英语听力教程第三版张民伦主编Unit9RomancingtheStone听力原文Word格式.docx

英语听力教程第三版张民伦主编Unit9RomancingtheStone听力原文Word格式.docx

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1.TheLouvre

Parisisanancientcity,witnesstorevolution,celebrationandwar.AtitscenterstandstheLouvre,oncearoyalpalaceandnowoneoftheworld'

sgreatestmuseums.TheLouvreishometothemostfamouspaintinginhumanhistory--TheMonaLisa.Herenigmaticsmileissaidtoconcealmanysecrets.

2.TheVaticanMuseum

InthemiddleofRomestandstheVatican,theepicenterofCatholicism.ItisbothafortifiedcityandaplacethePopecallshome.（Gracias.Gracias.）Italsohousesoneofthemostfamousmuseumsintheworld,fulloftimelesstreasures,eachonewithastorytotell.OfallofthesenonearemorefamousthantheSistineChapel.AllwhoenterheregazeupattheluminousfrescosofMichelangelo.

3.Toronto'

sRoyalOntarioMuseum

It'

saneye-poppingCanadianlandmark,anationaltreasurechestandaplaceofmystery.ThisistheRoyalOntarioMuseuminToronto,theROM.Foreveryobjectondisplay,thousandsmorearehiddeninbackroomsfarfrompublicview.EnterthehallofAncientEgypt,andthehairstanduponthebackofyourneck.Youfeelapresenceoftheghosts.Howdidtheyliveandhowdidtheydie?

Ifonlythemummiescouldspeak.

4.Cairo'

sEgyptianMuseum

Egypt,herethetoweringmonumentsofthePharaohsstandsilentamidtheroarofamoderncity.CairoisthelargestmetropolisinAfrica,hometomorethan20millionpeople.Butatitscenterisarefugeefromurbanchaos.ThisisthemuseumofEgyptianantiquities,thetreasurechestofAsiancivilizationandoneofthemostspectacularmuseumsintheworld.VisitorsflockherebythemillionstogazeintotheeyesoflongdeadPharaohsandmarvelattheirdazzlingsarcophagiofsilverandgold.

5.London'

sNaturalHistoryMuseum

TheNaturalHistoryMuseuminLondon,England,it'

sacathedralofnaturehousingover70millionspecimens.Duringtheday,thousandsofvisitorstourthegalleries.Butatnight,whenthey'

veallgonehome,thisplaceseemstoealivewithunforgettablestoriesaboutwherewecamefromandwherewearegoing.Thegalleriesanddarkpassagewaysinvitethosewhodaretoventurebehindthescenes.Takeacloserlookanddiscoversecretsthataredisturbingandsometimesbrutal.

PartII"

TheScream"

Paintingisafascinatingsubject.Everytimewhenyouvisitamuseum,youwillfindsomethingneweveninthesamepainting.Whilelookingatapainting,youcanenjoyitforitsbeautyalone.Itslines,forms,colors,andpositionmayappealtoyoursensesandlingerinyourmemory.Apartfromthat,youcanalsotrytofigureoutwhatthepaintingdescribes.Doesitdescribetheartist'

simpressionofasceneoraperson?

Ordoesitdescribetheartist'

sfeelingabouttheartofpaintingitself?

Speaker1:

Thispictureis"

byEdvardMunch,andit'

saverypowerfulpicture,it'

sinblackandwhiteas,asyouseeithere.AndumIthinkit'

sparticularlypowerfulbecausemainlybecauseofthatfigurewhoum,whois,whoseemstoberunningoffthisbridgehereholdinghisorherheadinherhandsandscreaming.Andum,what'

sveryinterestingaboutthepicturearethetwo,thetwofiguresattheendofthebridgeorfurtherupthisroad.Andit'

sdifficulttounderstandwhetherthepersonisrunningfromthemorwhetherthey'

rejusterinnocentbystanders.

Um,sothereasonI,Ilikethispicture,thereasonIfinditpowerfulisbecauseIthinkthatthepersonisnotactuallyrunningfromthetwodarkfiguresattheendofthebridge,butinfactthepersonissufferingerperhapssomekindofterriblelonelinessorsadness,andis,actuallyseemstobetryingtohidethatfeelingfromthosepeople.AndIthinkthisisamonfeeling,Ithinkthisissomethingwhichwealldosometimeswhen,whenwefeelsomefeeling,usuallyabadfeeling,somethinglikelonelinessorterribleunhappiness,wedon'

twantotherpeopletoseethat,andersowe,wehavetotryandhidethatfeelingfrom,fromothermembersofthe,ofthepublic.AndIfeelthat'

swhatthismanorwomanisdoinginthepicturehere.

Speaker2:

Asadesign,thepicture'

sverystrongaswell.The,thebridgeorthestreetisaverystrongdiagonallinewhichgoesthroughthe,thepicture.Andthentothe,totherightofthescreamer'

sheadthere'

saseriesofdarkverticallines--it'

sdifficulttoknowwhatthatis,perhapsit'

safieldormaybeitcouldbeawall,it'

sdifficulttoknowexactlywhatitis,butthosedarkverticallinessomehowdepressthepicture,whichisexactlywhattheartistwanted.Andthenatthe,atthetop,youhavethesky,whichtheartisthas,hasermadeintheformperhapsofclouds,whichareverystronghorizontallines,very,veryboldblacklineswhichagainseemtopushthewholepicturedown,andaddtothedepressionofthe,theexperiencewhichthe,thescreameriser,isfeeling.

PartIIITajMahal

TheTajMahalisawhitemarblemausoleumlocatedinAgra,UttarPradesh,India.ItwasbuiltbyMogulemperorShahJahaninmemoryofhisthirdwife,MumtazMahal.TheTajMahaliswidelyrecognizedasthejewelofMuslimartinIndiaandoneoftheuniversallyadmiredmasterpiecesoftheworld'

sheritage.

There'

snobuildingmoreromanticormoretragicthantheTajMahal.OnJunethe17th,1631,MumtazMahal,thewifeoftheMogulEmperor,ShahJahan,diedwhilegivingbirthtoherfourteenthchild.

So,inresponsetothedeathofhiswife,ShahJahancreatedoneofthemostfamousbuildingsintheworld,theTajMahal,avisionofperfection,ofparadiseonEarth.TheemotionalpoweroftheTajMahalesnotjustfromitsruthlesssymmetryanditsdazzlingwhitematerial,butalsofromthepurityandsimplicityreallyofitsforms.InlinewithIslamicthinking,itisnotloadedwithimagesoflivingbeings,bannedintheKoran,butbysimpleabstractdecoration,lettering.Inthissenseverymuchlessornamentationgivesmoreemotionalpower.

Asyouapproachnearer,theTajMahal,itsscale,itscraftsmanshipbeealmostoverwhelming.Ittooktwentythousandpeopletwentyyearstopletethisgreatstructureanditswhitemarbleisinlaidwithtwenty-eightdifferentsortsofpreciousandsemi-preciousstones.But,thisisn'

tapalaceoramosque.It'

samausoleum.It'

samonumenttogrief.Atthislevelandsonear,IcanseejusthowexquisiteandsubtletheTajMahalis.Theinlayisamazing,likeajewelbox.Andthewhitemarbleiscarvedandthesurfaceismottledinarchitecturaldetail.Itwasagreatsurprise,beinginsidetheTajMahalislikebeinginsidealivingbeing.Itmoansanditgroans.There'

snoquestionaboutit,asamonumenttogriefandtoheartbreakandtheexpressionofagonyandpainthatlostallthatwaspreciousinthisworldandlongingforthenext,theTajMahalhasnoequal.It'

sunsurpassed.

ThetwisttothestoryoftheTajMahalisinthenearbyRedFortwherethefinaltragicepisodeofShahJahan'

slifewasplayedout.It'

sherethatthemythoftheTajwasborn,whereitenterstheworldoflegend.

ShahJahan,thegreatemperor,becameill.Hesufferedastrokeandthisprovokedaruthless,viciousstruggleforpoweramonghisfoursons.Theyfought,theybattledandAurangzeb,themostskilful,themostviciousIsupposeofthefoursons,prevailed.Hekilledhisthreebrothersinbattleandbytreacheryandwhenhehadhisfather,ShahJahaninhispower,heimprisonedhimhereintheFort.SoforShahJahanhisgreatempirehadbeenreducedtotheareaofthiscourtyard,andhewouldstandwhereIamstandingnow,contemplatingtheview,lookingatthegreatmausoleumoverthere.Thisisaspectacularview,butitcouldhavebeenmorespectacularstill.ItissaidthatShahJahan,ifhehadn'

tlostcontrolofhisempire,wouldhavebuilthimselfamausoleumoppositethatofhiswife,andhisonewouldhavebeencladinblackmarble,tomatchthewhitemarbleoftheTajMahal.

ThestoryoftheblackTajisaninventionofthe18thcentury,butonethatreflects,reinforcesthefantasysurroundingabuildingdedicatedtoloveandtowhatcouldhavebeen.

PartIVMoreaboutthetopic:

BritishSculpturesNowandThen

Sculpturehaschangedmoreradicallyinthepast100yearsthaninthepreceding30000.Britishsculptorshaveledthewaythankstotheirrestlessoriginality.TodayBritishsculptureisahugelyexpressivemediumwithalmostlimitlesspossibilities.SometimesthatsheervarietycanbeabitbewilderingbutinBritishsculpture'

slonghistory,thismayturnouttobethegreatestchapteryet.

WeletotheBritishMuseum,London,hometoancientart,andtheunlikelybirthplaceofmodernsculpture.Throughoutthe19thcentury,BritishsculptorscameheretostudythefamousancientGreekmarblesthatonceadornedtheParthenoninAthens.TheywentonshowattheBritishMuseumatthestartof1817andweresoonconsideredtheepitomeofwhatsculpturecouldandshouldbe.Classical,heroicforms,they'

renaturalistic,harmoniouslyproportioned,pletelydevoidofdistortion.Theyofferavisionofahighlysophisticatedsoc