会三明治comedy['kɔmidi]n. 喜剧compare[kəm'pεə]v. 比较;对照consumer[kən'sju:mə]n. 消费者;用户,顾客cover['kʌvə]n. 盖子;封面damage['dæmidʒ]n. 毁坏,损害do[du:]v.&aux. 做,干drown[draun]vi. 溺死;淹没flood[flʌd]n. 洪水fuel[fjʊəl]n. 燃料greenhouse['gri:nhaʊs]n. 温室greenhouse effect['gri:nhaʊs i'fekt]n.温室效应incinerator[in'sinəreitə ]n. [环境][炉窑]焚化炉inform[in'fɔ:m]vt. 通知,告知inquire[ɪn'kwaɪə]vt. 询问;查究;问明keep[ki:p]vi. 保持;保留keep in 保持;抑制;继续燃烧lawyer['lɔ:jə]n. 律师leaded['ledid ]v. 促使level['levl]n. 水平线,水平lifeless[laiflis]adj. 无生命的malaria[mə'lεəriə]n. 疟疾;瘴气massive['mæsiv]adj. 巨大的,大规模的,大motor['məʊtə]n. 发动机,马达nitrogen['naitrədʒən]n. 氮occur[ə'kə:]vi. 发生ozone['əuzəun]n. 臭氧;新鲜的空气petrol['petrəl]n. 汽油preference['prefərəns]n. 选择,趋向protective[prə'tektiv]a. 保护的,防卫的rain[reɪn]n. 雨,雨水rain forest[rein 'fɔrist ]雨林,热带雨林respond[ri'spɔnd]v. 回应,回答review[ri'vju:]n. 再检查;批评,评论;复审sandwich['sænwidʒ]n. 三明治(夹心面包片) sound[saʊnd]vi. 听起来;发出声音spray can[sprei kæn ]喷雾壶substance['sʌbstəns]n. 物质,实质,内容,重要性take[teɪk]vt. 拿;拿走;做;服用;乘take in vt. 接受(理解,包括,定阅textbook['tekstbʊk]n. 课本,教科书threat[θret]n. 威胁,凶兆unleaded[,ʌn'ledid ]adj. 无铅的;不包铅的vital['vaitəl]a. 至关重要的warm[wɔ:m]a. 暖和的,温暖的;热情的warmth[wɔ:mθ]n. 温暖;暖和wrecked[rekt ]adj. 失事的(船);迷幻的Chapter 2actually['æktʃuəli]adv. 实际上;事实上aim[eim]n. 目的;目标airline['eəlaɪn]n. 航线;航空公司Auckland['ɔ:klənd ]n. 奥克兰(新西兰港市)Brazil[brə'zil]n. 巴西by mistake 错误地change[tʃeindʒ]vt. 改变;交换climate['klaɪmɪt]n. 气候;风气;思潮;风土confident['kɔnfidənt]a. 自信的deeply['di:pli]adv. 深刻地;在深处;浓浓dump[dʌmp]vt. 倾倒;倾卸educational[,edju:'keiʃənəl]a. 教育的;有教育意义的fence['fens]n. 栅栏;围栏;篱笆foreign['fɔrin]a. 外国的friendship['frendʃip]n. 友谊,友情fund[fʌnd]n. 基金,资金golf[ɡɔlf]n. 高尔夫球hoot[hu:t ]n. 鸣响;嘲骂声;汽笛响声host[həust]n. 主人;节目主持人keep in touch 保持联络Korea[kə'riə]n. 韩国Kyoto[ki'əutəu ]n. 京都(日本城市)messy['mesi]adj. 凌乱的,散乱的;肮脏Mexico['meksikəu]n. 墨西哥(拉丁美洲国家)mistake[mi'steik]n. 错误nappy['næpi ]n. 尿布nasty-looking['nɑ:sti'lukiŋ ]adj. 长相凶恶的official[ə'fiʃəl]a. 官方的,公务的organization[,ɔ:ɡənai'zeiʃən]n. 组织;机构position[pə'zɪʃn]n. 位置programme['prəʊɡræm]n. 节目;项目prove[pru:v]vt. 证明,显示出residence['rezɪdəns]n. 住处,住宅,居住schedule['ʃedju:l]n. 时间表;一览表scholarship['skɒləʃɪp]n. 奖学金service['sə:vis]n. 服务shoplift['ʃɔplift]v. 从商店中偷商品shy[ʃai]a. 害羞的situation[,sɪtʃʊ'eɪʃn]n. 形势,情况;地点,地方Spanish['spæniʃ]n. 西班牙语stranger['streɪndʒə]n. 陌生人,外人tea-making[ti:'meikiŋ ]n. 茶道touch[tʌtʃ]vt. 触摸,接触tour[tuə]n. 旅游,旅行truthful['tru:θful ]adj. 诚实的;真实的turn[tɜ:n]v. 旋转,翻转,转变,转弯,turn out vt. 翻转,生产,关闭,出动vision['vɪʒən]n. 视觉,先见之明,光景,视Yokohama[,jəukə'hɑ:mə ]n. 横滨(日本一城市名)Chapter 3abandon[ə'bændən]n. 放纵,放任,纵情ambitious[æm'biʃəs]adj. 野心勃勃的art[ɑ:t]n. 艺术;美术;艺术品available[ə'veiləbl]adj. 有效的,可得的;可利用的beg[beɡ]v. 乞讨;恳求bring[briŋ]v. 带来bring up vt. 养育,引起突然停下burning['bə:niŋ ]adj. 燃烧的;强烈的;发热career[kə'riə>]n. 事业,职业;生涯childhood['tʃaɪldhʊd]n. 童年时期;幼年时代contest['kɔntest]n. 竞赛,比赛cosmetic[kɔz'metik]n. 化妆品countless['kauntlis]adj. 数不清的,无数的degree[di'ɡri:]n. 程度,等级;度;学位;阶design[dɪ'zaɪn]n.&vt. 设计,策划desire[di'zaiə]n. 欲望;要求determined[di'tə:mind]adj. 坚决的,决意的dust[dʌst]n. 灰尘extraordinary[ɪks'trɔ:dnərɪ]a. 离奇的;使人惊奇的,不平fame[feim]n. 名声,名望fine arts[fain a:ts ]美术fortunately['fɔitʃənitli]adv. 幸运地give[giv]vt. 给;付出;给予give sb. a handv. 给予某人帮助give up 放弃graduate['ɡrædjueit]v. 毕业independent[,ɪndɪ'pendənt]adj. 独立的;单独的;无党industrialize[in'dʌstriəlaiz]vt. 使工业化inventor[ɪn'ventə]n. 发明者,创造者lip[lɪp]n. 嘴唇make-up['meikʌp ]n. 化妆品;性格;构造management['mænidʒmənt]n. 管理;经营medical['medikəl]a. 医学的;医疗的Nobel Peace Prize[nəu'bel pi:s praiz ]诺贝尔和平奖not yet[nɔt jet ]还没有,还没offer['ɔfə]v. 提供;提出on somebody's lips 露出了微笑orphanage['ɔ:fənidʒ]n. 孤儿院path[pɑ:θ]n. 小道,小径,小路;路线patient['peiʃənt]n. 病人polytechnic[,pɔli'teknik ]adj. 各种工艺的;综合技术poverty['pɔvətɪ]n. 贫穷,贫困praise[preɪz]n.&vt. 赞扬,表扬proper['prɔpə]a. 恰当的,合适的public housing['pʌblik 'hausiŋ ][建]公共住房refuse[ri'fju:z]v. 拒绝save[seiv]v. 救,挽救;节省save up[seiv ʌp ]储蓄;贮存social['səuʃəl]a. 社会的;社交的something['sʌmθɪŋ]pron. 某事;某物squatter area['skwɔtə'εəriə ]寮屋区;木屋区success[sək'ses]n. 成功syllabus['siləbəs]n. 教学大纲,摘要turning['tə:niŋ]n. 转弯处turning point['tə:niŋ pɔint ]转折点twin[twɪn]n. 双胞胎之一vacuum['vækjʊəm]v. 用真空吸尘器清扫;吸尘wander['wɒndə]vi. 漫游,游荡,漫步,流浪water['wɔ:tə]n. 水yet[jet]adv. 还;但是;已经chapter 4address[ə'dres]n. 地址all day整天and so on等等at any time在任何时候body['bɒdɪ]n. 身体brush[brʌʃ]n. 刷子cart[kɑ:t]n. 二轮运货马车civil['sɪvl]adj. 公民的;民间的Civil War['sivəl wɔ:]南北战争(美国)come along (意外的)出现;发生;来到come up走近;出现depressed[di'prest]a. 沮丧的;萧条的dip[dip]vt. 浸,蘸;把…放入又取出free[fri:]a. 自由的,空闲的;免费的fun[fʌn]adj. 有趣的go by经过;(时光)逝去graveyard['ɡreivjɑ:d]n. 墓地hand[hænd]n. 手;指针;帮;团伙h ang[hæŋ]v. 悬挂;把…吊起have a rest休息一会儿heart[hɑ:t]n. 心;心脏;中心ignore[iɡ'nɔ:]vt. 忽视joy[dʒɔɪ]n. 欢乐,高兴,乐趣killing['kiliŋ ]adj. 杀害的;迷人的laugh at嘲笑lawyer['lɔ:jə]n. 律师lecture['lektʃə]n. 演讲;讲稿;教训make fun of拿…开玩笑,取笑make time腾出时间;抽空;争取时间marble['mɑ:bl]n. 大理石;玻璃弹子mark[mɑ:k]n. 标志;记号;痕迹marry['mæri]v. 与…结婚;结婚miner['mainə]n. 矿工Mississippi River['misi'sipi 'rivə ]密西西比河Missouri[mi'zuəri]n. 密苏里(美国州名) move[mu:v]v. 移动;搬家;使感动only['əʊnlɪ]a. 惟一的,仅有的paint[peɪnt]n./vt. 油漆;涂漆;画;pen-name['pen neim]n. 笔名prison['prɪzn]n. 监狱rifle['raifl ]n. 步枪;来复枪right[raɪt]n. 正当的要求;权利;右边;scared[skεəd]adj. 恐惧的,害怕的set free['set 'fri:]释放sidewalk['saidwɔ:k]n. 人行道sort[sɔ:t]vt. 把…分类,拣选stab[stæb]v. 刺,刺伤steamboat['sti:mbəut]n. 汽船submarine['sʌbməri:n;,sʌbmə'ri:n]n. 潜水艇;海底生物subway['sʌbweɪ]n. 地铁trial['traiəl]n. 审讯,审判unpainted[ʌn'peintid ]adj. 无复层的;未上漆的worry['wʌrɪ]n.&v. 烦恼,担忧,发怒;wow[waʊ]interj. 哇;呀yard[jɑ:d]n. 码;院子;场地Chapter 5a short walk away步行很短的路advantage[əd'vɑ:ntidʒ]n. 优点;有利条件advert[əd'və:t]vi. 注意;谈到afford[ə'fɔ:d]vt. 买得起after all['ɑ:ftəɔ:l]毕竟;终究aged[eidʒd]adj. …岁aid[eid]n. 援助;助手allowance[ə'launs]n. 允许,考虑;津贴;余地,apartment[ə'pɑ:tmənt]n. 公寓;房间as for 关于;至于awake[ə'weik]a. 醒着的broadcast['brɔ:dkɑ:st]n. 广播节目budget['bʌʤit]n. 预算bunch[bʌntʃ]n. 串,束;群,帮cash[kæʃ]n. 现款,现金Chess Club[tʃes klʌb ]棋艺社;象棋俱乐部continuously[kən'tinjʊəsli ]adv. 连续不断地contribution[kəntri'bju:ʃən]n. 贡献;捐献;投稿decorated['dekəreitid ]adj. 装饰的,修饰的democratic[demə'krætik]adj. 民主的disagree[,disə'ɡri:]vi. 不同意;不一致disturb[dis'tə:b]vt. 打扰;妨碍dream of 梦想;梦见drizzle['drizl]vi. 下毛毛雨entrance['entrəns]n. 入口er[ə:(r)][表示说话时犹豫、沉吟等]哦every time每次,每当financial[faɪ'nænʃl]adj. 金融的;财政的fog[fɒɡ]n. 雾frequently['fri:kwəntli]adv. 经常地,频繁地furnish['fə:niʃ]vt. 提供;供应;装备go to the movies去看电影grow up成长have got to不得不,必须ideally[ai'diəli ]adv. 理想地;观念上地in aid of用以援助…之用in connection with与…有关;与…相连in fact事实上,实际上Italy['itəli]n. 意大利late news[leit nju:z ]晚间新闻latest['leitist]a. 最近的,最新的;最晚的legal['li:ɡəl]a. 合法的;法律的legend['ledʒənd]n. 传说;传奇故事less than不到,少于live[lɪv]vi. 生活;居住;活着maximum['mæksiməm]a.&n. 最大量(的);最大minimum['mɪnɪməm]a. 最小的movie['mu:vi]n. 电影no problem没问题now and again adv. 不时;时而on end连续地,笔直地patch[pætʃ]n. 补丁;斑perform[pə'fɔ:m]v. 表演;履行;执行performance[pə'fɔ:məns]n. 表演;执行period['pɪərɪəd]n. 时期,时代play[pleɪ]v. 玩;打(球);游戏;播放remark[rɪ'mɑ:k]n. 陈述;话;议论;评论;言reside[ri'zaid]vt. 住,居住;属于responsibility[ri,spɔnsə'biliti]n. 责任retired[ri'taiəd ]v. 退休rubbish['rʌbiʃ]n. 垃圾;废物see[si:]vt. 看见,看到;领会;拜会series['siəri:z]n. 连续,系列serious['siəriəs]a. 严肃的;严重的;认真的simple['sɪmpl]a. 简单的,简易的star[stɑ:]n. 星,恒星stereo['steri,əu]n. 立体声;立体声系统;[印strongly['strɔŋli]adv. 强烈地;坚决地teenage['ti:neɪdʒ]n. 青少年的terminal['tɜ:mɪnəl]a. (火车,汽车,飞机的)终点的the World Cup Final世界杯决赛throw away扔掉um[əm ]int. 嗯(表示迟疑)viewer['vju:ə(r)]n. 电视观众wide awake清醒的;机警的with regard to关于;至于within[wi'ðin]prep. 在…之内witness['wɪtnɪs]n. 目击者;证人。
人教版英语高二选修6unit1Art-Reading画家及其作品
新印象派:在印象派发展的时候,法 国又出现的新的用色方法,以修拉为 代表的“点彩派”。 新印象派的画家,在创作时不仅应用 光线的分析和视觉的生理特征,以达 到最高纯度和新鲜的色调,造成明亮 辉映的画面。而且,在画面上更进一 步表现明朗的秩序观念。
后印象派:美术史家把印象派之 后出现的几位风格迥异的天才画 家统称为“后印象派”,他们更 集中突出的表现颜色与光影的变 化。代表画家有:梵高,高更, 塞尚
• 乔托创作的动人之作当推《犹大之吻》。这是《圣 经》中一个有名的故事:一年一度的逾越节到来了。 耶稣的门徒加略大人犹大同敌人勾结,得倒30块银 币的赏钱。答应通风报信,抓捕耶稣。在逾越节晚 上,耶稣同12门徒共进晚餐。席间,耶稣指出,你 们中间有人出卖我。犹大听了十分惊恐,提前离席 溜出去送情报。不久,这个叛徒领来一队兵丁。还 有祭司长和法利赛人(犹太人中的文士和律法师) 的差役。他们打着灯笼、火把,带着武器,冲进了 客西马尼园。犹大走在前头,直奔耶稣,按约好的 逮捕暗号,上前与耶稣亲吻。耶稣当场点破了犹太 这一诡计。耶稣的门徒见状大惊。门徒彼得纵身上 前,抽刀便砍。门徒约翰当场砍掉了大祭司的仆人 马勒古的右耳朵。
保罗· 塞尚(Paul Cézanne,1839—1906), 法国著名画家,是后期印象派的主将,从19世纪末 便被推崇为“新艺术之父”,作为现代艺术的先驱, 西方现代画家称他为“现代艺术之父”或“现代绘 画之父”。他对物体体积感的追求和表现,为“立 体派”开启了不少思路,其独特的主观色彩大大区 别于强调客观色彩感觉的大部分画家。
• 印象主义的以粗放的笔法做画,作品缺乏 修饰,是一种外表草率的画法。印象主义 采取在户外阳光下直接描绘景物,追求光 色变化中。表现对象的整体感和气氛的创 作方法,主张根据太阳光谱所呈现的赤橙 黄绿青蓝紫七种颜色去反映自然界的瞬间 印象,印象主义的作品选择的题材面比较 广泛,无论是在城市或是在乡村,画家都 试图捕捉到瞬息多变的大自然。
Chapter Six The Vincent Van Gogh Exhibition
Chapter SixThe Vincent Van Gogh Exhibition(Post-reading Section)Teacher:Zhu Y anwenStudents: Class 13, Senior Two, Caoyang No.2 High SchoolDate:June 11th, 2006I. Teaching Objects:(教学目标)Language Objects:1.Students will review some key words and expressions in the text to understand the textbetter2.Students are supposed to acquire necessary vocabulary of the description of paintingsand the painter.Skill Objects:1.Students’ ability of describing paintings and their desire to express their own opinions onworks of art and the artist should be promoted and inspired .2.Students’ critical thinking through communication will be properly guided and fostered. Emotional Object:Students’ability to appreciate works of art is supposed to be fostered and students’pondering over the significance of art and life through the topic character of the readingpart---V an Gogh’s life experience and works will be guided.II. Teaching Methods:(教学方法)Cooperation study pattern, BrainstormIII. Teaching Aid:(教学辅助)Paper slips, Multi-media, Over-head Projector, blackboardIV. Teaching Points:(教学知识点)1.Revision of the vocabulary in the textplementary vocabulary (mainly adjectives which are used to describe someone andsomething.)V. Key Points:(教学重点)1.With the previous three periods of the text, students have been well informed of the key wordsand expressions which are essential for them to understand the text and prepare for further study. Help students review the key words and encourage them to apply the vocabulary for further practice.2.Guide the students to grasp how to describe works of art and encourage them to give theiropinions on the works as well as the artist.VI. Difficult Points:(教学难点)1.Students should be inspired to apply the acquired vocabulary in the reading part to the furtherstudy. Also, the vocabulary acquired in previous chapters could be reviewed and applied as well. (The vocabulary used to talk about colors in Chapter Two; the vocabulary used to describe people’s characters in Chapter Five)2.Students’ original while serious thinking about arts should be under correct guidance.VII. Teaching Procedure:(教学过程)1.Lead-in: 导入Brainstorm: Describe Van Gogh with an adjective(A group competition: the students will be encouraged to name an adjectivewhich pops into their mind when referring to V an Gogh. )2. Consolidation of the text and skill development:Step One:The review of V an Gogh’s life experience●Outline of his experience●Practice retelling the life experience of V an GoghStep T wo:The appreciation of V an Gogh’s works●Listening: Appreciate one of V an Gogh’s Masterpieces●List the outline and useful structures●Describe a specific painting of V an GoghStep Three:Further ThinkingThe students are required to choose a painting of V an Gogh. Describe it andgive their opinions on it. They are not only encouraged to comment on V anGogh’s work, the person himself and most important, students are supposedto give comments on V an Gogh’s pursuit of arts.3. Assignment:作业Please make a profile of V an Gogh, focusing on his life experience and hisworks. Use as many words we’ve learnt as possible.Vocabulary for reference:review, a success, produce, during one’s lifetime, deserve one’sreputation, abandon, turn to, depend on, take one’s own life, sane,admire,… and all the adjectives that we’ve talked about in the lesson.牛津英语高二年级第二学期第六课(第三教时)教学设计一、课程标准在这一章节的要求:语言能力目标:1、复习巩固课文知识内容,更好的理解课文,掌握课文内容---对梵高生平的了解;2、学会描述评价艺术家及其作品,并能有条理,有理有据地表述自己对艺术家及其作品的观点。
人教版英语选修6课文原文及课文译文
人教版英语选修6课文原文及课文译文Unit1 Art第一单元艺术ReadingA SHORT HISTORY OF WESTERN PAINTINGArt is influenced by the customs and faith of a people. Styles in Western art have changed many times. As there are so many different styles of Western art, it would be impossible to describe all of them in such a short text. Consequently, this text will describe only the most important ones. Starting from the sixth century AD.The Middle Ages(5th to the 15th century AD)During the Middle Ages, the main aim of painters was to represent religious themes. A conventional artistof this period was not interested in showing nature and people as they really were. A typical picture at this time was full of religious symbols, which created a feeling of respect and love for God. But it was evident that ideas were changing in the 13th century when painters like Giotto di Bondone began to paint religious scenes in a more realistic way.The Renaissance(15th to 16th century)During the Renaissance, new ideas and values gradually replaced those held in the Middle Ages. People began to concentrate less on religious themes and adopt a more humanistic attitude to life.At the same time painters returned to classical Roman and Greek ideas about art. They tried to paint people and nature as they really were. Rich people wanted to possess their own paintings, so they coule decorate their superb palaces and great houses. They paid famous artists to paint pictures of themselves, their houses and possessions as well as their activities and achievements.One of the most important discoveries during this period was how to draw things in perspective. This technique was first used by Masaccio in 1428. When people first saw his paintings, they were convinced that they were looking through a hole in a wall at a real scene. If the rules of perspective had not been discovered, no one would have been able to paint such realistic pictures. By coincidence,oil paints were also developed at this time, which made the colours used in paintings look richer and deeper. Without the new paints and the new technique, we would not be able to see the many great masterpieces for which this period is famous.Impressionism(late 19h to early 20th century)In the late 19th century, Europe changed a great deal,from a mostly agricultural society to a mostly industrial one. Many people moved from the countryside to the new cities. There were many new inventions and social changes also led to new painting styles. Among the painters who broke away from the traditional style of painting were the Impressionists, who lived and worke in Paris.The Impressionists were the first painters to work outdoors. They were eager to show how light and shadow fell on objects at different times of day. However, because natural light changes so quickly, the Impressionists had to paint quickly. Their paintings were not as detailed as those of earlier painters. At first, many people disliked this style of painting and became very angry about it. They said that the painters were careless and their paintings were ridiculous.Modern Art(29th century to today)At the time they were created, the Impressionist paintings were controversial, but today they are accepeted as the beginning of what we call "modern art". This is because the Impressionists encouraged artists to look at their environment in new ways. There are scores of modern art styles,but without the Impressionists, many of these painting styles might not exsist. On the one hand, some modern art is abstract; that is, the painter does not attempt to paint objects as we see them with our eyes, but instead concentrates n certain qualities of the object, using colour, line and shape to represent them. On the other hand, some paintings of modern art are so realistic that they look like photographs. These styles are so different. Who can predict what painting styles there will be in the future?西方绘画艺术简史西方艺术风格变化较大,而中国艺术风格变化较小。
释然 (VC文,慎入~) 作者:蒲羽之
这或许是vermouth第一次看到如此愤然的Chianti,满月时受到的枪伤给予了她休假的悠闲时光,同时也给某人的心中留下了无尽的痛楚。
——喂vermouth,你这个混蛋,竟然把Calvados给害死了。
Vermouth感受到chianti心中越烧越旺的怒火,却仍旧微笑地挑逗她——啊,是我害死的,那又怎么了呢?——我现在想杀了你,啊啊,我真得恨死你了。
——是嘛~可是我喜欢哦,我很喜欢你……Vermouth的脸上露出半开玩笑的神情,可眼里却闪烁着认真的光芒。
——你是第一个说要杀死我的人,所以我喜欢你。
这一句回话巧妙地堵住了chianti接下来要发的牢骚,怒气无处可发的她,随手将桌子上摆的琳琅满目的物件扫到地上,碎片覆盖着地板,chianti气愤地摔门而去。
伤痊愈后的一个星期,vermouth便被召到了Boss面前——已无大碍了吧。
——是。
——那有一个任务委派于你。
需要人手么?——借我一人即可。
——那好,让chianti随你前去吧。
结果任务完成的非常完美,但chianti一脸的不悦确实显而易见。
就在即将撤离时,vermouth像是故意挑开战争般的发话了。
——chianti——什么。
——看你好像不开心嘛,为什么?——因为我想杀了你,这么说可以么。
Chianti紧握着枪的手开始发痒。
——啊,这样啊。
我倒觉得我们是意外的合得来呢,有你在可正所谓如虎添翼啊。
——你到底想说什么啊混蛋。
怒火终于一发不可收拾地烧了起来,枪口抵住了vermouth的下巴。
——信不信我真的会轰爆你的头。
然而面对枪口的vermouth笑容缺丝毫未减,反而愈发迷人。
——如果你顶替死去的Calvados辅助我,那可真的是帮了我大忙啊。
空气中弥漫着不好的气味,牙齿互相摩擦的声响极为清晰。
枪声终究还是没有响起。
Chianti起身,带着一脸的阴沉,向车子的方向走去。
打开车门的一瞬间,突然间转回身来。
“vermouth,你记住,总有一天我会杀了你的。
身体艺术手册-第5章
第5章In many ways, Pindar's encomiastic art demands a narrative of on-going, repeated production. Aretē, that is, cannot be something that onemerely happens upon by chance, or it would become dif?cult to cele-brate as a remarkable achievement. As Hesiod had long before pointedout, there has to be sweat before aretē (Works and Days 289; Vernant1983: 252)。
In this context, then, agōnes provided occasions for showcasing theeffects of one's ''questing.'' It is important here once again to distin-guish between the actions during the contests and the prizes won by vic-tors. While the agonistic performance-the actual athletic movements-demonstrated aretē, the prizes (athlioi ) were more closely alignedwith kleos (glory or fame)。
This subtle distinction becomes apparent inIsthmian 1, where Pindar sings of the athletes Kastor and Iolaos:and in athletic games (aethloisi ) they attempted the most contests(pleistōn agōnōn),and adorned their houses with tripods,cauldrons, and bowls of gold,tasting (geuomenoi ) the crowns of victory.Their virtue (areta) shines (lampei) clearlyin the naked footraces and in the hoplite races with clatteringshields.Just as in their hands as they ?ing javelinsand when they hurl the stone discuses. (18–25)The ?rst part of this passage points to the prizes awarded to victors,and the verb geuomenoi, a middle form of geuō, suggests thatathletes''taste'' victory and its attendant kleos, thus implying that they nourishtheir craving for the prize, the end of victory. Importantly, however, it isduring the agōn itself, in the bodily movements of the athlete, and not inthe gleaming cauldrons or bowls, that aretē becomes conspicuous. Theoutward movementor enactment of aretē in the hurling of the javelinstands in distincti on to the inward-movement of glory back toward theathlete at the contest's end. The agōn is thus sutured to aretē insofar asathletes are engaged in their quest for virtuosity with an eye to the con-tests or gatherings where their arduous efforts would be acknowledgedand potentially rewarded.What's more, the naked footraces and clattering shields suggest thatthe economy of aretē is decidedly corporeal, material, and active.Again, in the same way that warriors continually exhibited virtuosity,athletes competed over and over, suggesting that the ''questing,'' thetraining for and performing of excellent actions-not merely the vic-tory-repeatedly produced aretē。
六年级下册英语unit4 art作文
探索艺术之美:六年级下册英语Unit 4的启示Art has always been a fascinating subject, one that激发着 our imaginations and allowing us to express our creativity. As I delved into the world of art in Unit 4 of my sixth-grade English textbook, I discovered a realm that was both captivating and thought-provoking.The unit began with a lesson on the different forms of art, introducing us to the beauty and diversity of paintings, sculptures, and drawings. We learned about the elements of art such as line, shape, color, and texture, and how they come together to create a masterpiece. This lesson not only broadened our horizons but also sparked our interest in creating our own artworks.As we progressed through the unit, we delved deeperinto the world of art history. We learned about famous artists like Vincent van Gogh, Pablo Picasso, and Leonardo da Vinci, and their groundbreaking contributions to the art world. We studied their works, analyzing the techniques they used and the messages they conveyed through their art.This exercise not only enhanced our understanding of artbut also helped us develop critical thinking skills.One of the most memorable activities in Unit 4 was the art project. We were challenged to create our own artworks, incorporating the elements and principles of art we had learned about. Whether it was a painting, a sculpture, or a drawing, we all put our hearts and souls into our creations. The results were amazing, and it was truly rewarding to see our hard work come to life.This unit not only taught us about the technicalaspects of art but also about its emotional and cultural significance. Art is not just about beauty; it is also a powerful tool for communication and expression. It canevoke emotions, tell stories, and connect people across cultures and languages. Through Unit 4, we learned to appreciate art not just as an observer but also as acreator and a critic.In conclusion, Unit 4 of my sixth-grade Englishtextbook was a journey through the wonders of the art world. It not only expanded our knowledge and understanding of art but also ignited our passion for creativity and expression.As we move forward in our academic careers, I believe that the lessons learned in this unit will serve as a foundation for our future artistic explorations.**探索艺术之美:六年级下册英语Unit 4的启示** 艺术总是令人着迷,它激发我们的想象力,让我们能够表达创造力。
六年级下册英语unit4 art作文
The Magic of Art in My LifeArt has always been a fascinating part of my life, ever since I was a little girl. It captivated me with its beauty, creativity, and the endless possibilities it presented. AsI grew older and entered the sixth grade, my interest inart deepened, and Unit 4 of my English textbook further ignited my passion for this incredible art form.The unit began with a fascinating introduction to the different types of art, from painting and sculpture to photography and graphic design. It was like stepping into a new world, one that was vibrant, colorful, and full of life. Each lesson revealed a new dimension of art, its history, and its impact on society.We learned about the masters of art, their techniques, and the stories behind their creations. The paintings and sculptures seemed to come alive, telling tales of love, loss, joy, and sorrow. It was as if we were transported toa different era, experiencing the emotions and passions of the artists through their works.But Unit 4 didn't just focus on the greats of art history. It also encouraged us to explore our own creativity. We were given assignments to create our own artworks, whether it was a simple drawing or a more complex sculpture. This was my favorite part of the unit, as it gave me the opportunity to express myself and let my imagination run wild.I remember spending hours on my art project, creating a mixed-media collage that combined paint, paper, and even some of my old clothes. It was a messy and chaotic process, but it was also incredibly fulfilling. When I finally finished my collage, I felt a sense of pride and accomplishment that I had never experienced before.The unit also taught us about the importance of art in our daily lives. It wasn't just about pretty pictures or decorative objects; art had the power to transform spaces, evoke emotions, and even inspire change. It was a powerful tool that could be used to communicate ideas, stories, and perspectives.Overall, Unit 4 of my English textbook was a transformative experience for me. It not only deepened myunderstanding and appreciation of art but also ignited a spark of creativity that I had never known before. Art has become a central part of my life, and I am forever grateful to Unit 4 for introducing me to this incredible world.**艺术在我生活中的魔力**自我还是个小女孩起,艺术就一直是我生活中迷人的一部分。
英语作文关于艺术
Art is a diverse range of human activities involving the creation of visual,auditory, or performing artifacts artworks that express the creators imagination,conceptual ideas, or technical skill,intended to be appreciated primarily for their beauty or emotional power.Here are some key aspects to consider when writing an essay about art:1.Definition of Art:Begin by defining what art is and its various forms,such as painting, sculpture,music,dance,theater,and digital media.2.Historical Context:Discuss the evolution of art from ancient civilizations to the modern era,highlighting significant periods like the Renaissance,Baroque,Romanticism, Impressionism,and Contemporary Art.3.Cultural Significance:Art is deeply rooted in culture.Explore how art reflects and shapes cultural values,beliefs,and identity across different societies.4.Artistic Expression:Delve into the personal and emotional aspects of art.Discuss how artists use their work to convey emotions,tell stories,and comment on society.5.Techniques and Styles:Describe the various techniques and styles used by artists,such as realism,abstract,impressionism,and expressionism.Explain how these techniques contribute to the overall impact of the artwork.6.Art Movements:Discuss influential art movements and their philosophies,such as Cubism,Surrealism,Abstract Expressionism,and Pop Art.7.The Role of the Viewer:Art is subjective and open to interpretation.Discuss the role of the viewer in the appreciation and understanding of art.8.Impact on Society:Explore how art can influence society,from political commentary to social change,and its role in education and community development.9.The Art Market:Discuss the commercial aspect of art,including the role of galleries, auctions,and the economic value of art pieces.10.Technological Advancements:Consider how technology has changed the landscape of art,from digital art to virtual reality installations.11.Preservation and Restoration:Address the importance of preserving art for future generations and the challenges of restoration and conservation.12.Personal Reflection:Conclude your essay with a personal reflection on the significance of art in your life or how it has influenced your perspective on the world.Remember to use specific examples of artworks,artists,or art movements to support your points and make your essay more engaging and informative.。
当艺术遇见英语作文
当艺术遇见英语作文When Art Meets LanguageArt has always been a powerful means of expression, allowing individuals to convey their thoughts, emotions, and experiences through various mediums. From the intricate brushstrokes of a painting to the captivating melodies of a symphony, art has the ability to transcend language barriers and connect people on a deeper level. In this essay, we will explore the intersection of art and the English language, and how the two can work together to create a unique and enriching experience.One of the most fascinating aspects of the relationship between art and language is the way they can complement and enhance one another. Language, with its rich vocabulary and nuanced grammar, provides a framework for artists to articulate their ideas and emotions. Writers, for instance, can use the power of words to paint vivid pictures in the minds of their readers, transporting them to new worlds and evoking powerful feelings. Poets, in particular, have long been masters at this, using the rhythmic and lyrical qualities of language to create works of art that resonate deeply with their audience.Similarly, the visual arts can serve as a powerful tool for language learning and expression. When we encounter a painting or sculpture, our minds are immediately engaged, trying to decipher the meaning and symbolism behind the artist's work. This process of interpretation can be greatly enhanced by the use of language, as we seek to describe and analyze what we see. Art can also be a valuable resource for language learners, providing a rich and engaging context for vocabulary acquisition and cultural understanding.Furthermore, the intersection of art and language can lead to the creation of truly unique and captivating forms of expression. Take, for example, the art of calligraphy, where the beauty of the written word is elevated to an art form. In this medium, the artist's brush strokes and the inherent meaning of the characters come together to create a visually stunning and emotionally resonant work of art. Similarly, the art of storytelling, where the power of language is combined with the evocative imagery of the visual arts, can produce narratives that are both intellectually and emotionally compelling.One of the most exciting developments in the intersection of art and language is the rise of multimedia and digital art forms. With the advent of technology, artists now have access to a wide range of tools and platforms that allow them to blend various forms of expression, from text to image to sound. This has led to the creationof innovative and thought-provoking works that challenge our traditional notions of what art and language can be.For example, interactive digital installations that incorporate text, visuals, and audio can create immersive experiences that invite the audience to engage with the work on a deeper level. These works often explore themes of identity, culture, and the human experience, using the combined power of art and language to convey complex ideas and emotions.Another exciting development is the use of language-based art forms, such as concrete poetry and visual poetry, where the visual and textual elements of language are combined to create unique and compelling works of art. In these forms, the arrangement of words on the page, the shape of the letters, and the overall visual composition all contribute to the meaning and impact of the piece.As we continue to explore the intersection of art and language, it is clear that the possibilities are endless. Whether it is through the creation of new art forms, the enhancement of existing ones, or the use of language as a tool for artistic expression, the combination of these two powerful modes of communication has the potential to transform the way we engage with and understand the world around us.In conclusion, the relationship between art and the English language is a rich and multifaceted one, offering countless opportunities for exploration, creativity, and personal growth. By embracing the synergy between these two powerful forms of expression, we can unlock new avenues of understanding, empathy, and connection, and ultimately, enhance our collective experience of the world.。
how to view art 英语作文
How to View Art: Unlocking the Secrets ofVisual CreativityArt is a universal language that transcends boundaries and speaks to the heart. Viewing art is not merely about admiring the aesthetics; it's an immersive journey that allows us to connect with the artist's vision, feelings, and thoughts. However, merely gazing at a painting or sculpture is not enough. To truly appreciate art, one must adopt a mindful approach, unlocking the secrets of visual creativity.Firstly, it is essential to create a conducive environment for viewing art. Choose a quiet and serene space where you can focus solely on the artwork, free from distractions. This allows your senses to be fully engaged, heightening your awareness and perception.Next, observe the artwork carefully. Take a moment to study the overall composition, noting the placement of elements, colors, and textures. Pay attention to the lines, shapes, and forms that make up the artwork. Notice how the artist has used contrast and repetition to create avisually appealing piece.As you delve deeper into the artwork, consider its context. Understand the artist's background, influences,and the period in which the artwork was created. This provides valuable insights into the artist's intentions and the messages they might be conveying.Moreover, allow your emotions to flow freely. Art is emotional, and it evokes feelings in the viewer. Don't be afraid to let your imagination run wild as you interpretthe artwork. What does it make you feel? What memories or experiences does it evoke? Let your thoughts and feelings guide you through the process of viewing art.Lastly, remember that art is subjective. There is no right or wrong way to interpret an artwork. Your perception and understanding are unique, and that's what makes art viewing such a personal and enriching experience.In conclusion, viewing art is a multi-faceted process that requires patience, observation, and an open mind. By creating a conducive environment, carefully observing the artwork, considering its context, allowing emotions to flow, and embracing subjectivity, you can unlock the secrets ofvisual creativity and truly appreciate the beauty and depth of art.**如何欣赏艺术:解锁视觉创造力的秘密**艺术是一种跨越界限、触动人心的通用语言。
艺术起点英语作文带翻译
艺术起点英语作文带翻译Art as a Starting Point。
Art is a universal language that transcends culturaland linguistic barriers. It is a form of expression that allows individuals to communicate their thoughts, emotions, and experiences without the need for words. For many people, art serves as a starting point for their creative journey, inspiring them to explore new ideas and perspectives. Inthis essay, we will explore the ways in which art can serve as a starting point for personal growth and self-expression.艺术是一种超越文化和语言障碍的普遍语言。
它是一种表达形式,使个人能够在不需要言语的情况下传达他们的思想、情感和经历。
对许多人来说,艺术是他们创意之旅的起点,激发他们探索新的想法和观点。
在这篇文章中,我们将探讨艺术如何成为个人成长和自我表达的起点。
Art has the power to inspire and ignite a passion for creativity. Whether it is through painting, sculpture,music, or dance, art has the ability to evoke strong emotions and stir the imagination. Many artists have found their calling through a deep connection with a particular form of art, using it as a starting point to explore their own creativity and express themselves in unique ways. For example, the renowned artist Frida Kahlo used her personal experiences and struggles as a starting point for her artwork, creating powerful and evocative pieces that continue to resonate with audiences today.艺术有着激发和点燃激情的力量。
六年级下册英语第四单元作文art
The Magic of Art in My LifeArt has always been a fascinating part of my life, unleashing my creativity and imagination. As a sixth-grader, I have delved deeper into the wonders of art through the fourth unit of our English textbook, which dedicated an entire unit to this subject. This unit not only introduced me to the different forms of art but also encouraged me to express myself through various artistic mediums.One of the most memorable experiences from this unitwas when we were asked to create our own artwork. Excited and nervous, I decided to experiment with painting. I chose a landscape as my subject, aiming to capture the beauty of nature. As I mixed colors and applied strokes to the canvas, I felt a sense of tranquility and focus that I had never experienced before. It was as if I was communicating withthe world through my paintings, expressing my thoughts and feelings in a way that words could not describe.The process of creating art was not always easy. There were times when I felt lost or discouraged, not sure if my artwork was good enough. However, my classmates and teacher were always there to encourage me, pointing out the uniquequalities of my work and suggesting ways to improve. This supportive environment made me more confident in myartistic abilities and inspired me to keep creating.Apart from painting, this unit also introduced me to other forms of art such as sculpture, photography, and drama. I was fascinated by the way each medium offered a unique way to express oneself. For instance,雕塑 allowed me to create three-dimensional objects that could be touched and felt, while photography gave me the ability to capture moments in time and preserve them forever. Drama, on the other hand, allowed me to express myself through movement and dialogue, bringing characters and stories to life.Through this unit, I learned that art is not just about creating beautiful pieces but also about communicating ideas and emotions. Art can be a powerful tool for expression, allowing us to convey our thoughts and feelings in ways that words alone cannot achieve. It can be a form of therapy, helping us cope with stress and anxiety, or a way to connect with others and share our unique perspectives.In conclusion, the fourth unit of our English textbook on art has been an incredibly enriching experience. It has not only expanded my knowledge of different artistic mediums but also fostered my creativity and imagination. I am grateful for the opportunity to delve into the world of art and discover its infinite possibilities. As I continueto create and explore, I am excited to see how art will continue to shape my life and the lives of others.**艺术在我生活中的魔力**艺术一直是我生活中令人着迷的一部分,它激发了我的创造力和想象力。
v开头的艺术英语
v开头的艺术英语1. Vase: A decorative container used to hold flowers or other objects.2. Venice: A city in Italy known for its art and architecture, particularly its canals and Renaissance buildings.3. Van Gogh: Vincent van Gogh, a Dutch post-impressionist painter known for his vibrant and textured artworks, such as "Starry Night" and "Sunflowers."4. Viking art: The artistic style of the Vikings, which includes intricate metalwork, woodcarving, and stone carving, often depicting mythology, animals, and geometric patterns.5. Vanitas: An artistic genre that explores the transient nature of life and the inevitability of death, often symbolized by objects like skulls, candles, and hourglasses.6. Victorian era: A period in British history known for its elaborate and ornate art, architecture, and design, characterized by intricate details and decorative elements.7. Video art: Art that utilizes video technology as a medium, often incorporating moving images, sound, and various visual effects to convey artistic concepts and messages.8. Visual arts: A broad category encompassing various forms of art that are primarily visual in nature, such as painting, sculpture, photography, and printmaking.9. Voltaic sculpture: A type of kinetic art that involves the use of electricity to create movement or light within a sculptural work. 10. Vignette: A small, self-contained scene or illustration often used as a decorative element in books, manuscripts, and other visual arts.。
Modern-Art现代艺术-游戏规则
Modern-Art现代艺术-游戏规则Modern Art现代艺术游戏人数:3-5人游戏时间:约45-60分游戏设计:Reiner Knizia语言版本:英文游戏配件:名画卡:70张(5个画家分别为12张黄色、13张绿色、14张红色、15张蓝色、16张咖啡色);钱币:1元(30个)、5元(25个)、20元(15个)、50元(15个)、100元(10个);精致记分板:一个;精致叫价城市板:6个含一白板;名画价值累计币:12个(黑色);英文说明书一份。
游戏简介:你是艺廊的主人,要卖出手上的画作。
游戏一共进行四个回合。
第四回合结束后,手上最多钱者获胜。
名画是无价的,这句话的意味深远。
一幅画价值连城,或贱如粪土,完全取决于人为的炒作。
常觉得: 没有人真的喜欢『向日葵』,他们祇是喜欢梵古罢了。
一幅画祇要能以惊人的天价在拍卖场上卖出,就能引来一狗票好附拥风雅的文艺爱好者趋之若骛,因为就算是不懂画的傻蛋也看的懂价码标签。
1993年德国年度游戏冠军评审团奖提名1993年德国玩家票选最佳游戏第1名现代艺术在一九九五年问世,是德国游戏大师 Reiner Knizia的经典作品,也可以说是拍卖游戏此一类型的开山鼻祖,目前坊间拍卖游戏多半都带有它的影子。
如果不是因为某些意外的理由,Reiner Knizia 原有机会靠这套作品拿下当年的德国最佳游戏奖,然而遗憾的是,在 1995 年的竞逐名单中,它遭逢了一个可敬的对手,而这对手不是别人,正是有史以来最受欢迎的德国游戏"卡坦岛"。
我不敢说现代艺术输得冤枉,只能说是造化弄人,就好像欧洲文艺复兴在文明史上经过漫长的酝酿后骤然渤发一样,1995年的德国游戏工业正迈向颠峰,并首度西进挑战美国市场,"卡坦岛"的崛起也同时开启了往后十年德国板图游戏的荣景。
十年后的今天,德国游戏的创意逐渐凋零,而美国游戏的写实风格再次苏醒,回首前尘,看这两大经典游戏竟有缘份在同一年度交手,真是让人感到十分有趣。
创建画画社团英语作文
创建画画社团英语作文Creating an Art Club。
Art has always been a powerful form of expression, and for many people, it is a way to relax and unwind. If you are passionate about art and want to share your love for it with others, creating an art club could be a great way to do so. In this article, we will discuss the steps to take in order to create a successful art club.First and foremost, you need to gather a group of like-minded individuals who are also passionate about art. This could be your friends, classmates, or even members of your community who share the same interest. Having a dedicated group of people who are enthusiastic about art will be crucial for the success of your art club.Once you have gathered your group, it's important to establish the goals and objectives of the art club. What do you hope to achieve with the club? Is it a place for members to share their artwork and receive feedback? Do you want to organize art-related events and activities? By clearly defining the purpose of the art club, you can ensure that everyone is on the same page and working towards a common goal.Next, you will need to decide on a meeting schedule and location for the art club. Will you meet once a week, bi-weekly, or once a month? Where will the meetings take place? Consider factors such as accessibility and convenience for all members. It's important to establish a consistent meeting schedule to maintain the engagement of the members.In addition to regular meetings, you may also want to plan special events and activities for the art club. This could include art workshops, guest speaker presentations, or group outings to art galleries or museums. These activities can help to enrich the members' experience and provide them with opportunities to learn and grow as artists.Another important aspect of creating an art club is promoting it to attract new members. You can use social media, flyers, and word of mouth to spread the word about the club. Highlight the benefits of joining the art club, such as the opportunity to connectwith other artists, receive constructive feedback on your artwork, and participate in art-related activities.As the founder of the art club, it will be your responsibility to facilitate the meetings and ensure that everything runs smoothly. You may need to prepare agendas, coordinate activities, and communicate with the members to keep them informed about upcoming events. It's important to be organized and proactive in your role as a leader of the art club.Lastly, don't forget to have fun! Creating an art club is a wonderful opportunity to connect with others who share your passion for art. Enjoy the process of bringing people together and creating a supportive community for artists to thrive.In conclusion, creating an art club is a rewarding endeavor that can provide a platform for artists to connect, learn, and grow. By gathering a dedicated group of individuals, establishing clear goals, and planning engaging activities, you can create a thriving art club that benefits its members and the community. So, if you are passionate about art, consider starting an art club and sharing your love for art with others.。
三个事物的英语作文
In the realm of English composition, the exploration of three distinct entities can lead to a rich narrative or argument. Here is a sample essay that discusses three significant objects, their impact, and their interconnectedness.The Harmonious Trio: Books, Music, and ArtIn the vast tapestry of human culture, three threads stand out for their profound influence on our lives: books, music, and art. Each of these entities carries within it the power to educate, inspire, and transform, and when considered together, they form a harmonious trio that enriches our existence in innumerable ways.Books: The Voyage of ImaginationAt the heart of our intellectual journey lies the book. It is a vessel of knowledge, a gateway to the thoughts and experiences of others. Books have the unique ability to transport us to different times, places, and perspectives. They allow us to walk in the shoes of historical figures, to explore the depths of the universe, and to delve into the intricacies of the human mind. The written word is a testament to the power of language to convey complex ideas and emotions, shaping our understanding of the world and our place within it.Music: The Universal LanguageParallel to the written word, music is a universal language that transcends barriers of culture and language. It is a powerful medium that communicates emotions and ideas without the need for words. The rhythm, melody, and harmony of music can evoke a spectrum of feelings, from joy and excitement to sorrow and contemplation. Music has the ability to unite people in shared experiences, be it in a concert hall, a religious ceremony, or a casual gathering of friends. It is a testament to the human spirits capacity for creativity and expression.Art: The Visual SymphonyArt, in its myriad forms, is the visual counterpart to music and literature. It encompasses painting, sculpture, photography, and beyond, offering a visual symphony that speaks to our senses. Art challenges us to perceive the world in new ways, to question our assumptions, and to appreciate the beauty and complexity of our surroundings. It can be both a reflection of society and a catalyst for change, pushing the boundaries of what isconsidered acceptable or beautiful.The Interconnectedness of the TrioWhile each of these entities stands alone in its significance, they are interconnected in their impact on our lives. A book can inspire a piece of music or a work of art, just as a painting can evoke a story or a melody can influence a literary work. The synergy between books, music, and art enriches our cultural landscape, fostering a deeper appreciation for the diversity of human expression.In conclusion, the trio of books, music, and art forms an essential part of our cultural heritage. They are not only sources of entertainment and education but also tools for personal growth and societal development. By engaging with these three entities, we open ourselves to new ideas, emotions, and experiences, ultimately enriching our lives and contributing to the ongoing dialogue of human culture.。
德国翻译家Christiane Nord的著作
德国翻译家Christiane Nord的著作《篇章分析与翻译》(Textanalyse und Übersetzen)的目录(出版地图宾根/Tübingen, 出版年代2003)I.前言II.主要内容1.理论前提翻译理论基础1.1.1 翻译过程的前提及组成部分1.1.2 翻译任务委托人的角色1.1.3 译者的角色1.2 篇章理论基础1.2.1 篇章概念1.2.2 语篇环境1.2.3 篇章类型2.源语语篇分析的任务源语语篇与译语语篇的关系“忠实”—“自由”—“等值”翻译目的论译者的处理功能适应与忠实于原文翻译过程各步骤两步模式三步模式循环模式3.源语语篇分析的因素3.0 概述3.1 篇章外部因素3.1.0 概述3.1.1 语篇发出者3.1.2 语篇发出者的意图3.1.3 语篇接收者3.1.4 媒介/渠道3.1.5 地点3.1.6 时间3.1.7 交际场景3.1.8 篇章功能3.1.9 篇章外部各因素的内在联系3.2 篇章内部因素3.2.0 概述3.2.1 篇章主题3.2.2 内容3.2.3 预知信息3.2.4 篇章结构3.2.5 非语言信息3.2.6 词汇3.2.7 句法3.2.8 布局特征3.2.9 篇章内部各因素的内在联系3.3 作用4.语篇分析模式的教学法运用4.0 翻译课程概述4.1 篇章的选择及课程安排4.1.0 概述4.1.1 篇章的选择4.1.2 翻译任务难度的决定性因素4.1.3 翻译课程中的篇章安排4.2 翻译问题的系统化4.3 翻译课中的学习进展控制4.4 翻译评价与批评4.4.0 翻译批评的行式与功能综述4.4.1 翻译批评与翻译比较4.4.2 根据篇章分析模式的教学法翻译评判4.4.3 什么是翻译错误?4.4.4 错误的权衡与翻译评价5.篇章举例5.0 综述5.1 例1:语篇发出者的意图与篇章功能5.1.0 篇章5.1.1 小说的情景背景(篇章内部因素)5.1.2 “Acerca de la historicidad de Victor Hugues”5.1.3 篇章中情景因素的映射5.1.4 篇章内部分析5.1.5 效果分析5.1.6 翻译5.1.7 结语与翻译建议5.2 例2:主题范围、篇章结构、效果5.2.0 篇章5.2.1 小说的情景背景(篇章外部因素)5.2.2 所分析篇章段落的选择5.2.3 讽刺的概念5.2.4 篇章内部分析(结构)5.2.5 翻译5.2.6 结语与翻译建议(德语)5.3 例3:篇章功能及与接收者相关的情况——商品广告型篇章“特产”5.3.0 篇章5.3.1 篇章的情景背景(篇章外部因素)5.3.2 节选篇章“特产”的选择5.3.3 篇章内部分析5.3.4 翻译5.3.5 结语III.结束语:总结与展望IV.在举例中所处理的翻译问题索引V.举例索引VI.参考文献译者:龚乐宁刘蕾(德语翻译专业研究生)校对:王京平。
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Throughout Russian history one dominating theme has been the frontier; the theme of the struggle for the mastering of the natural resources of an untamed country, expanded into a continent by the ever-shifting movement of the Russian people and their conquest of and intermingling with other peoples.B. H. Sumner, A Short History of RussiaAt the same time that western Europeans were expanding overseas to all corners of the globe, the Russians were expanding overland across the entire length of Eurasia. The mastering of the continental expanses of Siberia is an epic story comparable to that of westward expansion across the United States to the Pacific. In fact, the ever-advancing frontier has left as indelible a stamp on the Russian character and Russian institutions as it has on the American. The Russians were not the only European peoples who were affected by a frontier. During the medieval period, large parts of central and eastern Europe were lightly populated (see Chapter 21, Section I). For centuries, various European peoples, and particularly the Germans, pressed a line of settlement eastward along the Baltic coast and down the Danube valley. But by the end of the Middle Ages, internal colonization no longer was a dominant movement. Overseas colonization took its place, and the peoples of western Europe concentrated their energies on opening and exploring new frontiers in new worlds. The Russian people, by contrast, continued to expand overland into the vast Eurasian plain stretching out from their doorstep. This was a stupendous undertaking, which continued for several centuries until the last of the Moslem khanates in central Asia was subdued in 1895. It is not surprising, then, that the frontier has been a major factor throughoutthe course of Russian history, as it has been throughout American history. In this chapter we shall examine the nature and the course of Russian expansion into Siberia and the Ukraine.I.GEOGRAPHY OF RUSSIAN EXPANSIONTo understand the remarkable Russian expansion across the plains of Eurasia we must first understand the geography of those plains. A glance at the map shows their staggering proportions (see map of Russian Expansion in Europe and Asia, p. 369). Russia encompasses a sixth of the land surface of the globe and is larger than the United States, Canada, and Central America combined. Another prominent characteristic of the Russian landmass is its remarkable topographical uniformity. It is in very large part a flat plains area. The Ural Mountains do run across the plains in a north-south direction, and they are commonly thought of as dividing the country into two separate parts—European Russia and Asiatic Russia. But the fact is that the Urals are a single, narrow, worn-down chain of mountains with an average altitude of only 2,000 feet. Furthermore, they do not extend further south than the fifty-first parallel, leaving a wide gap of flat desert country stretching down to the Caspian Sea. This topographic uniformity helps to explain why the Russians were able to spread so rapidly from the Baltic to the Pacific.The Eurasian plains that make up most of present-day Russia are surrounded by a natural southern boundary stretching from the Black Sea to the Pacific Ocean. This boundary consists of an uninterrupted chain of mountains, deserts, and inland seas; beginning in the west and moving eastward, they are the Caucasus Mountains; the Caspian Sea; the Ust Urt Desert; the Aral Sea; the Kizil-Kum Desert; the Hindu Kush, Pamir, and Tien Shan ranges; the Gobi Desert; and the Great Khingan Mountains, whichextend east to the Pacific Ocean. The ring of mountains surrounding the Eurasian plains keeps out the moisture-laden winds from the Pacific and the warm monsoons from the Indian Ocean and explains both the desert climate of central Asia and the cold, dry climate of Siberia. The whole expanse of Siberia, from the Baltic to the Pacific, has essentially the same continental type of climate, with short, hot summers and long, cold winters. The uniformity of climate, like that of topography, facilitated Russia's eastward expansion, for the frontiers people felt equally at home throughout the 5,000-mile expanse of plains. The central Asian deserts, on the other hand, seemed strange and forbidding. Moreover, they were held by militarily powerful Moslem khanates in contrast to the weak tribes in Siberia. As a result, the Russians did not master the central Asian deserts until 250 years after they had reached the Pacific further north.Russian expansion was affected by river systems as well as by topography and climate. Because of the flat terrain, Russian rivers are generally long, wide, and unencumbered by rapids Consequently they are invaluable as routes for commerce, colonization, and conquest. West of the Urals there are a number of outstanding rivers: the Western Dvina flowing into the Baltic; the Dniester, the Dnieper, and the Don flowing south to the Black Sea; and the Volga flowing first east and then south to the Caspian. East of the Urals the Siberian plains are watered by four vast river systems: the Ob in the west, the Yenisei in the center, the Lena in the northeast, and the Amur in the southeast. Since the whole of Siberia tilts downward from the massive Tibetan ranges, the first three of these rivers flow northward into the Arctic, whereas the fourth makes its way eastward to the Pacific. These rivers, together with their numerous tributaries, provide a natural network of highways across the plains. Thus the Russianfur traders were able to make their way eastward with few portages to the Pacific Ocean, just as French and English fur traders in the New World made their way westward along similar riverways to the same ocean.A final geographic factor in the pace and course of Russian expansion is the combination of soil and vegetation prevailing in various parts of the country. Four major soil-vegetation zones run in east-west layers across Russia. (See map of Soil and Vegetation Zones of Eurasia, p. 371.) In the far north, along the Arctic coast, is the barren tundra, frozen the year round except for a six- to eight-week growing period in the summer. To the south of the tundra is the taiga, or forest belt. The largest of the four zones, it is 600 to 1,300 miles wide and 4,600 miles long. It includes a fifth of the total forest area of the world. The Russians felt at home in the forests, and they were able to cross the whole of Eurasia without ever losing the familiar protective covering.On their southern edges the forests thin out, and the trees grow smaller until they give way completely to the open, treeless steppe. Here there is fertile black earth formed by millennia of decayed grass. Today it is the breadbasket of Russia, but for centuries it was a source o misery and woe. The steppe was the home of the marauding horse nomads of central Eurasia. When these nomads were sufficiently strong, they struck out along the line of least resistance—sometimes westward into central Europe or eastward into China. More frequently they attacked the vulnerable Russians in eastern Europe. A major theme of Russian history is this continued conflict between the Slavic peasants of the forest zone and the Asiatic nomads of the steppe. At first the nomads prevailed, and the result was two centuries of Mongol rule over Russia. But in the end the Slavic woodspeople became stronger, and they were able not only to win theirindependence but also to expand over the Eurasian plains.The fourth zone, the desert, is the smallest in area, starting in China but extending westward only to the Caspian Sea. We have seen that for various reasons—inaccessibility, severe climate, and the military power of the native peoples— the desert zone was not engulfed by the Russian tidal wave until the late nineteenth century.II.EARLY RUSSIAN EXPANSIONAbout 1,500 years ago, the Russians began their advance eastward from their place of origin in the upper reaches of the Dniester, Dnieper, Neman, and Dvina rivers. From there they fanned out in a great arc. The broad plains beckoned them on to the Arctic shores in the north, to the Black Sea in the south, and to the Urals and beyond in the east. Their subsistence type of agriculture could not support a dense population, so they lived in scattered homesteads and small hamlets rather than in compact villages or towns. The few towns that did appear grew up as trade centers along main river routes. This was the case with Kiev on the Dnieper River, which carried the north-south traffic, and with Novgorod on Lake Ilmen, which commanded the east-west commerce. This long-distance trade provided the basis for the first Russian state, which developed in the ninth century . The center was Kiev, but the state remained a loose federation of principalities strung out along the river routes. Kiev itself was extremely vulnerable to invasion because it was located at the point where the forest zone gave way to the steppe. Consequently, it was forced to wage a continual struggle for existence against the nomad peoples. Russian colonists were unable to settle more than 150 miles south and east of Kiev, for the threat of invasion by the nomads hung over their heads like the sword of Damocles.The sword descended in 1237 when the Mongols swept over the Russian lands as they did over most of Eurasia. The Mongols continued their devastating inroads into central Europe, to the gates of Italy and France. Then they withdrew voluntarily, retaining only the Russian lands in Europe. Their sprawling empire did not survive long as an entity. It broke up into regional fragments. One fragment, the so-called Golden Horde, includedthe Russian territories. The capital of the Golden Horde, and of Russia also for the next two centuries, was Sarai, near present-day Volgograd. The age-old struggle between the forest and the steppe had been settled decisively with the victory of the steppe and its nomad peoples.The Russians now surrendered their small enclaves on the steppe and withdrew into their forest fastnesses. There they were left alone as long as they recognized the suzerainty of the khan and paid him annual tribute. Gradually the Russians recovered their strength and developed a new national center—the principality of Moscow, located deep in the forest zone away from the dangerous steppe. Moscow had advantages other than its relative inaccessibility to the nomads. A number of rivers flowing in various directions came closest to each other in the Moscow region, so Moscow could profit from an inland water system. The principality also enjoyed the advantage of a line of rulers who were peaceful, frugal, and calculating. The rulers added to their possessions patiently and ruthlessly, until Moscow became the new national nucleus. Whereas at the opening of the fourteenth century the principality was made up of only about 500 square miles, by the mid-fifteenth century it had grown to 15,000 square miles. And a century later, during the reign of Ivan the Terrible (1533-1584), all the Russian principalities were brought together under Moscow's rule.This "gathering of the Russian lands" reversed the balance of power between the Russians and the Mongols or Tatars, as they were now more commonly known. Originally the Tatars had triumphed because they were united, in contrast to the strife-ridden Kievan state, and also because they were militarily more advanced with their fast-moving cavalries. But by the sixteenth century it was the Russians who were united under Moscow,whereas the Golden Horde had split into the three rival khanates of Kazan, Astrakhan, and the Crimea, as well as the khanate of the Siberian Tatars to the east of the Urals. Furthermore, the Russians were also pulling ahead in military techniques, because they were able to profit from the great advances being made in western Europe, especially in firearms and artillery. Thanks to this military advantage, the Russians were able to overrun the whole Kazan Khanate. They swept down the Volga valley and in 1556 captured Astrakhan. To consolidate their gains, the Russians built a series of fortified posts along the banks of the Volga to its mouth at Astrakhan. Thus the Russians became the masters of the great Volga basin and reached the Caspian Sea in the south and the Urals in the east. The way now was open for limitless Russian expansion beyond the Volga and the Urals (see map of Russian Expansion in Europe and Asia, p. 369).III.CONQUEST OF SIBERIAThe Russian victories had eliminated the Kazan and Astrakhan khanates. But the Tatars in the Crimea and across the Urals remained independent and continued to harass the Russian colonists with frequent raids. For various reasons discussed later in this chapter, the Russians had to suffer the attacks of the Crimean Tatars until the late eighteenth century. But they were able to destroy the Siberian Khanate with little difficulty, and in doing so they began their epic march to the Pacific.The crossing of the Urals and the conquest of Siberia were largely the work of the rough-and-ready frontierspeople known as the Cossacks. In many respects they resembled the frontierspeople of the American West. Most of them were former peasants who had fled from Russia or Poland to escape the bonds of serfdom. Their refuge was the wild steppe country to the south, where they became hunters, fishers, and pas-toralists. Just as theircounterparts in America became half-Indian, so they became half-Tatar. They were a liberty-loving and equalitarian, but unruly and marauding, element, ever ready to turn bandit or freebooter if it seemed profitable to do so.A typical product of this frontier environment was Yermak Timofeevich. At the age of twenty-one he was condemned to death for stealing horses, so he fled to the Volga where he became the leader of a band of river pirates. He preyed indiscriminately on Russian shipping and Persian caravans until government troops began to close in.Yermak the robber now showed that he had in him the stuff of a great empire builder. He did for Russia in Siberia what Pizarro and Cortes had done for Spain in America. With the audacity of the conquistador, Yermak decided that the best defense was the offense. On September 1, 1581, he set out at the head of 840 men to attack Khan Kuchum on his own territory. Yermak, like his Spanish counterparts, had the great advantage of superior weapons. He was well equipped with firearms and cannon, and after stiff fighting, he captured the Khanak's capital, Sibir. The Russians now gave the name of the city to the entire trans-Ural area, which became known as Sibir, or, in its Anglicized form, Siberia. The road to the Pacific lay open.The Russian conquest of Siberia was a remarkable achievement. Like the Spaniards in America, the Russians in Siberia won a great empire in a few years with incredibly small forces. The pace of the Russian advance was staggering. Yermak campaigned between 1581 and 1584, at the same time (1584) that Sir Walter Raleigh landed on Roanoke Island in North Carolina. Within half a century, by 1637, the Russians reached Okhotsk on the Pacific Ocean, covering a distance half as much again as that between the Atlanticand the Pacific coasts of the United States. During that same period the English colonists had not crossed to the other side of the Allegheny Mountains.Various factors explain the rapidity of the Russian advance. The climate, the terrain, the vegetation, and the river systems were, as we have seen, all favorable to the invaders. The native peoples were handicapped by small numbers, inferior armaments, and lack of unity and organization. We must give credit also to the stamina and courage of the Cossacks, who—like the coureurs des bois, or fur traders, of French Canada—endured fantastic hardships and dangers in the wilderness. And the reason they did so may be summed up with one word—fur. The sable lured them ever eastward, from river to portage and on to new rivers.As the Cossacks advanced, they secured their communications by building fortified posts, or ostrogs, which were like the blockhouses of the American frontier. Thus they advanced from Sibir to the Ob River, to the Yenisei, and to the Lena, which they followed down to the Arctic coast in 1645. Two years later they reached the shores of the Pacific, where they built Okhotsk.Up to this point the Russians had not encountered any power capable of stopping them. But when they pushed down into the Amur valley they more than met their match. There they came up against the outposts of the mighty Chinese Empire, which then was at the height of its strength (see Chapter 19, Section III). It was hunger that drove the Russians to the Amur basin. The frozen north yielded furs but no food, and the distant granaries of European Russia might as well have been on another planet. So the Russians hopefully turned southward where, according to native lore, there existed a fabulous country with fertile soil and golden grain.The Cossack Vasily Poyarkov led the way down the Amur valley in 1643-1644. He was followed by a series of adventurers who captured the town of Albazin, built a string of ostrogs, and killed and pillaged in typical Cossack fashion. The Chinese emperor finally was sufficiently exasperated by these outrages on the fringe of his empire to send an expedition northward in 1658. The Chinese recaptured Albazin and cleared the Russians out of the whole Amur basin. After more skirmishes the two governments negotiated the Treaty of Nerchinsk (August 27, 1689). The frontier was fixed along the Stanovoi mountain range north of the Amur River, so that the Russians were forced to withdraw completely from the disputed river valley. In return, the Russians were given commercial privileges allowing subjects of both empires to travel freely across the frontier and buy and sell without hindrance. The trade that grew up in the following years, carried on by caravan, consisted of gold and furs which the Russians exchanged for tea. It was from the Chinese that the Russians obtained what was to become their national drink. The Russians soon became greater tea drinkers than even the English.With the signing of the Nerchinsk Treaty, the first stage of the Russian expansion in Asia came to a halt. For the next 170 years the Russians observed the provisions of the treaty and stayed out of the Amur basin. They did not resume their advance southward until the midnineteenth century, when they were much stronger than in the days of Vasily Poyarkov, and the Chinese were relatively weaker.IV.ADMINISTRATION AND DEVELOPMENT OF SIBERIA The fur trade dominated Siberia throughout the seventeenth century. The government was the chief fur trader; indeed, fur was one of its most important sources of revenue. The government acquired furs by variousmeans: It collected tribute, or tax, from the natives in furs, and it took a 10 percent tax in the best furs from the Russian trappers and traders. In addition, it reserved the right to buy the best furs obtained by both the natives and the Russians. By 1586, the state treasury was receiving annually from these various sources 200,000 sables, 10,000 black foxes, and 50,000 squirrels, besides beavers and ermines. Furthermore, the government had a lucrative monopoly of the foreign trade in furs. Estimates of the revenue derived from Siberian furs in the mid-seventeenth century vary from 7 to 30 percent of the total income of the state. A leading student of this subject has concluded that "The government paid the administrative expenses in Siberia out of the fur trade, retained a large surplus, and added an immense region to the state."In the eighteenth century, the traders and trappers began to give way to permanent colonists who emigrated from European Russia to escape creditors, military service, religious persecution, and, above all else, the bonds of serfdom. Whereas serfdom had developed and spread through European Russia in the sixteenth and seventeenth centuries, it did not take root in Siberia at any time. The explanation seems to be that serfdom existed primarily to satisfy the needs of the nobility, who were essential for the functioning of the state. But the nobles did not migrate to Siberia, which offered no attractions comparable to those of Moscow and St. Petersburg. Consequently, Siberia escaped the nobility and thus also escaped serfdom. The growth of population in Siberia to 1763 is given in Table .It is significant that whereas only 420,000 Russians were living in Siberia by 1763, the population of the thirteen colonies in North America had risen by the same date to between 1,500,000 and 2 million, or aboutfour times as many. In other words, the Russians, who had been much faster in exploring and conquering, were now much slower in colonizing. One reason was that Siberia could draw only on Russia for immigrants, whereas the American colonies were receiving immigrants from several European countries. Even more important was the greater attractiveness of America for would-be colonists. Climatic conditions in Siberia were akin to those prevailing in Canada. It is no accident that by 1914 the populations of Canada and Siberia were about the same—8 million for Canada and 9 million for Siberia. By that same year the United States, smaller in area than either Canada or Siberia, had grown to a population of 100 million.REFLECTIONS ON CROSSING SIBERIAIn 1908 a young Russian diplomat crossed Siberia by railway en route to the embassy in Peking. His thoughts are revealing of Siberia as a country and as a class-divided society. *On my way to Peking I had to cross the whole of Siberia, Manchuria, and North China. No one can fail to be impressed by the journey through Siberia, especially the first time. The dimensions of Russia are staggering. You travel a day, you travel a week, you travel ten days, and you are still in Russia. Except for the Ural Mountains and a stretch near Lake Baikal, the country is absolutely flat.After you leave European Russia the population becomes very scarce; you pass hours and hours without seeing any village or habitation. Near the stations there are a few houses. Usually, when the express train arrives at the station, the entire local population comes to stare at the travelers. Especially in the evenings, when the train is brilliantly illuminated by electricity and the elegant figures of some inhabitants of Shanghai or other Far Eastern ports are visible inside, the travelers must appear to the local residents like men from another planet. What envy and dissatisfaction the exotic creatures in furs must provoke in the hearts of those doomed to spend their entire life in some miserable station!I imagine a young girl who has not yet lost the capacity to dream waiting on the station platform. She hears the express approaching and sees it all illuminated. The train stops for five minutes. The passengers, looking like people from a fairy land, jump on the platform; they laugh and joke. There is a whistle, the train with its passengers disappears, and darkness, emptiness, and dullness reign again.It is unjust that some should move from place to place in luxury, whileothers must remain in some forsaken place in misery. Small wonder that this should cause irritation and discontent. I am convinced that the Siberian express played an important part in the awakening of the population of Siberia and thereby hastened the coming of the revolution.The sight of unlimited space and the absence of life begins to affect you, and the passengers prefer to pass their time in the diner, drinking endless glasses of tea and playing cards....V.CONQUEST OF THE UKRAINEWe noted earlier that Ivan the Terrible's conquest of Kazan and Astrakhan in the mid-sixteenth century left two independent khanates—that of the Crimean Tatars in the south and of the Tatars across the Urals. The latter were subdued in a few years by Yermak and his successors, but the Crimean Tatars held out until the end of the eighteenth century. One reason for their survival is that they enjoyed the powerful support of the Ottoman Empire. But the Ottoman Turks were defeated by Catherine the Great, who forced them to accept the Treaty of Jassy (1792). This gave to Russia the entire north shore of the Black Sea from the Kuban River in the east to the Dniester River in the west.The whole of the Ukraine now was under Russian rule. The forest at last had triumphed over the steppe. The desert zone of central Asia still held out, but it also was destined to fall under Muscovy's sway during the following century. In this manner a small duchy in eastern Europe expanded through the centuries to become the world's largest state with dozens of minority peoples in addition to the original Slavs. Until 1917, this state was known as the Tsarist Empire; after the 1917 Bolshevik Revolution it became the Union of Soviet Socialist Republics (USSR). This existed until its disintegration in 1991, when it was replaced by the Commonwealth ofIndependent States, as we shall see in Chapter 44, Section III.The dozens of minority peoples in the USSR preserved their sense of identity, despite the centuries they spent under Tsarist and then Soviet rule. Therefore they were able to establish independent states when the USSR fell apart in 1991. By contrast, the equally large number of ethnic elements comprising the United States have not demanded an independent existence. Why the basically different situation in the two countries One explanation is that the USSR was a mosaic of nationalities, while the United States is a melting pot of nationalities. The USSR was a mosaic because centuries ago, as we noted above, the Russians began conquering their neighbors all the way to the Pacific Ocean and then combined them into one empire, like a mosaic holding together many different-colored Pieces of glass. Just as each piece of glass in a mosaic retains its color, so the various nationalities in the Tsarist-Soviet mosaic retained their identity. In 1991 those broke off and became dependent states.The Americans also conquered the various Indian tribes all the way to the Pacific Ocean, just as the Russians conquered the Eurasian peoples all the way to the Pacific Ocean. But the number of Indians between the Atlantic and Pacific oceans was much smaller than the number of Eurasians between the Ural Mountains and the Pacific Ocean. So the Americans were able to push all the Indians into a few reservations. That cleared the ground for the immigration of millions of people from all over the world into the relatively empty lands of the United States. In those lands the immigrants "mixed up" so that today descendants of many different peoples often live side by side as neighbors in one American city block or in one apartment building, instead of a whole republic consisting entirely, or largely, of one people or another, as is the case with the fifteen SovietSocialist Republics (SSRs) that comprised the USSR. That is one reason why the many elements in the melting pot (Mexicans, Koreans, Chinese, Germans, African-Americans, and so on) are not demanding autonomy or independence in the United States, as did the Baltics, Armenians, Ukrainians, and various Moslem ethnic groups in the USSR. The illustration, "Ethnic Composition of Soviet Republic," on page 378 provides statistics that demonstrate why the USSR disintegrated as a mosaic, in contrast to the melting pot that has survived as the United States.。