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.
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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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