1、郑重声明关于模板作文 和 思维模式郑重声明！关于模板作文和思维模式(2010-07-24 22:30:19) 转载标签： 杂谈分类： 考研写作专题 针对最近有同学问及关于模板作文会被判分为零的问题！以及某些不进行作文教学的教师对于作文教学一些不清晰的讲解，有必要进行澄清！ 1.何谓模板首先模板的单位是整个文章或大部分文章，内容基本上基本忽略图画规定的主题而生硬，套用。模板是应该坚决反对的，但是模板里面经典的语言和结构搭配是坚决要借鉴的。如果很微小的单位和语言搭配算为模板 那么 所有作文都是模板 所有文本都是模板因为都是由语言组成的。2.文章的模式现在翻译理论和语言学理论都是采用描写学研究方法（
2、具体参看Toury 的描写翻译及其他）简单说就是要描写语言中的一些规律不是说要应该是什么而是好语言或者好翻译多是什么样子（Chesterman, 关于翻译伦理）我们总可以看到中国的经典文章的好句子好写法这些都是在我们汉语中进行模仿的。那么同样的高分的考研作文也有规律或者在翻译中称为norm （范式）参见中国翻译，2006年林克难教授（天津外院）的文章 解读norm这就是我们应该模仿的范式，也就说这些规律和范式的范文取得了高分，难道高分范文的相似都是模板么？所以我在强调第一段第一句要用As开头，第二句要学会with 结构，第三句应该用caption reads哪一个可以成为模板二字？都是高分范文
3、所共有的结构。文章的思路，本也有一定的范式，就像很多小说一开始要描写景物这是中国的赋比兴的用法（袁行霈中国文学概论）所以我告诉大家的第二段3种方法展开但是没有指定一定要写那一句而是根据文章,虽然模式单一，构思一致但是语言内容却多变。难道某些老师口中的简单语言，没有精美的修饰就是首选，不背经典怎能有妙句横生？注意:征圣（征引圣人的思想），求典（博引经典的语言）是中国传统的也是被印证是最好的学习方法（王宏印，从道安到傅雷：中国经典译论）3 关于听课注意我一直强调，要先学死的再作活的，我强调的总结的一些搭配，用法。很多同学没有记这些精彩的搭配和用法，就记住一些句子如何写，就记住了不变的没有记住多变的
4、。最后我说，3种论证手法是可以像通用的就变成自己的了，最后我强调的是吸收他人的语言，记住老师的模式，形成自己的风格！这我是来回强调的，没听，听了老师的课突然会写了某篇文章就说自己是模板，这是曲解我的意思也是误解了我的教学思维。你做了“试写，吸收，翻译，重写”这四步了么？没做过，就别说话，你没有发言权，做了20篇范文看看谁和你的会一模一样。这就是为什么和同一个师傅学一样的功夫却形成不同的风格和功力。请有些同学成熟点，不要人云亦云，不要不做事先出声。4.关于学术争鸣欢迎各位其他老师对于教学（注意是以教学为目的为提升同学水平为宗旨）的争鸣和讨论，言语激烈点都没有关系。作为英语专业10年的人我很欢迎这
5、样做这也是学术发展得基础，但是要以学生利益为基础，以学术提升为目的，不要有个人的观点在里面。欢迎各位老师同学批评指正！首先 给出原因型试题 例8 的解析：1 定位 利用大写名词+ 原因可以定位到Superhigh scores like vos Savants are no longer possible, because scoring is now based on a statistical population distribution among age peers, rather than simply dividing the mental age by the chronolo
6、gical age and multiplying by 100.2 理解：主要是because 后面的意义这里用的是“rather than ”像沃斯萨文特那么高的分数也再也不可能出现了，因为现在的分数依据的是相同年龄者的统计学群体分布状况，而不是简单地通过实际年龄乘以100来划分智能年龄 所以是结算方法的改变 正确答案是 A3 排除：B,在定位的语句中并没有涉及，在这个段落中也没有出现，除非是推断题或者主旨题不然要紧紧的团结在定位句的周围New Yorker，Times,The Economist,Beijing Review,Newsweek,原版的大家可能无法买到，可以去我前面博文推荐
7、的网站去下载PDF电子版，手头银子宽裕的同学可以去淘宝网搜索看看。考研阅读部分，翻译部分的文章经常出现于这些文章。（New Yorker除外，它是给有志于从事同声传译或考博士的同学阅读的。）考研题源精读5(2010-07-08 20:13:30) 转载标签： 杂谈（5）： 哥特式恐怖艺术Two exhibitions show how a pair of 18th-century painters, James Barry and Henry Fuseli, inspired the modern visual romance with1 the gothic两个画展展示的是，两位18世纪画家
8、詹姆斯巴里和亨利富塞利如何唤起了现代人从视觉上对哥特式艺术的憧憬。THIS spring the bad boys of British art are making a comeback2. Not Damien Hirst and his friends, but the original enfants terribles3Henry Fuseli4 (1741-1825) and James Barry (1741-1806)who aimed, above all, to depict extremes of passion and terror in what they calle
9、d the new art of the Sublime.今春，英国艺术界的坏孩子再次粉墨登场了。我们说的不是达米恩赫斯特和他的朋友们，而是亨利富塞利（1741-1825）和詹姆斯巴里（1741-1806），这两位“莽撞少年”的始作俑者，他们的首要目标就是要用所谓的“新派高尚艺术”去描绘极度激情与恐怖。Barry and Fuseli are hardly household names; indeed since Victorian times they have been virtually ignored. But in the late 18th century, Fuseli, an
10、d for a short time Barry also, were prominent members of the young Royal Academy of Arts (RA) and influential professors of painting there. Barrys fall from grace5 was the most dramatic, but there is much to admire in this irascible Irish artist who, like Fuseli, once taught William Blake. Barrys pr
11、olific historical paintings demonstrate his ambition to rival the painters of antiquity and the Renaissance and to practise what the then president of the RA, Sir Joshua Reynolds, always preachedthat history painting was the noblest form of art. （1）But Barry found it hard to be bound by rules, and h
12、e turned history and myth into a series of tableaux6 that were at once oddly expressionistic and deeply personal.巴里和富塞利这两个名字算不上家喻户晓，实际上自维多利亚时代以来，世人对他们已经不闻不问。不过，在18世纪晚期，富塞利曾经是早期皇家美术学院（RA）的杰出会员和颇具影响力的画师，巴里曾一度也是如此。巴里的失宠于众最富于戏剧性，但跟富塞利一样曾给威廉布莱克传授过技艺的这位性情暴躁的爱尔兰艺术家，还是拥有许多让人敬佩的地方。他的众多历史性画作都表明，他热望与古代以及文艺复兴时期
13、的画家相抗衡，始终信奉历史画乃是最为尊贵的艺术形式，而这恰恰也是皇家美术学院当时的院长约书亚雷诺兹爵士所一直倡导的。但是历史画受制于过多约束让巴里感到难以接受，遂将史实与神话融为一体，并用一系列舞台造型加以表现，随即成为与主流格格不入的表现派，并打上了深深的个人主义烙印。His melodramatic “King Lear Weeping over the Body of Cordelia” and his sexually charged “Jupiter and Juno on Mount Ida7”, now both part of a retrospective of the ar
14、tists work in Cork, （2）proved too full of feeling for a British audience raised on portraits and landscape paintings. His only loyal patron was Edmund Burke, who had coined8 a theory of the Sublime.巴里的情景画泪洒科蒂利亚亡体的李尔王以及他那幅洋溢着性爱的艾达峰上的朱庇特和朱诺，现已成为科克城（爱尔兰南部港口城市）艺术家作品回顾展的一部分。这两幅画作表明英国观众对肖像画和风景画投注了极大的热情。埃德
15、蒙伯克是唯一自始至终资助巴里的人，正是他创立了“高尚艺术”理论。Barry felt he was a persecuted soul, and he painted himself as various ill-fated characters, most bizarrely Philoctetes9, the sailor whom Odysseus abandoned on the island of Lemnos because he smelled so bad. As if that werent enough, Barry also incited his RA students
16、 to revolt and then allegedly accused Reynolds of financial impropriety. When he became too unbearable, Barry became the first artist to be expelled by the academy.巴里认为自己的灵魂受到了戕害，便将自己画成形形色色充满晦气的人物，其中最为怪异的是菲罗克忒忒斯，那位由于臭气熏天而被奥德修斯抛弃在利姆诺斯岛上的水手。似乎这还不够，巴里还鼓动他在皇家美术学院的学生造反，而且据说后来甚至指控雷诺兹在财政上存在违法问题。巴里变得越来越让人忍无
17、可忍，于是成了第一个被学院开除的艺术家。Barry knew Fuseli, and （3）he makes a minor appearance in “Gothic Nightmares :Fuseli, Blake and the Romantic Imagination”, the brainchild10 of an engaging British polymath11, Sir Christopher Frayling, who heads the Arts Council of England and the Royal College of Art. Sir Christop
18、her has long been fascinated by the horror genre12he once presented a popular television programme on the topicand his favourite painting is Fuselis “The Nightmare” (pictured above), an unsettling image of a sleeping maiden, with an incubus13 perched14 on her stomach and a ghoulish15 horse peering t
19、hrough a curtain.巴里认识富塞利，作为特邀嘉宾参加了哥特式梦魇富塞利、布莱克和浪漫主义幻想画展。那次画展是由英格兰艺术理事会和皇家艺术学院主席、富于号召力的英国人克里斯托弗弗雷林爵士策划的。克里斯托弗爵士长期以来痴迷恐怖艺术曾以此为主题推出一档颇受欢迎的电视节目他最钟爱的画作是富塞利的梦魇（上图），画中描绘的是一位熟睡的女人，腹部上栖息着一个梦淫恶鬼，而布帘后面一匹长得像食尸鬼一般的马正探头窥视，整幅画看了让人感到心神不宁。Sir Christopher sees this painting, together with Fuselis scenes from Milton a
20、nd Shakespeare, as part of a search for national myths in the late 18th century. （4）Indeed, his interpretation illuminates an Enlightenment world that hovered between reason and bigotry16, and where a quasi-scientific interest in the occult17 and the emerging genre of the novel fed a public that was
21、 hungry for “tales of wonder”.克里斯托弗爵士认为，富塞利的这幅画以及取材于密尔顿和莎士比亚作品的那些画作，乃是探寻18世纪民族神话的一部分。事实上，他的这一评注为纠缠在理智与偏见之间的“教化世界”带来了曙光。在这样一个“教化世界”中，对玄妙之事的半带科学性的热诚和涌现出的相关小说流派，让大众对“惊愕故事”的渴求得到了极大满足。Unlike Barry, Fuselia former preacher who was forced to leave his native Zurichlooked rationally at the London art scene.
22、 He saw that（5）the only way to compete for “wall power” at the all-important annual exhibition of the RA was to carve out his own niche, the more eye-catching and esoteric18 the better. In 1782 Fuseli exhibited “The Nightmare” for the first time, drawing record crowds of up to 3,000 people a day. Pe
23、rplexed critics asked what the painting was about. In an age when art was supposed to depict an actual person or event, （6）it came as a shock that this was a painting not of a nightmare, but of the nightmare as a generalized experience.当过传教士后来被迫离开祖国瑞士的富塞利跟巴里不一样，他较为理智地看待伦敦艺术境况。他发现，要想在至关重要的皇家美术学院年度画展上
24、争取到“支持力量”，只有标新立异，越引人注目、越生涩越好。1782年，富塞利首次展出梦魇一作，每天观摩者创纪录地达到3000人。批评家们对画中所要表现的主题感到百思不得其解。在一个艺术被认为应该是描写真人真事的年代，这幅画的诞生让世人感到震惊 :它并不单单是对一般恶梦的简单描绘，而是对恶梦体验的一次真实再现。Interestingly, it was not until 1793 that anyone suggested publicly that the painting of a scantily clad19 woman stretched out on a bed might be
25、about sex. In a post-Freud world, it is impossible to look at “The Nightmare” and see anything else.（7） There is a soft-porn perversity20 about many of Fuselis muscular super-heroes and nubile21 nymphs22, particularly his Titania from “A Midsummer Nights Dream”. The erotic23 drawings and prints by h
26、im and his pupil Theodor von Holst are so explicit that the Tate has hung a veil between them and Fuselis popular fairy paintings nearby, which are a favourite with children.有意思的是，直到1793年才有人公开指出，这幅画上的女人几乎一丝不挂地躺在床上，因此可能与性有关。在后弗洛伊德时代，盯着梦魇而又不想入非非是不可能的。富塞利画中肌肉结实的超级英雄和含苞欲放的美丽少女，尤其是取材于仲夏夜之梦的泰坦尼亚，模糊的色情描绘让人
27、多少有些心慌意乱。由于富塞利及其学生霍尔斯特的素描和版画色情描绘过于直接，泰特美术馆就悬挂起一块幕布，将在这些画与近旁富塞利那些迎合大众的、尤其是孩子们最爱看的仙女画隔开。Unsurprisingly, Fuselis work was vilified24 by the Victorians, and he came back into favour only when the Surrealists（8）enthralled25 by his weird mix of deviance, death and dreamsclaimed him as a hero. Today, the a
28、rtist who bred his own moths in order to depict them accurately in his fairy paintings hangs in the same gallery as those other attention-seekers, Mr Hirst and Tracey Emin; it is almost as if he were their long-lost ancestor.富塞利的作品遭到了维多利亚女王时代艺术家们的非难，这是意料之中的事。直到超现实主义者集反社会、死亡、幻想等诡异元素于一身的富塞利令他们着迷称之为英雄的
29、时候，他这才重新受宠。如今，这位为了准确描绘仙女画中的飞蛾而亲自养殖的艺术家，同其他那些万众瞩目的人如赫斯特、特雷西艾明一样，也进入了美术陈列室，看上去就像是这些人的鼻祖。While Fuselis rehabilitation is admirable, the Tates obsession with inclusiveness dilutes Sir Christophers ideas. （9）Viewers are overloaded with mawkish26 pictures that the curators call “Gothic gloomth”, borrowing
30、 a phrase from Horace Walpole. Instead of rising to Sir Christophers wide-ranging themes, which link Fuseli and Blake with other great European painters, including Goya and Caspar David Friedrich, the Tate has taken a parochial27 view, showing virtually every mediocre British artist who ever dabbled
31、28 in gothic fantasy. Thankfully James Gillray is also there, and his biting29 caricatures lift the spirits.虽然富塞利的重振旗鼓令人肃然起敬，但坚持包罗万象的泰特美术馆还是弱化了克里斯托弗的观念。众多索然无味的绘画充斥着观众的视野，美术馆长们引用贺瑞斯沃波尔的一条成语，把这些画称作“哥特式晦暗”。克里斯托弗爵士崇尚的主题广泛，将富塞利、布莱克同包括戈亚、卡斯帕戴维弗雷德里希在内的欧洲其他杰出画家有机结合在一起，但泰特美术馆却反其道而行之，几乎展出了所有和哥特式幻想沾点边、不入流的英国艺术
32、家的作品，其眼界之狭窄可见一斑。令人欣慰的是，这里面也包括了詹姆斯基尔雷，他的讽刺画发人深省，令人精神振奋。The last room is one of the best.（10） Here Sir Christopher has added his cross-cultural hallmark30 :a series of horror film clips that invoke Fuselis “The Nightmare” as the ultimate shock-horror icon. And at the exit, Angela Carters words, “We live in gothic times”, are emblazoned on the wall. The spirit of Barry
