評論
打印
By Dorothy Spears (The New York Times)
Question 16-20: (鄭玲華)
How much museumgoers know about art makes little difference in how they engage with exhibits, according to a study by a German cultural scholar who electronically measured which items caught visitors' attention and how they were emotionally affected. The scholar, Martin Trondle, also found that solitary visitors typically spent more time looking at art and that they experienced more emotions.
開篇第一句點(diǎn)題并總領(lǐng)全文，為藝術(shù)人文類話題，指出參觀者對藝術(shù)的了解程度與他們在展覽上欣賞的能力幾無關(guān)系，according后內(nèi)容為人物介紹，可略讀。
Mr. Trondle and his team outfitted 576 volunteers with a glove equipped with GPS function to track their movement through the galleries of Kunstmuseum St. Gallen in Switzerland for two months beginning in June 2009. Sensors in the gloves measured physical evidence of emotional reactions, like heartbeat rates and sweat on their palms. Afterward, the volunteers were asked questions about where they had spent the most time, and about the feelings that particular works evoked.
第二段為例子段，通過Mr. Trondle與其團(tuán)隊(duì)所作的實(shí)驗(yàn)，以測得參觀者游覽時(shí)的反應(yīng)，可略讀節(jié)省時(shí)間。
Mr. Trondle found that there appeared to be little difference in engagement between visitors with a proficient knowledge of art and "people who are engineers and dentists." He said artists, critics and museum directors often focus on perhaps one work in a room, while visitors with moderate curiosity and interest tend to move from work to work and read text panels.
第三段為第二段實(shí)驗(yàn)的結(jié)果，證明了首段觀點(diǎn)即參觀者個(gè)人素養(yǎng)的高低對游覽展品并沒有影響。“proficient”一詞在中口閱讀中屢次出現(xiàn)，表示為熟悉、熟練，此處強(qiáng)調(diào)哪怕藝術(shù)修養(yǎng)極高，也無影響，加強(qiáng)說服力。
Mr. Trondle said his study, supported by the Swiss National Science Foundation, established for the first time that "there is a very strong correlation between aesthetic experience and bodily functions." He defined the art-affected state as a sense of immersion in a work, or of feeling addressed by it, concluding that museum-going is best done alone. Visitors tended to feel more stimulated by sculptures that impeded their progress through the galleries. "People want to trip over the art," he said.
第一句的后半句引號內(nèi)文字為主旨句，即Mr. Trondle的實(shí)驗(yàn)得出的最終結(jié)論，因此第四段是文章的升華部分起始處。看到“concluding”之類的總結(jié)關(guān)鍵詞需特別關(guān)注，一般含有核心內(nèi)容。
Some experts are skeptical. "This technology is so new and so young," said Paul C. Ha, director of the List Visual Arts Center at the Massachusetts Institute of Technology. "We don't know what we have yet."
第五段為專家對這類新觀點(diǎn)提出反對意見與挑戰(zhàn)，首句為主題句。
Bonnie Pitman, distinguished scholar in residence at the School of Arts and Humanities, University of Texas, Dallas, an expert on the subject of visitor responses to art, said: "I'm not sure that just because you have more data, that gives you a better understanding of the very complicated set of issues involved in experiencing works of art." Referring to Mr. Trondle's belief that an elevated heart rate signals a more profound art experience, she said: "Those transcendent moments when you're just completely awash in the color and beauty of a great Pissarro or Sisley or Monet - those moments aren't necessarily going to raise your heart rate. They're going to slow you down."
第六段為第五段的例子段落，詳細(xì)介紹了一名學(xué)者的反對意見，在此可以略讀。
Given all of the recent attention on blockbuster exhibitions at vast museums, "you might assume that our future is not very rosy," said Roland Waspe, director of the Kunstmuseum St. Gallen, a smaller museum with a range of paintings and sculptures dating from the Middle Ages to the present. He said the research suggested "we now have an advantage, because we see that, for an optimal art experience, museums have to be small, they have to be more empty, and they have to be, in the most positive sense, a place of contemplation."
最后一段為總結(jié)段，段落最后一句總結(jié)全文，表明最新實(shí)驗(yàn)對現(xiàn)在動(dòng)輒豪華規(guī)模的大型展會(huì)提出反對與質(zhì)疑，并提倡小型展覽、小型博物館等等，這種“縮小化”模式才能真正令參觀者有所啟迪。“blockbuster”一詞曾在高口閱讀中考過，今年出現(xiàn)在眾口閱讀中，值得引起大家的注意，該詞原指“大片”，現(xiàn)在更對引申為大制作。最后一詞“contemplation”一詞也屬高頻詞，為沉思之意。
