Unit 7 The Monster綜合教程四(上課課件)

1、Unit7Unit 7 The Monster1課件教育Throughout his career, Truman Capote remained one of Americas most controversial and colorful authors, combining literary genius with a penchant for the glittering world of high society. Watch the movie clip and discuss the following questions.Pre-reading Activities - Aud

2、iovisual supplement 1Audiovisual supplementCultural informationHe did not seem to be the person that you will make a friend with. From the way he carries himself and the way he speaks, we can probably draw the conclusion that he is a gay. He paid the train conductor to compliment him, which shows th

3、at he is vain and flamboyant. 1. How would you describe Capote? 2課件教育Pre-reading Activities - Audiovisual supplement 2Audiovisual supplementCultural information2. Will the knowledge of Capote being an outrageous and offensive person have any effect on your impression of his novels?Yes. A great write

4、r should first of all be a great man. Capote in private is quite different from the one that is behind the public mask. With this understanding in mind, I will have a different perspective when reading his novels. No. Although he was a social climber, a back stabber, and his behavior was frequently

5、offensive if not downright disgusting, he was also a writer of uncommon grace and sensitivity, who has created many unforgettable images of people and places.a.b.3課件教育Pre-reading Activities - Audiovisual supplement 3Audiovisual supplementCultural informationFrom Capote4課件教育Video Script1Audiovisual s

6、upplementCultural informationI figured youd missed it.Im sorry.Thats all right. I thought I was heading to Kansas by myself.God, Im glad you agreed to come. Youre the only one I know with the qualifications to be both a research assistant and a personal bodyguard.Thank you.Now Im nervous. Yes?Mr. Tr

7、uman Capote and Miss Nelle Harper Lee?Thats us.Nelle: Capote: Nelle: Capote: Nelle: Capote: Train Conductor:Capote:5課件教育Video Script2Audiovisual supplementCultural informationWhere would you like these, sir?You can put that right there between the doors.What all did you bring?Just a few things.Thank

8、 you greatly, sir.Thank you.Youre welcome.Its an honor to have you with us, sir. And I hope you wont mind me saying, but I thought your last book was even better than the first.Thank you.Train Conductor: Capote: Nelle: Capote: Train Conductor: Nelle: Capote: Train Conductor:Capote: 6課件教育Video Script

9、3Audiovisual supplementCultural informationI mean, just when you think theyve gotten as good as they can get.Thank you very much.Maam.Youre pathetic.What?You paid him to say that. You paid him to say that.How did you know?“Just when you think theyve gotten as good as they can get”?I thought that was

10、 a good line. Do you think that was too much?Yeah, a bit.Train Conductor: Capote: Train Conductor: Nelle: Capote: Nelle: Capote: Nelle: Capote: Nelle: 7課件教育1. List of some common musical instruments Cultural information1. 1Audiovisual supplementCultural information1) Stringed Instruments 弦樂器 Viola 中

11、提琴Cello 大提琴 Guitar 吉他Violin 小提琴 Harp 豎琴2) Keyboard Instruments 鍵盤樂器 Piano 鋼琴 Pipe organ 管風(fēng)琴8課件教育Cultural information 1.2Audiovisual supplementCultural information3) Percussion Instruments 打擊樂器 Triangle 三角鐵 Drum 大鼓 Cymbal 鈸 Gong 鑼 Tambourine 鈴鼓 Xylophone 木琴 Dulcimer 揚(yáng)琴 Chimes/Tubular bell 管鐘 4) Wind

12、Instrument 管樂器；吹奏樂器 Brass Instruments 銅管樂器 French horn 法國(guó)號(hào)Bugle 單號(hào)/軍樂號(hào) Cornet 短號(hào) Trumpet 小號(hào)9課件教育Cultural information 1.3Audiovisual supplementCultural informationWoodwind Instruments木管樂器Clarinet 單簧管 Bassoon 低音管/巴松管Flute 長(zhǎng)笛 Oboe 雙簧管Saxophone 薩克斯 Accordion 手風(fēng)琴harmonica 口琴 10課件教育Cultural information 2.

13、1Audiovisual supplementCultural information2. List of some musical terms This is a list of musical terms that are likely to be encountered in printed scores, music reviews, and program notes. cycle 套曲: a set of songs intended to be performed as a groupsuite 組曲: an instrumental piece consisting of se

14、veral shorter pieces sonata 奏鳴曲: a piece of music for one instrument or for one instrument and piano, usually divided into three or four parts 11課件教育Cultural information 2.2Audiovisual supplementCultural informationsymphony 交響曲: an elaborate musical composition for full orchestra, typically in four

15、movements, at least one of which is traditionally in sonata form concerto協(xié)奏曲: a musical composition for a solo instrument or instruments accompanied by an orchestra, especially one conceived on a relatively large scaleoverture 序曲: an orchestral piece at the beginning of an opera, suite, play, orator

16、io, or other extended composition12課件教育Cultural information 2.3Audiovisual supplementCultural informationprelude 前奏曲: an introductory piece of music, most commonly an orchestral opening to an act of an opera, the first movement of a suite, or a piece preceding a fugueimpromptu 即興曲: a short piece of

17、instrumental music, especially a solo, that is reminiscent of an improvisationaccompaniment 伴奏: the part of a piece of music that supports the tune or someone singingsolo 獨(dú)奏；獨(dú)唱: a piece of vocal or instrumental music or a dance, or a part or passage in one, for one performer13課件教育Cultural informatio

18、n 2.4Audiovisual supplementCultural informationensemble 重奏；重唱: a group of musicians, dancers, or actors who perform togetherchamber music 室內(nèi)樂: music for a small ensemble of instruments, intended for performance in a room or chamber, as opposed to a church or larger buildingduet 二重奏: a piece of music

19、 written for two performers. On the piano such a piece would involve two players on one instrument.trio 三重奏: a composition designed for three players or the name of a group of three playersquartet 四重奏: a composition for four players or the name for a group of four players14課件教育General analysisThe te

20、xt argues that Richard Wagners monstrous behavior can be forgiven because of his miraculous achievements in music.Structural analysisGeneral analysisRhetorical features15課件教育Structural analysis1Structural analysisGeneral analysisRhetorical featuresPart I(Paragraphs 1 9): This part describes a man wh

21、o seems to have rolled all kinds of demerits into one, a real monster. This essay on a famous man, whose name is not revealed until almost the end of the piece, is a study of monstrous conceit. Filled with biographical details that keep the reader guessing to the last moment, the essay concludes wit

22、h a challenging view on the nature of genius: If a genius was so prolific, “is it any wonder that he had no time to be a man?”The text can be divided into three parts: 16課件教育Structural analysis2Structural analysisGeneral analysisRhetorical featuresPart II(Paragraph 10): This part serves as a transit

23、ional paragraph, which clarifies who this monster really is, i.e. a famous musician by the name of Richard Wagner. Part III(Paragraphs 11 13): The last part justifies all the peculiar behavior of Richard Wagner.17課件教育Rhetorical Features 1Structural analysisGeneral analysisRhetorical featuresThe repe

24、titive use of the third person pronoun he creates suspense in the readers mind. This is one of the effective ways to hold the readers attention and make them read on. If we use the terminology of functional linguistics and discourse analysis, this use of he is cataphoric in nature. Another typical e

25、xample is “Hes the biggest slob I know. Hes really stupid. Hes so cruel. Hes my boyfriend, Steve.”Moreover, a series of the superlative forms of adjectives and inverted sentences are used to emphasize the extreme extent of his peculiar conceit. 18課件教育Rhetorical Features 2Structural analysisGeneral a

26、nalysisRhetorical featuresFor example:He believed himself one of the greatest dramatists in the world, one of the greatest thinkers, and one of the greatest composers. (Paragraph 2)Never for one minute did he look at the world or at people, except in relation to himself. (Paragraph 2)Practice: Find

27、more examples of superlative forms of adjectives and inverted sentences. 19課件教育Rhetorical Features 3Structural analysisGeneral analysisRhetorical features1. He was one of the most exhausting conversationalists that ever lived. (Paragraph 2)2. The slightest hint of disagreement, from anyone, on the m

28、ost trivial point, was enough to set him off on a harangue that might last for hours, (Paragraph 3)3. It never occurred to him that he and his doing were not of the most intense and fascinating interest to anyone with whom he came in contact. (Paragraph 4)4. Not for a single moment did he ever compr

29、omise with what he believed, with what he dreamed. (Paragraph 13)20課件教育1 He was an undersized little man, with a head too big for his body a sickly little man. His nerves were bad. He had skin trouble. It was agony for him to wear anything next to his skin coarser than silk. And he had delusions of

30、grandeur.Detailed reading1Detailed readingTHE MONSTERDeems Taylor21課件教育Detailed reading2Detailed reading2 He was a monster of conceit. Never for one minute did he look at the world or at people, except in relation to himself. He believed himself to be one of the greatest dramatists in the world, one

31、 of the greatest thinkers, and one of the greatest composers. To hear him talk, he was Shakespeare, and Beethoven, and Plato, rolled into one. He was one of the most exhausting conversationalists that ever lived. Sometimes he was brilliant; sometimes he was maddeningly tiresome. But whether he was b

32、eing brilliant or dull, he had one sole topic of conversation: himself. What he thought and what he did.22課件教育Detailed reading3Detailed reading3 He had a mania for being in the right. The slightest hint of disagreement, from anyone, on the most trivial point, was enough to set him off on a harangue

33、that might last for hours, in which he proved himself right in so many ways, and with such exhausting volubility, that in the end his hearer, stunned and deafened, would agree with him, for the sake of peace.23課件教育Detailed reading4Detailed reading4 It never occurred to him that he and his doing were

34、 not of the most intense and fascinating interest to anyone with whom he came in contact. He had theories about almost any subject under the sun, including vegetarianism, the drama, politics, and music; and in support of these theories he wrote pamphlets, letters, books . thousands upon thousands of

35、 words, hundreds and hundreds of pages. He not only wrote these things, and published them usually at somebody elses expense but he would sit and read them aloud, for hours, to his friends, and his family.24課件教育Detailed reading5Detailed reading5 He had the emotional stability of a six-year-old child

36、. When he felt out of sorts, he would rave and stamp, or sink into suicidal gloom and talk darkly of going to the East to end his days as a Buddhist monk. Ten minutes later, when something pleased him he would rush out of doors and run around the garden, or jump up and down off the sofa, or stand on

37、 his head. He could be grief-stricken over the death of a pet dog, and could be callous and heartless to a degree that would have made a Roman emperor shudder.25課件教育Detailed reading6Detailed reading6 He was almost innocent of any sense of responsibility. He was convinced that the world owed him a li

38、ving. In support of this belief, he borrowed money from everybody who was good for a loan men, women, friends, or strangers. He wrote begging letters by the score, sometimes groveling without shame, at others loftily offering his intended benefactor the privilege of contributing to his support, and

39、being mortally offended if the recipient declined the honor.26課件教育Detailed reading7Detailed reading7 What money he could lay his hand on he spent like an Indian rajah. No one will ever know certainly he never knows how much money he owed. We do know that his greatest benefactor gave him $6,000 to pa

40、y the most pressing of his debts in one city, and a year later had to give him $16,000 to enable him to live in another city without being thrown into jail for debt.27課件教育Detailed reading8Detailed reading8 He was equally unscrupulous in other ways. An endless procession of women marched through his

41、life. His first wife spent twenty years enduring and forgiving his infidelities. His second wife had been the wife of his most devoted friend and admirer, from whom he stole her. And even while he was trying to persuade her to leave her first husband he was writing to a friend to inquire whether he

42、could suggest some wealthy woman any wealthy woman whom he could marry for her money.28課件教育Detailed reading9Detailed reading9 He had a genius for making enemies. He would insult a man who disagreed with him about the weather. He would pull endless wires in order to meet some man who admired his work

43、 and was able and anxious to be of use to him and would proceed to make a mortal enemy of him with some idiotic and wholly uncalled-for exhibition of arrogance and bad manners. A character in one of his operas was a caricature of one of the most powerful music critics of his day. Not content with bu

44、rlesquing him, he invited the critic to his house and read him the libretto aloud in front of his friends.29課件教育Detailed reading10Detailed reading10 The name of this monster was Richard Wagner. Everything I have said about him you can find on record in newspapers, in police reports, in the testimony

45、 of people who knew him, in his own letters, between the lines of his autobiography. And the curious thing about this record is that it doesnt matter in the least.30課件教育Detailed reading11Detailed reading11 Because this undersized, sickly, disagreeable, fascinating little man was right all the time,

46、the joke was on us. He was one of the worlds greatest dramatists; he was a great thinker; he was one of the most stupendous musical geniuses that, up to now, the world has ever seen. The world did owe him a living. What if he did talk about himself all the time? If he talked about himself for twenty

47、-four hours every day for the span of his life he would not have uttered half the number of words that other men have spoken and written about him since his death.31課件教育Detailed reading12Detailed reading12 When you consider what he wrote thirteen operas and music dramas, eleven of them still holding

48、 the stage, eight of them unquestionably worth ranking among the worlds great musico-dramatic masterpieces when you listen to what he wrote, the debts and heartaches that people had to endure from him dont seem much of a price. 32課件教育Detailed reading13.1Detailed reading13 What if he was faithless to

49、 his friends and to his wives? He had one mistress to whom he was faithful to the day of his death: Music. Not for a single moment did he ever compromise with what he believed, with what he dreamed. There is not a line of his music that could have been conceived by a little mind. Even when he is dul

50、l, or downright bad, he is dull in the grand manner. Listening to his music, one does not forgive him for what he may or may not have been. It is not a matter of forgiveness. 33課件教育Detailed reading13.2Detailed reading It is a matter of being dumb with wonder that his poor brain and body didnt burst

51、under the torment of the demon of creative energy that lived inside him, struggling, clawing, scratching to be released; tearing, shrieking at him to write the music that was in him. The miracle is that what he did in the little space of seventy years could have been done at all, even by a great gen

52、ius. Is it any wonder he had no time to be a man? 34課件教育Does the mans appearance, described in the first paragraph, give one any impression of “grandeur”? (Paragraph 1)Detailed reading1-QuesionNo. He was a little man with signs of ill health, sick in both body and nerves. This is by no means an appe

53、arance that may bring one a sense of grandeur. Then what makes a man with such a poor look have “delusions of grandeur”? The only explanation is that “he is a monster of conceit”. Detailed reading35課件教育What further evidence is provided of the monsters conceit? (Paragraph 23 )Detailed reading2-Quesio

54、nTo prove his conceit, the second paragraph describes him as so egocentric that he cared about nothing but himself; he had such a strong sense of self-appreciation that he saw himself not just as the greatest musician, polemist and philosopher, but also as the worlds finest living poet and playwrigh

55、t. And the third paragraph tells that he never expected criticism or allowed disagreement.Detailed reading36課件教育What facts are given to show that he was a versatile man? (Paragraph 4) Detailed reading4-QuesionHe had theories about almost any subject under the sun, including vegetarianism, the drama,

56、 politics, and music; and in support of these theories he wrote pamphlets, letters, books . thousands upon thousands of words, hundreds and hundreds of pages.Detailed reading37課件教育How does the writer describe him as an emotional person? (Paragraph 5)Detailed reading5-QuesionHe had a mood as changeab

57、le as a six-year-old child. For example, he would get mad when something was against his desire, and forget all about it when something pleasant happened. And he would be grieved on one occasion but become merciless on another. Detailed reading38課件教育How was he financially supported? Did he earn hims

58、elf a good living with his great talents? (Paragraph 67 )Detailed reading6-7Quesion1He lived on others money. Throughout his life, he found many benefactors, among whom King Ludwig II and Otto Wesendonck were two of the most generous ones. In 1864 King Ludwig II, his greatest benefactor, invited him

59、 to settle in Bavaria, near Munich, discharging all his debts and providing him with money. Another generous patron Otto Wesendonck, whose wife was stolen away by Wagner, supported him economically by buying the publishing rights of his works. However, later it turned out that he had to give up his

60、publishing rights because Wagner had sold them again to others.Detailed reading39課件教育Detailed reading6-7Quesion2Although these benefactors had provided him with a great sum of money and never got any repayment, Wagner kept living in debt and had a narrow escape from being thrown into jail for debt b