【每日阅读训练第四期——速度越障5系列】【5-13】文史哲

泾渭不凡

[SPEED]
Faces of quiet trauma
[TIME 1]
In 2006 Jonathan Torgovnik, an Israeli-born photographer, travelled to Rwanda with a reporter to investigate how HIV had been used as a weapon of war during the 1994 genocide. This atrocity left more than 800,000 people dead, but one interviewee revealed another aspect of its aftermath: “This woman,” Mr Torgovnik explains, “described how her family were killed and how she was raped and how she’d contracted HIV as a result. And she mentioned, in passing, that she had become pregnant through these rapes and had a boy.” Mr Torgovnik says the interview kept coming back to him in the following weeks, so he “decided to go to Rwanda and start a personal project to investigate this issue.”
He spent the next three years interviewing women who’d had a child after being raped by militiamen. He photographed them with their children, many of whom don’t know the truth about their parentage. In 2009 he published a book about his project called "Intended Consequences", and in July his exhibition of the same name won the Discovery prize at one of Europe’s largest photography festivals—Les Rencontres d’Arles in France—where it is on show until September 23rd.
“These women are ostracised,” Mr Torgovnik says. “They are rejected by their communities because of the stigma associated with rape, associated with HIV, associated with having a child of the enemy, so to speak.” But despite their trauma, and despite talking to a man and an outsider, Mr Torgovnik found the women he interviewed surprisingly candid. “I think they’d kept it in for so many years that when someone was finally there to collect their testimonies, they actually pleaded with me to tell their stories because they cannot tell them themselves.”
Their trauma was not only harrowing to hear about, but hard to photograph. “How do you document trauma in pictures?” Mr Torgovnik asks. “These experiences happened many years ago.” His solution was to photograph his subjects immediately after he had interviewed them, when their emotion was still at the surface.
[337 WORDS]
[TIME 2]
Photographing on film rather than digitally helped too. “I had to change the roll of film every 12 pictures, and as I was changing the film I could see they were more relaxed. It took two or three rolls of film before they were relaxed with each other and relaxed with me.”
For the first time Mr Torgovnik’s work has taken him beyond photojournalism. In 2008, he started a charity called Foundation Rwanda, which now supports 860 families. “I’m still very much involved in the country and with this specific population of survivors of the genocide.”

Isabelle with her son, Jean-Paul (pictured above)
"A group of militias attacked our home and killed my three brothers.
Then they took me to a place where they raped me, one after the other.
I can’t tell you how many there were; I can’t describe the experience. What I know is that later I realised that I was pregnant. I’d never had sex before; that was the first time. After giving birth, I thought of killing the baby because I was bitter, but eventually I decided not to kill him. I feel trauma every time I look at this boy because I don’t know who his father is.
I am physically handicapped because of the beatings that I endured and I can’t carry anything. I can’t work. All I can do is sit down. It was not until now that I can say it is good that I didn’t kill that boy because he fetches water for me. Now I have accepted that he is my son, and I will do whatever I can in my position as a mother to raise him. But I fail in my duty as a mother because of poverty. Sometimes he doesn’t have enough to eat. I am not interested in a family. I am not interested in love. I don’t see any future for me. Sometimes I look at my situation and compare myself with people who have their families around them, and I regret that I didn’t die in the genocide."
[346 WORDS]
[TIME 3]
Bernadette with her son, Faustin
"My mother negotiated with a militia member to try and save us. We gave him part of our eucalyptus plantation to save my brother, Turgen. We didn’t know that they would kill women. Three days later, he came back and said that he no longer wanted the land. He said, “I want your daughter; I want this girl.” My mother said no, that the land was enough. Then he came back again with other militiamen. Eventually they took me to the forest, and he told them to gather around.
He told the other militiamen to reduce my height because I had always been arrogant; so they got clubs and hit my legs. I couldn’t move; I was shaking all over. Later, I went to a refugee camp for Tutsis. But little did I know that this man had made me pregnant.
My son is 12 years old, and I think he knows. Once he came crying that someone told him, “You’re the son of a militiaman. Your father is in prison.” You can't take the sins of the father and blame them on the child. The philosophy I use for my life is to laugh; so I laughed and after laughing told him, “Why should that worry you? Why should that make you cry?” If he has brains, he should know by the way that I laughed; I confirmed to him that he is the son of a militiaman. Whenever I think about his future, I don’t know, and that is my biggest problem. If there is anything that tortures me, it is the tomorrow of my son."

Josette with her son, Thomas
"The militia came in the evening and locked us in a house. Then they said they were going to rape us, but they used the word marry. They said they were going to marry us until we stopped breathing. They would rape us at night, and then the next day they would go out to kill.
[336 WORDS]
[TIME 4]
That was the pattern of our lives. Every morning they hit us ten times. After hitting us, we got a different man. Eventually my sister said it was too much, that we needed to commit suicide. I left, but I didn’t know where to go.
My uncle didn’t welcome me into his house. He asked me who was responsible for my pregnancy. I said if I am pregnant, then it must be the militias since many of them had raped me. He said I shouldn’t enter his house carrying a baby of the Hutus and chased me away.
I must be honest with you; I never loved this child. Whenever I remember what his father did to me, I used to feel the only revenge would be to kill his son. But I never did that. I forced myself to like him, but he is unlikable. The boy is too stubborn and bad. He behaves like a street child. It’s not because he knows that I don’t love him; it is that blood in him."

Clare with her daughter, Elisabeth
"Before the genocide, I had a family. I had parents, I had relatives, I had brothers and sisters; we lived a happy life until the genocide came and destroyed it. Everybody was killed, apart from me.
On April 6th, the president was killed, and Tutsis around our village were targeted by Hutu militias that were very organised, like they had prepared this for many years. My family fled to the nearby church. A priest told me I should hide in the head priest’s house. When I entered, he called his friend and said this was an opportunity for them to “enjoy a Tutsi girl.” And so both of them raped me in the house of the chief priest. Later one mocked me, “I wanted to love you, but you were too proud. Now I have enjoyed you when I didn’t even want you.” He called in other militias; outside the parish, my upper teeth were removed with clubs.
[339 WORDS]
[TIME 5]
They had dug holes in the forest. There, they hit me with clubs and machetes and threw me among the dead bodies. They thought I was dead. I don’t know how I survived, but in the night, I managed to walk slowly through the dead bodies and then quietly through the bushes. But I was discovered along the way by many militiamen, and they all raped me. Each time I was “saved” by someone, he would rape me and then lead me to another bush where I would be raped again.
When I found out I was pregnant, I thought that I would kill the child as soon as it was born. But when she arrived, she looked like my family, and I realised she was part of me. I started to love her. Now, I love my daughter so much; actually, our relationship is more like sisters."

Olivia with her son, Marco
"About ten thousand people had fled to the church compound. After a week, militias started attacking us. It was a terrible experience. They entered with machetes, with axes, with grenades and guns. They started cutting into the crowd. It was all noise, crying, and the killing did not stop. On the third day, they did not kill, but spent the entire day just raping women from different corners of the church. I am a victim of that day; they raped me with all of my children watching. I can only remember the first five men. After that I started losing my understanding. Even after I was unconscious, they kept raping me.
I had a premonition that I might survive if I picked one child and ran away. I looked at all three of my children, and they all looked so nice to me that I couldn’t pick one. But I also knew that I couldn’t run with all three.
[313WORDS]
[FREE]
Eventually, my heart told me to pick the first born, so I ran toward the church door with him. Many other people were running too, and I fell. I put my body over my son’s to protect him. The militias started cutting the people on top into pieces, and blood was falling on us. When they came to my layer, the militiamen said, “I think this one is already dead.” I pretended to be so. I learned later that my other two children were killed after I left them behind in the church."
[93 WORDS]
[OBSTACLE]
Opera

Origins
The word opera means "work" in Italian (it is the plural of Latin opus meaning "work" or "labour") suggesting that it combines the arts of solo and choral singing, declamation, acting and dancing in a staged spectacle. Dafne by Jacopo Peri was the earliest composition considered opera, as understood today. It was written around 1597, largely under the inspiration of an elite circle of literate Florentine humanists who gathered as the "Camerata de' Bardi". Significantly, Dafne was an attempt to revive the classical Greek drama, part of the wider revival of antiquity characteristic of the Renaissance. The members of the Camerata considered that the "chorus" parts of Greek dramas were originally sung, and possibly even the entire text of all roles; opera was thus conceived as a way of "restoring" this situation. Dafne is unfortunately lost. A later work by Peri, Euridice, dating from 1600, is the first opera score to have survived to the present day. The honour of being the first opera still to be regularly performed, however, goes to Claudio Monteverdi's L'Orfeo, composed for the court of Mantua in 1607. The Mantua court of the Gonzagas, employers of Monteverdi, played a significant role in the origin of opera employing not only court singers of the concerto delle donne (till 1598), but also one of the first actual "opera singers"; Madama Europa.

Italian opera
1. The Baroque era
Opera did not remain confined to court audiences for long. In 1637, the idea of a "season" (Carnival) of publicly attended operas supported by ticket sales emerged in Venice. Monteverdi had moved to the city from Mantua and composed his last operas, Il ritorno d'Ulisse in patria and L'incoronazione di Poppea, for the Venetian theatre in the 1640s. His most important follower Francesco Cavalli helped spread opera throughout Italy. In these early Baroque operas, broad comedy was blended with tragic elements in a mix that jarred some educated sensibilities, sparking the first of opera's many reform movements, sponsored by Venice's Arcadian Academy which came to be associated with the poet Metastasio, whose libretti helped crystallize the genre of opera seria, which became the leading form of Italian opera until the end of the 18th century. Once the Metastasian ideal had been firmly established, comedy in Baroque-era opera was reserved for what came to be called opera buffa.
Before such elements were forced out of opera seria, many libretti had featured a separately unfolding comic plot as sort of an "opera-within-an-opera." One reason for this was an attempt to attract members of the growing merchant class, newly wealthy, but still less cultured than the nobility, to the public opera houses. These separate plots were almost immediately resurrected in a separately developing tradition that partly derived from the commedia dell'arte, a long-flourishing improvisatory stage tradition of Italy. Just as intermedi had once been performed in-between the acts of stage plays, operas in the new comic genre of "intermezzi", which developed largely in Naples in the 1710s and '20s, were initially staged during the intermissions of opera seria. They became so popular, however, that they were soon being offered as separate productions.
Opera seria was elevated in tone and highly stylised in form, usually consisting of secco recitative interspersed with long da capo arias. These afforded great opportunity for virtuosic singing and during the golden age of opera seria the singer really became the star. The role of the hero was usually written for the castrato voice; castrati such as Farinelli and Senesino, as well as female sopranos such as Faustina Bordoni, became in great demand throughout Europe as opera seria ruled the stage in every country except France. Indeed, Farinelli was the most famous singer of the 18th century. Italian opera set the Baroque standard. Italian libretti were the norm, even when a German composer like Handel found himself writing for London audiences. Italian libretti remained dominant in the classical period as well, for example in the operas of Mozart, who wrote in Vienna near the century's close. Leading Italian-born composers of opera seria include Alessandro Scarlatti, Vivaldi and Porpora.

2. Reform: Gluck, the attack on the Metastasian ideal, and Mozart
Opera seria had its weaknesses and critics. The taste for embellishment on behalf of the superbly trained singers, and the use of spectacle as a replacement for dramatic purity and unity drew attacks. Francesco Algarotti's Essay on the Opera (1754) proved to be an inspiration for Christoph Willibald Gluck's reforms. He advocated that opera seria had to return to basics and that all the various elements—music (both instrumental and vocal), ballet, and staging—must be subservient to the overriding drama. Several composers of the period, including Niccolò Jommelli and Tommaso Traetta, attempted to put these ideals into practice. The first to succeed however, was Gluck. Gluck strove to achieve a "beautiful simplicity". This is evident in his first reform opera, Orfeo ed Euridice, where his non-virtuosic vocal melodies are supported by simple harmonies and a richer orchestra presence throughout.
Gluck's reforms have had resonance throughout operatic history. Weber, Mozart and Wagner, in particular, were influenced by his ideals. Mozart, in many ways Gluck's successor, combined a superb sense of drama, harmony, melody, and counterpoint to write a series of comedies, notably Così fan tutte, The Marriage of Figaro, and Don Giovanni (in collaboration with Lorenzo Da Ponte) which remain among the most-loved, popular and well-known operas today. But Mozart's contribution to opera seria was more mixed; by his time it was dying away, and in spite of such fine works as Idomeneo and La clemenza di Tito, he would not succeed in bringing the art form back to life again.

German-language opera
The first German opera was Dafne, composed by Heinrich Schütz in 1627, but the music score has not survived. Italian opera held a great sway over German-speaking countries until the late 18th century. Nevertheless, native forms developed too. In 1644 Sigmund Staden produced the first Singspiel, a popular form of German-language opera in which singing alternates with spoken dialogue. In the late 17th century and early 18th century, the Theater am Gänsemarkt in Hamburg presented German operas by Keiser, Telemann and Handel. Yet many of the major German composers of the time, including Handel himself, as well as Graun, Hasse and later Gluck, chose to write most of their operas in foreign languages, especially Italian.
Mozart's Singspiele, Die Entführung aus dem Serail (1782) and Die Zauberflöte (1791) were an important breakthrough in achieving international recognition for German opera. The tradition was developed in the 19th century by Beethoven with his Fidelio, inspired by the climate of the French Revolution. Carl Maria von Weber established German Romantic opera in opposition to the dominance of Italian bel canto. His Der Freischütz (1821) shows his genius for creating a supernatural atmosphere. Other opera composers of the time include Marschner, Schubert, Schumann and Lortzing, but the most significant figure was undoubtedly Wagner.
Wagner was one of the most revolutionary and controversial composers in musical history. Starting under the influence of Weber and Meyerbeer, he gradually evolved a new concept of opera as a Gesamtkunstwerk (a "complete work of art"), a fusion of music, poetry and painting. In his mature music dramas, Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen and Parsifal, he abolished the distinction between aria and recitative in favour of a seamless flow of "endless melody". He greatly increased the role and power of the orchestra, creating scores with a complex web of leitmotivs, recurring themes often associated with the characters and concepts of the drama; and he was prepared to violate accepted musical conventions, such as tonality, in his quest for greater expressivity. Wagner also brought a new philosophical dimension to opera in his works, which were usually based on stories from Germanic or Arthurian legend. Finally, Wagner built his own opera house at Bayreuth, exclusively dedicated to performing his own works in the style he wanted.
Opera would never be the same after Wagner and for many composers his legacy proved a heavy burden. On the other hand, Richard Strauss accepted Wagnerian ideas but took them in wholly new directions. He first won fame with the scandalous Salome and the dark tragedy Elektra, in which tonality was pushed to the limits. Then Strauss changed tack in his greatest success, Der Rosenkavalier, where Mozart and Viennese waltzes became as important an influence as Wagner. Strauss continued to produce a highly varied body of operatic works, often with libretti by the poet Hugo von Hofmannsthal, right up until Capriccio in 1942. Other composers who made individual contributions to German opera in the early 20th century include Zemlinsky, Korngold, Schreker, Hindemith, Kurt Weill and the Italian-born Ferruccio Busoni. The operatic innovations of Arnold Schoenberg and his successors are discussed in the section on modernism.
[1460WORDS]

xjbb

沙发！lz辛苦了～

被越障虐得死去活来，GMAT要考这个，必死无疑。


Speed：
3'27
HIV was once used as a tactic during wartime, many women were raped then pregnant, becoming HIV carriers. They thus were not accepted by their communities due to contempt to HIV and being raped. A photographer tried to interview them and take photos to demonstrate their status. However,  they seemed too calm to show their trauma, so the photographer decided to talk with them first then take photos right after their talking.
1'24
Ms. I and her son:
Ms.I was raped by many military men during the war. Then she had her son without knowing who his father was. At first she wanted to kill her son because she was bitter, gradually she accepted him. She kept on being single mother since then, now they're living in poverty and desperation.
1'44
Ms. B and her son:
Ms. B had good living condition when she came across the military men. Now her son is more than 10 years old and is often teased by schoolmates about his origination and his father. He feels ashamed, his mother doesn't know how to arrange his future.
1'29
Ms. J and her son:
Ms. J was driven away by her uncle when she had no home to go after getting pregnant. She does not like her son, from time to time she forced herself to love this boy, but she found it's difficult. She thought her son's bad and stubborn.
1'50
Ms. C and her daughter:
Skip.
Ms. O and her son:
Skip.
看到后来觉得过于悲催，回忆笔记略过。


Obstacle：
看了一遍没赶脚，这种没情节有细节的东东回忆起来真心无能，但没办法，GMAT的现实就是这么骨感，必须从自身抓起，克服短板。
自我催眠，我爱戏剧我爱戏剧我爱戏剧我爱戏剧我想知道关于它的一切我想知道关于它的一切我想知道关于它的一切……
Ok, ready! Go!
30‘
起源：意大利语中戏剧的意思是‘工作’，其中涵盖了从独唱到合唱、对白、表演、舞蹈，等等。D是公认的最早的戏剧，貌似是古典希腊戏剧的复兴，然而它目前已经失传了。另外一个某剧流传至今。。。
巴洛克时代？XX和他的追随者做了贡献，早期是喜剧中掺杂悲的成分。。。后来发展成‘剧中剧’，投新富人群所好，后来火了。
改革：为啥要改呢？因为先前的有弱点和危机，被人攻击了。然后有人推出简化了的协奏曲，获得了成功。
德国－语言剧？德国当时的剧作家都是用外语创作，尤其意大利语。莫扎特的啥啥啥们对德国剧走向世界作出了贡献。当时最牛掰的作者是温格，貌似是音乐史上最具争议性的人，做了不少概念上的独创。

miffyhui

1'49"Mr T investigated the women who were raped and who were infected with HIV in a war.These women candidly  faced their trauma and inclined to tell their stories.
2'16"Mr T established a charity and it support many families.
I' story: Militias attacked her home and killed 3 brothers. she was taken to a place.and then they raped  
her.unfortunately she was pregnant.Each time she saw her baby,she feel trauma.
1'49"B' story: mother wants to use the land to save B' brother.However,they said that they don't want the land and want  her daughter.B' child always was scorned by other children,because his father is a militia.B worried her child's future .
58"J' story: the militias said they would marry with these girls.they were raped at night.and J can't stand this and then left.However,her uncle chase her away.Her has a child and tried to love him.But he is too stubborn like a street boy.
1'49"C' story
1'16"O' story
12'38"
opera is combined of solo and choral sings.
in1597,D was the earliest composition considered a  opera.
in 1600,P compose a first opera that has survived to present day.
B-era,the idea of season emerged in V.
in 1640,M composed the last opera.
M' follower,F,spread the opera.and in this period,the opera blended with the tragic element.
"opera within an opera",1 reason:attract the members  of merchant.
opera series was elevated in tone and in stylish.
opera series' weakness: behalf super singers' taste and the spectacle as a replacement of purity...
Reform:F's essay advocate the opera returned to basics and included various element.
....
各种人名，年代...看不懂自己的笔记了！

cleotina

8-5
2'
face of quiet trauma
a Photographer record for several years about the trauma of some women
affected HIV , raped by strenger and delivered a baby.
HIV is kind like a weapon,killing thound of people.
1'50
the photographer try to make the women and children relex when he take a
photo for them.
a story about a women, all her family was killed, and she was rapped by
someone then had a baby however, she don't know who is the baby's father.
She was trauma serious after the accident, now she just want to rise her
baby as a mather, although, whenever she looks her baby, she recall the
merisal memory.  And she has no ability to give her and her child a good
life.
2'05
another tragical story.
2'10
2'15
9'50
各种词汇，每每谈起音乐我就晕菜
seamless ['si:mlis]
adj.
1. not having or joined by a seam or seams
seamless stockings

2. used especially of skin
3. perfectly consistent and coherent
the novel's seamless plot

totality [t?u'tæl?ti]
n.
1. the state of being total and complete
appalled by the totality of the destruction

2. the quality of being complete and indiscriminate
the totality of war and its consequences the all-embracing totality of the state

3. the whole amount
superb [sju'p?:b, s?-]
adj.
1. of surpassing excellence
a superb actor

2. surpassingly good
a superb meal

michaelmay17

帮饭饭亲顶贴~

暮已央

顶~~~昨天作业没做~~~去考点踩点了呵呵

eliane小小爱

谢谢饭饭，狠喜欢第一篇文，不过非常悲惨，百度了一下，讲了1994年卢旺达大屠杀，去看了一些介绍。
1‘44
1’30
1‘32
1’37
1‘12

O
8’30
Define opera, comprising of solo,sing,melody...First opera develops, to develop opera, tickets were sold , to attract members of mechants and wealthy peoply.
A kind of opera, intermezzi, seperate production.
Opera seria was popular that time, tone ,form special. Italian libretti domained for a while.
2 reform, Opera seria has weakness and critics, Gluck first succeeded in form, drama melody harmony were added. Mozart mixed influence.
Germany opera,music score has not survive, opera development in Germany.
Mozart's interaction and recognition for Germany opera.
W melod, role of orchetra.
笔记就记了这些。

NoctisCaelum

第一篇看的好难受，忘了计时。先帮顶吧。

风静静

2:16
a photographer with a reporter take interview with women who raped by enemies in the wars and had babies with HIV.
He found that it is hard to photograph them.

1:50
the photographer use film to record these women.
A women's record:
The enemies killed her brothers and raped her.
Then she found herself pregant.
She gave birth the baby.
She once wanted to kill the baby, but she didn't.
Now she accept the fact that the boy is her son.
But she is not a good mother.
She is too poor to raise the boy.

1:48
another woman's record
1:48
this woman was raped in a church. the presit
1:42


The origin of the opera.
The opera was defined as a combination of solo and dance, performance and so on.
The first opera has disappeared.
The earliest opera that has been performing is …
But the honor has gone to…
The opera series also drew some attack.
Some people thought that the opera should be simple. Mozart was one of the people who was influenced by this idea.
The German opera had been under the influence of Italian for a long time. However it also had its own opera. Wager was undoubltly the most famous one.

spencerX

谢谢饭饭的文章！

1’31
1’32
1’14
1’17
1’11

16’21
Main Topic: Opera
Para 1: Origin
1. The word “opera” means “work” in Italian.
2. The earliest operas were based on Greek plays.
3. Fist opera: D ? lost/ E: still remain in today/ CM: most usually played opera
Para 2: Italian Opera
1. Baro. style. / FC followed M.
2. M created opera series, which lead into 18th, and later, this became opera Buffa, called “opera-within-an-opera”. The reason to create such kind of opera is to attract more people except nobility. Opera seria was played during the interval of the opera, and because it became so popular, it has been separated from the opera later.
3. The opera made many singers popular, among all the singers, FL was the most famous.
4. The feature of the music in this period: high tone/ highly stylized in form
5. Italian opera dominated the era, except France.
6. Weakness & critics: 1) too dependent on performers; 2) too much decoration
7. In the Essay of FA: reform. – GW did so. What he suggest is return to the basis of opera: without too much on attention on music, ballet and staging. (who did so too: NJ, TT, but only Gluck succeed)
Para 3: G- Language. First: D ? HS (not survive to these days.)
1. Singspiel: popular in German.
2. Mozart: breakthrough.
3. Different style form Italian opera: G: romantic/ I: supernatural atmosphere.
4. Wagener: most famous. The most distinguished feature of his opera: a complete work of art—make music, poetry and painting combine.
5. What did Wagener do:
1) abolish the difference of aria and seamless flow or music.
2) increase the importance of role and orchestra
3) ?
4) combine characters and concept of the drama frequently.
5) abandon the accepted music conventions
6) put new philosophy based on stories of G and A into his opera.
6. Because his works are so different from contemporaries, his built his own opera house and played his own opera.
7. Because of the success of W, many musicians who followed W cannot escape the spell of him. But RS wrote opera in a wholly new direction.
8. AS ? modernism.

继续尝试baby姐的阅读法，发现几个问题:
1. 虽然笔记有助于回忆，但是我的笔记速度太慢。
2. 有一些记笔记时的简写，我自己最后都认不出来了= =