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МИНИСТЕРСТВО ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное бюджетное образовательное учреждение
высшего образования
«Пермский государственный гуманитарно-педагогический университет»
Л.А. Крючкова
Д.К. Чулаков
ПРАКТИКУМ ПО КУЛЬТУРЕ РЕЧЕВОГО ОБЩЕНИЯ:
ИСКУССТВО
В 2 частях
Часть 1
Направление подготовки 44.03.01 – «Педагогическое образование»
Профиль подготовки – «Иностранный язык»
Уровень высшего образования – бакалавриат
Направление подготовки 45.03.02 – «Лингвистика»
Профиль подготовки – «Перевод и переводоведение»
Уровень высшего образования – бакалавриат
Пермь
ПГГПУ
2016
2
УДК 811.111
К 858
Крючкова Л.А.
Практикум по культуре речевого общения: искусство: в 2 ч.
Ч. 1. Направление подготовки – «Педагогическое образование»,
профиль подготовки – «Иностранный язык», уровень высшего
образования – бакалавриат. Направление подготовки –
«Лингвистика», профиль подготовки – «Перевод и
переводоведение», уровень высшего образования – бакалавриат /
Л.А. Крючкова, Д.К. Чулаков ; Перм. гос. гуманит.-пед. ун-т. –
Пермь, 2016. – 112 с.
ББК Ш 143.21
К 858
Р е ц е н з е н т:
кандидат филологических наук, доцент кафедры английской филологии Пермского
государственного гуманитарно-педагогического университета Е.Е. Карпушина
Издание ориентировано на организацию самостоятельной работы студентов по
развитию навыков устной речи и содержит тексты на английском и русском языках
по теме «Искусство», упражнения, глоссарий и материал на русском языке для
подготовки студентов к дискуссии по указанной тематике.
Адресовано студентам старших курсов факультета иностранных языков,
обучающимся по направлению подготовки 44.03.01 – «Педагогическое образование»,
профиль подготовки – «Иностранный язык», уровень высшего образования –
бакалавриат, и направлению подготовки 45.03.02 – «Лингвистика», профиль
подготовки – «Перевод и переводоведение», уровень высшего образования –
бакалавриат.
Печатается по решению учебно-методического совета
Пермского государственного гуманитарно-педагогического университета
© Крючкова Л.А., Чулаков Д.К., 2016
гуманитарно-педагогический университет», 2016
© ФГБОУ ВО «Пермский государственный
УДК 811.111
ББК Ш 143.21
3
CONTENTS
Введение ............................................................................................................................................. 4
I. AN OUTLINE OF EUROPEAN AND RUSSIAN PAINTING ........................................................ 7
1. Greek Art ...................................................................................................................................... 7
2. Roman Art .................................................................................................................................... 7
3. The Middle Ages Art .................................................................................................................... 8
4. Medieval Russian Art ................................................................................................................... 8
5. Russian Church Painting............................................................................................................... 8
6. The Wanderers ............................................................................................................................ 10
7. The Early Renaissance Art ............................................................................................................ 15
8. The High Renaissance Art .......................................................................................................... 17
9. XVII Century Art ........................................................................................................................ 23
II. AN OUTLINE OF ENGLISH PAINTING ................................................................................... 27
1. Introduction ............................................................................................................................... 27
2. William Hogarth ......................................................................................................................... 30
3. Thomas Gainsborough ................................................................................................................ 43
4. Joshua Reynolds ......................................................................................................................... 53
5. English Portrait Painting .................................................................................................................. 61
6. John Constable ............................................................................................................................ 63
7. Joseph Mallord William Turner .................................................................................................. 73
8. Landscape Painting ..................................................................................................................... 84
9. Marine Painting .......................................................................................................................... 87
III. IMPRESSIONISM ....................................................................................................................... 88
1. What is Impressionism? ........................................................................................................... 88
2. The Science of Colour ............................................................................................................ 88
3. The Impressionist Palette ........................................................................................................... 89
4. The Impressionist Technique ................................................................................................... 90
5. Edouard Manet ........................................................................................................................... 91
6. Auguste Renoir .......................................................................................................................... 92
IV. GEOGRAPHICAL AND PROPER NAMES.............................................................................. 95
BIBLIOGRAPHY ............................................................................................................................ 111
4
Введение
Учебное пособие предназначено для организации самостоятельной работы студентов,
обучающихся по направлениям подготовки «Педагогическое образование» (профиль
подготовки – «Иностранный язык») и «Лингвистика» (профиль подготовки – «Перевод и
переводоведение»). Пособие составлено с учетом требований федерального
государственного образовательного стандарта и в соответствии с рабочей программой
дисциплины «Практикум по культуре речевого общения».
Цель пособия – способствовать организации самостоятельной работы студентов по
теме «Искусство» для формирования общекультурной, межкультурной и профессиональной
компетенций.
Методологической основой пособия явились следующие положения:
1) самостоятельная работа – это основа формирования учебно-познавательной
компетентности студентов, их готовности и способности к саморазвитию
и самообразованию;
2) межкультурная компетенция реализуется в процессе межкультурной коммуникации,
формирующей поликультурную языковую личность.
Основная задача пособия – помочь студентам при выполнении следующих видов
самостоятельной работы:
чтение и интерпретация аутентичных англоязычных и русскоязычных текстов об
изобразительном искусстве;
составление планов, конспектов и вопросов по содержанию текстов;
выделение ключевых слов и выражений для использования в разных видах речевой
деятельности при работе над темой;
отбор активного и пассивного вокабуляра по теме;
письменное и устное реферирование русскоязычных текстов на английском языке;
составление резюме англоязычных текстов на английском языке;
разграничение контекстуальных и стилистических синонимов и правильное их
использование;
составление резюме русскоязычных текстов на английском языке;
выполнение лексико-грамматических упражнений;
написание изложений, сочинений и эссе;
подготовка докладов и мультимедийных презентаций;
подготовка к дискуссии и участие в ней;
5
участие в дискуссии в качестве ведущего;
письменный перевод;
устный последовательный перевод;
подготовка и проведение фрагментов урока;
подготовка к текущему контролю;
подготовка к итоговому контролю компетенций.
Каждый раздел пособия призван решать конкретную задачу. Например, прежде
чем изучать тексты об английской живописи, мы рекомендуем ознакомиться с историей
возникновения и развития живописи, что является стартом для формирования
общекультурной компетенции на основе использования новых знаний в разных видах
самостоятельной учебно-образовательной деятельности. Это обеспечивает плавный
переход от незнания к знанию, от умений к формированию компетенций. Раздел «An
Outline of English Painting» рекомендуется использовать для продолжения формирования
общекультурной компетенции, но больше внимания следует уделять формированию
межкультурной и профессиональной компетенций, активно используя такие виды
самостоятельной деятельности, как реферирование, мультимедийные презентации,
проведение фрагментов уроков, последовательный перевод, письменный перевод,
доклады и др.
Межкультурная компетенция предполагает такой уровень владения языком, который
позволит определять адекватную линию речевого поведения, выбирать конкретные языковые
средства и употреблять их сообразно ситуации. Межкультурная компетенция реализуется
в процессе межкультурной коммуникации, для которой необходимо сформировать
поликультурную языковую личность, владеющую иностранным языком наряду с родным и
являющуюся представителем иной лингвокультуры с характерными для нее ценностями,
а также познавательным и поведенческим аспектами.
В результате самостоятельной и аудиторной работы студент должен самостоятельно
прийти к осознанию того, что мировоззрение каждого этноса национально специфично,
а произведение искусства является своеобразным кодом, расшифровка которого позволяет
проникнуть в историю, культуру и менталитет народа. В процессе формирования
общекультурной и межкультурной компетенций необходимо учитывать, что за каждым
произведением стоит обусловленное национальным сознанием представление о мире, в нем
отражается не только индивидуальный стиль автора, но и характерные черты нации и эпохи.
В ходе работы предлагаются следующие темы докладов, мультимедийных
презентаций и дискуссий:
История возникновения живописи.
Влияние иностранных художников на развитие английской живописи.
6
Особенности парадного портрета Ван Дейка.
Великие английские портретисты.
Роль Уильяма Хогарта в становлении и развитии английской живописи.
Серии сюжетно–тематических картин Уильяма Хогарта.
Джошуа Рейнольдс и Томас Гейнсборо: современники и соперники.
Портреты Джошуа Рейнольдса.
Жанровые новации Томаса Гейнсборо.
Женские и детские портреты Томаса Гейнсборо.
Новации Томаса Гейнсборо в технике письма.
Томас Гейнсборо как пейзажист.
Мой любимый портрет Гейнсборо.
Английский пейзаж.
Мой любимый английский художник.
Уильям Тернер и Джон Констебль.
Роль искусства в воспитании детей.
Выдающиеся русские художники.
Мой любимый русский художник.
Художники-передвижники.
Место живописи в современном искусстве.
В процессе текущего контроля проверяется готовность студентов:
1) рассказать на английском языке о роли живописи в воспитании;
2) провести экскурсию в художественной галерее;
3) устно или письменно перевести текст;
4) подготовить и провести внеклассное мероприятие для учащихся;
5) подготовить и провести мультимедийную презентацию;
6) написать эссе;
7) реферировать русскоязычный текст на английском языке;
8) подготовить и провести дискуссию;
9) участвовать в неподготовленной дискуссии;
Для итогового контроля предлагается:
выполнить лексико-грамматическую контрольную работу;
написать эссе;
подготовить и провести мультимедийную презентацию;
провести дискуссию по материалам презентации и по теме.
7
I. AN OUTLINE OF EUROPEAN AND RUSSIAN PAINTING
The beginning of art can be traced back to the prehistoric times when man used tools made
from wood, bone or stone, and modelled figures, drew or painted his first pictures.
The arts of the historic era had their origin in the preceding prehistoric cultures from which
they derived both subject matter and style. At the root of all artistic endeavour lay religion, assuming
the form of animism, i.e. the belief in the animation of nature, and fetishism, i.e. the worship of
supernatural forces in animals and inanimate objects. A belief in the after–life and the resultant
worship of the dead led to cults which offered vast sources of inspiration to the arts. Huge tombs and
temples were built, and furnished with the offerings of sculptors, painters and craftsmen.
The first truly organized national states and with them important national cultures developed
in the areas where Africa and Asia meet Europe: in Egypt and Mesopotamia.
1. Greek Art
The most usual Greek art forms were vase painting, marked by geometrical designs, and
small religious figurines in clay.
From the beginning of the VI century onwards vase painting began to use figure subjects within
a framework of geometrical design and ornamental adornment. The most important themes were
those of mythological, ceremonial and moral subjects, a specific product of the Greek imagination,
and mostly inspired by epic literature.
The painters used black and white varnish on the red background of the vase, applying
silhouette form and scratching the design in black.
The invasion of Greece by the Persians and the subsequent counter–attack and expulsion of
the enemy from Greece, are events which divide the archaic from the classical period (from 480 to
second quarter of III century) in which Greek art reached its culminating point.
Designers in Greece produced architectural forms which proved to be a basic source for
designs for the following twenty–five centuries throughout the world.
2. Roman Art
In the field of architecture the Romans inaugurated a new epoch that stood in sharp contrast to that
of Greece; but in the fields of sculpture and painting they succumbed to Hellenic influences, even though
they managed to imprint their own character upon at least some aspects of artistic work, thus advancing the
evolution of what they had borrowed.
In its main characteristics Roman art was essentially national despite its close connection with
Hellenic art. It brought the classical tradition to a point of evolution at which it was capable of taking on a
new direction, and thus formed the starting point for the art of the Middle Ages.
8
3. The Middle Ages Art
Medieval art was almost exclusively ecclesiastical, and its centre of activities was the church.
Architecture concentrated on creating a House of God. From early Christianity the Middle Ages
inherited two main types of church buildings – the elongated basilica and the circular church. The
basilica, having proved suitable throughout long centuries of Christian worship, became the main
form, in Romanesque and Gothic architecture and its derivation. Circular churches, also adopted
from Christian antiquity, were used only for special purposes. This type became popular especially in
the Byzantine east serving as private places of worship in palaces and castles or as funeral chapels.
There are only a few examples in Western Europe.
4. Medieval Russian Art
Western Europe knows relatively little of Russia’s architecture, especially the ancient
wooden structures. The few remaining examples of them (now in Rostov, Kizhi and also in the
museums of wooden buildings in Novgorod, Kostroma and Suzdal), testify to the skill and taste of
her builders in the composition and grouping of the architectural masses, the keen sense of proportion,
expressiveness and silhouette, and the gift for merging and harmonizing the building proper with
the landscape.
One of the best known Russian church buildings in the northern style is the Church of the
Intercession on the Nerl (Pokrova na Nerli). According to archeologists, it was much bigger in the
twelfth century when it was built. Surrounded by an open gallery and mounted on a high knoll, it
had a broad staircase leading up from the water. Today it stands alone in the midst of low, green
meadows, the small lake below reflecting its chaste white walls and single dome.
The Church of St Basil’s in Moscow is perhaps as unique in the field of masonry as is the
Church of the Transfiguration on Kizhi Island in the field of wooden architecture. It is basically
cross–shaped, the arms of the cross extending from a square centre.
The main church is of stone and brick and covered with stucco. In the XVII century, the
entrance structure, originally white, was painted in variegated colours, the stairways were roofed
over, the sheet iron covering of the cupolas was replaced with tile, and the old belfry was replaced with
the present tent roofed bell tower.
5. Russian Church Painting
In their icon–painting the Novgorodians were endowed with an exceptionally acute sense of
colour and an innate understanding of its use. The paintings they produced have vivid, luminous
tones which, for all their differences, harmonize without losing any of their forcefulness. It may have
been this feeling for colour and love of icons that led, early in the XIV century, to the introduction
into churches of the iconostasis, or screen separating the body of the church from the sanctuary, on
which the icons were arranged in tiers in a carefully prescribed order. There are usually three and in
9
the larger churches as many as five tiers of icons in an iconostasis, the panels occupying the lower tiers
being considerably larger in size than those on the upper ones. On entering a church the eye is
instantly drawn to this vast expanse of painted pictures, the effect of which largely depends upon the
immediate impression created by their tonal harmonies and linear rhythm.
The artists of Novgorod included in their range of subjects all the major iconographic scenes
which had become traditional throughout the Greek–Orthodox world, but their practical attitude to
life led them to become particularly devoted to the saints whose patronage, they thought, was likely
to prove especially helpful to them in their daily occupations.
Their appreciation of ancient feats of valour is reflected in several of their icons, notably in that
illustrating the battle which their ancestors fought in 1169 against the Suzdalians who are
threatening Novgorod’s independence. The mass of contemporary detail is fascinating; equally exciting
is the artist’s superb use of colour, the fluency of his line, and the spirit of chivalry with which he has
invested the scene. Although the composition is lacking in depth, it shows a definite feeling for life and
movement, and its slightly archaic simplicity in no way detracts from the beauty of the rhythmical design.
The contacts which were maintained between Novgorod and Constantinople may have been
partly responsible for bringing to Novgorod from his native Byzantium one of the greatest religious
painters of the XIV century, a Greek called Theophanes. He arrived in about the year 1370. His
remarkable genius and superb artistry emerge so clearly from the very small number of his works
that survive that they suffice to place him in the forefront of his contemporaries. Though Greek by
birth and outlook and, assuredly Constantinopolitan in his artistic training, on settling in Novgorod,
Theophanes became subject to the process of change, which was later so frequently to affect foreign
artists working in Russia. As a result, although he has gone down in history as Theophanes the Greek,
he nevertheless belongs quite as much to Russian art as his sixteenth–century countryman,
Theotocopoulos, who is also known as “the Greek”, does to Spain.
Novgorodian wall–paintings dating from the twelfth to the XV century are as valuable
aesthetically as the panel paintings, and almost as numerous. Russian chroniclers associate
Theophanes with the decoration of five Novgorodian churches, but of the paintings he produced
there, only those which he executed in 1378 in the Church of the Transfiguration survive.
In Novgorod, Theophanes’ inspired, spontaneous method of working is reflected in the
nervous, sweeping character of his brush–strokes as well as in his profuse use of highlights. He
moulded his draperies with a classic sweep and he gave his scenes colour schemes in which shades of
violet and blue, and even silver often predominate. The sophistication of his palette is matched by his
skill in presenting his figures three–quarter face as well as frontally, endowing each with a vivid
personality.
10
Theophanes made a profound impression on his Muscovite contemporaries; he taught them
the value of freedom of expression and the importance of responding to the dictates of inspiration;
and Andrei Rublev, Russia’s greatest icon–painter, would seem to have been one of the first to
respond to this appeal.
In 1405 A. Rublev was fairly young, when he acted as junior assistant to Theophanes, three
icons in the festival tier of the iconostasis of the Cathedral of the Annunciation are generally ascribed to
him, they are those of the Nativity, the Baptism, and the Transfiguration.
Though so little survives of Rublev’s work, it suffices to establish him as one of the world’s
great artists. His unassuming, serene, profoundly devout personality radiates from his paintings. His
inner fire and artistic integrity are attested by the absence of all trace of the influence of even as
powerful an artist as Theophanes, for it was in broadening his outlook and giving him assurance rather
than in moulding his style that the Greek left his mark on Rublev. There is thus no trace in the
latter’s work of Theophanes’ nervous, impressionistic brush strokes, of his contrast of light and shade,
nor of his fondness for striking highlights. In Rublev’s painting, the delicacy of line is of such
importance that it reduces the figure to a flat, silhouette–like outline which serves to stress the
personage’s unearthliness. Rublev’s delicate, superbly harmonious colour schemes emphasize this
other–worldliness, whilst at the same time endowing the figures with the substantiality necessary to
make them convincing. Rublev’s style, in eliminating all unnecessary detail, helps focus attention
on his deeply religious approach without, however, unduly emphasizing it. The delicacy of his
character and his hand alike helps to imbue Rublev’s work with profound spirituality and grace, yet it
is the fervour of his faith, expressed as it is with complete naturalness and a winning innocence, as
well as his tenderness, untainted by sentimentality, which, with the support of his luminous, truly
celestial colour, endow his works with immense forcefulness.
6. The Wanderers
The wanderers – a group of artists drawn together by the common determination to create a
new Russian culture, constituted the first challenge to the all powerful Petersburg Academy of
Art. The fourteen artists who had declared their secession from the Academy in 1863 were
inspired by ideals of “bringing art to the people”. They called themselves the Wanderers,
because they thought to put their ideals into practice by taking travelling exhibitions
throughout the countryside. These artists sought to justify their activity by making their
art useful to society. They repudiated the philosophy of “art for art’s sake” which
they identified with the current academic tradition centered in the Petersburg Academy, this
tradition derived its standards mainly from international Neoclassicism. The Wanderers
defied this tradition, saying that art should be primarily concerned with and subordinated to
reality.
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