加拿大留學(xué)標(biāo)化周董新專中關(guān)于托福聽力藝術(shù)背景知識解析

近日周杰倫2022年的新歌《最偉大的作品》大家聽過了么？其中其實蘊(yùn)含著很多“藝術(shù)彩蛋”，開頭那句：

“啊偏執(zhí)是那馬格利特被我變出的蘋果超現(xiàn)實的是我還是他原本想畫的小丑不是煙斗的煙斗臉上的鴿子沒有飛走請你記得他是個畫家不是什么調(diào)酒”

其實就致敬了我們今天要講的這篇托福聽力藝術(shù)史講座的主人公-比利時超現(xiàn)實主義畫家雷內(nèi)?瑪格利特和他的諸多代表作。這是一篇真題，曾多次出現(xiàn)在考試中。很多同學(xué)會覺得它晦澀難懂，聽得云里霧里，抓不住重點(diǎn)。這是因為同學(xué)們?nèi)狈λ囆g(shù)史背景知識，畢竟很少有學(xué)校會教藝術(shù)史嘛。

其實大家平時積累一點(diǎn)點(diǎn)藝術(shù)知識之后再去聽藝術(shù)史講座，就會發(fā)現(xiàn)其實它很好理解，并沒有大家想的那么難。

接下來我們將帶大家走近藝術(shù)史，邊講這背后的故事，邊帶大家輕松拆解這篇藝術(shù)史講座

Surrealism超現(xiàn)實主義

一戰(zhàn)之后達(dá)達(dá)主義(Dadaism)逐漸失去動力，但是它卻催生了另外一種全新的藝術(shù)形式-超現(xiàn)實主義。

佛洛依德認(rèn)為人的意識分有意識和無意識（unconscious mind），意識受到控制而無意識是直覺，欲望。

超現(xiàn)實主義認(rèn)為人的無意識一直都被意識壓迫，他們要做的就是解放無意識思想。

看上去混亂，顛覆現(xiàn)實。

有了以上背景知識，我們來聽這段音頻：

聽力原文：

Okay.So we're going to focus on surrealism today.Uh,this movement and it happened in art and literature.Uh,it occurred in the 20th century between the first and second world wars.There was a group of French surrealist who were very into exploring the um,unconscious mind,things like dreams,things that go on in our unconscious.Things were not aware of.

瑪格利特Rene Magritte有多偏執(zhí)呢？

很多人聽到瑪格利特會以為是雞尾酒瑪格麗特，而雷內(nèi)?瑪格利特是一位非常著名的超現(xiàn)實主義畫家。

1898年瑪格利特出生于比利時，童年時期開始學(xué)習(xí)繪畫，一次他和同伴到墓地玩耍（對，你沒看錯，到墓地玩耍）看到一位畫家在作畫，他覺得這位畫家在施展魔法，自此，繪畫對于他而言就是一種魔法的象征。

1925-1926年在畫家歇里科的影響下，瑪格利特開始探索超現(xiàn)實主義。

1927年瑪格利特在布魯塞爾舉行了個人畫展，但并不成功，沒有人看得懂他的畫，他受到了“噴子們”的嘲諷和謾罵。他很郁悶，移居到了巴黎。

1930年瑪格利特受不了功利的巴黎，回到了布魯塞爾，繼續(xù)他的創(chuàng)作。

加拿大留學(xué)標(biāo)化周董新專中關(guān)于托福聽力藝術(shù)背景知識解析

雷內(nèi)?瑪格利特被我變出的蘋果

瑪格利特作品的特點(diǎn)1：重復(fù)

他喜歡用相似的元素來組合畫面，比如：蘋果經(jīng)常出現(xiàn)在瑪格利特的作品中-懸停在人臉前的蘋果，戴眼罩的蘋果，石頭一般的蘋果，和房間一樣大的蘋果和不是蘋果的蘋果，蘋果是真實的蘋果，但以不同形式出現(xiàn)在不同場景中就會讓我們思考：究竟哪一個才是真實的？哪個才是蘋果這個物品的代表？托福聽力

瑪格利特作品的特點(diǎn)2：荒誕

人們看到他的作品第一感覺就是很真實卻荒誕，他將我們熟悉的物品以奇怪的組合并置(juxtapose)在一起，比如房子和蘋果，水杯和雨傘，戴禮帽的人和鴿子。他通過這種組合來揭示被人們忽略的相關(guān)事物之間的聯(lián)系，從而得到反思。

The Listening Room（1952）

戴圓頂硬禮帽的男人

人類之子

天降

黑格爾的假期

有了以上背景知識，我們來聽這段音頻：

聽力原文：

Um,and there were other surrealist who were more interested in the conscious mind,like the Belgian artist Rene Magritte who will be focusing on today.Magritte wasn't really into the unconscious at all.Like I said he explored conscious understanding.By that,I mean,reality things that are real that we experience when we're awake.Magritte became well known for juxtaposing or combining familiar images in such a way that they became unfamiliar.Like he did one painting of an apple in a room,two common things,right?But he made the apple so big that it took up the entire room.So the image we see of two familiar things becomes completely absurd.

不是煙斗的煙斗

（tobacco pipe）

這幅《圖像的背叛》是瑪格利特的代表作之一，上面是一個煙斗的圖案，下面一行法語，意思是“這不是一個煙斗”要看懂這幅作品，要先理解瑪格利特對哲學(xué)的思考：

The Treachery of Images（1928-1929）《圖像的背叛》

語詞（Arbitrary association）與圖像（Resemblance）

在參與了超現(xiàn)實主義運(yùn)動之后，瑪格利特開始關(guān)注圖像和語言之間的關(guān)系，并發(fā)表了《語詞與圖像》這篇文章，其中研究了圖像和語言的關(guān)系，并提出了一些列關(guān)于表現(xiàn)和意義的復(fù)雜哲學(xué)命題。究竟表象和文字哪個能代表煙斗這個物品呢？畫中的煙斗的代表是否背叛了他的樣子？他究竟只不是一個煙斗？不禁讓人產(chǎn)生一系列的哲學(xué)思考。

聽力原文：

Okay?All right.Now,um,along with his works that juxtaposed objects,Magritte explored the effect caused by introducing words into paintings.He put words in the paintings themselves or give the paintings kind of bizarre titles.For example,there's a famous painting of his that that chose a curved tobacco pipe with the words written beneath that saying in French,this is not a pipe.Well,obviously,it wasn't an actual tobacco pipe that someone could smoke,but it was a very realistic painting of a pipe.Uh,so Magritte was experimenting with words and images and how we use words to see and think about the world.

Now,before we get into this any further,we need to talk about the idea of representation.And this gets kind of philosophical but bear with me.Okay?All right.Basically,two ways of representing things are by resemblance and by arbitrary association.Resemblance means basically,um,representing something with an image that looks like the thing it's referring to.So if you're representing a tree this way that you would draw a sketch of the tree with a trunk branches leaves.So the thing you're using to represent an actual tree,uh,it resembles a tree all right.

Now,arbitrary association is what words do.Written words themselves,at least in modern languages,don't look like the things they're representing,but they’re associated with them.So one way to represent the concept of a tree by arbitrary association would be to just write down the word using the alphabetic symbols that spell the word tree,t-r-e-e.Those letters in themselves on anything,but scribbles,but they represent the concept of tree in our minds.And it works with abstract ideas,too.If you see the word“want“written on a page,you know what it means?You don't need to see a picture of it.Are you following me?Uh,you can use arbitrary association to represent abstract things,things you couldn't draw a picture of.

So Magritte was interested in like playing with representation and making people aware of these processes that we use.And this and all this about making us think about representation and how we use it.Well,it's a common thing to study in art today.Much more so than when the Magritte was painted.Basically,the Magritte was way ahead of his time in that respect.

作品名字

命名是解讀瑪格利特作品的關(guān)鍵，因為他認(rèn)為作品的名字是對作品本身的補(bǔ)充和延伸。為作品提供一些新的思考角度。

有時，命名和圖像會成為悖論關(guān)系。你以為是天空是蘋果，其實他可能什么都不是。

這不是一個蘋果

The Palace of Curtains III,1928/29

有了以上背景知識，我們來聽這段音頻：

聽力原文：

Okay,anyway,let's look at another Magritte from 1929 called“The Palace of Curtains III”.Well,what did I say about these are titles?

Now this is a pretty simple example of what we were just talking about.We have two frames.The one on the left is the sky,right?Okay?And over on the right,it's just the word“ciel”now“ciel”means sky in French.So here you have two kinds of representation.There's resemblance on the left,because it's painted to look like the sky and arbitrary association on the right,because it has the word for sky.And if you notice,there are shadows behind these two frames.So the light must be coming from behind the viewer and to the left,not from the sky,which you might expect if it actually were the sky.So the representation of sky isn’t accurate because of the lighting.So the question is,does it really resemble the sky?And by the way,don't think Magritte didn't do this on purpose.That was the point to make people think about the way things are represented as images and as words.