【#新概念英語(yǔ)# #大學(xué)新概念英語(yǔ)第四冊(cè)：Lesson31#】新概念英語(yǔ)之所以經(jīng)久不衰是因?yàn)橐云淙�新的教學(xué)理念，有趣的課文內(nèi)容和全面的技能訓(xùn)練，為英語(yǔ)學(xué)習(xí)者排憂(yōu)解難，深受廣大英語(yǔ)學(xué)習(xí)者的歡迎和喜愛(ài)。想要學(xué)好英語(yǔ)的你，怎能錯(cuò)過(guò)？快來(lái)加入學(xué)習(xí)吧！®無(wú)憂(yōu)考網(wǎng)為您提供，希望以下內(nèi)容能夠?yàn)榇蠹业男赂拍钣⒄Z(yǔ)學(xué)習(xí)提供幫助!

      【篇一】

　　The sculptor speaks

　　雕塑家的語(yǔ)言

　　First listen and then answer the following question.

　　聽(tīng)錄音，然后回答以下問(wèn)題。

　　What do you have to be able to do to appreciate sculpture?

　　Appreciation of sculpture depends upon the ability to respond to form in there dimension. That is perhaps why sculpture has been described as the most difficult of all arts; certainly it is more difficult than the arts which involve appreciation of flat forms, shape in only two dimensions. Many more people are 'form-blind' than colour-blind. The child learning to see, first distinguishes only two-dimensional shape; it cannot judge distances, depths. Later, for its personal safety and practical needs, it has to develop (partly by means of touch) the ability to judge roughly three-dimensonal distances. But having satisfied the requirements of practical necessity, most people go no further. Though they may attain considerable accuracy in the perception of flat from, they do no make the further. Though they may attain considerable accuracy in the perception of flat form, they do not make the further intellectual and emotional effort needed to comprehend form in its full spatial existence.

　　This is what the sculptor must do. He must strive continually to think of, and use, form in its full spatial completeness. He gets the solid shape, as it were, inside his head-he thinks of it, whatever its size, as if he were holding it completely enclosed in the hollow of his hand. He mentally visualizes a complex form from all round itself; he knows while he looks at one side what the other side is like, he identifies himself with its centre of gravity, its mass, its weight; he realizes its volume, as the space that the shape displaces in the air.

　　And the sensitive observer of sculpture must also learn to feel shape simply as shape, not as description or reminiscence. He must, for example, perceive an egg as a simple single solid shape, quite apart from its significance as food, or from the literary idea that it will become a bird. And so with solids such as a shell, a nut, a plum, a pear, a tadpole, a mushroom, a mountain peak, a kidney, a carrot, a tree-trunk, a bird, a bud, a lark, a ladybird, a bulrush, a bone. From these he can go on to appreciate more complex forms of combinations of several forms.

　　HENRY MOORE The Sculptor Speaks from The Listener

      【篇二】

　　New words and expressions 生詞和短語(yǔ)

　　colour-blind

　　adj. 色盲的

　　perception

　　n. 知覺(jué)

　　comprehend

　　v. 理解

　　spatial

　　adj. 空間

　　visualize

　　v. 使具形象，設(shè)想

　　reminiscence

　　n. 回憶，聯(lián)想

　　tadpole

　　n. 蝌蚪

　　mushroom

　　n. 蘑菇

　　carrot

　　n. 胡蘿卜

　　bud

　　n. 花蕾

　　lark

　　n. 云雀

　　ladybird

　　n. 瓢蟲(chóng)

　　bulrush

　　n. 蘆葦

　　【篇三】參考譯文

　　對(duì)雕塑的鑒賞力取決于對(duì)立體的反應(yīng)能力。雕塑被說(shuō)成是所有藝術(shù)中難的藝術(shù)，可能就是這個(gè)道理。欣賞雕塑品當(dāng)然比欣賞平面的藝術(shù)品要難�！靶蚊ぁ钡娜藬�(shù)比“色盲”的人數(shù)要多得多。正在學(xué)看東西的兒童起初只會(huì)分辨二維形態(tài)，不會(huì)判斷距離和深度。慢慢地，由于自身安全和實(shí)際需要，兒童必須發(fā)展(部分通過(guò)觸覺(jué))粗略判斷三維空間距離的能力。但是。大部分人在滿(mǎn)足了實(shí)際需要后，就不再繼續(xù)發(fā)展這種能力了。雖然他們對(duì)平面形的感覺(jué)能達(dá)到相當(dāng)準(zhǔn)確的程度，但他們沒(méi)有在智力和感情上進(jìn)一步努力去理解存在于空間的整個(gè)形態(tài)。

　　而雕塑家就必須做到這一點(diǎn)。他必須勤于想像并且利用形體在空間中的完整性�？梢哉f(shuō)，當(dāng)他想像一個(gè)物體時(shí)，不管其大小如何，他腦子里得到的是一個(gè)立體的概念，就好像完全握在自己手心里一樣。他的大腦能從物體周?chē)�的各個(gè)角度勾畫(huà)出其復(fù)雜的形象，他看物體的一邊時(shí)，便知道另一邊是個(gè)什么樣子。他把自身和物體重心、質(zhì)量、重量融為一體。他能意識(shí)到物體的體積，那就是它的形狀有空氣中所占的空間。

　　因此，敏銳的雕塑觀賞者也必須學(xué)會(huì)把形體作為形體來(lái)感覺(jué)，不要靠描述和印象去想象。以鳥(niǎo)蛋為例。觀賞者必須感覺(jué)到它是一個(gè)單一的實(shí)體形態(tài)，而完全不靠它的食用意義或它會(huì)變成鳥(niǎo)這樣的文字概念來(lái)感覺(jué)。對(duì)于其他實(shí)體，如，貝殼、核桃、李子、梨子、蝌蚪、蘑菇、山峰、腎臟、胡蘿卜、樹(shù)干、鳥(niǎo)兒、花蕾、云雀、瓢蟲(chóng)、蘆葦以及骨頭也應(yīng)這樣來(lái)感覺(jué)。從這些形體出發(fā)，觀賞者可進(jìn)一步觀察更為復(fù)雜的形體或若干形體的組合。