张汉熙高级英语第二册第六课PPT课件

1、1,Lesson6 Disappearing Through the Skylight Osborne Bennet Hardison Jr,2,3,O.B. Hardison, Jr. (1928 -1990,4,Background information 1) The author O.B. Hardison, Jr. (1928 -1990) was born in San Diego, California in 1928. He was educated at the University of North Carolina and the Universtiy of Wiscon

2、sin. English professor, Shakespearean scholar, and amateur physicist, is always entertaining and often thought-provoking. A scholarly writer Mr.hardison wrote numerous books and articles, as well as poetry and book reviews. His scholarly concerns ranged from Renaissance literature to technology and

3、change in modern society,5,He is the author of Lyrics and Elegies (1958), The Enduring Monument (1962), English Literary Criticism: The Renaissance (1964), Toward Freedom and Dignity: The Humanities and the Idea of Humanity (1973), Entering the Maze: Identity and Change in Modern Culture (1981) and

4、Disappearing Through the Skylight (1980,6,1. Disappearing Through the Skylight is not only the title of this chapter but also the title of the book. This shows the importance the writer attaches to this chapter. The book, however, also has a sub-title, Culture and Technology in the Twentieth Century

5、,7,As for disappearance, he says, In the nineteenth century, science presented nature as a group of objects set comfortably and solidly in the middle distance before the eyes of the beholder,8,It has become a set of geometric and mathematical relations that lie under the surface of the visible. It i

6、s still, however, indubitably there. Today, nature has slipped, perhaps finally, beyond our field of vision. We can imitate it in mathematicswe can even produce convincing images of itbut we can never know it. We can only know our own creations.,9,As a logical conclusion of this idea, the writer, in

7、 the final paragraph of this key chapter we are studying, states, As surely as nature is being swallowed up by the mind, the banks, you might say, are disappearing through their own skylights,10,As for the central theme of this book, the writer says: This book is about the ways culture has changed i

8、n the past century, changing the identities of all those born into it. Its metaphor for the effect of change on culture is disappearance,11,as the title suggests, the writer puts forward his central theme of disappearance nature disappears, history disappears and even the solid banks disappear. Besi

9、des expressing the central theme of the book, the metaphorical phrase, Disappearing Through the Skylight, is used also specifically in this chapter to describe the changed appearance of modern banks which seem to be disappearing,12,The second important idea he puts forward is the universalizing tend

10、ency of science and technology. The basic concepts of science are understood, accepted and adopted by scientists all over the world. There is only one science of thermodynamics, genetics, etc. This universalizing effect is reflected in architectural styles, dress styles, musical styles, etc. They al

11、l tend to become world styles,13,The third concept is, If man creates machines, machines in turn shape their creators. The modern man is no longer a unique individual, the product of a special environment and culture. The homogeneous world he now lives in universalizes him. He becomes a cosmopolitan

12、, a citizen of the world,14,Finally, the disappearance of history is a form of liberation and this feeling of liberation is often expressed through play. The playfulness of science has produced game theory and virtual particles, in art it has produced the paintings of Picasso and Joan Miro and so on

13、,15,Hardison skillfully relates twentieth-century poetry, architecture, and physics, weaves together Dadaism and postmodernism, literature and television, computer art and artificial intelligence, the Bauhaus and robot musicians, medieval clockmaking and the frontiers of chaos theory, Greek cosmolog

14、y and theory of language, Plato and Christo, Tristan Tzara and George Lucas,16,The author focuses on changes in nature, history, language, art, and human evolution that have taken place since the beginning of the twentieth century: Because the changes have been fundamental, the concepts - and even t

15、he vocabularies and images in which the concepts tend to be framed - no longer seem to objectify a real world. It is as though progress were making the real world invisible,17,This book is about the ways culture has changed in the post century, changing the identities of all those born into it. Its

16、metaphor for the effect of change on culture is disappearance,18,Architecture, in alliance with technology, is dissolving age-old cultural differences around the world. Skyscrapers, suspension bridges, Holiday Inns, McDonalds, or condominiums（国际法共管） look the same in SingaPore, St. Louis, New Delhi a

17、nd New England. The emergence of a global architectural style hastened the disappearance of regional differences,19,The effect of change has been the disappearance of regional and parochial（地方范围的） identities and the emergence of a global consciousness. The universalizing process of technology has to

18、uched every facet of culture. As this has happened, the sense of individuality has inevitably faded,20,ITS A STRANGE new world out there. Factory workers are made of metal and plastic; money, an increasingly abstract proposition, is made and lost not in workshops and fields but on flickering screens

19、. Databases grind through a million mainframes, assembling your biography and mine to a fantastic degree of detail,21,O.B. Hardison, Jr., badly wants to help. A professor emeritus（退休的） of English literature and former director of the Folger Shakespeare Library, Hardison set up shop as a futurist lat

20、e in life, having grown interested in the effects of all this newfangled（新奇的） technology on the arts, our culture, and our souls,22,Disappearing Through the Skylight abounds in his excitement over these effects. And if Hardison bites off more than he or his readers can comfortably chew, hes unapolog

21、etic for it. Instead, he takes us on a whirlwind tour of the history of the future - that is, of 20th-century developments leading to todays electronic wonderland,23,His expedition spins from subject to subject: Architectural semantics, artificial intelligence, mathematical biology, the Dada movemen

22、t in the arts, and the politics of the machine all enter into it at one point or another. The result is a sometimes incoherent (making it perfectly postmodern) but thought-provoking excursion into the new and unknown,24,Technology, Hardison writes, can be a liberating force, freeing workers from the

23、 drudgery of the assembly line and double-entry（复式记帐） bookkeeping. (He does not, however, go on to say that technological advantages are generally held by the very few, nor that all the time-saving machines surrounding us have increased the typical American workweek from 40 to 60 hours.,25,cylinder汽

24、缸,26,27,carburetor,28,carburetor,29,2)Neomodernism a philosophical position based on modernism but addressing the critique of modernism by postmodernism. It is currently associated with the work of Agnes Heller and Carlos Escud, and is strongly rooted in the criticisms which Habermas has levelled at

25、 postmodern philosophy, namely that universalism and critical thinking are the two essential elements of human rights and that human rights create a superiority of some cultures over others. That is, that equality and relativism are mutually contradictory,30,postmodernism a term used to designate a

26、multitude of trendsin the arts, philosophy, religion, technology, and many other areasthat come after and deviate from the many 20th-cent. movements that constituted modernism. The term has become ubiquitous in contemporary discourse and has been employed as a catchall for various aspects of society

27、, theory, and art. Widely debated with regard to its meaning and implications, postmodernism has also been said to relate to the culture of capitalism as it has developed since the 1960s. In general, the postmodern view is cool, ironic, and accepting of the fragmentation of contemporary existence. I

28、t tends to concentrate on surfaces rather than depths, to blur the distinctions between high and low culture, and as a whole to challenge a wide variety of traditional cultural values,31,FIAt: the biggest Italian car manufacturing company. Fiat is an acronym of the Italian name, Fabbrica Italiana Au

29、tomobile Torina,32,The Crystal Palace,The Crystal Palace was a cast-iron and glass building originally erected in Hyde Park, London, England, to house the Great Exhibition of 1851. More than 14,000 exhibitors from around the world gathered in the Palaces 990,000 square feet (92,000 m2) of exhibition

30、 space to display examples of the latest technology developed in the Industrial Revolution. Designed by Joseph Paxton, the Great Exhibition building was 1,851 feet (564m) long, with an interior height of 128 feet (39m).1 After the exhibition, the building was moved to a new park in Penge Common next

31、 to an affluent area of London called Sydenham Hill, a well-heeled suburb full of large villas. The Crystal Palace was enlarged and stood in the area from 1854 to 1936, when it was destroyed by fire. It attracted many thousands of visitors from all levels of society. The name Crystal Palace (the sat

32、irical magazine Punch usually gets the credit for coining the phrase)2 was later used to denote this area of south London and the park that surrounds the site, home of the Crystal Palace National Sports Centre,33,34,35,Volkswagen Beetle,Model name of a car designed and manufactured by the German car

33、 manufacturing company, Volkswagen,36,Dada,Dada (English pronunciation: ) or Dadaism is a cultural movement that began in Zurich, Switzerland, during World War I and peaked from 1916 to 1922.1 The movement primarily involved visual arts, literaturepoetry, art manifestoes, art theorytheatre, and grap

34、hic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. Its purpose was to ridicule what its participants considered to be the meaninglessness of the modern world. In addition to being anti-war, dada was also anti-bou

35、rgeois and anarchist in nature,37,Many Dadaists believed that the reason and logic of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos and irrationality. For example, George Gr

36、osz later recalled that his Dadaist art was intended as a protest against this world of mutual destruction,38,超现实主义,surrealism A 20th-century literary and artistic movement that attempts to express the workings of the subconscious and is characterized by fantastic imagery and incongruous juxtapositi

37、on of subject matter. It also refers to Literature or art produced in this style,39,Picabia: Francis Picabia弗朗西斯毕卡比亚( 1878-1953),a French Dadaist/surrealist painter Francis Picabia，为弗朗西斯毕卡比亚)于1879年1月22日出生于法国巴黎，其父为一成功的古巴商人。一开始毕卡比亚崇尚印象主义(Impressionism)，后转而立体主义(Cubism)。约于1909年加入立体主义团体“巴托拉瓦”集团。1913年，他放弃

38、了立体主义的观点。1915年后，转而投向达达主义和超现实主义的运动,40,41,Duchamp: Marcel Duchamp(1887-1968), a French-born American Dadadist/Surrealist Conceptual Artist,42,Eiffel Tower,The plan to build a tower 300 metres high was conceived as part of preparations for the Worlds Fair of 1889. The Eiffel Tower, symbol of innovative

39、 technique at the end of the 19th century, has maintained its universal image,43,Pablo Picasso Pablo Picasso (1881-1973): Spanish artist. He was best known as the 20th centurys most famous artist. One of the most prolific and influential artists of the 20th century, Picasso excelled in painting, scu

40、lpture, etching, stage design, and ceramics. With Georges Braque he launched cubism (19061925), and he introduced the technique of collage. Among Picassos works are Les Demoiselles dAvignon (1907) 亚维农的少女and Guernica (1937,44,45,Guernica (1937,46,Leonardo da Vinci (1452-1519): Artist carburettor； the

41、rmodynamics 2.objective: relying on facts, not involve emotion Seldom use figures of speech,exclamation The use of present tense The use of passive voice 3.sentences a) complete: no contractions(dept-department) b)long:1)compound sentences 2)appositions 3)parenthesis 4)logical connectors-however; bu

42、t; also; yet,52,Generally this technical writing tends to be very formal. Yet the characteristics of any kind of language style is not absolute. In order to meet the needs of the work for popular science, many scientific workers try to adopt a more popular style. Then there comes a popular scientifi

43、c and technical writing style,53,54,品牌： FIAT（菲亚特） 意大利都灵汽车制造厂的译文缩写“fiat”在英语中的词意为“法会”、“许可”、“批准”。该公司的标识一直沿用“FIAT”，只是形状和色彩有不同的改进。 品牌：VOLKSWAGEN（大众） 大众汽车公司的德文VOLKS WAGENWERK，意为大众使用的汽车，标志中的VW为全称中头一个字母，标志像是由三个中指和食指做出的“V”组成，表示其公司和产品必胜-必胜-必胜。 品牌：FORD福特 福特汽车的标志是采用福特英文Ford字样，蓝底白字。由于创建人亨利福特喜欢小动物，所以标志设计者把福特的英文画成

44、一只小白兔样子的图案。 品牌：AUDI奥迪 奥迪的四个圆环，代表着合并前的4家公司。这些公司曾经是自行车、摩托车及小客车的生产厂家。由于该公司原是由4家公司合并而成，因此每一环都是其中一个公司的象征,55,品牌：奔驰 BENZ 标识意义： 1909年6月申请戴姆勒公司登记了三叉星作为轿车的标志，象征着陆上、水上和空中的机械化。1916年在它的四周加上了一个圆圈，在圆的上方镶嵌了4个小星，下面有梅赛德斯“Mercedes”字样。“梅赛德斯”是幸福的意思，意为戴姆勒生产的汽车将为车主们带来幸福。 品牌：BMW 宝马 标识意义： 宝马标志中间的蓝白相间图案，代表蓝天，白云和旋转不停的螺旋桨，喻示宝马

45、公司渊源悠久的历史，象征该公司过去在航空发动机技术方面的领先地位，又象征在广阔的时空中，以先进的精湛技术、最新的观念，满足顾客的最大愿望。 品牌：Bentley 宾利 标识意义： 尔特欧文本特利1919年生产第一辆四汽缸赛车时车上就带有一个徽章，上面是一对隼鹰翅膀簇拥着本特利的开头字母“B”。现在四汽缸汽车已不再生产，而“B”字徽章仍是本特利的象征。以公司名的第一个字母“B”为主体，生出一对翅膀，似凌空翱翔的雄鹰，此标志一直沿用至今,56,品牌：Lexus 雷克萨斯(凌志) 雷克萨斯（凌志）的标志取车名的英文第一个字母，即LEXUS的第一个字母“L”。用椭圆环绕的L字母，椭圆弧度依照精确的数学

46、公式修饰，动用3个以上的设计商和广告商，花了半年多才完成。 品牌：克莱斯勒（Chrysler） 克莱斯勒（Chrysler）公司是由创始人沃尔特克莱斯勒的姓氏命名的汽车公司。图形商标像一枚五角星勋章，它体现了克莱斯勒家族和公司员工们的远大理想和抱负，以及永无止境的追求和在竞争中获胜的奋斗精神。五角星的五个部分，分别表示五大洲都在使用克莱斯勒汽车公司的汽车，克莱斯勒汽车公司的汽车遍及全世界。 品牌：Rolls-royce 劳斯莱斯 劳斯莱斯汽车的标志图案采用两个“R”重叠在一起，象征着你中有我，我中有你，体现了两人融洽及和谐的关系。而著名的飞天女神标志则是源于一个美丽的爱情故事,57,品牌：Cadillac 卡迪拉克 凯迪拉