Directions: You are expected to study this section in class. Don’t preview.

1. Word Pretest

For each italicized word or phrase , choose the best meaning below.

1. Manufacturing output has remained virtually static for twenty years.
A. changing
B. uninteresting
C. steady
2. Some young people are completely struck down by the stress of examination.
A. emphasis
B. pressure
C. difficulty
3. Tumultuous shots and yells could be heard in the street.
A. threatening
B. noisy
C. faint
4. His perception of could is rather poor.
A. awareness
B. problems
C. concept
5. A stationary object is easiest to aim at .
A. fixed
B. close
C. large
6. Janis could make the most banal song sound intensely personal.
A. fascinating
B. strange
C. confusing
7. To me that’s what is really intriguing about him.
A. fascinating
B. strange
C. check
8. Eliminate the mistakes from your writing before you hand it in .
A. search
B. remove
C. check
9. Even after 10 years her name conjures up such beautiful memories.
A. covers up
B. reveals
C. brings to mind
10. The thunder reverberated across the valley.
A. echoed repeatedly
B. disappeared suddenly
C. spread quickly

2 Text
2.1Cultural Background

Vincent van Goghl：凡高(1853—1890)，荷兰画家。生于大津德尔特。儿学时在一家画店工作，后当教师。1878—1880年在波瑞纳吉作福音传教士。1881年赴布鲁塞尔学画，定居于海牙，创作早期素描和水彩画。在尼厄嫩画出首幅杰作，表现贫困农民的内景画《食马铃薯者》(1885，藏于阿姆斯特丹)。1886--1889在巴黎就学，逐渐形成自己的绘画风格，并研制出色彩更富丽的颜料。在亚耳，普罗文萨的风景给了他许多最佳绘画题材，画出《向日葵》(1888，藏于伦敦塔特陈列馆)和《桥》(1888，藏于科隆)等作品。后因精神紊乱而入精神病(1888—1890)。他在瓦兹河畔奥文斯逗留期间画出最后一幅画《麦田群鸦》(藏于阿姆斯特丹)，后开枪自杀，两天后去世。凡高是表现主义先驱之一，主要为突出色彩感染力而运用色彩，并对野兽派和20世纪艺术的其他探索者有持久影响。

Edward Munch：蒙克(1863—1944)，挪威画家。生于洛滕。就学于奥斯陆。后赴欧洲游历。1908年回挪威居住。他热衷于死和爱等主题。创作中采用表现派象征主义风格，作品色彩明快，以扭转的曲线构图，如《呐喊》(The Scream，1893)等。所作版画受到德国桥派的影响。

Sigmund Freud：佛洛伊德(1886---1939)，奥地利精神病学家，精神分析的创始人。生于摩拉维亚的弗赖堡，父母均为犹太人。在维也纳学医后专攻神经病学和精神病理学。他具有清教徒的情感，但他相信人从婴儿时期就有性欲。这种理论使他孤立于医学圈之外。1900年发表重要著作《梦的解析》，认为性愿望受压抑，以掩饰的形式表示出来就是梦，这与现代广泛流传的观点不同，1902年他被聘在维也纳大学任教授，并开始聚集信徒，由此产生了维也 纳精神分析学会(1908)和国际精神分析协会(1910)。1933年希特勒占领奥地利后禁止精神分析，他及其家人被允许移居国外，定居于伦敦汉普斯特德，直至去世。

Paul Cezanne：塞尚(1839---1906)，德国后期印象派画家，生、卒于普罗斯旺地区艾克斯。1862年去巴黎开始学画。他受毕沙罗(Pissarro)的影响，曾与毕沙罗一起作画(1872--1873)。他放弃自己的阴郁表现主义，仔细观察自然，开始运用他特有的鲜艳色调。晚期(1886年以后)着重大自然的基本形式“圆柱体、球体、圆锥体”，运用一系列有节奏、有颜色的平面构图，从而成为立体主义的先驱。直到去世前的最后几年，他的画才得到公众的理解。最
著名的画有《埃斯塔克》(L’Estaque，约1888，藏于罗浮官)、《玩纸牌者》(The Card Players，1890---1892，藏于罗浮官)和《园丁》(The Gardener，1906，藏于伦敦塔特陈列馆)。

Georges Braque：布拉克(1882--1963)，法国画家j生于阿让特伊。1908—1914年与毕加索一道工作。他主要画静物，将题材变成二度平面图形。他还试验新技术。他是第一个生前在罗浮宫展出自己作品的艺术家，卒于巴黎。

Cubism：立体主义。现代所有美术流派中最有影响的一个。早期的抽象形式艺术大多产生于立体主义，约1907年，毕加索和布拉克(Bl'ague)就摈弃了文艺复兴时期的透视画法和印象派注重光和空气的特点。他们把绘有褐色和灰色暗影的物体分解为一些几何平面，同时画出几个视点(分析立体主义)。约自1912年后出现了一种更漂亮、更绚丽、硬边的几何图形为特征的装饰风格(综合立体主义)，采用拼贴和彩浮雕结构。

Baroque: 指巴罗克风格。在艺术和建筑中盛行于17世纪和18世纪部分时期的一种风格。特点是：在波澜起伏的结构中安排曲线的形态，装饰极端华丽，往往规模宏大，式样复杂。“巴罗克”一词原为珠宝商用语，指未加工的珍珠。在绘画方面，代表这一风格的是卡拉瓦乔和鲁本斯的戏剧性的明暗对照法。

avant-garde: 指先锋派，最初用以指19世纪中叶法国和俄国往往带有政治性的激进艺术家，后来指各时期具有革新实践精神的艺术家，奥登(w．H．Auden)把先锋派称为“种族的触角”。

Pier Mondrian：蒙德里安(1872—1944)，荷兰艺术家，生于阿默斯福特。与杜斯堡(T．Doesburg，1883—1931)共同创建“风格派”(De Stijl)运动，影响及于建筑和绘画领域。1919---1938年在巴黎从事创作，后去伦敦和纽约。被认为是新造型主义的倡导者。卒于纽约。

Marcel Duehamp：杜尚(1887—1968)，法国画家，生于布兰维尔。曾与几种现代艺术流派发生联系，包括立体主义和未来主义，并以《裸女下楼梯》(Nude Descending a Staircase，1912，藏于费城)一类作品震憾当代，他是达达主义的先驱者之一。1915年自巴黎赴纽约，在那里辛勤8年画出他最著名的作品《新娘被光棍们剥
光衣服》(The Bride Stripped Bare by Her Bachelors，Even，1915—1923，藏于费城)。卒于纳伊。

Revolution in Art

　　Toward the end of the nineteenth century, a small group of artists working in France and Germany began to re-evaluate the meaning and function of art. In the preceding century, art had lost many of its traditional functions. It had ceased to be an important method for recording the way things look because that job had been taken over by the camera. Artists now sought to isolate the special province of art, to define its own particular essence. Painters and sculptors joined other intellectuals in questioning classical standards based on rationalized patterns and generalized ideals. The world view of the 1890s had been so altered by the tumultuous changes of the nineteenth century that the cool, orderly classical figure style and static Renaissance compositions no longer seemed appropriate from of expression.
　　In 1886 the painter Vincent van Gogh (1853-1890) came from Holland to France, where he produced a revolution in the use of color. He used purer, brighter colors than artists had used before. He also recognized that color, like other formal qualities, could act as language in and of itself. He believed that local or “real” color of an object does not necessarily express the artist’s experience. Artists, according to van Gogh, should seek to paint things not as they are, but as the artists feel them. In public Garden at Arles, the garden’s real colors. Thus, van Gogh captures the whole experience of walking alone in the stillness of a hot afternoon.
　　Practically unknown in his lifetime, van Gogh’s art became extremely influential soon after his death in 1890. One of the first artists to be affected by his style was a Norwegian artist named Edward Munch (1863-1944), who discovered van of use of color in Paris. In The Dance of life, Munch used strong, simple line and intense color to explore the unexpressed sexual stresses and conflicts that Sigmund Freud’s studies were bringing to light. In Germany the tendency to use color for its power to express psychological forces continued on the work of artists known as the German Expressionists.
　　Alongside the revolution in color, another revolution was occurring in the use of space. Ever since the Renaissance, European artists had treated the outside edges of paintings as window frames. The four sides of a frame bounded an imaginary cube of space ---a three dimensional world ---in which figures and background were presented. From about 1880 on, Paul Cezanne (1839-1906) explored a new way of expressing the experience of seeing. He sought to create painting with perfectly designed compositions, true both to the subject matter and to his own perceptions. He also wanted to include and build upon tradition.
　　Between 1909 and 1914, Pablo Picasso (1881-1973) and Georges Braque (1882-1963) worked together to develop a new style that is called cubism. Like Cezanne, they explored the interplay between the flat world of the art of painting and the three-dimensional world of visual perception. The two worlds influence each other, so that in art as in lift, one confuses symbols or painted representations with the objects in the real world for which they stand. This observation about experience is explicit in a cubist work like The Violin. Illustrations of fruit cut from an actual book are pasted in the corner. These sheets are real objects introduced into a drawing, or symbol. But the illustrations are also printed reproductions of drawings that were based in real fruit.
　　In a typical Renaissance or baroque painting, objects are set inside an imaginary block of space, and they are represented from a single stationary point of view. A cubist block of space, and they are represented from a single stationary point of view a space of time. One can only know the nature of a volume by seeing it from many angles. Therefore, cubist art presents objects from multiple viewpoints. Furthermore, vision is conditioned by contest, memories, juxtapositions, and events in time. In The Violin, some of the words cut from real newspapers refer ironically to an artist’s life. The numerous fragmentary images of cubist art make one aware of the complex experience of seeing.
　　The colors used in early cubist art are deliberately banal, and the subjects represented are ordinary objects from everyday life. Picasso and Braque wanted to eliminate eye-catching color and intriguing subject matter so that their audiences would focus on the process of seeing itself.
　　Throughout the period from 1890to 1914, avant-garde artists were de-emphasizing subject matter and stressing the expressive power of such formal qualities as line, color, and space. It is not surprising that some artists finally began to create work that did not refer to anything seen in the real world. Piet Mondrian (1872-1944), a Dutch artist, came to Paris shortly before World War I. There he saw the cubist art of Picasso and Braque. The cubists had compressed the imaginary depth in their paintings so that all the objects seemed to be contained within a spade only a few inches deep. They had also reduced subject matter to insignificance. It seemed to Mondrian that the next step was to eliminate illustionistic space and subject matter entirely. His painting Composition 7, for example, seems entirely flat.
　　Mondrian, like several other earl y masters of modern art, was a philosophical idealist. He held that the objects of perception are actually manifestations of another independent and changeless realm of essences. Art, he believed, should take its audience beyond the world of appearances into the other, more “real” reality. Logically, he eliminated from his paintings any references to the visible world.
　　Just before World War I, a young French artist named Marcel Duchamp (1887-1968) observed that things become art when the artist designates them as such, usually by placing them in an art context. Art, in other words, can be defined as a mode of perception. As the cubists had demonstrated, objects are always seen in relation to other object in the environment. In Advance of the Broken Arm is a real snow shoves purchased in a store. If it were seen in a hardware store, one would probably think only of its efficiency. But when seen in the Yale University Gallery, equipped with stand and label, one thinks of the shovel’s sculptural form and notices, as Duchamp intended, that it is not a sensuous sculpture. Its title conjures up scenarios about shoveling snow, preventing broken arms, or having heart attacks. One then becomes conscious of perceiving the shovel in special way unique to art.
　　The revolution in art that took place neat the turn of the twentieth century reverberating still. After nearly a hundred years, these masters of modern art continue inspire their audiences with their passion and vision.

Total words: 1143
Total Reading Time:       

Reading Comprehension
Circle the letter of the best answer.
1. Toward the end of the nineteenth century     
　A. art was an important method for recording the way things look
　B. classical standards were still appropriate forms of expression
　C. artists began to re-evaluate the meaning and function of art
2. According to van Gogh,     
　A. artists should seek to paint things not as they are, but as the artists feel them
　B. the “real” colour of an object expresses the artists’ experience
　C. color can not act as a language
3. Which of the following statements about Edward Munch is not true?
　A. He discovered van Gogn’s use of color in Paris
　B. He was practically unknown in his lifetime
　C. He used strong, simple line and intense color to explore sexual stresses and conflicts.
4. Paul Cezanne explored a new way of expressing the expressing the experience of          
　A. feeling
　B. seeing
　C. hearing
5. Cubist art presents objects         
　A. from a single stationary point of view
　B. in eye—catching colour
　C. from multiple viewpoints
6. In cubist art of Picasso and Braque,     
　A. subject matter was reduced to insignificance
　B. subject matter was emphasized
　C. subject matter was eliminated entirely
7. For Mondrian, the more “real” world is      
　A. the actual world
　B. the independent and changeless realm of essences
　C. the world of appearances
8. According to Marcel Duchamp,        
　A. any references to the visible world should be eliminated from the paintings
　B. real objects cannot become art
　C. things become art when the activist places them in an art context

Key

Vocabulary Building
ΠDefinition
Define the following terms in your own words.
Art
Renaissance
Cubism
Happening
Avant-garde artists
Composition
Perspective

 Idiom
Complete the following sentences with the appropriate idiomatic
expressions which are related to idea of COOPERATION. Make sure it fits the blanks.
　　　　Be a loner            brainstorm
　　　　Join forces            pool one’s resources
　　　　Go it alone            put heads together
　　　　Lend a hand           two heads are better than one

1. If Dick          , it means that he avoids the company of other and prefers to work by himself. 
2. Sandy and Alice decided to study together because             
3. If Jane        with AI, it means she confers with him to solve a problem.
4. If Larry 　　　, it means he leaves others in other to do something by himself.
5. If Ken and Gene        , it means they work as a team to solve a problem.
6. We    　   　with the police to search for the lost child
7. If Karen   　　    with others, it means she combines her strengths with them.
8. Could you　   　   　me　　  　    　with this piano?

Ž General Vocabulary Exercise
Choose the word that correctly completes the sentence.
1. In manufacturing, cheaper materials are constantly being      for the better and more expensive kind.
　A. replaced             B. displaced
　C. transformed          D. substituted
2. When I ask you a question, I expect a      answer to it
　A. punctual            B. fast
　C. transformed         D. substituted
3.         efforts are needed in order to finish unpleasant tasks.
　A. Persistent           B. fast
　C. Minimal            D. Divided
4. He was very slow to       to the unusual rules of that school
　A. Persistent           B. suit
　B. conform            D. entitles
5. This ticket      you to a free meal in our new restaurant.
　A. permits              B. suit
　C. credits               D. entitles
6. He was unable to endure the torture of the enemy and surrendered. He     his comrades.
　A. exposed              B. betrayed   
　C. revealed              D. suspended
7. Hotels       from luxurious to very simple. With the prices of the former being much higher.
　A. divert                B. differ
　C. alternate              D. range
8. He thinks about nothing but playing golf. He’s completely    to it.
　A. tempted              B. addicted
　C. ascribed              D. overcome
9. If no one asks any questions, I       everybody understands.
　A. deduce               B. presuppose
　C. presume              D. pretend
10. Many men lost their jobs during the business    
　A. minimum             B. irregularity
　C. depression            D. breakdown

Analogies
Select the lettered pair that best espressos a relationship similar to that

1. THROW: BALL

　A. kill: bullet           B. shoot: gun
　C. question: answer      D. hit: run
2. TRIANGLE: PYRAMID:
　A. square: cube          B. corner: angle
　C. tube: cylinder         D. cone: circle
3. CIRCLE: PYRAMID
　A. square: triangle        B. balloon: jet plane
　C. heaven: hell           D. wheel: orange
4. IMPEACH: DISLOYALTY:
　A. fame: heroism         B. castigation: praise 
　C. death: victory          D. approbation: consecration
5. IMPEACH: DISLOYALTY:
　A. fame: heroism         B. exonerate: charge
　B. imprison: jail          D. plant: reap
6. GERM: DISEASE
　A. biologist            B. men: women
　C. doctor: medicine      D. war: destruction
7. WACW: DISEASW:
　A. pinnacle: nadir            B. mountain: peak
　C. sea: ocean              D. breaker: swimming
8. LETTE: WORD
　A. club: people             B. homework: school
　C.page: book               D. product: factory
Key

Cloze
Read through the following passage and then decide which of the choices given below would correctly complete the passage if inserted in the corresponding blanks.
　　The use of perspective posed a fundamental problem for Renaissance painters: how to reconcile perspective  1  composition and the search for harmony. A chief interest of later fifteenth- century Italian painting   2   in the various ways in which artists tackled this   3   .
  4  the Florentine artists of the second half of the fifteenth century who strove for a solution of this question was the  5  Sandro Botticelli (c 1144-1510). One of his most famous pictures 6 not a Christian legend, but a classical 7    ---The Birth of Venus. Representing,  8  it does , the way that beauty came into the world , this painting is another 9  of the Renaissance desire to recover the lost wisdom of the  10 .Botticelli has succeeded in rendering a perfectly harmonious pattern---but 11  the cost of sacrificing solidity and anatomical 12  .In The Birth of Venus, what the viewer notices 13 the graceful, flowing lines that unity ,the unnatural 14  of venus’s neck and shoulders --- enhance the esthetic outcome
　　New approaches 15 this problem of perspective and composition were developed by the three greatest artists of the Renaissance----Leonardo da Vinci (1452—1519), closely associated with Florence and of them were contemporaries.

1. A. with      B. for          C. on           D. at
2. A. appeared   B. lay         C. found         D. trouble
3. A. harmony   B. perspective   C. found        D. trouble
4. A. Among    B. During      C. on           D. of
5. A. sculptor   B. one          C. painter       D. expert
6. A. draws     B. depicts      C. illustrates      D. indicates
7. A. fable      B. play        C. tale          D. myth
8. A. as        B. while        C. that        D. myth
9. A. way      B. expression    C. explanation  D. understanding
10 .A. people    B. ancients      C. artists       D. contemporaries
11. A. at        B. of           C. within      D. for
12. A. harmony  B. are          C. strength     D. correctness
13. A. is        B. are          C.have        D. would be
14. A. relation   B. combination   C. proportions  D. descriptions 
15. A. to       B. of            C. at          D. with

key