Georgia O'Keeffe托福聽(tīng)力原文翻譯及問(wèn)題答案

Georgia O'Keeffe托福聽(tīng)力原文翻譯及問(wèn)題答案

一、Georgia O'Keeffe 托福聽(tīng)力原文：

NARRATOR: Listen to part of a talk in an art history class.

MALE PROFESSOR: So today we're going to continue our discussion of twentieth-century photography in the United States. Last time, we were talking about Alfred Stieglitz, and we saw that one of his goals was to introduce Americans to European art… Uh today we're going to look at another photographer from the early twentieth century—Uh yes, Jennifer.

FEMALE STUDENT: Before we get to that,  I had a question about Stieglitz …

MALE PROFESSOR: Sure.

FEMALE STUDENT: Well—Stieglitz was married to Georgia O'Keeffe, right?

MALE PROFESSOR: That’s right, Stieglitz was married to her, promoted her work, and actually took some amazing portraits of her when they were married.

Uh for anyone who's not familiar with this, we're talking about the American painter Georgia O'Keeffe.

FEMALE STUDENT: OK—well—I was wondering, Georgia O'Keeffe—y’know, I've heard her name so many times, and I've seen some of her work, but she's not mentioned in any of our reading about photographers from that time.

MALE PROFESSOR: Uh—well—O'Keeffe was really more of a painter …

FEMALE STUDENT: I thought she was a photographer too. I mean, I just saw one of her photographs, in a museum, the other day,I think it was called “Red Leaves on White,” or something like that.

MALE PROFESSOR: Oh—right … Yes, Large Dark Red Leaves on White is the complete title. It’s a fairly well-known painting by O’Keeffe.

FEMALE STUDENT: Oh, oh—OK—whoa, what was I thinking?! I guess I should’ve had a closer look.

MALE PROFESSOR: No, no, that's a really good observation.  I mean, chronologically, that would be impossible—when she did that painting, color film hadn't even been invented yet—neither had the right technology to blow pictures up that big, to show that much detail.

But that painting, and some of her other paintings, do reveal the-the influence of photography … like, she would “crop” her images—she, uh, she would make a “frame” around part of an image—say, just the very center—and then cut off certain parts—the parts outside that “frame”—to create the effect she wanted … the way a photographer does. And those paintings are “close-ups”—like you might see today—of a person—or a flower—in a photograph.

Now those techniques were certainly around, and being used by photographers then—but just in photographs, which were smaller, not as big as what O'Keeffe was painting.Also, O'Keeffe studied under an artist named Arthur Wesley Dow.That’s Dow, D-O-W—who advocated focusing on simple, basic forms—like the lines of a flower and its petals—and he wanted forms to be isolated from their original settings.

He-he believed that by doing that, an artist could reveal an object's—its—its essence. Mmm … Hm he’d do things like—like, have his students take a simple, ordinary form— like a leaf—and explore various ways of fitting all of it into a square—maybe bending it around to make the whole thing fit into the frame. Peter?

MALE STUDENT: It sounds like maybe O’Keeffe borrowed most of her ideas—the stuff we might think of as being hers—she just got them from other people… she didn't really have a style of her own.

MALE PROFESSOR: Well, virtually artists are influenced by other artists—by their predecessors … by their contemporaries—their teachers …

Artists build on what other artists have done, but—if they're talented—they take it in some unique direction—to develop their own distinctive style.

MALE PROFESSOR: O’Keeffe liked to create abstract interpretations of real objects— in the painting Jennifer mentioned, Large Dark Red Leaves on White, in addition to exaggerating the size of the leaf, O'Keeffe juxtaposes it against a silver—or whitish—background, so that's more of an abstract setting for it. And so on.

Now O'Keeffe wasn't the first artist to create an abstract interpretation of a real object, but she used that approach to express her experience of the objects she was painting … so she presented a vision that people hadn't seen before: It’s unique. It’s compelling.

She didn't expect other people to experience the object the way she did—she knew they'd look at her painting and hang their own associations on it—which is true for artwork in general, I think; that's just the way the human brain works—uh, but at least they'd be taking a careful look at something they'd never really paid much attention to.

二、Georgia O'Keeffe 托福聽(tīng)力中文翻譯：

旁白：在藝術(shù)史課上聽(tīng)一段演講。

男教授：所以今天我們要繼續(xù)討論美國(guó)二十世紀(jì)的攝影。上一次，我們談到阿爾弗雷德·施蒂格利茨，我們看到他的目標(biāo)之一是向美國(guó)人介紹歐洲藝術(shù)……嗯，今天我們要看另一位二十世紀(jì)初的攝影師，嗯，是的，詹妮弗。

女生：在我們開(kāi)始之前；我有個(gè)關(guān)于斯蒂格利茨的問(wèn)題…

男教授：當(dāng)然可以。

女學(xué)生：斯蒂格利茨和喬治亞·奧基夫結(jié)婚了，對(duì)吧？

男教授：沒(méi)錯(cuò)，施蒂格利茨娶了她，推動(dòng)了她的工作，而且在他們結(jié)婚時(shí)還為她拍了一些令人驚嘆的肖像。

呃，對(duì)于任何不熟悉這一點(diǎn)的人來(lái)說(shuō)，我們談?wù)摰氖敲绹?guó)畫(huà)家喬治亞·奧基夫。

女學(xué)生：好吧，我想知道，喬治亞·奧基夫，我聽(tīng)過(guò)很多次她的名字，也看過(guò)她的一些作品，但從那時(shí)起，我們的任何關(guān)于攝影師的閱讀都沒(méi)有提到她。

男教授：呃，奧基夫更像是個(gè)畫(huà)家…

女生：我還以為她是攝影師呢。我的意思是，我剛剛在博物館里看到她的一張照片，前幾天，我想它被稱為“白上的紅葉”，或者類似的東西。

男教授：哦，對(duì)了……是的，大的深紅色葉子在白色上是完整的標(biāo)題。這是奧基夫的一幅相當(dāng)有名的畫(huà)。

女生：哦，哦，好吧，哇，我在想什么？！我想我應(yīng)該仔細(xì)看看。

男教授：不，不，這是一個(gè)非常好的觀察結(jié)果&nbsp；我的意思是，按時(shí)間順序，當(dāng)她畫(huà)那幅畫(huà)的時(shí)候，那是不可能的，彩色膠片甚至還沒(méi)有發(fā)明出來(lái)，也沒(méi)有合適的技術(shù)將圖片放大到那么大，顯示那么多細(xì)節(jié)。

但那幅畫(huà)和她的一些其他畫(huà)確實(shí)揭示了攝影的影響……比如，她會(huì)“裁剪”她的圖像，呃，她會(huì)在圖像的一部分周圍制作一個(gè)“框架”，比如說(shuō)，就在正中心，然后剪下“框架”外的某些部分，以創(chuàng)造她想要的效果……就像攝影師那樣。這些畫(huà)是“特寫(xiě)”——就像你今天在照片中看到的一個(gè)人或一朵花。

現(xiàn)在這些技術(shù)確實(shí)存在，當(dāng)時(shí)被攝影師使用，但只是在照片中，這些照片較小，沒(méi)有奧基夫所畫(huà)的那么大。此外，奧基夫師從一位名叫阿瑟·韋斯利·道的藝術(shù)家。這就是Dow，D-O-W，他提倡關(guān)注簡(jiǎn)單、基本的形式，比如花的線條和花瓣，他希望形式與原始環(huán)境隔離開(kāi)來(lái)。

他相信，通過(guò)這樣做，藝術(shù)家可以揭示物體的本質(zhì)。嗯……嗯，他會(huì)做一些事情，比如，讓他的學(xué)生們采取一種簡(jiǎn)單、普通的形式——像一片葉子，并探索各種方法將所有的形狀組合成一個(gè)正方形，或者將其彎曲，使整個(gè)形狀與框架相適應(yīng)。彼得？

男學(xué)生：聽(tīng)起來(lái)好像奧基夫借用了她的大部分想法——我們可能認(rèn)為是她的東西——她只是從其他人那里得到的……她并沒(méi)有自己的風(fēng)格。

男教授：事實(shí)上，藝術(shù)家受其他藝術(shù)家的影響，受他們的前輩的影響，受他們同時(shí)代人的影響，受他們的老師的影響…

藝術(shù)家們是在其他藝術(shù)家的基礎(chǔ)上發(fā)展起來(lái)的，但如果他們有天賦，他們會(huì)朝著某種獨(dú)特的方向發(fā)展，以形成自己獨(dú)特的風(fēng)格。

男教授：奧基夫喜歡對(duì)真實(shí)物體進(jìn)行抽象解釋——在詹妮弗提到的那幅畫(huà)中，白色的大的深紅色葉子，除了夸大葉子的大小外，奧基夫還將其與銀色或白色背景并列，因此這更像是一個(gè)抽象的背景。等等

現(xiàn)在，奧基夫并不是第一個(gè)對(duì)真實(shí)物體進(jìn)行抽象解釋的藝術(shù)家，但她用這種方法來(lái)表達(dá)她對(duì)所畫(huà)物體的體驗(yàn)……因此，她呈現(xiàn)了一種人們以前從未見(jiàn)過(guò)的視覺(jué)：它是獨(dú)一無(wú)二的。這很有說(shuō)服力。

她不希望其他人以她那樣的方式體驗(yàn)這個(gè)物體，她知道他們會(huì)看她的畫(huà)，并在上面掛上他們自己的聯(lián)想，我認(rèn)為這對(duì)藝術(shù)品來(lái)說(shuō)是正確的；這就是人類大腦的工作方式，呃，但至少他們會(huì)仔細(xì)觀察一些他們從未真正關(guān)注過(guò)的東西。

三、Georgia O'Keeffe 托福聽(tīng)力問(wèn)題：

Q1:1.What aspect of Georgia O’Keeffe’s work do the speakers mainly discuss?

A. The kinds of objects that she selected for her paintings

B. The influence of her painting style on photography

C. The major abstract elements in her photographs

D. The techniques that contributed to her distinctive style

Q2:2.According to the professor, what characteristics of Large Dark Red Leaves on White indicate that it could not be a photograph? [Click on 2 answers.]

A. It depicts leaves in a setting that appears to be abstract.

B. It is larger than most photographs of the time.

C. It shows less realistic detail than a photograph does.

D. It included colors that could not have been reproduced in a photograph.

Q3:3.According to the professor, what principles did Arthur Wesley Dow emphasize in his art classes? [Click on 2 answers.]

A. Focusing on simple forms

B. Using color to reveal the essence of an object

C. Separating a form from its natural surroundings

D. Exaggerating the size of a form

Q4:4.In his discussion of O'Keeffe's style, why does the professor describe Large Dark Red Leaves on White?

A. To give an example of a painting that was copied from a photograph

B. To give an example of an abstract interpretation of real objects

C. To point out that some of O'Keeffe's subjects were represented in their natural setting

D. To point out the similarities between O'Keeffe's works and works of other artists

Q5:5.According to the professor, what effect did O’Keeffe expect her paintings to have on viewers?

A. The paintings would create the same personal associations as they did for O’Keeffe.

B. The paintings would make people see ordinary things in a new way.

C. The paintings would mistakenly be seen as photographs.

D. The paintings would inspire an appreciation for nature.

Q6:6.Why does the professor say this:

A. To emphasize a point that he made earlier about O’Keeffe’s works

B. To emphasize that the student should have observed the painting more closely

C. To indicate that the student’s conclusion about O’Keeffe was not foolish

D. To indicate that he had not understood the student’s point about the painting

四、Georgia O'Keeffe 托福聽(tīng)力答案：

A1:正確答案：D

A2:正確答案：BD

A3:正確答案：AC

A4:正確答案：B

A5:正確答案：B

A6:正確答案：C

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