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历史 第四篇（音乐jazz）讲义P110

To continue our study of jazz, today we’ll focus on the Blues and listen to some recordings by Bessie Smith, who was considered by many to be the greatest of all jazz singers.

The blues developed in the southern United States, from music of the black people who was brought from Africa and forced to work as slaves in southern plantations. The earliest forms of the Blues were work songs in flied H (hollers 叫喊); that was musical form of communications among slaves. The name Blues comes from the loneliness and sorrow typically expressed in the song lyrics.

The Blues started out at a strict logo (strictly vocal 声音作品), but over time musicians began to company Blues singers. Jazz greats like Louis Armstrong and Fletcher Henderson accompanied Bessie Smith on her recordings. The example of moos (Blues) we’ll hear today is a reissue of some Bessie Smith’s classic recordings. These songs are from the late 1920s when she was up to pick (at the peak of) her career. It’s no wonder she was known as the emperor of the Blues. She made 160 recordings and was also a sort of the live performer, in New York, Boston, and Chicago as well as the larger cities in the south. Know her rich, powerful, contractile 能收缩的 voice. In fact, in live performances, she refused to use the microphone. Bessie Smith’s songs typified the earthy M (earthiness 质朴 and) realism of the Blues.

生词及在本文的意思：
holler 叫喊声
vocal 元音；元音
great 大人物
contractile 能收缩的
earthiness 质朴，率直；粗俗
Louis Armstrong: American jazz trumpeter 号手. A virtuoso 鉴赏家的 musician and popular, gravelly 粗哑的 voiced singer, he greatly influenced the development of jazz.
Fletcher Henderson: American jazz pianist, bandleader 乐队领队, composer 作曲家, and arranger 编曲家. Prior to joining Benny Goodman's band, he was bandleader at the Roseland Ballroom in New York City.

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历史 第五篇（音乐）讲义P111

Good morning, today we are going to learn a little more about that great musical tradition called the blues. And in just a few minute, we’ll get to hear the voice of a great blues performer, one of my all-time favorite singers, and that’s Bessie Smith.

First of all, let me tell you a little about her. Bessie Smith grew up in the south, in Tennessee. And while she was still a teenager, she started to tour in (touring) the country with other black performers and making a name for herself. By 1923, she was making records for a major recording studio, and selling hundreds of thousands of copies. And soon, she was singing at sold out performances at theaters in city after city, with huge overflowed crowds outside, often filling the streets and blocking traffic. It was really something. A couple of years later, she and great Louis Armstrong made an unforgettable recording of the Saint Louis Blues. And a few years after that, Saint Louis Blues was also the name of Bessie Smith’s only movie, one of the very early talking pictures. Try to see it sometime if you can. From then after until her death, Bessie Smith kept on writing and recording songs and singing the blues in concerts all over the country. All together she made 160 recordings.

We are going to play one of them now. And as we do, please listen to the passion of that wonderful deep voice of hers. I think you’ll be able to understand why Louis Armstrong said of Bessie Smith: She has music in her soul.

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历史 第六篇（美国发展史）讲义P112

Today we’re going to look at ways in which legislation can create practical problems which interlay to inventions to solve those problems.

You’ll recall that the home state at the 1862 granted 168 APS (acre 英亩 plots 小块土地) to settlers. This resulted in considerable population grows in the western plants (plains). You are not saying here (In that saying year) the construction of a transcontinental railway was set up by the pacific railway act. These two pieces of legislation made it necessary for ranchers to limit the movement of their cattle instead of letting them room (roam 漫步) freely. There weren’t many trees or rocks to use for fencing 栅栏materials, so planting H (hedges 篱笆) was tried. But they took a long time to grow. Smooth galvanized wire fences 栅栏 were another idea, but they weren’t strong enough. Finally, inspired by the reaction of the cattle to sharp thorns 棘刺 on vegetation, a new fencing was invented --- barbs, sharp wire points like thorns, were twisted onto wire fencing.

Not everyone accepted the invention right away. Texans were resistant until a young salesman staged a pragmatic 实用的 demonstration. He put up the corral 畜栏
of the new barb wire, and challenged the cattle owners to put their wildest animals in it. Untrusting spectators kept their distance as the cattle were driven into the enclosure. The animals charged 冲锋the fence, but quickly retreated. Texans were sold, and the new fencing soon became common throughout the plains.

生词及在本文的意思：
acre 英亩
plot 小块土地；情节；阴谋；平面图
roam 漫步
fencing 栅栏
hedge 篱笆
fence 栅栏
thorns 棘刺
pragmatic 实用的，实干的
corral 畜栏
charge 冲锋


这篇生词好多……
讲义上……唉……

青柠小可

顶哦~~

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历史 第七篇（艺术史）讲义P114

To study paintings by old masters, experts often make use of modern technology. Today let’s talk about one example of that --- X-rays.

These days, X-rays equipment is no longer found just in hospitals and dentist’s 牙医offices. Now it’s also widely used in the study of works of art, and it led to some excited discoveries. For instance, an art historian in the Ohio discovered that two famous paintings, now held in different museums, were originally parts of the same painting probably sold (sawed 锯) apart by some greedy art dealer. X-ray showed several hidden figures that have been F (split 分开) between the two canvases. In another famous painting, a portrait of a young boy, and X-ray revealed that the artist had once painted a small white dog for now only R (rocks) and G (grass) can be seen. In this case, the technology gives us an insight into how an artist’s thinking developed and changed during the process of painting a picture. Perhaps, the most important question in art historian may have to address is whether a particular work was actually painted by a certain master artist, or perhaps by a less well-known apprentice or imitator. The hidden brush stroke that in X-ray revealed mainly (may lead) to a definite answer to this question, but not always. Let me tell you now about two respected experts and how each used X-rays at one famous Dutch portrait to support radically
完全地different conclusions about it.

生词及在本文的意思：
radically
完全地，彻底的；激进的

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历史 第八篇（美国革命）讲义P115

We’ve been looking at factors leading up to the American Revolution. Today I want to look more deeply into what the colonists in the 1700’s were thinking and feeling. What motivated them to change the political order violently? Was it (Less of) money, social injustice, religious intolerance.

Without question, American colonists saw the conflict in terms of political issues. Their concern with not so much the economic problems as it was how the colonists wanted and indeed felt they deserved to live. In another word, the American Revolution was about liberty, a protection of personal liberty. You see the colonists shared the belief that was quite radical at the time; they believe that a person had rights. These rights weren’t based on the generacity (generosity 宽宏大量) of the king, and they weren’t based on the language of the law. The colonists believed in a higher law, one that granted people rights --- rights that they were born with and which couldn’t be taken away by any human being, unless, of course, someone committed a crime, and then they have to go through the proper legal steps.

Now what were these rights? I’ll quote directly from Declaration of Independents which states them clearly. “We hold these truths to be self-evident that all men are created equal, that they are IND (endowed 赋予) by their creator with certain inalienable 不能转移的 rights, that M is our (among these are) life, M (liberty 自由) and pursuit of happiness.

The colonists had a new vision of what the (made) political authority L (legitimate 合法的), and what the (made) personal liberty secure. Their vision was V (this): The G (legitimate) government required the consent 同意 of those where being governed. So, to understand how advance (events) led to the revolution, we need to understand F (specifically 具体地) how political power was being exercised by the British in colonies. Any ideas?

生词及在本文的意思
in terms of
就……而论；在……方面
generosity 宽宏大量
endow 赋予；捐赠
inalienable 不能转移的
alienate 转让；使转移；使疏远
legitimate 合法的
consent 同意，许可

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历史 第九篇（发明是）讲义P117

But too often it seems to me, we apply the turn (term 术语) “invention” only to big, important items like the car or the telephone. AR (After all), we can hardly imagine surviving without them. We don’t stop to think there are L (literally 如实的) hundreds of inventions that make our lives little easier, little more convenient.

Let’s take something as common as the paper bag on my desk here. Yes, that’s right. I’ve got my lunch in it. Well, I never open my lunch bags without thinking of Charles Stilwell, who in 1813 invented the first machine to produce bags like this. You see, before Stilwell, bags were pieced together by hand, and they didn’t have flat bottoms, so they could stand on their own, and you couldn’t fold them very well, either. Stilwell changed all that with what is really a MA (marvelous 令人惊叹的) piece of engineering. Think about it. Look at how efficiently this bag is designed. I can open it with a flick of my rest. But I can also fold it back flat as a piece of paper. And I can scroll (store) a hundred of them onto (under) my desk. What’s more, it’s strong. See? I can even put this heavy dictionary in it, and it won’t break. But it’s cheap to produce, really. It’s a masterpiece 杰作 of practical engineering. Girls restores buy (Grocery 食品杂货店stores buy) over a billion of them every year. Well, nobody remember Stilwell nowadays, but his little invention has certainly proved useful. If any of you can produce something perhaps useful, you have really done something.

生词及在本文的意思：
literally 如实的，不加夸张的；逐字的
marvelous 令人惊叹的，不可思议的
masterpiece 杰作
grocery 食品杂货店

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历史 第十篇（艺术史）讲义P118

I was talking before the break about funding in art in the United States about where the money comes from. I think some of you probably have questions. Yes, Tom?
You said that during the depression, the government provided work to a lot of artists. Just what sort of work do they do?
It depended on the kind of artists you’re talking about. A lot of painters did work for government building, M (murals 壁画) in city halls or other public buildings, for example. Skulptors (Sculptors 雕刻家) did work to put in Public Park, that sort of thing.
Didn’t people get upset about the government spending so much money on art?
There was some criticism sure. Many people considered the program wasteful. They thought that creating public art was not real work, like painting a road or putting up a building. But the government was concerned with getting as many people employed as possible.
Could I ask about one more thing? I expected art from the 1930s to be abstract, but what you showed in slides was pretty realistic.
You may be a little M (mix up there). Abstract expressionism, that’s the main American abstract school, is usually associated with the 1950s.
Was there a D (dominant 占首位的) artistic style that expression (these depression era) artists used?
Let’s look at a few more slides. Maybe that will show you. Also, there was an exhibition in Washington a few years ago about this art. So I put a catalog from the S (show) on reserve in the library. If any of you want to see more examples of this work, go over and take a look.

生词及在本文的意思：
mural 壁画
mix up 混淆；搅拌
dominant 占优势的，支配的；占首位的

康斯坦丁

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