What is heritage? The word can be difficult to define. Heritage is always something that is passed down by families or other groups for many years.
Many parts of the natural world are also important to cultural heritage. This can include bodies of water, plant life, landforms and more. One example is the Nile River.
The intangible group includes any part of cultural heritage that you can’t feel through touch. Maybe you’ve read about forms of dance, like Flamenco dancing. You might know about the music of Mariachi Bands or holidays like Eid. These are all examples of intangible heritage.
Exploring your own heritage can be fun. It can help you learn about yourself, your family, and your ancestors. But it’s also important to learn about the heritage of others.
| A．They are treasures that can be touched. |
| B．What tangible items can be part of heritage? |
| C．However, heritage isn’t limited to concrete objects. |
| D．Languages, holidays and customs also make the list. |
| E．Therefore, it’s difficult to protect them from fading away. |
| F．Doing so can help you build a stronger understanding of other cultures. |
| G．It has been part of cultural heritage in many African nations for centuries. |
相似题推荐
【推荐1】Cengiz Ozek sits at his desk in the poorly lit back office of his shadow theater near Taksim Square in central Istanbul. The theater is one of the last in operation in the city. He holds a piece of camel leather, a sheet of paper with some drawings on it, and a small cutter. In front of him are a few bottles of paints that he will use to create jointed puppets(皮影人偶). Ozek, one of the most influential contemporary Turkish puppeteers, hopes to appeal to a younger audience and boost the culture of Turkish shadow theater.
“There might be around 50 people, more or less, who do shadow theater in Turkey today, but only five or six of them are real professionals who are completely devoted to it," says Ozek while he works on a figure of Karagoz, the most famous figure in Turkish shadow theater---so famous is the character that the art itself is often called Karagoz.
To date, scholars have not been able to determine where this type of theater began to exist. Suggestions range from China to Central Asia, and from India to Byzantine Greece. Some scholars have focused on Bursa, the first capital city of the Ottoman Empire(奥斯曼帝国), and believe that the two main characters, Hacivat and Karagoz, were real people who lived in that city at the time. The two men were construction workers who often told jokes to amuse their co-workers, resulting in delays in the completion of their work. In the end, they were sentenced to death. However, the people of Bursa missed them so much that they began to tell their stories in the form of puppetry.
Ozek wants to open a Karagoz museum in his city in order to keep this art alive. He’s also developing new characters to catch the attention of children. "We first try to attract them with modern characters that they know, and while they’re watching, suddenly we bring out Karagoz," Ozek says. "We introduce him to them once again. When they watch it, they are satisfied, and we are happy as well. And like that, Karagoz survives in a way."
1. What is Ozek doing according to paragraph 1?| A．He is making some puppets. |
| B．He is watching a puppet show. |
| C．He is taking a rest in his office. |
| D．He is performing for his audience. |
| A．It came to Turkey from India directly. |
| B．It first appeared at a construction site. |
| C．It is now on the path to decline. |
| D．It is usually known as Hacivat. |
| A．The influence of shadow theater. |
| B．The origin of puppetry in Turkey. |
| C．The history of Bursa as a capital city. |
| D．The punishment in the Ottoman Empire. |
| A．To breathe some life into his city. |
| B．To achieve his childhood dream. |
| C．To display puppeteers' works. |
| D．To carry shadow theater on. |
【推荐2】Along the rocky Algerian coast, just east of where the bulky shape of Mount Chenoua slides into the Mediterranean, the sea and indifference may finally do what the Vandals did not. There, for more than 2,500 years, has stood Tipasa. It is considered as one of the most important archaeological sites in North Africa.
Tipasa fell into ruin in the sixth century. Both its main complex on the coast and an inland monumental tomb were all but forgotten in the olive trees and thin pines. Most of the ancient city, in fact, remains buried beneath sediment (沉积物) up to 12 feet thick. For the last few decades, however, what’s left of Tipasa’s past has been increasingly surrounded by the expanding modern town of Tipasa from three sides. And to the north, the waves lap ever closer.
“What’s special about Tipasa, a UNESCO–recognized World Heritage Site since 1982, is the charm of its landscape, the shared presence of history and archaeology, culture, nature, and architecture. It’s the spirit of the place,” said Lynda Aoudia Benali who has studied Tipasa and the ongoing challenges from both rapid urbanization and insufficient Site management.
Now, Tipasa is entering a new chapter, perhaps its last: It’s become a symbol of an entire continent’s heritage in crisis. Recently, a team reported the results of hard work mapping how sea level rise is affecting nearly 300 World Heritage Sites around Africa’s roughly 20,000 miles of coastline. About 20 percent of the sites examined, including Tipasa, are already at higher risk from flooding and erosion (腐蚀). By 2050 that figure is expected to more than twice.
The Site’s 2lst-century problems have only increased in the last two decades. UNESCO has repeatedly threatened to remove the site of World Heritage status. As recently as 2021, the organization noted a lot of problems at Tipasa, such as modern construction, including a proposed port, which threatened the site’s integrity.
1. What can we know about Tipasa?| A．It was built one thousand years ago. |
| B．It is the most important archeological site in Africa. |
| C．It is considered as a well-known tourist attraction. |
| D．It suffered complete damage in the sixth century. |
| A．Tipasa has its unique characteristics. |
| B．Tipasa has experienced quick development. |
| C．Tipasa became a World Heritage Site in the 1990s. |
| D．Tipasa has been paid much attention to for its management. |
| A．The overdevelopment. | B．The abundant tourists. |
| C．The natural disasters. | D．The severe pollution. |
| A．Its modern construction will be completely stopped. |
| B．Its problems have been solved. |
| C．Its effects of climate change will be avoided. |
| D．Its World Heritage status is under threat. |
Old trains are very attractive and mysterious, whether it’s because of their history and their function or simply because they look so fierce and huge. Many old derailed trains have been transformed into anything like homes, art galleries and even amusement parks. As part of a recovery program to restore a failed railway, Ecuadorian design firm Al Borde transformed a tired, old train into a mobile cultural center, which they call “Wagon of Knowledge” (Vagon del Saber).
Selected by the Ecuadorian(厄瓜多尔)Ministry of Culture and Heritage, the community oriented project is to reactivate settlements along its route. After more than a decade of absence, these areas not only recover a means of communication but are enhanced economically, as the cultural promoters use the train car as an activator of public space and a meeting point for the locals. The multifunctional nature of the carriage — it is without a strictly defined architectural program and can therefore be designed flexibly — allows for musical performances, theater shows, training programs and celebrations.
The train was renovated(修复)to achieve the greatest number of uses with the minimum number of elements.
A public square and a theater with a capacity of 60-80 people, as well as work spaces for 20 users were incorporated by attaching three extensions to the train: a roof with several deployment( 部 署 )options, retractable furniture and two storage spaces — simple systems operated by the cultural romoters turn the cart into their desired requirements. Set to travel around the route, the cultural unit will begin to accumulate and facilitate new stories.
Intended to move from place to place without a strict set of limitations to define its use, it becomes something flexible that adapts to the needs of the moment, so that it “carries neither goods nor tourists, but culture and public space”. As we can see here, there are a lot of possibilities, thanks to various interchangeable components that can allow the train to shift from conference space to a performance venue in a snap.
It’s a creative way to give new life to a historically important train that was once even derailed, and to ensure that it can keep on serving the public. One more thing, people don’t have to go to this public space; it will travel to come to them.
1. Why did the design firm Al Borde carry out the project?| A．To boost the local tourism. |
| B．To sharpen rural people’s communication skills. |
| C．To bring communities along the railroad line to life. |
| D．To provide recreation for the community residents. |
| A．Advanced architectural design techniques. |
| B．The railway systems that are easy to operate. |
| C．Flexible construction features of the train car. |
| D．The financial assistance provided by cultural promoters. |
| A．By extending the length of the carriage. |
| B．By adding three components to the train. |
| C．By freely changing the position of the roof. |
| D．By expanding the seating capacity of the train. |
| A．It used to be the meeting point for the locals. |
| B．It can perform different working functions. |
| C．It was used to carry goods and tourists. |
| D．It will stay in one place to entertain locals |
| A．It is meaningful. |
| B．It is large-scale. |
| C．It is pioneering. |
| D．It is impressive. |
