“Never Again” sits at the intersection of art and craft. The object is both a basket, made from sweetgrass and palmetto (棕榈), and an abstract sculpture. Much wider than it is tall, from a distance “Never Again” seems to be of one hue, but on closer inspection you can see that its brown, cream and green fibers change into purposeful patterns of color. Such details encourage viewers to study the work slowly, the way you might examine one of Jackson Pollock’s paintings carefully.
The piece was made by Mary Jackson, an African-American artist, in 2007. In 2008 Mrs Jackson received $500,000 to support the creation of work that both preserved “the centuries-old craft of sweetgrass basketry” and moved “the tradition in amazing new directions”.
Born in 1945, Mrs Jackson grew up in Mount Pleasant, South Carolina. She is Gullah, a member of an ethnic group who preserve the African roots of their distinct language and culture. Mrs Jackson was introduced to traditional weaving (编织) techniques by her mother and grandmother at the age of four.
In the 1960s, after finishing school, Mrs Jackson moved to New York to find work. There, she visited the city’s museums and discovered Minimalism and Pop Art, which had a deep effect on her. When she returned to South Carolina in 1972, she picked up basketmaking again, but with a new feeling.
Her works show clear shapes and innovative dimensions. Early works, such as “Cobra with Handle”, are complex, but still usable baskets. Mid-career pieces, including “Two Lips”, reveal a delicate turn away from utility towards aestheticism (唯美主义). It is a delicate work that is ill-suited to holding rice or produce.
“I wanted to do something that was very different from what my ancestors made,” she says. “Never Again” is perhaps the best representation of her work; Mrs Jackson says she named the piece to reflect her belief that she would not be able to create another object as striking. (It took her three years to complete.) “I don’t think I’ll continue to make these baskets like how I used to, she says. Instead, approaching her 80s, she is “working on new things”.
1. What is “Never Again”?A.It’s an appealing abstract sculpture. |
B.It’s a basket made by an African farmer. |
C.It’s patterns of color mixed for no purpose. |
D.It’s a painting created by Jackson Pollock. |
A.Prehistoric items. | B.Contemporary arts. |
C.Minimalism and Pop Art. | D.Jackson Pollock’s paintings. |
A.It’s simple and practical. | B.It’s traditional and costly. |
C.It’s aesthetic and complex. | D.It’s functional and economical. |
A.Shy and confident. | B.Brave and strong. |
C.Talented and innovative. | D.Ambitious and successful. |
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【推荐1】Dr. Josefina has recently published a book, Vibrant at Any Age, based on her lifelong journey of self-improvement. Josefina, 71, is glad she didn't think about her age when she took up bodybuilding at age 59.
“I reinvent myself every ten years, and so I started my 60s as a bodybuilder and now I begin my 70s as a writer,” she said, “People limit themselves by age, which is very frustrating (沮丧). Age is a mindset.”
Dr. Josefina started bodybuilding at an age when most are considering retirement, though she was an athlete from an early age. As a child in Venezuela she took to gymnastics and later graduated with a physical education degree. She taught at Latin High School in Cambridge, for 16 years, while raising two daughters.
“I started bodybuilding when I met Steve Pfiester, a gym guy who knew I ran and practiced yoga. He invited me to his gym and offered to train me”, she said.
Dr. Josefina's photos are proof that she spends long hours taking care of her body. But she also develops her mind and spirit. On any given day, she gets up at 3:00 am to read books. At 4:30 am she's out of the door to walk three miles and run another three. This is followed by yoga and a swim at the beach while the sun rises. After writing in her journal and working on her book between 8 and 10 am, Dr. Josefina hits the gym for at least two hours.
Dr. Josefina's war on ageism has rubbed off on her two daughters, both in their early thirties. “They both take care of their bodies and minds. They're very proud of me. If you give them a good foundation as a parent, you know that they will always come back to their roots. I tried to remind myself of that during their difficult teen years.”
1. What's Dr. Josefina's opinion on age?A.Age is a state of mind. | B.Age can't be hidden. |
C.Every age has its pains and sorrows. | D.Age decides your career. |
A.The need of her job. | B.Her early dream. |
C.The desire to be a writer. | D.Steve Pfiester's influence. |
A.Busy. | B.Dull. |
C.Flexible. | D.Controversial. |
A.She will return to the retirement. |
B.She will set up a fitness foundation. |
C.She often thinks of her teenage years. |
D.She sets up an example to her daughters. |
【推荐2】When it comes to the most famous 20th century painters of the United States, Grandma Moses should be mentioned, although she did not start painting until she was in her late seventies. As she once said to herself, “I would never sit back in rocking chair, waiting for someone to help me.” No one could have had a more active old age.
She was born on a farm in New York State, one of five boys and five girls. At 12, she left home and was in domestic service until at 27 she married Thomas Moses, the hired hand of one of her employers. They farmed most of their lives, first in Virginia and then in New York State, at Eagle Bridge. She had ten children, of whom five survived; her husband died in 1927.
Grandma Moses painted a little as a child and made embroidery(刺绣) pictures as a hobby, but only changed to oils in old age because her hands became too stiff(僵硬的) to sew and she still wanted to keep busy and pass the time. Her pictures were first sold at the local drugstore and at a market and were soon noticed by a businessman who bought all that she painted. Three of the pictures were exhibited in the Museum of Modern Art, and in 1940 she had her first exhibition in New York. Between the 1930’s and her death, she produced some 2,000 pictures: careful and lively portrayals of the country life she had known for so long, with a wonderful sense of color and form. “I think really hard till I think of something really pretty, and then I paint it,” she said.
1. What can we learn about Grandma Moses?A.She painted oils as a child. |
B.Her marriage life was not happy. |
C.She still led an active life when she was old. |
D.She stopped painting in her late seventies. |
A.Easy-going& active. | B.Hardworking& creative |
C.Outgoing& confident. | D.Reserved& independent |
A.Descriptions. | B.Stages. | C.Surveys. | D.Directions. |
A.How she loves art since she was a little girl. |
B.Why she began her career as a painter. |
C.How she became a successful painter. |
D.Why she was the most famous painter in the United States. |
【推荐3】We travelled in Thailand. The staff at the hotels we stayed in went out of their way to make us feel welcome. You may say that they were just doing their jobs, but this is not how it felt to us. At the iuDia Hotel in Ayutthaya the staff went above and beyond what we would have expected. The dining room was not open in the evening and when we asked where we could get a takeaway meal the front desk girl walked us to the nearby restaurant. She explained that the hotel staff would provide us with plates and dishes once we returned. Not only did they provide what we needed, but they also put our food in servicing bowls and took care of the clean-up while we slept. We were grateful and deeply touched by their kindness and care.
For the rest of our visit to Thailand we stayed at the Novotel in Rangsit. Since we were there for a long period of time we became familiar with a few of the staff. They paid attention to our needs and did their best to ensure our stay was a pleasant one. They were also happy to stop and chat with us, asking questions about our stay, what we had done that day, recommending things for us to do and sharing parts of their personal lives with us.Again, it may be said that their friendliness was part of their job but somehow, I did not feel that was the case. It felt natural, open and honest and I would like to think that they enjoyed our conversations as much as we enjoyed theirs.
On one of our walks my brother and I were offered bottles of fresh water by one of the locals. She felt that we needed it and did not want to take payment for the two bottles she offered. She finally agreed to take 10 Thai bahts(泰铢). Instead we gave her 20.
1. Why does the author give the dining room as an example?A.To tell us when the usual dinner starts in Thailand. |
B.To explain how considerate the staff in the hotel are. |
C.To tell us where to eat when the dining room is closed. |
D.To show it is hard to get a takeaway meal in Thailand. |
A.He tried to know more about life in Thailand. |
B.He wanted to show what life he lived to the staff. |
C.He was getting along well with the staff in the hotel. |
D.He liked to know more about other people’s secrets. |
A.The author wanted to express gratitude. |
B.The local asked the author for 20 Thai bahts. |
C.The author didn’t take any change for the drink. |
D.Each bottle of fresh water was worth 10 Thai bahts. |
A.Exciting. | B.Dangerous. | C.Disappointing. | D.Pleasant. |
【推荐1】Itzhak Perlman was born in Tel Aviv, in what was then Palestine, in 1945. Today he lives in New York City. But his music has made him a citizen of the world. He has played in almost every major city. He has won many Grammy awards for his recordings. He has also won Emmy Awards for his work on television.
Itzhak Perlman suffered from polio (小儿麻痹症) at the age of four. The disease damaged his legs. He uses a wheelchair or walks with the aid of crutches (拐杖) on his arms. But none of this stopped him from playing the violin. He began as a young child. He took his first lessons at the Music Academy of Tel Aviv. Very quickly, his teachers recognized that he had a special gift.
At thirteen he went to the United Sates to appear on television. His playing earned him the financial aid to attend the Juilliard School in New York. In 1964 Itzhak Perlman won the Leventritt Competition in that city. His international fame had begun.
His music is full of power and strength. It can be sad or joyful, loud or soft. But critics (评论家) say it is not the music alone that makes his playing so special. They say he is able to communicate the joy he feels in playing, and the emotions that great music can deliver.
Anyone who has attended a performance by Itzhak Perlman will tell you that it is exciting to watch him play. His face changes as the music from his violin changes. He looks sad when the music seems sad. He smiles and closes his eyes when the music is light and happy. He often looks dark and threatening when the music seems dark and threatening.
1. According to the passage, what do we know about Itzhak Perlman?A.He is 75 years old today. |
B.He was born in New York City. |
C.He has some achievements in music. |
D.He was a rich citizen of the world. |
A.ignored his talents | B.thought he was fit to learn music |
C.had pity on him | D.didn't want to accept him |
A.The emotions he communicates in his playing. |
B.The style in which he plays his music. |
C.The kind of music he plays. |
D.The power and strength in his music. |
A.Moved. | B.Calm. |
C.Funny. | D.Excited. |
【推荐2】If you have ever seen the art of Jonathan Green, it is not likely that you will soon forget it. His paintings are bold and colorful, lively and cheerful. Green depicts a way of life that is rapidly disappearing. It is a way of life that he remembers with fondness from his childhood in the South Carolina Sea Islands.
Jonathan Green was born in 1955 in Gardens Corner, South Carolina, a region of the state known as the Low Country. The second of seven children, Green was raised by his maternal grandmother, Eloise Stewart Johnson. As he grew up, he was immersed in Gullah culture-a culture that placed great value on tradition, family, and community. Although Green had to travel to other parts of the world before he could fully appreciate his rich heritage, the basic elements of his culture eventually found their way into his unique form of artistic expression.
After Green graduated from high school, he joined the military. It seemed like a good opportunity for him to see the world and to receive an education. When he completed his military service, Green attended the Art Institute of Chicago. While he was in school, he worked part-time as a security guard at an art museum. This allowed him to study the work of the masters. He imitated their work at first, learning what made them so well respected. Then, Green found his own style and direction and began painting South Carolina’s Gullah Islands, the world he knew best.
Jonathan Green’s artwork is filled with everyday images of Gullah life as he remembered it growing up. His paintings show people hanging laundry out to dry, picking oysters, telling stories, and attending weddings and funerals. Water is found in many of his paintings because it plays an important role in the lives of people who live along the coast and on the islands.
Human beings are also found in nearly all of Green’s work, indicating the importance of family and community to the culture. The faces of the people in his paintings are usually without features. This can be interpreted as Green’s way of showing how the everyday lives and experiences of people are universal.The Gullah way of life is changing as children grow up and move away to larger towns and cities. Jonathan Green knows that his artwork cannot change what is happening to the area where he grew up. But his paintings can raise awareness of what is in danger of being lost and preserve the memories of a rich and colorful way of life.
1. What can we learn from the passage?A.Green’s way of depicting is rapidly disappearing. |
B.Joining the army broadened Green’s horizons. |
C.Green’s artwork raised the awareness of changing the area . |
D.Green imitated the masterpiece to show respect for the masters. |
A.A landscape of a beautiful village. |
B.A realistic portrait of a mother telling story. |
C.A fisherman casting a net. |
D.A cute dog biting a bone. |
A.Participate. | B.Devote. | C.Contribute. | D.Expose. |
A.a profile | B.an auto-biography | C.a review | D.an initiative |
【推荐3】Blek le Rat is a French street artist who calls himself "The Man Who Walks Through Walls". He is a pioneer of street art. He began his work as a city decorator in Paris in the early 1980s, when he was twenty. Blek began his artwork in 1981, painting (用模板制成的图案) of rats (老鼠) on the walls of Paris streets.
His real name is Xavier Prou, and he does not draw violent images, only reflective ones, and he says, "My images are a present I make for everyone to enjoy, even children. " He has had a great influence on today's graffiti (涂鸦) art, the main drive of his work being social awareness and his wish to bring art to people. His dream is to be allowed to provide art to the city streets without having any problems. Once he was caught by the police, and afterwards he turned to putting posters instead. They are after all better for the walls, aren't they?
His designs, based on life-size stencils of human beings and animals, don't just decorate cities but awaken people's emotions. Their social observation makes them touching, humorous and political. In 2006 he began his series of images representing the homeless, in attempts to bring attention to what he views as a global problem.
He says that when you go on the street with a spray can (喷漆罐),and pry your name,you will go back and see it, because when you leave something in the street, you leave part of yourself. Street artists cannot help coming back to admire their own work; it is the main reason for doing it.
The Internet has made street at a global movement, but it is the art of the common people and not of highly paid and respectable artists. There is nothing bigger culturally in the world at the moment than street art. It is taking over the planet Mot cites are covered with it, so much so that it is noticeable when there isn’t any. It is even bring sold, like "real" woks of art.
1. What did Blek le Rat do in 1981?A.He gave up his job. | B.He took up street art. |
C.He made his name as an artist. | D.He drew people on the street. |
A.It is good-sized. | B.Ii violent and black. |
C.It presents social realities. | D.It employs cartoon characters. |
A.It attracts well-known artists. | B.It is culturally important. |
C.It is high-priced in Paris. | D.It becomes less popular. |
A.The History of Street Art | B.Global Love for Modern Art |
C.Stencil Art Pioneer Blek le Rat | D.The Big Comeback of Graffiti Art |
【推荐1】The values of artistic works, according to cultural relativism (相对主义), are simply reflections of local and economic conditions. Such a view, however, fails to explain the ability of some works of art to excite the human mind across cultures and through centuries.
History has witnessed the endless production of Shakespearean plays in every major language of the world. It is never rare to find that Mozart packs Japanese concert hall, as Japanese painter Hiroshige does Paris galleries. Unique works of this kind are different from today’s popular art, even if they began as works of popular art. They have set themselves apart in their timeless appeal and will probably be enjoyed for centuries into the future.
In a 1757 essay, the philosopher David Hume argued that because “the general principles of tastes are uniform (不变的) in human nature,” the value of some works of art might be essentially permanent. He observed that Homer was still admired after 2000 years. Works of this type, he believed, spoke to deep and unvarying features of human nature and could continue to exist over centuries.
Now researchers are applying scientific methods to the study of the universality of art. For example, evolutionary psychology is being used by literary scholars to explain the long-lasting themes and plot devices in fiction. The structures of musical pieces are now open to experimental analysis as never before. Research findings seem to indicate that the creation by a great artist is as permanent an achievement as the discovery by a great scientist.
1. According to the passage, what do we know about cultural relativism?A.It introduces different cultural values. |
B.It relates artistic values to local conditions. |
C.It explains the history of artistic works in detail. |
D.It excites the human mind throughout the world. |
A.the charm of great arts is universal and lasting |
B.popular arts are hardly different from great arts |
C.great artists are skilled at combing various cultures |
D.great arts are works of popular arts in the beginning |
A.they are results of scientific study |
B.they establish general principles of art |
C.they are created by the world’s greatest artists |
D.they appeal to unchanging features of human nature |
A.Are Popular Arts Universal? | B.Is Human Nature Uniform? |
C.Are Great Arts Permanent? | D.Is Cultural Relativism Scientific? |
【推荐2】Definitions of literature have varied over time, in fact, it is a “culturally relative definition”, once in Western Europe, literature indicated all books and writing. During the Romantic period, it began to refer to “imaginative” literature. Nowadays literature is seen as a term used to describe written or spoken material, including all the following.
Poetry uses rhythmic qualities of language to bring out meanings in addition to, or in place of, unimaginative surface meaning. Poetry has traditionally been distinguished from prose by its being set inverse (颠倒); prose is cast in sentence, poetry in line.
Novel is typically written in a narrative (叙事) style and presented as a book. Novels tell stories, in which the characters and events are usually imaginary. The novel has been a part of human culture for over a thousand years, although its origins are somewhat debated. Regardless of how it began, the novel has remained one of the most popular and treasured examples of human culture and writing. It remains an essential part of the literary cultures of nearly all societies around the world.
Novella is classified as “Too short to be a novel, too long to be a short story”. There is no precise definition in terms of word or page count. Literary prizes and publishing houses often have their own arbitrary limits, which vary according to their particular intentions.
A short story is different from novels or novellas in that the plot is usually tied to one single chain of events. Because the reader must identify with a character quickly to become engaged, the tale is often told from the chief character’s point of view.
A drama refers to a play for the theatre, television or radio. It generally consists of chiefly dialogue between characters. It also uses dance to convey their message. Dramas usually aim at dramatic performance rather than at reading. In theater, a drama is presented by actors to an audience.
Good literary works depend on literary techniques. A literary technique can be used by authors in order to improve the written framework of a piece of literature, and produce specific effects.
Literary techniques include a wide range of approaches to crafting a work. The ability to let readers know what might happen in the future in an indirect way is possible through the technique foreshadowing (伏笔). The practice of representing objects and qualities as human beings in literature is personification (拟人). Symbolism is the use of symbols to represent ideas.
Literature | |
Definitions of literature | Definitions of literature have kept |
They are connected with | |
Among them are “books and writing”, “‘imaginative’ literature” and “written or spoken material”. | |
Poetry, with rhyme, uses unusual word order in lines, which may be a barrier to see what it | |
A novel takes the form of a book, talking about what is | |
The novella, as for length, exists | |
A short story tells a comparatively | |
Dramas are performed rather than read, with the ideas expressed either orally or | |
Literary techniques | Give a warning or sign of a |
When personification is used, something without | |
Symbolism is the practice of representing things by means of symbols. |
【推荐3】Westerners usually don’t think of China as having a rich tradition of making comics, and discussions of Chinese comics focus on manhua, the Chinese comics that were inspired by Japanese manga. It’s true that most of the comics being produced now are manhua.
Most of the lianhuanhua that can still be found in China were printed in the late 1970s and 1980s.
Using newly imported printing techniques, publishers began releasing periodicals (期刊) that contained stories and illustrations.
Many of these early comics were multi-volume(多卷的) adaptations of martial arts epics or folk tales such as the classical Chinese novel, Journey to the West.
A.Their history reaches back much farther. |
B.Most people couldn’t afford to rent one to read. |
C.For a few coins,readers could sit down and read. |
D.Others were adapted from theater shows or popular films such as King Kong. |
E.But this was not the case for much of the 20th century. |
F.But people could also enjoy foreign movie stories on lianhuanhua. |
G.They named these works “lianhuanhua” (linked images). |