终于看懂看透了，我也来讲一下(第8题的I真黑）
Shaw’s defense of a theater of ideas brought him up against (bring up against: v.遭遇) both his great bugbears—commercialized art on the one hand and Art for Art’s Sake on the other. His teaching is that beauty is a by-product of other activity; that the artist writes out of moral passion (in forms varying from political conviction to religious zeal), not out of love of art; that the pursuit of art for its own sake is a form of self-indulgence as bad as any other sort of sensuality. In the end, the errors of “pure” art and of commercialized art are identical: they both appeal primarily to the senses. True art, on the other hand, is not merely a matter of pleasure. It may be unpleasant. A favorite Shavian metaphor for the function of the arts is that of tooth-pulling. Even if the patient is under laughing gas, the tooth is still pulled.
总结：Shaw的舞台思想反对商业艺术和其它为了追求艺术的艺术．认为艺术来自道德冲动（从政治到宗教）；为了追求艺术的艺术就如同伤风败俗的道德．最后说明纯艺术和商业艺术都过多的诉主于感觉．提出真正的艺术不只是一个对快乐的追求．
The history of aesthetics affords more examples of a didactic than of a hedonist view. But Shaw’s didacticism takes an unusual turn in its application to the history of arts(Shaw的教导主义特殊在其在艺术历史方面的引用). If, as Shaw holds, ideas are a most important part of a work of art（正如Shaw认为的，思想是艺术作品中其中一个最重要的部分，8-I（According to Shaw, what is the most important part of a work of art）ETS真黑，用the取代了a）, and if, as he also holds, ideas go out of date (go out of date: 过时), it follows that even the best works of art go out of date in some important respects and that the generally held view that great works are in all respects eternal is not shared by Shaw (因为Shaw认为思想对艺术作品重要，而且思想会过时à 作品会过时，而且好的作品会永存不对). In the preface to Three Plays for Puritans, he maintains that renewal in the arts means renewal in philosophy, that the first great artist who comes along after a renewal gives to the new philosophy full and final form, that subsequent artists, though even more gifted, can do nothing but refine upon the master without matching him（Shaw认为作品的补充和更新很重要）. Shaw, whose essential modesty is as disarming as his pose of vanity is disconcerting（Shaw表现出来的虚心如同他表现出的惶恐的虚荣心一样真实6题的A）, assigns to himself the role, not of the master, but of the pioneer（对应于8-III）, the role of a Marlowe rather than of a Shakespeare. “The whirligig of time will soon bring my audiences to my own point of view,” he writes, “and then the next Shakespeare that comes along will turn these petty tentatives of mine into masterpieces final for their epoch.”
总结：Shaw认为对作品的补充和更新很重要
“Final for their epoch”—even Shakespearean masterpieces are not final beyond that. No one, says Shaw, will ever write a better tragedy than Lear or a better opera than Don Giovanni or a better music drama than Der Ring des Nibelungen (说明补充更新产生masterpiece); but just as essential to a play as this aesthetic merit is moral relevance which, if we take a naturalistic and historical view of morals, it loses, or partly loses, in time（剧作品和美学一样都是与道德密不可分的，就自然和历史的道德观点看，剧作品在一定时期内会消亡或部分消亡－对应于7-B）. Shaw, who has the courage of his historicism, consistently withstands the view that moral problems do not change, and argues therefore that for us modern literature and music form a Bible surpassing in significance the Hebrew Bible(Shaw认为道德问题不是一成不变的，认为新的圣经在重要性方面超出了H圣经－和Don Giovanni的相似点是他们都会随着道德观点的变化而消亡－对应于8-II). That is Shaw’s anticipatory challenge to the neo-orthodoxy of today.
ffice ffice" />
8. The passage contains information that answers which of the following questions?
I. According to Shaw, what is the most important part of a work of art?
II. In Shaw’s view, what does the Hebrew Bible have in common with Don Giovanni?
III. According to the author, what was Shaw’s assessment of himself as a playwright?
(A) I only
(B) III only
(C) I and II only
(D) II and III only（D）
(E) I, II, and III
| 
京公网安备11010202008513号 京ICP证101109号 京ICP备12012021号
发表于 2004-3-30 19:52:00
