英语阅读王守仁教案

⑴ 有没有英语专业 泛读教程3 上外教育出版社，王守仁 姚媛编的答案

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⑵ 王守仁主编的英语泛读教程3 unit12 art的课文内容

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 proced 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’ 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 introced into a drawing, or symbol. But the illustrations are also printed reproctions 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 reced 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.

⑶ 完整英语泛读第二版(王守仁心 高红)课文《the simple wisdom in having

http://www.thnu.e.cn/data/ce/er/3/KECHENX/kechengxx4.htm 早上试抄过可以，下午好像又打不开了，你试试饿，，

⑷ 急需英语专业泛读教程4答案 英语专业的啊。王守仁 姚媛著的 。

网络文库的，希望对你有帮助！
其实我觉得有心自己去找也是很容易的。

⑸ 请问关于英语泛读教程（王守仁主编，上海外语教育出版社）和新编英语泛读教程有什么区别啊，改动大不大啊

我是英语本科专业的学生，现在大一，你们专升本的教材不会太难，如果回老师让买的是上海答外语教育出版社的泛读教程，你就弄反了，上外版《泛读教程》是2005年出的，上外版《新编英语泛读教程》是1997年出的，2004修订的，2005年纳入十五规划教材后统称泛读教程了。你看封面也看得出来，现在所有正规国家承认的大学教材都有“十五（十一五）规划教材”的字样。《泛读教程》是在新编英语泛读教程基础上修订的，每册替换了2-3篇课文，课后题几乎全换了。如果光看课文区别不大，新版的泛读教程都是红色白色参半的封皮，你买的时候要注意啊。。。
如果你想知道专业教材的相关问题，或者新旧版本之类的问题，可以问我。我把书的封面发给你看。。。

⑹ 英语泛读教程第四册 王守仁 姚媛编的 全部答案

泛读教程4的答案找不到