Unit6Disappearingthroughtheskylight市公開(kāi)課一等獎(jiǎng)省賽課微課金獎(jiǎng)P

LessonSix

DisappearingThroughtheSkylightbyOsborneBennetHardisonJr.1/115Scientificwriting--characteristics1)Limittheuseoftechnicalterms2)Examples---tomakethewritingmorevividandappealingtothereaders3)Figuresofspeech--tomakethesentencesfigurativesothatthereaderscaneasilyunderstandandassociatethemwithwhattheyarefamiliarwith4)Objective:relyingonfacts,notinvolveemotion.5)Usethepresenttenseandpassivevoice.6)Sentences:Completesentences,Longsentences2/115

OsborneBennetHardison

(1928-1990)

borninSanDiego,Californiain1928educatedattheUniversityofNorthCarolinaandtheUniversityofWisconsin.taughtatPrincetonandtheUniversityofNorthCarolina.Well-knownforhisprofoundinsightsintothechangeinmodernculturebroughtaboutbymodernscienceandtechnology.Hisprovocativeviewsarestimulatingandinformative.3/115DisappearingThroughtheSkylight(1980)

Asforthecentralthemeofthisbook,thewritersaysinthePrefaceofthebook,“Thisbookisaboutthewaysculturehaschangedinthepastcentury,changingtheidentitiesofallthosebornintoit.Itsmetaphorfortheeffectofchangeoncultureis“disappearance”.Thebookhasasub-title,“CultureandTechnologyintheTwentiethCentury”themetaphoricalphrase“DisappearingThroughtheSkylight”4/115Asfor“disappearance”,hesays,“Inthe19thcen,sciencepresentednatureasagroupofobjectssetcomfortablyandsolidlyinthemiddledistancebeforetheeyesofthebeholder(目睹者、旁觀者).IntheworkofD’ArcyThompson,publishedaroundtheturnofthecentury,naturehasdisappeared.Ithasbecomeasetofgeometricandmathematicalrelationsthatlieunderthesurfaceofthevisible.Itisstill,however,indubitably(無(wú)疑地、確實(shí)地)there.Today,naturehasslipped,perhapsfinally,beyondourfieldofvision.Wecanimitateitinmathematics--wecanevenproduceconvincingimageofit---butwecanneverknowit.Wecanonlyknowourowncreations.”5/115FourconceptsproposedTherealworldisdisappearingTheuniversalizingtendencyofscienceandtechnology:thereisonlyonethermodynamics,generics,andsoonIfmancreatesmachines,machinesinturnshapetheircreators:themodernmanisnolongerauniqueindividual,theproductofaspecialenvironmentandcultureThedisappearanceofhistoryisaformofliberationandthisfeelingofliberationisoftenexpressedthroughplay(ortheplayfulnessofscience

)

6/115DiscourseanalysisSectionI(para1-8)ScienceiscommittedtotheuniversalsSectionII.(Para9-15)--SciencehasshowntheinsubstantialityoftheworldSectionIII.(Para16-19)--Banksaredisappearing.

7/115DetailedStudyUnit68/1159/11510/11511/11512/115Section1(paras1-8)Paras.1-2:Theuniversalizationofscience(technology)resultsinthedisappearanceofhistory.13/115Scienceiscommittedto…Scienceisengagedinthetaskofmakingitsbasicconceptsunderstoodandacceptedbyscientistsallovertheworld.Thisconceptofuniversalityanduniformityisoneofthebasicviewsoftheauthor.14/115Asign...concepts:Assciencebecomessuccessful,moreandmorepeopleacceptitsbasicconcepts.Thisprovestheuniversalityofscience.15/115TrofimDenisovichLysenko(1898-1976)

aSovietbiologistwhohadadisastrouseffectuponSovietbiologyformorethan20years(darkages)in1964finallyoustedfrompowerHisbelief:environmentexercisedacrucialinfluenceontheheredityoforganisms16/115discreditvt.refusetobelieveorhaveconfidence使人喪失信心;懷疑HisreportsaboutthewaraffairsintheMiddle-Eastareahavebeendiscreditedbecauseitisrealizedthatthereporterusedfalseinformation."這位記者寫(xiě)相關(guān)中東地域戰(zhàn)況報(bào)導(dǎo)人們已經(jīng)不相信了,因?yàn)榇蠹乙呀?jīng)認(rèn)識(shí)到他使用了不真實(shí)資料。“"Asfarasthissubject,laterresearchesdiscreditedtheearlierconclusions.“這個(gè)課題以后研究推翻了早先結(jié)論。17/115corollary(fml)–acorollaryofsthisanidea,argumentorfactwhichisthedirectresultofit必定結(jié)果=consequenceThischangeistheinevitablecorollaryofthesocialrevolution.Asthecorollaryofscience,technologyalsoexhibitstheuniversalizingtendencyTechnologynaturallyfollowsscience.Italsodisplaysthetendencytowardtheuniversalizing18/115Diversity:difference,varietyCharlesDarwinsawinthediversityofspeciestheprinciplesofevolutionthatoperatedtogeneratethespecies:variation,competitionandselection.

查爾斯·達(dá)爾文在物種多樣性中發(fā)覺(jué)了致使物種產(chǎn)生標(biāo)準(zhǔn)：變異、競(jìng)爭(zhēng)、選擇。19/115Paras.3-6:Theautomobileshowsveryclearlythisuniversalizinginfluenceofscienceandtechnology.20/115asset---avaluableordesirablething財(cái)產(chǎn),資本,有價(jià)值東西Heronly~wasagentlenature.Withallhisexperienceabroadhewasamajor~tothecompany.21/115BackgroundKnowledgeFordMotorCompany:oneofthelargestcarmanufacturingcompaniesofAmerica.22/115Thefiestaappearstohavesunkwithoutatrace.TheFiestaseemstohavedisappearedcompletely.23/115Itwas...Style:Theideaofaworldcaristheideaofhavingaworldstyle.24/115equivalent–n.sththathasthesameuse,functionassthelseAgoodquiltcanbetheequivalentofatleastthreeblankets.25/115Fiat:thebiggestItaliancarmanufacturingcompany.26/115inthefullnessoftime:

attheappropriateorrighttime；eventually在適當(dāng)時(shí)候，時(shí)機(jī)成熟時(shí)，終于

I’msurehe’lltelluswhat’sbotheringhiminthefullnessoftime.我必定他會(huì)在適當(dāng)時(shí)候告訴我們他困擾。

27/115Asinarchitecture,soinautomobile.

---Thingsthatarehappeninginautomatingaresimilartothosehappeninginarchitecture.28/115behardputtoit(todosth)---finditdifficultHewashardputtoexplainwhathadhappened.29/115

VolkswagenBeetle:ModelnameofacardesignedandmanufacturedbytheGermancarmanufacturingcompany,Volkswagen.

30/115Paras.7-8:Ifmancreatesmachines,machinesinturnshapetheircreators.

---nolongerquiteaproductofauniquegeographyandculture—butacosmopolitan

Thisshortbalancedtopicsentenceintroducesthesecondimportantviewofthewriter.Mancreatesmachinesandthemachinesthenturnaroundandchangethosewhocreatedthem.31/115Nolongerquiteanindividual,nolongerquitetheproductofauniquegeographyandculture.

Themodernmanisnolongeranindividual,nolongertheoneshapedandmoldedbyadistinctenvironmentandculture.32/115cosmopolitan---oforfromallormanydifferentpartsoftheworldthe~gatheringsattheUnitedNationsAssembly

聯(lián)合國(guó)各種世界性集會(huì)33/115Thepricehepaysisthathenolongerhasahomeinthetraditionalsenseoftheworld.

Thedisadvantageofbeingacosmopolitanisthathelosesahomeintheoldsenseoftheword.34/115Thebenefitisthathebeginstosuspecthomeinthetraditionalsenseisanotherforlimitation.Theadvantageisthathebeginstobelievethattraditionalhomemeansrestriction.35/115Imperativen.--Arule,aprinciple,oraninstinctthatcompelsacertainbehavior:驅(qū)使：迫使采取某一行為規(guī)則、標(biāo)準(zhǔn)或本能：apeopledriventoaggressionbyterritorialimperatives.為擴(kuò)張領(lǐng)土意念所驅(qū)而侵略成性民族36/115Theuniversalizingimperativeoftechnologyisirresistible.Thecompellingforceoftechnologytouniversalizecannotberesisted.37/115barringprep.--Apartfromtheoccurrenceof;excepting:不包含…；除…之外：Barringstrongheadwinds,theplanewillarriveonschedule.假如不是猛烈頂頭風(fēng)，飛機(jī)會(huì)準(zhǔn)點(diǎn)抵達(dá)38/115SectionII.(Para9-15)--Sciencehasshowntheinsubstantialityoftheworld

Theworldisnotmadeupofsolidmaterialobjectsthatweseewithoureyes.Thisisthebasisofthewriter’scentralthemeof“disappearance”.Beautifulartreflectstheinnerneedofaman’ssoul.Modernartdoesnotdepictthematerialobjectsbutthingsinourminds.Thedisappearanceofhistoryfreesthemindfromtraditionalconcepts.Thefeelingofliberationisoftenexpressedthroughplay.Theplayfulnessofsciencehasproducedgametheoryandvirtualparticles,inartithasproducedthepaintingofPicasso.39/115ModerncultureisfullofimagesItincludesthesimplegeometricdesignsoftheinternationalstyles.thefancifulpatternsoffacadismtheplayfulnessofthethemeparksandmuseumvillagesItdisplaysstructuresthatreflectthestraightlinesItdisplaysthefineartisticstreamliningofcarsandairplanes.Itdisplaysoiltankersandbulldozers.ItdisplaysthecomplicateddesignsandstructureofTinkertoymodels,geodesicdomesandlunarlanders.40/115Para9:Machineaesthetic41/115WheneveryartistthoughtheowedittohimselftoturnhisbackontheEiffelTower,asaprotestagainstthearchitecturalblasphemy---wheneveryartistthoughtitwashisdutytoshowhiscontemptforandobjectiontotheEiffelTowerwhichtheyconsideredanirreverentarchitecturalstructure.42/115Machinessoongeneratedpropositionswhichevadedalltradition.---Machinessoonoriginatednewideasandproblemsthatcouldnotbehandledbytheoldwaysofthinking.43/115Amobile,extrahumanplasticitywhichwasabsolutelynew---aflexibleandpliablequalitythatwasbeyondhumanpowerandabsolutelynew.44/115Impressionism印象主義AtheoryorstyleofpaintingoriginatinganddevelopedinFranceduringthe1870‘s；characterizedbyconcentrationontheimmediatevisualimpressionproducedbyasceneandbytheuseofunmixedprimarycolorsandsmallstrokestosimulateactualreflectedlight.45/11546/115Dada達(dá)達(dá)主義運(yùn)動(dòng)AEuropeanartisticandliterarymovement(1916-1923)thatfloutedconventionalaestheticandculturalvaluesbyproducingworksmarkedbynonsense,travesty,andincongruity.歐洲文學(xué)藝術(shù)界運(yùn)動(dòng)(1916-1923年），經(jīng)過(guò)隨意涂寫(xiě)、嘲諷、不友好作品，來(lái)藐視傳統(tǒng)藝術(shù)和文化價(jià)值47/115Dada,orDadaismDadawasnotart—itwasanti-art.Foreverythingthatartstoodfor,Dadawastorepresenttheopposite.Whereartwasconcernedwithaesthetics,Dadaignoredaesthetics.Ifartwastohaveatleastanimplicitorlatentmessage,Dadastrovetohavenomeaning—interpretationofDadaisdependententirelyontheviewer.48/115

DadaworksMechanicalHead(TheSpiritofOurAge),

wasmeanttosymbolizetheemptyspiritofthepost-WorldWarIera49/115Cubism立體派AnonobjectiveschoolofpaintingandsculpturedevelopedinParisintheearly20thcentury,characterizedbythereductionandfragmentationofnaturalformsintoabstract,oftengeometricstructuresusuallyrenderedasasetofdiscreteplanes.20世紀(jì)初出現(xiàn)于巴黎一個(gè)繪畫(huà)和雕刻抽象流派，其特征是把各種自然形態(tài)簡(jiǎn)化并分裂成抽象、通常為幾何形狀結(jié)構(gòu)，并常被描繪成一系列互不相聯(lián)平面50/115WomanwithaguitarbyGeorgesBraque,191351/115TheWotrubaChurchinVienna

52/115FrancisPicabia(1879-1953)

awell-knownpainterinfluencedbytheimpressionistpaintingofthecubistsandtheGoldenSection,Surrealistart53/115FrancisPicabia’sPaintings54/115MarcelDuchampaninfluentialFrench/Americanartist.Hewasarguablythemostimportantinfluenceonthedevelopmentofpost-warartinEuropeandNorthAmerica.55/115NudeDescendingaStaircase56/115MarcelDuchamp’swork57/115Modernart

ageneralterm,usedformostoftheartisticproductionfromthelate19thcenturyuntilapproximatelythe1970s.(RecentartproductionismoreoftencalledContemporaryartorPostmodernart).58/115Modernartreferstothethennewapproachtoartwhereitwasnolongerimportanttorepresentasubjectrealistically—theinventionofphotographyhadmadethisfunctionofartobsolete.Instead,artistsstartedexperimentingwithnewwaysofseeing,withfreshideasaboutthenature,materialsandfunctionsofart,oftenmovingfurthertowardabstraction.59/115Surrealism--CulturalandartisticmovementTheSurrealismmovementoriginatedinpost-WorldWarIEuropeanavant-gardeliteraryandartcircles,andmanyearlySurrealistswereassociatedwiththeearlierDadamovement.MovementparticipantssoughttorevolutionizelifewithactionsintendedtobringaboutchangeinaccordancewithSurrealismphilosophy.60/115Surrealismasavisualmovementhadfoundamethod:toexposepsychologicaltruthbystrippingordinaryobjectsoftheirnormalsignificance,inordertocreateacompellingimagethatwasbeyondordinaryformalorganization,inordertoevokeempathyfromtheviewer.creativeactsofrevoltandeffortstoliberateimagination

61/115ThePersistenceofMemory(1931)bySalvadorDalí.62/115Para10Thewriterusesmanyrhetoricalquestionstointroducehiscentralthemeandtoemphasizehisargumentsontheinsubstantiality(非物質(zhì)性)oftheworld.63/115Artis,inonedefinition,simplyanefforttonametherealworld.---Artcanalsobedefinedasanattempttogiveanametothingsintherealworld.64/115Science...world:Sciencehasshownthattheworldisnotmadeupofsolidmaterialobjectsthatweseewithoureyes.Thisisthebasisofthewriter’scentralthemeof“disappearance”.65/115Ithasthusundermindedanarticleoffaith:thethinglinessofthings.

Peopleusedtofirmlybelievethatthethingstheysawaroundthemwererealsolidsubstancesbutthishasnowbeenthrownintodoubtbyscience.Sciencehasweakenedthepeople’sfirmbeliefontherealmaterialobjectsseenwiththeireyes.這就動(dòng)搖了人們認(rèn)為世界物質(zhì)是客觀實(shí)在信念。66/115IthasproducedimagesofordersofrealityunderlyingthethinglinessofthingsSciencehasproducedimagesofmanyclassesorcategoriesofrealitythatlieundertheobjectiveimageofthingsweseewithoureyes.科學(xué)又創(chuàng)造出了潛存于客觀實(shí)在之中各種不一樣種類(lèi)和范圍現(xiàn)實(shí)世界形象。67/115thingliness---

the"innernature"oressenceofthings(物體屬性、客觀實(shí)在性)Thetaskofunderstandingtheworkofartbeginswithlettingtheworkshowitselfinitsmostimmediatereality,its

thingliness.

Heideggerbelievesthatthenearnessofathingtothesubjectisdefinedbyits"thingliness.''68/115Self-squared利用“分形藝術(shù)”經(jīng)過(guò)計(jì)算機(jī)產(chǎn)生一個(gè)含有數(shù)學(xué)對(duì)稱(chēng)美圖形集合69/115Para11Thedisappearanceofhistory70/115consistent(with)---inagreementwithWhatyousaynowisnot~withwhatyousaidlastweek.71/115WassilyKandinsky(1866-1944)aRussian-bornpainterandarttheorist.Oneofthemostimportant20th-centuryartists,alongsidePicassoandMatisse,heiscreditedwithpaintingthefirstabstractworksinthehistoryofmodernart.Thiseffectofcolorwasamajorinfluenceonhisart72/115Kandinsky’swork73/115"OnWhiteII"byWassilyKandinsky,1923.74/115Modernartopensonaworldwhoserealityisnotoutthereinnaturedefinedasthingsseenfromamiddledistancebut“inhere”inthesoulorthemind.---Modernartdoesnotdepictthematerialobjectsinnaturethatweseewithoureyesbutthingsweseeinourminds.AntithesisOutthere對(duì)inhere，innature對(duì)inthesoul75/115inthemiddledistance:thenormaldistancefortheeyetoobserveobjects通常肉眼看到物體距離

Thebuildingisinthemiddledistance，sowecanseeitclearIy.樓房跟我們距離適中，我們能很清楚地看到。76/115Itisaformofperception…Theworldofnaturethatmodernartrevealsnolongercontainsthematerialobjectswewerefamiliarwithinsteadtheworldisnowfilledwithimagesproducedbythemind.Thishasmadetheworldalmostemptyofhistorybecausehistoryhastobeassociatedwiththeobjectiveexistenceofmaterialthings.77/115Paras.12-15:Thedisappearanceofhistoryisaformofliberationandthisfeelingofliberationisoftenexpressedthroughplay.Theplayfulnessofsciencehasproducedgametheoryandvirtualparticles,inartithasproducedthepaintingsofPicassoandJoanMiroandsoon.78/115Thedisappearanceofhistoryisthusaliberation---thedisappearanceofhistoryfreesthemindfromtraditionalconcept.79/115PabloPicasso(1881-1973)oneoftherecognizedmastersof20thcenturyart.mostfamousasthefounderofCubism

themostexpensivepaintingsintheworld--$104million80/11581/115Theblueandroseperiod82/115Womaninanarmchair83/115fiveprostitutes--ameditationonthedangerofsex84/115Woman-flower85/115JoanMiro(1893-1983)SpanishsurrealistpainterHisworkssometimeshaveahumorousorevenwhimsicalqualityaboutthem.86/11587/11588/115Gametheory博弈論(Para13):Gametheoryisabranchofmathematicalanalysisdevelopedtostudydecisionmakinginconflictsituations.Suchasituationexistswhentwoormoredecisionmakerswhohavedifferentobjectivesactonthesamesystemorsharethesameresources..GametheoryprovidesamathematicalprocessforselectinganOPTIMUMSTRATEGY(thatis,anoptimumdecisionorasequenceofdecisions)inthefaceofanopponentwhohasastrategyofhisown.89/115囚徒困境悖論(Prisoner'sdilemma)

對(duì)于一個(gè)囚徒來(lái)說(shuō)，合作在利己主義者之間是否能夠形成：也就是，一個(gè)只對(duì)自己利益感興趣人，在經(jīng)過(guò)一段時(shí)間學(xué)習(xí)后可否意識(shí)到他們利益經(jīng)過(guò)合作能夠得到更多。90/115cannibalism---theactorpracticeofeatingone’sownkind(espofpeoplewhoeathumanflesh)同類(lèi)相殘91/115byintroducing….Science,initsplayfulness,introduceshumangrowthgenesintocowsandthisforcesstudentsofethicstoredefinecannibalism.Doestheeatingofsuchcowswiththeirhumangenesconstitutecannibalism?92/115postmodernismatermusedtodesignateamultitudeoftrendsfromthe20thcen.movementsthatconstitutedmodernism.Thetermhasbecomeubiquitousincontemporarydiscourse.Widelydebatedwithregardtoitsmeaningandimplications,postmodernismhasalsobeensaidtorelatetothecultureofcapitalismasithasdevelopedsincethe1960s.Ingeneral,thepostmodernviewiscool,ironic,andacceptingofthefragmentationofcontemporaryexistence.Ittendstoconcentrateonsurfacesratherthandepths,toblurthedistinctionsbetweenhighandlowculture,andasawholetochallengeawidevarietyoftraditionalculturalvalues.93/115Neomodernismaphilosophicalpositionbasedonmodernismbutaddressingthecritiqueofmodernismbypostmodernism.ItiscurrentlyassociatedwiththeworkofAgnesHellerandCarlosEscudé,andisstronglyrootedinthecriticismswhichHabermashaslevelledatpostmodernphilosophy,namelythatuniversalismandcriticalthinkingarethetwoessentialelementsofhumanrightsandthathumanrightscreateasuperiorityofsomeculturesoverothers.Thatis,thatequalityandrelativismare"mutuallycontradictory".94/115CollagetheassemblageofdifferentformscreatinganewwholeForexample,anartisticcollageworkmayincludenewspaperclippings,ribbons,bitsofcoloredorhand-madepapers,photographs,etc.,gluedtoasolidsupportorcanvas95/115CollagecityAcitythatisarichmixtureofstyles.拼貼畫(huà)式城市96/115Facadism（Para14）傳統(tǒng)門(mén)面與新型建筑相結(jié)合奇特圖案,又稱(chēng)“外墻主義”或“建筑外觀”。

thepracticeofretainingthefrontelevation(facade)andconstructinganewandusuallylargerbuildingbehindit.Whileitisapracticemuchcondemnedbyconservationists,infacttherecanbeargumentsinitsfavor,butitneedscarefulhandling.97/115gamesmanship–theartofwinningbyusingtherulestoone’sownadvantagewithoutactuallycheating制勝絕招98/115virtuosities---averyhighdegreeofskillinappreciationperformanceinoneofthearts藝術(shù)鑒賞力，精湛技巧99/115etch–todraw(apicture)bycuttinglinesonametalplatewithaneedleandthenusingacidtoeatoutthelinessothatonecanprintfromtheplat