Краткие рекомендации по обучению английской письменной научной речи
книга

Краткие рекомендации по обучению английской письменной научной речи

Автор: Алла Миньяр-Белоручева, Евгения Мягкова

Форматы: PDF

Издательство: Директ-Медиа

Год: 2020

Место издания: Москва|Берлин

ISBN: 978-5-4499-1596-2

Страниц: 174

Артикул: 79229

Возрастная маркировка: 16+

Печатная книга
887
Ожидаемая дата отгрузки печатного
экземпляра: 04.05.2024
Электронная книга
243.6

Краткая аннотация книги "Краткие рекомендации по обучению английской письменной научной речи"

Цель предлагаемого учебного пособия заключается в обучении студентов, обучающихся по направлению подготовки «История искусств», основам письменной научной речи. В настоящее время представляется необходимым научить будущих искусствоведов излагать искусствоведческий материал письменно. Для этого необходимо изучить существующие тексты по истории искусства и, взяв их за образец, проводить поэтапное обучение письменной научной речи.

Содержание книги "Краткие рекомендации по обучению английской письменной научной речи"


Введение
Part I. Preliminary steps for essay writing
Unit 1. Writing about art
Unit 2. Critical writing
Unit 3. Art Criticism
Unit 4. Analytic writing
Unit 5. Interpretation in art
Unit 6. Visual narration
Unit 7. Comparison in art
Unit 8. Portrait painting
Unit 9. Self-portrait
Unit 10. Landscape painting
Unit 11. Still life
Unit 12. Genre painting
Unit 13. Organization of the essay
Unit 14. Writing an essay
Part II
Unit 1. Writing an essay
Unit 2. Practice with titles
Unit 3. Practice with key sentences
Unit 4. Practice with a supporting idea
Unit 5. Practice for details
Unit 6. Practice with organizing and writing paragraphs
Unit 7. Writing essays
Unit 8. Practice with introduction
Unit 9. Practice with development paragraphs
Unit 10. Practice with conclusions
Unit 11. Practice with essay analyses
Unit 12. Compiling an abstract
Unit 13. Writing a review of an exhibition
Appendix I
Appendix II
Literature

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25 The content is the subject matter infused by intellect and feel-ing with meaning — in short, the content is a meaning made visible. The same idea was expressed by Henri Matisse when he said that drawing is “not an exercise of particular dexterity but above all a means of expressing intimate feelings and moods”. Abstract and nonfigurative artworks make visible the artist's inner experiences and, thus, a subject matter conveys a meaning. Once Picasso's said. “There is no abstract art. You must always start with some-thing. Afterward you can remove all traces of reality. There is no danger then, anyway, because the idea of the object will have left an indelible mark. It is what started the artist off, excited his ideas, and stirred up his emotions. Ideas and emotions will in the end be pris-oners in his work.” (Picasso on Art, ed. Dore Ashton) Picasso’s idea was accepted by public but the words of Wassi-ly Kandinsky were not accepted immediately, “The impact of an acute triangle on a sphere generates as much emotional impact as the meeting of God and Adam in Michelangelo's Creation”. By this utterance Kandinsky implied that a painting communicates more than the objects that it depicts. Exercise 4.2.1 Study the following passage. Comment on it in writing. More than Cubism, more obviously than Futurism, more spe-cifically than Expressionism, the Surrealists were concerned with subject matter and with the effects that subject matter can have. Exercise 4.2.2 Study the following passage to comment on it in writing. To discern the “meaning” of Andy Warhol's Gold Marilyn Monroe (1962), a work manufactured shortly after her death, one should know that the artist printed her photographic stencil, just her head, on a can-vas that is almost 7 feet tall and almost 5 feet wide, to which gold paint has been applied in a somewhat slapdash manner. Unlike other portraitists who reveal the subject’s personality though the minute details of the appearance, Warhol began with...

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