[专业英语考试复习资料]专业八级分类模拟274

1、专业英语考试复习资料专业八级分类模拟274专业英语考试复习资料专业八级分类模拟274专业八级分类模拟274LISTENING COMPREHENSIONThree Concepts in Art History . Commonalities Certain chunk of 1 , within which 2 were shared . Periodization A combination of 3 Periodizers use words to describe 4 . Rules of Periodization A. 5 Newly discovered data result

2、in 6 in periodization B. Era Usually long C. Period Shorter than an era Sometimes used 7 with era Catch-all category Two situations of using period a) Significant ruler was dominant in a specific 8 b) Nobody was taking control whatsoever Period may also be 9 to an artist e.g. Picassos blue and rose

3、period D. Movement Elements of movement a) A band of artists b) X amount of time c) 10 e.g. artistic style, common enemies etc. Impressionism a) Explore new ways of depicting 11 b) New techniques in 12 c) Support artistic efforts d) Hold their own 13 e) Make the art establishment 14 Short-lived Less

4、 15 in contemporary times (如需获取本MP3听力录音请搜索标题名) 1.答案:(elapsed) time听力原文 Three Concepts in Art History Good morning everyone. Today we will continue our discussion in art history and we are going to focus on three important concepts in art: era, period and movement. The words era, movement and period

5、are plastered all over Art History, but I dont recall ever, in any class, going over what they are supposed to mean in comparison to one another. I cant find any credible references, either, but I will do my best in my talk today to help you tell the differences between the three concepts. First, no

6、 matter whether era, period or movement is being employed in a situation, they all mean historic chunk of time. Secondly, art created during any of the three is distinguished by characteristics common to the era/period/ movement. Whichever term is being bandied about, these two factors apply. The pr

7、oper name of historic classification is periodization. Periodization seems to be a combination of art and science, and is only entrusted to serious professionals. Its mostly science, as far as I can tell, because those in charge of periodizing use as many factual dates as are at their disposal. The

8、art part comes in when the periodizers have to use words to describe dates. Someone, somewhere, is always going to disagree with somebody elses choice of words, with an end result that, occasionally, weve got more than one term for the same time frame. Theres probably a strong argument for foregoing

9、 all of this English and using the Vulcan Mind Meld in this periodization business. Since thats sadly not possible, here are a few rules of thumb about Art History periodization. Rule of Thumb 1: Periodization is elastic. It is subject to change ff and when new data is discovered. This is not unusua

10、l in art history, as art is open to interpretation and understanding. There is no one single answer in art or art history. Rule of Thumb 2: Regarding an Era. An era is usually long, as evidenced by the Baroque Era: around 200 years, if you count the Rococo phase. An even better example would be the

11、Upper Late Paleolithic, an era which covered some 20,000 years worth of art and a bunch of geological changes. A note of warning, though. In recent years, era has come to be employed with shorter blocks of time, like the Nixon era, but that hasnt got much to do with Art History. Rule of Thumb 3: Reg

12、arding a Period. A period is generally shorter than an era, though they are sometimes used interchangeably. Going by the dictionary, a period should mean any portion of time. In other words, period is a bit like the catch-all category in periodization, if we havent exact dates, or the chunk of time

13、in question was not a specific era or movement, heyperiod will suffice! It seems to me that period mostly comes up in Art History when some significant ruler was calling the shots in a specific geographic location. This happened a lot in the far East; Japanese history, in particular, is chock-full o

14、f periods. Nobody was in charge of anything, as was the case during the Migration Period in the European Dark Ages. To confuse things further, however, certain individuals may claim to have worked through this or that period. Picasso, for example, had himself both a blue period and a rose period. So

15、, a period may also be singular to an artistthough I feel it would be more considerate of the rest of us to refer to such as his or her phase, fling, passing fancy or temporary insanity. Rule of Thumb 4: Regarding a Movement. A movement is less slippery. It means that a group of artists banded toget

16、her to pursue a certain commonality for x amount of time. They had a specific objective in mind when they got together, whether it was a particular artistic style, political mindset, common enemy or what have you. For example, impressionism was a movement whose participants wanted to explore new way

17、s of depicting light and color, and new techniques in brushwork. Additionally, they were fed up with official salon channels and the politicking that went on there. Having their own movement allowed them three things: support one another in their artistic efforts, hold their own exhibitions and caus

18、e discomfort to the Art Establishment. Movements are relatively short-lived things in Art History. For whatever reasonwhether it is mission accomplished, boredom, personality clashes, etc.artists tend to hang together for months or years and then drift apart. I think this has much to do with the sol

19、itary nature of being an artist, but thats just my opinion. Additionally, movements dont seem to happen as frequently in contemporary times as they used to. Be that as it may, as one traverses Art History one sees a fair amount of movements, so its good to know what it meant, at least. OK. I think t

20、hats all I have for the three concepts. Let me recap. We need to know that era, period and movement all stand for certain amounts of elapsed time, within which artistic characteristics were shared. This is the most important point. And I have explained the difference between the three concepts to yo

21、u. In the future, when you read the art literature and come across these terms, recall what weve discussed today and youll understand the text much better. 解析 本题考查三个概念的共同之处。讲座中提到两点，其中第一点是：都表示一段时间。填(elapsed) time。2.答案:(artistic) characteristics解析 第二个共同之处是：所创造的艺术都是有共同特征的。这里填(artistic)characteristics。此

22、外，这里提醒一下考生，讲座的最后部分有总的概括，有时候一些关键的信息会再次出现。例如第一题和第二题，在讲座的结尾之处就有关键信息重现。考生应注意把握第二次的听与记的机会。3.答案:art and science解析 本题考查对periodization(划分历史时代)的理解。讲座提到，划分历史时代是艺术和科学的融合。这里填art and science。4.答案:dates解析 录音提到，专门划分历史时代的人会使用一些文字描述相关日期。因此本题应填dates。5.答案:Elastic解析 此题考查划分艺术时代的第一个经验法则，即艺术时代的划分是有弹性的(灵活的)。因此本题填入Elastic。6

23、.答案:change解析 讲座提到的是弹性，即：有新的数据被发现后，历史时代的划分就会改变。这里填change。7.答案:interchangeably解析 此题考查划分艺术时代的第三个法则的细节内容。演讲人提到，虽然时期(period)和时代(era)这两个词有时会交替使用，但是“时期”要比“时代”要短。本题填interchangeably。8.答案:geographic location解析 本题问的是在哪些情况下我们可以用“时期”这一概念。讲座提到，第一种情况是，当一些关键的统治者统治特定的地理位置时可以使用。因此，这里填geographic location。9.答案:singular

24、解析 本题考查“时期”的另外一种使用情况。讲座提到，一些艺术家声称自己经历了不同的时期。因此，时期也可以指艺术家独特的阶段。填singular。10.答案:Specific objectives解析 本题问的是运动的要素有哪些。讲座中没有直接说出哪些是运动的要素，而是通过讲解运动的定义将其带出。讲座提到，运动里面的人要有明确的目标。填Specific objectives。11.答案:light and colour/color解析 本题考查印象派运动的特点。录音提到，印象派运动的参与者想要在描绘光与色的方面上及绘画技巧上探索出新的方式。故填入light and colour。12.答案:br

25、ushwork解析 本题考查印象派运动的目的之一。讲座继续提到，印象派运动除了要在光和色上探索，也要在绘画风格上尝试新的技巧。这里填brushwork。13.答案:exhibitions解析 讲座提到，开展印象派运动可以让他们举办自己的画展。故填入名词的复数形式exhibitions。14.答案:uncomfortable解析 讲座提到，印象派运动给艺术当局造成不安。这里需将原文的discomfort转换为形容词uncomfortable。15.答案:frequent解析 本题考查考生透彻理解信息和转换信息的能力。题目问的是当代艺术运动显得怎么样。讲座中提到的是：当代时期里艺术运动已经没有以前

26、发生得那么频繁。考生要透彻理解这一信息，把副词frequently转换为形容词，这里填的是frequent。Visual Perspective Perspective in art is the way that artists represent three-dimensional objects on the two dimensions of their canvas. There are two kinds of perspective and they occupy important roles in the art history. . 16 perspective The w

27、ay that the 17 affects how we see things, especially distant things Makes a mountain in the distance appear to be less 18 than closer object Application: A. Realistic artists: reproduce B. 19 : create their own special effects . Linear perspective the more 20 things are, the smaller they seem to get

28、 Example: 21 ; a line of telephone poles . The vanishing point Objects get smaller and smaller as they recede, until they vanish in a point on the 22 Objects or scenes may have more than one vanishing point: A. A cube with one of its faces squarely perpendicular to us Single vanishing point: directl

29、y behind it and on the horizon B. A cube with one of its 23 facing us Two vanishing points: one for the right-hand face; one for the left-hand face C. A cube viewed from somewhat 24 Three vanishing points: one to the right, one to the left, and a third one behind it . The history of perspective in a

30、rt Early western art: Artists recognized the effect but failed to present it Example: the paintings inside 25 the illustrations in 26 Christian churches 13th and 14th century Reverse perspective 27 : A. Linear perspective 1) Brunelleschi: conducted several 28 experiments and discovered the rules of

31、perspective Example: a(n) 29 of San Giovanni Bapistery 2) Donatello: began using accurate linear perspective; spread it throughout Europe B. Aerial perspective Flemish and 30 masters: developed the idea Example: Jan van Eycks The Virgin of Chancellor Rolin (如需获取本MP3听力录音请搜索标题名) 16.答案:Aerial听力原文 Visua

32、l Perspective Good morning, everyone. Today, I want to start with a look at visual perspective. First, well look briefly at the kinds of perspective, and then well look very quickly at its history in art. Just in case you dont know what were discussingperspective in art is the way that artists repre

33、sent three-dimensional objects on the two dimensions of their canvas. There are two basic sorts of visual perspectiveaerial perspective and linear perspective. Aerial perspectiveand aerial just means air or atmospheric, not your view from an airplane! aerial perspective is the way that the atmospher

34、e affects how we see things, especially distant things. I wont try to go into the laws of physics that are involved here, but it is aerial perspective that makes a mountain in the distance appear to be a different color, that makes it seem hazierless distinctthan closer objects. These are effects th

35、at realistic artists attempt to reproduce carefully. And impressionists also use it to create their own special effects. Just think of many of Turners landscapesor cityscapes like his Dido Building Carthageto get an idea of how the air can affect what we see. The other perspective, linear perspectiv

36、e, is the way that things seem to get smaller the farther away they get. A classic example of this is the way we perceive railroad tracks or a line of telephone poles running away from us. They seem to get smaller and smaller as they recedeuntil they vanish in a point on the horizonand this point is

37、 appropriately called the vanishing point. This effect happens whenever there are parallel lines, like the two train tracks, or the tops and bottoms of the telephone poles. Now, an object or a scene may have more than one vanishing point. A cube with one of its faces squarely perpendicular to us has

38、 a single vanishing point, directly behind it and on the horizon. But a cube with one of its vertical edges facing us has two vanishing points insteadone for the right-hand face and one for the left-hand face, and these points are off to the right and left respectively, on the horizon, where the par

39、allel lines of the faces seem to converge. And then, if this same cube is viewed from somewhat above or below, it will have three vanishing pointsone to the right, one to the left, and a third one behind it and below or above the horizon. This is easy to visualize if you look up at a corner building

40、 from its street intersection. You can look down one street to see the right-hand vanishing point, look down the cross-street to see the left-hand vanishing point, and then look up along the corner of the building to visualize the third vanishing point. These kinds of perspective are easy to see if

41、we view geometrical shapes or manmade structures, but of course natural scenes dont have any sets of parallel lines, so they have no vanishing pointsbut that doesnt mean that they dont exhibit perspective. OK. So much for the two perspectives, now a bit of history about the perspectives. The laws of

42、 optics were not understood at all in early Western art. Artists recognized the effect, of course, but they were unable to figure out how to represent it accurately. From the paintings inside the Egyptian pyramids to the illustrations in medieval Christian churches, nearer people were simply drawn l

43、arger, or drawn lower in the picture, or drawn so as to cover the people farther away. There was no real understanding of how the physics of perception workedthey never got a grasp on the idea of the vanishing point. In the 13th and 14th centuries, before linear perspective was discovered, artists o

44、ccasionally employed something called reverse perspective, in which parallel lines splay rather than converge as they approach the horizon line. One of the rules set forth in an early artists manual is that elements above the eye of the viewer tend downward, while elements below the viewers eye tend

45、 upward. While arbitrary tilting of lines upward and downward can create unusual effects, this is generally considered to be a significant step in the progression toward the rational application of linear perspective. And then came the Renaissance, the rebirth of learning and the sciences. This was

46、a hotbed of scientific thoughtDa Vinci, Galileo, Newton and Filippo Brunelleschi. Brunelleschi was a fifteenth century Florentine architect who conducted several optical experiments and discovered the roles of perspective. With what hed learned, he drew a very accurate picture of San Giovanni Bapist

47、ery in Florence, and then he made a small peep hole in the middle of it. He carried it into the street and amazed all his acquaintances by having them look through the peep hole from the back of his picturefirst, at a mirror which reflected the image into the viewers line of sight. Then, Brunellesch

48、i would quickly withdraw the mirrorleaving the viewer peeping at the real Bapistery, whose perspective had been replicated perfectly! Other Italian artists, notably Donatello, began using Brunelleschis methods for accurate linear perspective and his ideas soon spread throughout Europe. The developme

49、nt of effective aerial perspective, on the other hand, was developed by the Flemish and Dutch masters of this same period, and can be seen at its best in works like Jan van Eycks The Virgin of Chancellor Rolin. But thats another story. OK. I have outlined the two perspectives for you and I also talk

50、ed about the history of the development of perspectives. Next time, we shall go to the workshop of drafting some drawings with the help of perspectives. 解析 讲座提到透视法基本上可以分为两种。此题要求填入第一种透视法Aerial perspective(空中透视法)。因此填入Aerial。17.答案:atmosphere解析 透视法Aerial perspective(空中透视法)，即空气如何影响我们对远方景物的视觉。因此本题的答案为atmo

51、sphere。18.答案:distinct解析 根据空中透视法，远方的山脉呈现出不同的颜色，要比近处的景物更为模糊、不那么清楚。因此本题的答案为distinct。如果没能记下本题考查的细节，也可以根据常识推断出答案。19.答案:Impressionists解析 印象派画家利用空中透视法来制造印象派作品特有的效果。本题答案为Impressionists。20.答案:distant解析 直线透视法是另外一种透视法。它指的是更远的物体会显得更小。根据空格前的more，此空格不能填原词farther，应将the farther away转化成为the more distant。21.答案:railro

52、ad tracks解析 第二种透视法为直线透视法，直线透视法的典型例子是我们在远处观察铁路轨道和电话线杆上的电线离我们越来越远。因此填入railroad tracks。22.答案:horizon解析 根据直线透视法的原则，排成一列的物体显得越来越小，直到他们消失在地平线上的某一点，而这一点就称为“灭点”。因此本题的答案为horizon。本文考查的是关键性信息，在听力过程中应注意做好笔记。23.答案:vertical edges解析 如果一个立方体有一条垂直边缘面对着我们，那么我们将看到两个“灭点”，一个在其左边的立面，一个在其右边的立面。这两个“灭点”分别是左右两边的上下两条边缘的延伸交汇。因

53、此本题的答案为vertical edges。24.答案:above or below解析 如果自上而下或者自下而上的看一个立方体，那么就能看到三个“灭点”，一个在右边，一个在左边，第三个是在立方体正上方或者正下方。因此本题的答案为above or below。25.答案:the Egyptian pyramids解析 录音提到西方艺术史的透视法。早期的西方艺术虽然了解透视的效果，但是却未能参透透视法。讲座举出其中一个例子：埃及的金字塔中的绘画。因此填入the Egyptian pyramids。26.答案:medieval解析 录音提到，无论是埃及的金字塔中的绘画，还是中世纪的天主教教堂的绘画

54、，在近处的人像都画得很大，或者位于画面较低的位置，或者直接把远处的人给遮住了。因此本题的答案为medieval。27.答案:Renaissance解析 录音接着提到透视法在西方艺术史上的第三个时期，即“文艺复兴”时期。因此填入Renaissance。28.答案:optical解析 15世纪文艺复兴时期，佛罗伦萨的画家布鲁内莱斯基进行了几次光学的实验，发现了透视法的原则。因此本题的答案为optical。29.答案:accurate picture解析 录音讲到文艺复兴期间，大量科学思想体系诞生，代表人物如达芬奇、伽利略等。以画家布鲁内莱斯基为例，他描绘了一幅关于佛罗伦萨San Giovanni

55、Bapistery精确的画。因此填入accurate picture30.答案:Dutch解析 在文艺复兴时期，一些佛兰德和荷兰的艺术大师也开始利用空中透视法。本题的答案为Dutch。Women-centered History In the past, most people believed that the contributions women have made to US history have been ignored by historians. In recent years, a new view of womens history has emerged. Its called women-centered history, which is forcing historians to re-interpret trad