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[文化博览] 【整理】2013-01-11 黑暗的心 The Dark Heart-12

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[文化博览] 【整理】2013-01-11 黑暗的心 The Dark Heart-12

 

 

 

BBC西班牙艺术  | BBC The Art of Spain-The Dark Heart


     本集继续向西班牙的中心进发,探寻16世纪到17世纪的西班牙艺术。这是一个非凡的黄金时代,一个黑暗和野蛮的心。一起看西班牙帝国的兴衰,他们如何残暴的征服新世界。最美丽的艺术就在这里。 


    He journeys to the country’s scorched centre to explore Spanish art of the 16th and 17th centuries, a period that became known as the Golden Age. Tracing the rise and fall of the Spanish Empire, the brutal conquest of the New World, and the religious madness of the Inquisition he discovers how a history so violent produced such beautiful art.



 

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toyworld在 整理的参考文本:
The fate of Saint Teresa’s body is a symbol of the deep fascination with saints and martyrs that gripped 17th century Spain. Pain had become the mark of /pietyGod’s sign written into your very fleshyou’d become one of his chosen. And the most visceral artist of this pain was Jusepe de Ribera.







Ribera/ specialized in martyrdoms, which he painted with extraordinary realism. This is the martyrdom/ of Saint Philip, captured in the moments before his crucifixion. Ribera doesn’t paint him on the cross, but as he’s being agonizingly winched into place. At his crucifixion, Saint Andrew/ submits stoically as the executioner binds him to the cross. And then there is the martyrdom of Saint Bartholomew, one of Ribera’s favorite subjects. Bartholomew was executed by being skinned alive.



There’s a tremendously strong emphasis in all of these works on the sheer visceral pain that goes with being a saint. These are religious paintings, but they have the immediacy of portraits, and what they show us is real, flesh-and-blood human bodies being subjected to appalling torment. You see the sweat, the blood, the straining sinews. There’d been violence of this kind in religious art before, but in Spanish art, everything is more intense, it’s as if the volume’s being turned up.



But the dark in this world of light and shade could be very black indeed. Spain’s preoccupation with martyrdom would be used to justify atrocity

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[Homework]2013-01-11 黑暗的心 The Dark Heart-12

The fate of Saint Teresa's body is a symbol of deep fascination with saints and martyrs that gripped 17th century Spain. Pain has become a mark of piety, God sign written into your very flesh to become one of his chosen. And the most visible artist of this pain was G* Re*. Re* specialized in martyrdoms, which he painted with extraordinary realism.

This is the Martyrdom of Saint Philips, captured in the moments before his crucifixion. Re* doesn't paint him on the cross, but at his being agonizingly wedged into place. But his crucifixion Saint Andrew submits stoically as the execution that binds him to the cross. And then is the Martyr Saint B*, one of Re*'s favorite subjects. B* was executed by being skinned alive.


There is a tremendously strong emphasis in all of these works on the shelf of visible pain that goes with being a saint. These religious paintings, but they have the immediacy portraits. What they show us is real flesh-and-blood human bodies, being subjected to a pouring torment. As you see the sweat, the blood, the straining sinuous. They've been violenced to this kind in religious art before, but in Spanish art everything is more intense. It's as if the volume has been turned up.


But dark, in this world of light and shade, could be very black indeed. Spain's preoccupation with martyrdom will be used to justify trusty.



This post was generated by put listening repetition system,  Check the original dictation thread!
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The fate of Saint Teresa’s body is a symbol of the deep fascination with saints and martyrs that gripped 17th century Spain. Pain had become the mark of the piety. God’s sign written into your very flesh that you’d become one of his chosen. And the most visceral artist of this pain was just *Ribera.

Ribera’s specialized in martyrdoms, which he painted with extraordinary realism. This is the martyrdoms of Saint Philip, captured in the moments before his crucifixion. Ribera doesn’t paint him on the cross, but as he’s being agonizingly winched into place. But his crucifixion, Saint Andrew’s submits stoically as the executioner binds him to the cross. And then there is the martyrdom of Saint *, one of Ribera’s favorite subjects. * was executed by being skinned alive.

There’s a tremendously strong emphasis in all of these works on the sheers of these all pain that goes with being a saint. These are religious paintings, but they have the immediate of portraits, and what they show us is real, flesh and blood human bodies being subjected to appalling torment. You see the sweat, the blood, the straining sinews. There’d been violence of this kind of religious art before, but in Spanish art, everything is more intense, as if the volume’s being turned up.

But the dark in this world of light and shade would be very black indeed. Spain’s preoccupation with martyrdom would be used to justify atrocity.
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实现无障碍英语沟通
The fate of Saint Teresa’s body is a symbol of the deep fascination with saints and martyrs that gripped 17th century Spain. Pain had become the mark of /pietyGod’s sign written into your very fleshyou’d become one of his chosen. And the most visceral artist of this pain was Jusepe de Ribera.



Ribera/ specialized in martyrdoms, which he painted with extraordinary realism. This is the martyrdom/ of Saint Philip, captured in the moments before his crucifixion. Ribera doesn’t paint him on the cross, but as he’s being agonizingly winched into place. At his crucifixion, Saint Andrew/ submits stoically as the executioner binds him to the cross. And then there is the martyrdom of Saint Bartholomew, one of Ribera’s favorite subjects. Bartholomew was executed by being skinned alive.

There’s a tremendously strong emphasis in all of these works on the
sheer visceral pain that goes with being a saint. These are religious paintings, but they have the immediacy of portraits, and what they show us is real, flesh-and-blood human bodies being subjected to appalling torment. You see the sweat, the blood, the straining sinews. There’d been violence of this kind in religious art before, but in Spanish art, everything is more intense, it’s
as if the volume’s being turned up.

But the dark in this world of light and shade
could be very black indeed. Spain’s preoccupation with martyrdom would be used to justify atrocity
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