英语听力教程第三版(张民伦主编)Unit9RomancingtheStone听力原文

Listenthisway听力教程第三册-9Unit9RomancingtheStonePartIGettingreadyAmuseumisaninstitutionthatcaresforacollectionofartifactsandotherobjectsofscientific,artistic,cultural,orhistoricalimportanceandmakesthemavailableforpublicviewingthroughexhibitsthatmaybepermanentortemporary.Mostlargemuseumsarelocatedinmajorcitiesthroughouttheworldandmorelocalonesexistinsmallercities,townsandeventhecountryside.ThecitywiththelargestnumberofmuseumsisMexicoCitywithover128museums.AccordingtotheWorldMuseumCommunity,therearemorethan55,000museumsin202countries.Audioscript：1.TheLouvreParisisanancientcity,witnesstorevolution,celebrationandwar.AtitscenterstandstheLouvre,oncearoyalpalaceandnowoneoftheworld'sgreatestmuseums.TheLouvreishometothemostfamouspaintinginhumanhistory--TheMonaLisa.Herenigmaticsmileissaidtoconcealmanysecrets.2.TheVaticanMuseumInthemiddleofRomestandstheVatican,theepicenterofCatholicism.ItisbothafortifiedcityandaplacethePopecallshome.(Gracias.Gracias.)Italsohousesoneofthemostfamousmuseumsintheworld,fulloftimelesstreasures,eachonewithastorytotell.OfallofthesenonearemorefamousthantheSistineChapel.AllwhoenterheregazeupattheluminousfrescosofMichelangelo.3.Toronto'sRoyalOntarioMuseumIt'saneye-poppingCanadianlandmark,anationaltreasurechestandaplaceofmystery.ThisistheRoyalOntarioMuseuminToronto,theROM.Foreveryobjectondisplay,thousandsmorearehiddeninbackroomsfarfrompublicview.EnterthehallofAncientEgypt,andthehairstanduponthebackofyourneck.Youfeelapresenceoftheghosts.Howdidtheyliveandhowdidtheydie?Ifonlythemummiescouldspeak.4.Cairo'sEgyptianMuseumEgypt,herethetoweringmonumentsofthePharaohsstandsilentamidtheroarofamoderncity.CairoisthelargestmetropolisinAfrica,hometomorethan20millionpeople.Butatitscenterisarefugeefromurbanchaos.ThisisthemuseumofEgyptianantiquities,thetreasurechestofAsiancivilizationandoneofthemostspectacularmuseumsintheworld.VisitorsflockherebythemillionstogazeintotheeyesoflongdeadPharaohsandmarvelattheirdazzlingsarcophagiofsilverandgold.5.London'sNaturalHistoryMuseumTheNaturalHistoryMuseuminLondon,England,it'sacathedralofnaturehousingover70millionspecimens.Duringtheday,thousandsofvisitorstourthegalleries.Butatnight,whenthey'veallgonehome,thisplaceseemstocomealivewithunforgettablestoriesaboutwherewecamefromandwherewearegoing.Thegalleriesanddarkpassagewaysinvitethosewhodaretoventurebehindthescenes.Takeacloserlookanddiscoversecretsthataredisturbingandsometimesbrutal.PartII"TheScream"Paintingisafascinatingsubject.Everytimewhenyouvisitamuseum,youwillfindsomethingneweveninthesamepainting.Whilelookingatapainting,youcanenjoyitforitsbeautyalone.Itslines,forms,colors,andcompositionmayappealtoyoursensesandlingerinyourmemory.Apartfromthat,youcanalsotrytofigureoutwhatthepaintingdescribes.Doesitdescribetheartist'simpressionofasceneoraperson?Ordoesitdescribetheartist'sfeelingabouttheartofpaintingitself?Audioscript：Speaker1:Thispictureis"TheScream"byEdvardMunch,andit'saverypowerfulpicture,it'sinblackandwhiteas,asyouseeithere.AndumIthinkit'sparticularlypowerfulbecausemainlybecauseofthatfigurewhoum,whois,whoseemstoberunningoffthisbridgehereholdinghisorherheadinherhandsandscreaming.Andum,what'sveryinterestingaboutthepicturearethetwo,thetwofiguresattheendofthebridgeorfurtherupthisroad.Andit'sdifficulttounderstandwhetherthepersonisrunningfromthemorwhetherthey'rejusterinnocentbystanders.Um,sothereasonI,Ilikethispicture,thereasonIfinditpowerfulisbecauseIthinkthatthepersonisnotactuallyrunningfromthetwodarkfiguresattheendofthebridge,butinfactthepersonissufferingerperhapssomekindofterriblelonelinessorsadness,andis,actuallyseemstobetryingtohidethatfeelingfromthosepeople.AndIthinkthisisacommonfeeling,Ithinkthisissomethingwhichwealldosometimeswhen,whenwefeelsomefeeling,usuallyabadfeeling,somethinglikelonelinessorterribleunhappiness,wedon'twantotherpeopletoseethat,andersowe,wehavetotryandhidethatfeelingfrom,fromothermembersofthe,ofthepublic.AndIfeelthat'swhatthismanorwomanisdoinginthepicturehere.Audioscript：Speaker2:Asadesign,thepicture'sverystrongaswell.The,thebridgeorthestreetisaverystrongdiagonallinewhichgoesthroughthe,thepicture.Andthentothe,totherightofthescreamer'sheadthere'saseriesofdarkverticallines--it'sdifficulttoknowwhatthatis,perhapsit'safieldormaybeitcouldbeawall,it'sdifficulttoknowexactlywhatitis,butthosedarkverticallinessomehowdepressthepicture,whichisexactlywhattheartistwanted.Andthenatthe,atthetop,youhavethesky,whichtheartisthas,hasermadeintheformperhapsofclouds,whichareverystronghorizontallines,very,veryboldblacklineswhichagainseemtopushthewholepicturedown,andaddtothedepressionofthe,theexperiencewhichthe,thescreameriser,isfeeling.PartIIITajMahalTheTajMahalisawhitemarblemausoleumlocatedinAgra,UttarPradesh,India.ItwasbuiltbyMogulemperorShahJahaninmemoryofhisthirdwife,MumtazMahal.TheTajMahaliswidelyrecognizedasthejewelofMuslimartinIndiaandoneoftheuniversallyadmiredmasterpiecesoftheworld'sheritage.Audioscript：There'snobuildingmoreromanticormoretragicthantheTajMahal.OnJunethe17th,1631,MumtazMahal,thewifeoftheMogulEmperor,ShahJahan,diedwhilegivingbirthtoherfourteenthchild.So,inresponsetothedeathofhiswife,ShahJahancreatedoneofthemostfamousbuildingsintheworld,theTajMahal,avisionofperfection,ofparadiseonEarth.TheemotionalpoweroftheTajMahalcomesnotjustfromitsruthlesssymmetryanditsdazzlingwhitematerial,butalsofromthepurityandsimplicityreallyofitsforms.InlinewithIslamicthinking,itisnotloadedwithimagesoflivingbeings,bannedintheKoran,butbysimpleabstractdecoration,lettering.Inthissenseverymuchlessornamentationgivesmoreemotionalpower.Asyouapproachnearer,theTajMahal,itsscale,itscraftsmanshipbecomealmostoverwhelming.Ittooktwentythousandpeopletwentyyearstocompletethisgreatstructureanditswhitemarbleisinlaidwithtwenty-eightdifferentsortsofpreciousandsemi-preciousstones.But,thisisn'tapalaceoramosque.It'samausoleum.It'samonumenttogrief.Atthislevelandsonear,IcanseejusthowexquisiteandsubtletheTajMahalis.Theinlayisamazing,likeajewelbox.Andthewhitemarbleiscarvedandthesurfaceismottledinarchitecturaldetail.Itwasagreatsurprise,beinginsidetheTajMahalislikebeinginsidealivingbeing.Itmoansanditgroans.There'snoquestionaboutit,asamonumenttogriefandtoheartbreakandtheexpressionofagonyandpainthatlostallthatwaspreciousinthisworldandlongingforthenext,theTajMahalhasnoequal.It'sunsurpassed.Audioscript：ThetwisttothestoryoftheTajMahalisinthenearbyRedFortwherethefinaltragicepisodeofShahJahan'slifewasplayedout.It'sherethatthemythoftheTajwasborn,whereitenterstheworldoflegend.ShahJahan,thegreatemperor,becameill.Hesufferedastrokeandthisprovokedaruthless,viciousstruggleforpoweramonghisfoursons.Theyfought,theybattledandAurangzeb,themostskilful,themostviciousIsupposeofthefoursons,prevailed.Hekilledhisthreebrothersinbattleandbytreacheryandwhenhehadhisfather,ShahJahaninhispower,heimprisonedhimhereintheFort.SoforShahJahanhisgreatempirehadbeenreducedtotheareaofthiscourtyard,andhewouldstandwhereIamstandingnow,contemplatingtheview,lookingatthegreatmausoleumoverthere.Thisisaspectacularview,butitcouldhavebeenmorespectacularstill.ItissaidthatShahJahan,ifhehadn'tlostcontrolofhisempire,wouldhavebuilthimselfamausoleumoppositethatofhiswife,andhisonewouldhavebeencladinblackmarble,tomatchthewhitemarbleoftheTajMahal.ThestoryoftheblackTajisaninventionofthe18thcentury,butonethatreflects,reinforcesthefantasysurroundingabuildingdedicatedtoloveandtowhatcouldhavebeen.PartIVMoreaboutthetopic:BritishSculpturesNowandThenSculpturehaschangedmoreradicallyinthepast100yearsthaninthepreceding30000.Britishsculptorshaveledthewaythankstotheirrestlessoriginality.TodayBritishsculptureisahugelyexpressivemediumwithalmostlimitlesspossibilities.SometimesthatsheervarietycanbeabitbewilderingbutinBritishsculpture'slonghistory,thismayturnouttobethegreatestchapteryet.Audioscript：WelcometotheBritishMuseum,London,hometoancientart,andtheunlikelybirthplaceofmodernsculpture.Throughoutthe19thcentury,BritishsculptorscameheretostudythefamousancientGreekmarblesthatonceadornedtheParthenoninAthens.TheywentonshowattheBritishMuseumatthestartof1817andweresoonconsideredtheepitomeofwhatsculpturecouldandshouldbe.Classical,heroicforms,they'renaturalistic,harmoniouslyproportioned,completelydevoidofdistortion.Theyofferavisionofahighlysophisticatedsociety--thebedrock,ifyoulike,ofWesterncivilization.Butatthebeginningofthe20thcentury,agroupofbohemian,bold,renegadeyoungsculptorsbegantolookelsewhereinthemuseumforinspiration.ThehieraticartofAncientEgypt,carveddirectintostone.ThecarvingofthePacific,freeofclassicalproportions.ThereliefsofancientAssyria,sodifferentfromtheParthenon.AndthesculptureofCentralAmerica--fullofsexanddeath.Earlyinthe20thcentury,non-Europeanworkslikethesekick-startedarevolutioninBritishsculpture.Sincethen,inthesearchfornewformsofself-expression,Britishsculptorshavebrokenalltheoldrules.There'sbeencontroversyastheirvisionhasclashedwithconvention.TVnews:Thesculptorofahousewhowonthisyear'sTurnerArtPrizehaswatchedherworkbeingdemolished.There'sbeenconservatism,whimsy,mass-production.Butinagoldenageofcreativity,ourartistshaveoftenledtheway--makingBritishsculpturepartofanew,internationallanguage.Insteadofgodsorheroes,theyprojecttheirowninnerworld,leavingustodecidewhattheirsculpturesmean.They'vepushedtheboundariessofar,we'renolongerevensurewhatsculptureis.It'sbeenastoryofrevolutionandliberationofthesculptorfreetosoarunfetteredintotherealmoftheimagination,tothepointwheretheconceptbehindthework,nottheskillofitsexecution,hasbecomeking.Today,thesculptorisn'tsomeonechippingawayatablockofmarble,butakindofsagewhocanspotbeautyandmeaningintheworldaroundus,andbringittoourattentioninthegallery.PartVDoyouknow...?Mostofusliketohangbeautifulthingsonourwalls.They'restatementsofourpersonaltasteorreflectionsofthethingswelove.ButfewofuscanaffordtogotoswankyMayfairgalleriesorposhauctionhousestobuyart.1.5millionquidforasliceofabstractexpressionismisabitbeyondmostpocketsintheserecessionarytimes.Infact,halfofBritain'slivingroomshaveartonthewallswhichhasbeenboughtonthehighstreetfromstoreslikeIkea,Habitat,B&QorArgos.Audioscript：Aside：Nowadays,artisallaroundus.It'sinthestreets,andit'spartofthemodernlandscape.Inthepastfewyears,we'vebuiltgreattemplestoartupanddownthecountry,whetherit'stheBalticinGatesheadortheTateModerninLondon.Artgallerieshavebecomepeople-friendlyplacesdrawinghugecrowds.Modernartisnowsomethingwecanallparticipatein.It'sfashionable,it'scool.Itsartistsaresuperstars.Butwhatsortofartdowewantinourlivingrooms?Hostess：I'mgoingtoventureintothedomesticartgalleriesweallinhabit.It'saworldwhereindividualitymeetsmassmarketandpersonaltasteismoreimportantthanarthistory.Man1：,Idon'tknowanythingaboutthehistoryofthese...thesepictures,butIjustlikethecolors.Colorsrepre...They'resuperbforwhatwewanted.WoMan1：NaturallandscapesIreallylike,sostormyseasandskieswithwintrytrees,justtheskeletons,butIthinkthey'remoreeffectiveinblackandwhite.Girl:It'sthe...Thesky'slikeinanicecolor,andtheseaisverybeautiful.Man2：Ilikemountains.I'mamountainguy,soIlikepictureswithmountainsonit.WoMan2：Idon'tlikePollock,becauseitjustseemsabitmessy,butIdolikethatwildflinging,paintertocanvas.Aside：Ifyouwanttobuyartforyourhome,youcouldstartatthetop.ThisisLondon'sMayfair,whereyoucanspendsquillionsonanoriginalworkofart.DowntheroadatTateModern,thingsarealittlebitmoreuser-friendly.There'sfuntobehadforallthefamily.Andintheshop,there'savendingmachinewhereyoucanorderyourownpersonalmasterpiecetotakehome.Themassreproductionofartisnowbigbusiness,andoneofthebiggestplayersintownistheArtGroup,whichsuppliesartgalleries,shopsandsuperstoresaroundtheworldfromitsfactoryinNorthampton.TheArtGroupstartedoffwithjustasinglestallonCamdenMarket25yearsago.Itssloganwas,"Artforall."Nowitrunsa24-hourproductionlineandisamultimillion-poundbusinessemploying300people.Hostess：Sowhenpeoplethinkofart,theythinkoftheseperfectwhitespaces,silent,contemplative,andhereyou'vegotthethunderofmachinery,thevaultedwarehouse...DarrenBooker(OperationDirector):Absolutely.Hostess：Ilikeit,actually.Darren：Thisis...Thisisartonabigscale.Itdoesn'tmatterifyoumaketenadayor10000aweek.Itstillhastobeperfect.Hostess：Amazinghowrecognizablealltheseimagesare.Idon'thaveany,Idon'townany,butthey'vesortofseepedintomyconsciousnessfrom,youknow,tripstoIkeaorHabitatorArgosorwherever.Sowhat'stheeffectofthepriceofthissortofartcomingdown?Darren：Ithinktherealeffectisthatit'snowin...inmorereachofeveryone.Peoplearenowabletoaffordthis,andinmanywaysitnowbecomesadisposablepieceofartwork.Art'sbecomingmorefashionable,andpeoplewilltendtodecoratemorefrequently,changetheirartmorefrequently,whichisallsogreatforus.Hostess：Becausetheycan.Hostess：IcanseeKlimthangingonthewall.Isthisabig...isKlimtabigguyforyou?Darren：,he'saverysuccessfulartist,verywellknown,agoodseller.Hostess：DoyouthinkKlimtwouldhaveeverthought,asheanguishedoverthatpicture,thatyearslaterpeopleinafactorywouldbenailgunningittoapieceofMDF?It'sartaslifestyle,Iguess.PartVIIWatchandenjoyTheSistineChapelisalargeandrenownedchapeloftheApostolicPalace,theofficialresidenceofthePopeintheVaticanCity.ThefameoftheSistineChapelliesmainlyinthefrescosthatdecoratetheinterior,andmostparticularlytheSistineChapelceilingandTheLastJudgmentbyMichelangelo.ThefameofMichelangelo'spaintingshasdrawnmultitudesofvisitorstothechapel,eversincetheywererevealedfivehundredyearsagoVideoscript：InthemiddleofRomestandstheVatican,theepicenterofCatholicism.ItisbothafortifiedcityandaplacethePopecallshome.(Gracias.Gracias.)Italsohousesoneofthemostfamousmuseumsintheworld,fulloftimelesstreasures,eachonewithastorytotell.OfallofthesenonearemorefamousthantheSistineChapel.AllwhoenterheregazeupattheluminousfrescosofMichelangelo.Whatfewpeopleknowisthathismasterpiecewasanafterthought.Whenthechapelwasconstructedthewallswerefilledwithmonumentalmurals.Buttheceilingwasjustdecoratedwithasimplefieldofstars.ThirtyyearslaterPopeJuliusIIdecideditneededanewpaintjob.WhenhegavethetasktoMichelangelo,hetookaleapoffaithbecausetheartistwasnotthenafamouspainter,butanupcomingsculptorofthehumanform.Histransformationoftheceiling,anareathesizeoftwobasketballcourts,wouldbecompletedinjustfouryears.HowdidabrilliantbutinexperiencedpaintercompletetheceilingoftheSistineChapelinsuchashorttime?FivehundredyearslaterwhenVatican'sstaffembarkedontherestorationproject,theygotthechancetouncoverthismuseumsecret.Therestorationteamspentnineyearsupontotheceilinginthe1980s.IttookthemtwiceaslongtocleantheceilingasitdidMichelangelotopaintit.Thelargestfiguresontheceilingarenearly20feetacross.Michelangelodidnotattempttopaintthemfreehand.Eachfigurestartedasasketchorcartoon,followedbyaprocedurethatartexpertslikeWilliamWallacerefertoaspouncing.Wallace:Pouncingisthemeansoftransferringthecartoontotheplaster,sothecartoonisactuallybeingprickedwithlittletinyholesandcharcoaldustinabagisactuallypouncedorpoundedontothecartoon.Okay.Weseetheheadbeautifullypouncedandthehandbeautifullypounced.ButpouncingwasaslowprocessandMichelangelowasunderpressureforanagingPopewhowantedtoseetheceilingcompletedbeforehedied.SoMichelangeloexchangedthecharcoalforablade,allowinghimtoquicklyincisethelinesofthesketchdirectlyontotheplaste