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

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

《英语听力教程第三版张民伦主编Unit9RomancingtheStone听力原文.docx》由会员分享，可在线阅读，更多相关《英语听力教程第三版张民伦主编Unit9RomancingtheStone听力原文.docx（10页珍藏版）》请在冰豆网上搜索。

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

英语听力教程第三版（张民伦主编）Unit-9-Romancing-the-Stone听力原文

Listenthisway听力教程第三册-9

Unit9RomancingtheStone

PartIGettingready

Amuseumisaninstitutionthatcaresforacollectionofartifactsandotherobjectsofscientific,artistic,cultural,orhistoricalimportanceandmakesthemavailableforpublicviewingthroughexhibitsthatmaybepermanentortemporary.Mostlargemuseumsarelocatedinmajorcitiesthroughouttheworldandmorelocalonesexistinsmallercities,townsandeventhecountryside.ThecitywiththelargestnumberofmuseumsisMexicoCitywithover128museums.AccordingtotheWorldMuseumCommunity,therearemorethan55,000museumsin202countries.

Audioscript：

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,thisplaceseemstocomealivewithunforgettablestoriesaboutwherewecamefromandwherewearegoing.Thegalleriesanddarkpassagewaysinvitethosewhodaretoventurebehindthescenes.Takeacloserlookanddiscoversecretsthataredisturbingandsometimesbrutal.

PartII"TheScream"

Paintingisafascinatingsubject.Everytimewhenyouvisitamuseum,youwillfindsomethingneweveninthesamepainting.Whilelookingatapainting,youcanenjoyitforitsbeautyalone.Itslines,forms,colors,andcompositionmayappealtoyoursensesandlingerinyourmemory.Apartfromthat,youcanalsotrytofigureoutwhatthepaintingdescribes.Doesitdescribetheartist'simpressionofasceneoraperson?

Ordoesitdescribetheartist'sfeelingabouttheartofpaintingitself?

Audioscript：

Speaker1:

Thispictureis"TheScream"byEdvardMunch,andit'saverypowerfulpicture,it'sinblackandwhiteas,asyouseeithere.AndumIthinkit'sparticularlypowerfulbecausemainlybecauseofthatfigurewhoum,whois,whoseemstoberunningoffthisbridgehereholdinghisorherheadinherhandsandscreaming.Andum,what'sveryinterestingaboutthepicturearethetwo,thetwofiguresattheendofthebridgeorfurtherupthisroad.Andit'sdifficulttounderstandwhetherthepersonisrunningfromthemorwhetherthey'rejusterinnocentbystanders.

Um,sothereasonI,Ilikethispicture,thereasonIfinditpowerfulisbecauseIthinkthatthepersonisnotactuallyrunningfromthetwodarkfiguresattheendofthebridge,butinfactthepersonissufferingerperhapssomekindofterriblelonelinessorsadness,andis,actuallyseemstobetryingtohidethatfeelingfromthosepeople.AndIthinkthisisacommonfeeling,Ithinkthisissomethingwhichwealldosometimeswhen,whenwefeelsomefeeling,usuallyabadfeeling,somethinglikelonelinessorterribleunhappiness,wedon'twantotherpeopletoseethat,andersowe,wehavetotryandhidethatfeelingfrom,fromothermembersofthe,ofthepublic.AndIfeelthat'swhatthismanorwomanisdoinginthepicturehere.

Audioscript：

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.

Audioscript：

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

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

Asyouapproachnearer,theTajMahal,itsscale,itscraftsmanshipbecomealmostoverwhelming.Ittooktwentythousandpeopletwentyyearstocompletethisgreatstructureanditswhitemarbleisinlaidwithtwenty-eightdifferentsortsofpreciousandsemi-preciousstones.But,thisisn'tapalaceoramosque.It'samausoleum.It'samonumenttogrief.Atthislevelandsonear,IcanseejusthowexquisiteandsubtletheTajMahalis.Theinlayisamazing,likeajewelbox.Andthewhitemarbleiscarvedandthesurfaceismottledinarchitecturaldetail.Itwasagreatsurprise,beinginsidetheTajMahalislikebeinginsidealivingbeing.Itmoansanditgroans.There'snoquestionaboutit,asamonumenttogriefandtoheartbreakandtheexpressionofagonyandpainthatlostallthatwaspreciousinthisworldandlongingforthenext,theTajMahalhasnoequal.It'sunsurpassed.

Audioscript：

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.

Audioscript：

WelcometotheBritishMuseum,London,hometoancientart,andtheunlikelybirthplaceofmodernsculpture.Throughoutthe19thcentury,BritishsculptorscameheretostudythefamousancientGreekmarblesthatonceadornedtheParthenoninAthens.TheywentonshowattheBritishMuseumatthestartof1817andweresoonconsideredtheepitomeofwhatsculpturecouldandshouldbe.Classical,heroicforms,they'renaturalistic,harmoniouslyproportione