托福tpo56聽(tīng)力lecture1 Jackson Pollock

托福tpo56聽(tīng)力lecture1 Jackson Pollock,那么接下來(lái)就跟著中國(guó)教育在線的小編詳細(xì)了解一下吧。

Jackson Pollock托福聽(tīng)力原文翻譯及問(wèn)題答案

一、Jackson Pollock托福聽(tīng)力原文：

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

MALE PROFESSOR:OK,at the end of our last class I started to talk a little bit about a dominant movement in United States painting in the late 1940s and the 1950s.And I said that the artists involved shared a spirit of revolt against tradition and a belief in spontaneous freedom of expression.This significant art movement is known as Abstract Expressionism.

Now,Abstract Expressionism is kind of hard to define,but it-it’s basically an attempt by the artist to convey meaning or feeling in an abstract way.So,the artists didn’t worry about whether they were painting familiar subject matter,like the kinds of things you’d see in the world around you.They’d paint...well,abstract things,on,ah,a huge canvas—which itself was a break from traditional technique.And it was common among artists to apply the paint to the canvas very rapidly and with great force.So let’s look at the work of the most famous American Abstract Expressionist,Jackson Pollock.

There was nothing in Jackson Pollock’s training as an artist that suggested he would come to be seen as some sort of artistic revolutionary.In the 1930s he studied drawing and painting at the Art Students League,a popular art school in New York City.What he did later—in the 1940s—was a startling innovation.Jackson Pollock used a technique,the so called“pour and drip”technique,for which he is best known.He didn’t use the traditional easel—he laid his wall-size canvas flat on the floor,so he could move around it and work it from all sides.Then he poured and dripped his paint onto the canvas without touching it with a brush—just poured and dripped.

Now,the physical movements involved in Pollock’s painting technique have led people to call it“action painting,”which almost suggests that the process of creating the painting,physically,was at least as important as the end product itself.In fact,people used to watch him work in his studio,dripping and pouring paint and other materials onto his canvases.This could make you think of Pollock’s work as being kind of like,wild or chaotic,or random.But the truth is that Pollock was in complete control of his materials and his paintings.

Pollock’s pour and drip works were quite revolutionary,and at first they shocked the art world.Pollock used massive canvases.They seem more like portable murals than anything else.A good example of his technique is the painting“Autumn Rhythm,”which Pollock painted in 1950.

“Autumn Rhythm,”at first glance looks like basically,just a whole lot of squiggly lines;rather bizarre,just like a bunch of pointless drips and swirls.But if you look closely,you see why it’s so admired.

Beneath all the apparent chaos there’s really a very definite structure of lines,rhythms,and sensations that makes the whole piece work.Sheer randomness would not be nearly as visually appealing as this painting is.You need some structure,even if it’s not readily apparent.

I’ve read some articles by other scholars who’ve,in their discussion of Pollock,um,some of them like to point out that he painted his canvases while looking down at them,since they were on the ground,as I said,but when we go to a museum,they’re up on a wall.They think this is significant because it makes our perspective different.But I mean...well,think of photography.We’ve all seen photos of the sky,the ground...meaning that the photographer was shooting from different angles.Does that mean that we should put a photo of the sky,on the ceiling?Of course not.It wouldn’t matter if you’re looking at it on a wall or in a photo album on your lap.And I think it’s the same with Pollock.It doesn’t matter from which angle we view his paintings.It’s OK that he painted on the floor and we look at it on the wall.

But in spite of his work being shocking and even misunderstood at first,Pollock’s work became so influential in the development of Abstract Expressionism,that the artistic community started to shift its attention from Paris,which had been the center of the art world,to New York,where Pollock lived and worked.So Pollock’s breakthrough work helped move the focus of contemporary art,and that’s one of the measures of his greatness,really.

二、Jackson Pollock托福聽(tīng)力中文翻譯：

旁白：在藝術(shù)史課上聽(tīng)講座的一部分；

男教授：好的，在我們最后一堂課結(jié)束的時(shí)候，我開(kāi)始講一點(diǎn)1940年代末和1950年代美國(guó)繪畫(huà)的主導(dǎo)運(yùn)動(dòng)。我還說(shuō)，參與其中的藝術(shù)家們都有反抗傳統(tǒng)的精神，都相信自發(fā)的表達(dá)自由。這場(chǎng)重要的藝術(shù)運(yùn)動(dòng)被稱(chēng)為抽象表現(xiàn)主義。

抽象表現(xiàn)主義有點(diǎn)難以定義，但它基本上是藝術(shù)家試圖以抽象的方式傳達(dá)意義或感覺(jué)。所以，藝術(shù)家們并不擔(dān)心他們是否在畫(huà)熟悉的題材，比如你在周?chē)氖澜缋锟吹降臇|西。他們會(huì)畫(huà)……嗯，抽象的東西，在一張巨大的畫(huà)布上，啊，這張畫(huà)布本身就是與傳統(tǒng)技術(shù)的一個(gè)突破。藝術(shù)家們通常會(huì)很快、用力地將顏料涂在畫(huà)布上。讓我們看看美國(guó)最著名的抽象表現(xiàn)主義者杰克遜·波洛克的作品。

杰克遜·波洛克（Jackson Pollock）作為一名藝術(shù)家所接受的訓(xùn)練，并沒(méi)有任何跡象表明他會(huì)被視為某種藝術(shù)革命者。20世紀(jì)30年代，他在紐約市一所受歡迎的藝術(shù)學(xué)?！囆g(shù)學(xué)生聯(lián)盟學(xué)習(xí)繪畫(huà)。他在20世紀(jì)40年代后期所做的是一項(xiàng)驚人的創(chuàng)新。杰克遜·波洛克（Jackson Pollock）使用了一種技術(shù)，即所謂的“倒和滴”技術(shù)，這是他最著名的技術(shù)。他沒(méi)有使用傳統(tǒng)的畫(huà)架，而是將墻壁大小的帆布平放在地板上，這樣他就可以在畫(huà)架周?chē)苿?dòng)，從四面八方進(jìn)行操作。然后，他把顏料倒在畫(huà)布上，滴了下來(lái)，沒(méi)有用剛倒下來(lái)的刷子碰它。

現(xiàn)在，波洛克繪畫(huà)技術(shù)中涉及的身體運(yùn)動(dòng)使人們將其稱(chēng)為“動(dòng)作繪畫(huà)”，這幾乎表明，從身體上來(lái)說(shuō)，繪畫(huà)的創(chuàng)作過(guò)程至少與最終產(chǎn)品本身一樣重要。事實(shí)上，人們過(guò)去常?？吹剿诋?huà)室里工作，把顏料和其他材料滴到畫(huà)布上，然后倒在畫(huà)布上。這可能會(huì)讓你覺(jué)得波洛克的作品有點(diǎn)像，狂野、混亂或隨機(jī)。但事實(shí)是，波洛克完全控制了他的材料和繪畫(huà)。

波洛克的傾注式作品頗具革命性，起初它們震驚了藝術(shù)界。波洛克使用了大量的畫(huà)布。它們看起來(lái)更像便攜式壁畫(huà)。波洛克于1950年創(chuàng)作的油畫(huà)《秋天的節(jié)奏》就是一個(gè)很好的例子。

《秋韻》乍一看，基本上就像是一大堆曲折的線條；相當(dāng)奇怪，就像一堆毫無(wú)意義的水滴和漩渦。但如果你仔細(xì)觀察，你就會(huì)明白為什么它如此令人欽佩。

在所有明顯的混亂之下，確實(shí)有一個(gè)非常明確的線條、節(jié)奏和感覺(jué)的結(jié)構(gòu)，這使得整個(gè)作品都能發(fā)揮作用。純粹的隨機(jī)性不會(huì)像這幅畫(huà)那樣具有視覺(jué)吸引力。你需要一些結(jié)構(gòu)，即使它不太明顯。

我讀過(guò)其他學(xué)者的一些文章，他們?cè)谟懻摬蹇藭r(shí)，嗯，其中一些人喜歡指出，他在俯視畫(huà)布的時(shí)候畫(huà)畫(huà)布，因?yàn)檎缥宜f(shuō)的，畫(huà)布在地上，但當(dāng)我們?nèi)ゲ┪镳^時(shí)，畫(huà)布就在墻上。他們認(rèn)為這很重要，因?yàn)檫@使我們的觀點(diǎn)不同。但我的意思是……好吧，想想攝影。我們都看過(guò)天空、地面的照片……這意味著攝影師是從不同的角度拍攝的。這是否意味著我們應(yīng)該在天花板上放一張?zhí)炜盏恼掌?？?dāng)然不是。不管你是在墻上看還是在你大腿上的相冊(cè)里看。我認(rèn)為波洛克也是如此。我們從哪個(gè)角度看他的畫(huà)并不重要。他在地板上畫(huà)畫(huà)，我們?cè)趬ι峡?，這沒(méi)關(guān)系。

盡管波洛克的作品令人震驚，甚至一開(kāi)始就被誤解了，但他的作品在抽象表現(xiàn)主義的發(fā)展中影響如此之大，以至于藝術(shù)界開(kāi)始將注意力從作為藝術(shù)世界中心的巴黎轉(zhuǎn)移到波洛克居住和工作的紐約。因此，波洛克的突破性工作有助于轉(zhuǎn)移當(dāng)代藝術(shù)的焦點(diǎn)，這是衡量他偉大的標(biāo)準(zhǔn)之一，真的。

三、Jackson Pollock托福聽(tīng)力問(wèn)題：

Q1:Why does the professor discuss Jackson Pollock?

A.To point out a common misconception about Abstract Expressionism

B.To help students understand the nature of Abstract Expressionism

C.To compare Pollock’s technique to that of other Abstract Expressionist painters

D.To defend Pollock and the Abstract Expressionists from criticism

Q2:What point does the professor make about Jackson Pollock’s training as an artist?

A.It motivated him to rebel against art he claimed was boring.

B.It contrasted with the type of art he later created.

C.It taught him how to paint using unconventional methods.

D.It was very different from the type of training most artists

Q3:What were two features of Jackson Pollock’s painting technique?[Click on 2 answers.]

A.He used walls as a painting surface.

B.He painted the canvas while it was on the floor.

C.He applied paint by pouring or dripping it.

D.He allowed visitors at his studio to help with the painting.

Q4:What is the professor’s attitude toward the term“action painting”?

A.He thinks it correctly describes Pollack’s painting technique.

B.He considers it less appropriate for Pollock than for other Abstract Expressionists.

C.He believes that it represents the sense of movement displayed in Pollock’s paintings.

D.He is pleased that contemporary critics rarely use the term.

Q5:What feature of Autumn Rhythm does the professor imply is representative of Pollock’s works?

A.It symbolizes the passage of time.

B.It reveals a lack of control over emotions.

C.It combines structure and the appearance of chaos.

D.It combines tradition and innovation.

Q6.Why does the professor discuss photography?

A.To emphasize how different it is from painting

B.To make a point about its increasing popularity in New York’s art world

C.To show the extent of Pollock’s influence

D.To support his argument about the way people look at Pollock’s paintings

四、Jackson Pollock托福聽(tīng)力答案：

A1:正確答案：B

A2:正確答案：B

A3:正確答案：BC

A4:正確答案：A

A5:正確答案：C

A6:正確答案：D

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