優(yōu)質(zhì)英語課件Unit12ClothesMaketheMan―Uneasy

1、Cover優(yōu)質(zhì)英語課件Unit 12Clothes Make the Man Uneasy Learning Objectives Rhetorical skill: metaphor, synecdoche Key language & grammar points Writing strategies: expositive essay by deductive method Theme: masculine fashionLearning ObjectivesPre-R: picture activationPicture Activation | Pre-questionsWhat i

2、s the typical mens wear? Or what clothes should men wear?Pre-R: P_Q11.What to wear and how to wear it seem to be very personal. Under certain circumstances, however, a person should see to it that he or she is properly dressed. What kind of clothes do you usually like to wear? Do you think it is imp

3、ortant what a person wears, especially in public?Picture Activation | Pre-questionsOpen for discussion.Pre-R: P_Q22.Gone are the days when the Chinese were all in blue, black, grey, or green uniforms. Now they are dressed much more colorfully. Nevertheless, men seem to pay less attention to what the

4、y wear than women. What social role do you think mens clothes play?Picture Activation | Pre-questionsOpen to discussion.G-R: text-intro-aThis expository essay deals with the changes in masculine fashion, focusing on the drastic changes in the West in the 1960s, pointing out the significance of mascu

5、line choices of clothes, and laying bare masculine narcissism and vanity. The text is intended to tell us that men found it quite easy to dress themselves before the 1960s; the difference between mens and womens clothes used to be an easy matter from every point of view. But since the beginning of t

6、he 1960s, the rate of change in masculine fashion has accelerated, and men have found it impossible to resist the changes. Text Introduction | Culture Notes | Author | StructureG-R: text-intro-bMen have had to make and value choices of clothes, which stamp their own identity. In the 1960s, men keenl

7、y felt and vigorously supported the tiny differences in their choices, for they attached too much importance to their individual identity. In the present age, masculine fashion preferences are also closely related to mens narcissism and vanity. Nowadays, it is no longer easy to distinguish between m

8、ens and womens clothes.Text Introduction | Culture Notes | Author | StructureG-R: culture-notes-Sun kingLouis XIV (5 September 1638 1 September 1715), known as Louis the Great (Louis le Grand) or the Sun King (le Roi-Soleil), was a Bourbon monarch who ruled as King of France and Navarre. His reign o

9、f 72 years and 110 days is one of the longest in French and European history.Text Introduction | Culture Notes | Author | StructureG-R: author bioAnne Hollander (1930-) is a native of Cleveland who was educated in New York City. An experienced observer of and writer on the history of fashion, she ag

10、ain turns to that subject in the essay Clothes Make the Man Uneasy. Her works include Seeing Through Clothes, Sex and Suits; Feeding the Eye; and Fabric of Vision: Dress and Drapery in Painting, etc.Text Introduction | Culture Notes | Author | StructureLos Angles TimesNEWSBY DESIGN : Suits, Glorious

11、, Suits : Theyre no mere clothes, an art critic says. They can turn a man into a work of art.September 22, 1994 | PATRICIA WARD BIEDERMAN, TIMES STAFF WRITERAnne Hollander is mad about suits. Other people may dismiss them as dreary symbols of conformity, the predictable retreat of the terminally uni

12、maginative. Not Hollander. In her new apologia, Sex and Suits (Alfred A. Knopf), the art critic contends that the suit is nothing less than an aesthetic triumph, a grand design that continues to please hundreds of years after its invention.Los Angles TimesFEATURED ARTICLESBOOKSIt All Started With Ve

13、rmeer : MOVING PICTURES by Anne Hollander (Alfred A. Knopf: $29.95; 295 pp.) July 30, 1989 | Douglas Messerli, Messerli, a poet and critic, directs Sun & Moon Press. and With great erudition and intellectual facility, Anne Hollander argues in Moving Pictures that motion pictures are rooted in the vi

14、sual art of the Dutch and Flemish genre painters of the 17th Century and their impact, in turn, upon artists as diverse as Tiepolo, Piranesi, Canaletto, Hogarth, Goya, Turner, Whistler, and others.G-R: structure analysisText Introduction | Culture Notes | Author | StructurePart 1Part 2Part 3(1) prio

15、r to the mid-1960s a large number of men felt in certain respects more uneasy about what to wear(2-5) the main part of the expositive essay: masculine fashion(6) why men hate fashion risks and then proceeds to describe masculine fashion preferences and their purposes in the contemporary age.DR-p1-a

16、textCLOTHES MAKE THE MAN UNEASYAnne Hollander1. The last decade has made a large number of men more uneasy about what to wear than they might ever have believed possible. The idea that one might agonize over whether to grow sideburns or wear trousers of a radically different shape had never occurred

17、 to a whole generation. Before the mid 60s whether to wear a tie was the most dramatic sartorial problem: everything else was a subtle matter of surface variation. Detailed ReadingDR-p1-b text Women have been so accustomed to dealing with extreme fashion for so long that they automatically brace the

18、mselves for whatever is coming next, including their own willingness to resist or conform and all the probable masculine responses. Men in modern times have only lately felt any pressure to pay that kind of attention. All the delicate shades of significance expressed by the small range of possible a

19、lternatives used to be absorbing enough: Double- or single-breasted cut? Sports jacket and slacks or a suit? Shoes with plain or wing tip? Detailed ReadingDR-p1-c textThe choices men had had to make never looked very momentous to a feminine eye accustomed to a huge range of personally acceptable pos

20、sibilities, but they always had an absolute and enormous meaning in the world of men, an identifying stamp usually incomprehensible to female judgment. A hat with a tiny bit of nearly invisible feather was separated as by an ocean from a hat with none, and white-on-white shirts, almost imperceptibly

21、 complex in weave, were totally shunned by those men who favored white oxford-cloth shirts. Detailed ReadingDR-p1-d textWomen might remain mystified by the ferocity with which men felt and supported these tiny differences, and perhaps they might pity such narrow sartorial vision attaching so much im

22、portance to half an inch of padding in the shoulders or an inch of trouser cuff. Detailed ReadingDR-p2 text2. But men knew how lucky they were. It was never very hard to dress the part of oneself. Even imaginative wives and mothers could eventually be trained to reject all seductive but incorrect ch

23、oices with respect to tie fabric and collar shape that might connote the wrong flavor of spiritual outlook, the wrong level of education, or the wrong sort of male bonding. It was a well ordered world, the double standard flourished without hindrance, and no man who stuck to the rules ever needed to

24、 suspect that he might look ridiculous.Detailed ReadingDR-p3a text3.Into this stable system the width-of-tie question erupted in the early 60s. Suddenly, and for the first time in centuries, the rate of change in masculine fashion accelerated with disconcerting violence, throwing a new light on all

25、the steady old arrangements. Women looked on with secret satisfaction, as it became obvious that during the next few years men might think they could resist the changes, but they would find it impossible to ignore them. In fact to the discomfiture of many, the very look of having ignored the changes

26、 suddenly became a distinct and highly conspicuous way of dressing, and everyone ran for cover. Detailed ReadingDR-p3b textPaying no attention whatever to nipped-in waistlines, vivid turtlenecks, long hair with sideburns, and bell-bottom trousers could not guarantee any comfy anonymity, but rather s

27、tamped one as a convinced follower of the old order thus adding three or four dangerous new meanings to all the formerly reliable signals. A look in the mirror suddenly revealed man to himself wearing his obvious chains and shackles, hopelessly unliberated.Detailed ReadingDR-p4a text4.In general, me

28、n of all ages turn out not to want to give up the habit of fixing on a suitable self-image and then carefully tending it, instead of taking up all the new options. It seems too much of a strain to dress for all that complex multiple role-playing, like women. The creative use of male plumage for sexu

29、al display, after all, has had a very thin time for centuries: the whole habit became the special prerogative of certain clearly defined groups, ever since the overriding purpose of male dress had been established as that of precise identification. Detailed ReadingDR-p4b textNo stepping over the bou

30、ndaries was thinkable ruffled evening shirts were for them, not me; and the fear of the wrong associations was the strongest male emotion about clothes, not the smallest part being fear of association with the wrong sex.Detailed ReadingDR-p5a text5.The difference between mens and womens clothes used

31、 to be an easy matter from every point of view, all the more so when the same tailors made both. When long ago all elegant people wore brightly colored satin, lace, and curls, nobody had any trouble sorting out the sexes or worrying whether certain small elements were sexually appropriate. So univer

32、sal was the skirted female shape and the bifurcated male one that a woman in mens clothes was completely disguised, and long hair or gaudy trimmings were never the issue. Detailed ReadingDR-p5b textIt was the 19th century, which produced the look of the different sexes coming from different planets,

33、 that lasted such a very long time. It also gave men official exemption from fashion risk, and official sanction to laugh at women for perpetually incurring it.Detailed ReadingDR-p6a text6. Women apparently love the risk, of course, and ignore the laughter. Men secretly hate it and dread the very po

34、ssibility of a smile. Most of them find it impossible to leap backward across the traditional centuries into a comfortable renaissance zest for these dangers, since life is hard enough now anyway. Moreover, along with fashion came the pitiless exposure of masculine narcissism and vanity, so long sub

35、merged and undiscussed. Men had lost the habit of having their concern with personal appearance show as blatantly as womens the great dandies provided no continuing tradition, except perhaps among urban blacks. Detailed ReadingDR-p6b textMen formerly free from doubt wore their new finery with coloss

36、al self-consciousness, staring covertly at everyone else to find out what the score really was about all this stuff. High heels and platform soles, once worn by the Sun King and other cultivated gentlemen of the past, have been appropriated only by those willing to change not only their heights but

37、their way of walking. They have been ruled out, along with the waist-length shirt opening that exposes trinkets nestling against the chest hair, by men who nevertheless find themselves willing to wear long hair and fur coats and carry handbags. Skirts, I need not add, never caught on. Detailed Readi

38、ngDR:p1 AnalysisParagraph 1 AnalysisThe first paragraph tells us that prior to the mid-1960s a large number of men felt in certain respects more uneasy about what to wear, though the limited choices they had to make always had an absolute and enormous meaning in the world of men, an identifying stam

39、p usually incomprehensible to female judgment.Detailed ReadingDR:p2-5 AnalysisParagraphs 2-5 AnalysisParagraphs 2-5, the main part of the expositive essay, first inform us that it had never been very hard for men to dress themselves until the early 1960s, when the rate of change in masculine fashion

40、 accelerated with disconcerting violence, shedding a new light on all the steady old arrangements, and men found it impossible to ignore the changes. Next, this section illustrates the fact that in general, men of all ages want to retain the habit portraying a suitable self-image and then carefully

41、tending it. Then, the writer goes on to explain that the difference between mens and womens clothes used to be an easy matter from every point of view.Detailed ReadingDR:p6 AnalysisParagraphs 6 AnalysisParagraph 6, the last section of the essay, first offers reasons why men hate fashion risks and th

42、en proceeds to describe masculine fashion preferences and their purposes in the contemporary age.Detailed ReadingDR-Questions-p1-aDetailed ReadingParagraph 1: Questions1. What do you know about mens and womens choices of clothes in the 1960s?Mens choice of clothes was quite limited. Men had only a s

43、mall range of possible alternatives. In contrast, women had a huge range of personally acceptable possibilities. The choices men had to make never looked very momentous to a feminine eye accustomed to a large range of personally acceptable alternatives, but they always had an absolutely enormous mea

44、ning in the world of men.DR-Questions-p1-bDetailed ReadingParagraph 1: Questions2. Why did the choices men made have an enormous meaning in the world of men?Because they marked or embodied mens individual identity.DR-Question-P2Detailed ReadingParagraph 2: QuestionIn what way is the statement men kn

45、ew how lucky they were true?Men knew they were lucky, for it was rather easy for them to dress the part of themselves since their wives and mothers could be trained to reject all seductive but incorrect choices of dressing to avoid the wrong flavor of spiritual outlook, the wrong level of education,

46、 or the wrong sort of male bonding.DR-Question-P3Detailed ReadingParagraph 3: QuestionWhat can you infer about masculine fashion in the 1960s?Nipped-in waistlines, vivid turtlenecks, long hair with sideburns, and bell-bottom trousers constituted the typical masculine fashion in the 1960s. Those who

47、ignored this popular fashion were stamped as convinced followers of the old order. Men found it impossible to resist the changes, and they had to follow the popular fashion.DR-Question-P4What does the expression to dress for all that complex multiple role-playing imply?Detailed ReadingParagraph 4: Q

48、uestionThe expression implies much of mans strain faced with a broadening range of choice long familiar to women.DR-Question-P5Detailed ReadingParagraph 5: QuestionWhy did the writer say that the difference between mens and womens clothes used to be an easy matter from every point of view?The writer

49、 said so because clothes worn by men and women used to be so sexually distinctive that there was no trouble for anyone to tell the difference.DR-Question-P6aDetailed ReadingParagraph 6: Questions1. Why do men secretly hate fashion risks?According to the last paragraph, men secretly hate fashion risk

50、s for the following reasons. First, most men find it impossible to leap backward across the traditional centuries into a comfortable renaissance zest for these dangers, since life is difficult enough nowadays. Secondly, along with fashion came the pitiless exposure of masculine narcissism and vanity

51、, so long submerged and unknown. Thirdly, men had lost the habit of showing their concern for personal appearance. DR-Question-P6bFourthly, men formerly free from doubt wore their new finery with immense self-consciousness, staring covertly at everyone else to find out what the score really was abou

52、t all this stuff.Detailed ReadingDR-Question-P6c2. In what way was the exposure of masculine narcissism and vanity pitiless?Detailed ReadingParagraph 6: QuestionsAlong with the fashion boom, mens narcissism and vanity, submerged and neglected for long, was mercilessly disclosed, for they now wore th

53、eir new fashionable clothes with enormous self-consciousness, staring covertly at everyone else to find out its effect.DR-Question-P6dDetailed ReadingParagraph 6: Questions3. What do you know about the men referred to at the end of the text?Men who suddenly find that they are quite willing to wear l

54、ong hair and fur coats and carry handbags have excluded shoes with high heels and platform soles and got rid of the waist-length shirt opening that exposes trinkets lying embedded against the chest hair.LPT- the idea that one might agonizeDetailed Reading“The idea that one might agonize over whether

55、 to grow sideburns or wear trousers of a radically different shape had never occurred to a whole generation.” Paraphrase A whole generation had never thought that one might suffer extreme agony about whether to grow sideburns or wear trousers of a completely different shape.LPT- agonizeDetailed Read

56、ingagonize v. to (cause sb. to) suffer great pain, anxiety or worry intensely about sth.e.g.The woman agonized about her childs safety.He agonized himself with the thought of his possible failure in the examination.LPT- sideburnsDetailed Readingsideburns n. patches of hair growing on the side of a m

57、ans face in front of the earse.g.His sideburns grow luxuriantly, which makes it easy to recognize him.LPT- radicallyDetailed Readingradically adv. fundamentally; thoroughly, completely, drasticallye.g.Everything has been changing radically.Terrorism is reported to be worsening radically.LPT- before

58、the mid 60sDetailed Reading“Before the mid 60s whether to wear a tie was the most dramatic sartorial problem: everything else was a subtle matter of surface variation.”ParaphraseBefore the mid 60s whether to wear a tie was the most noticeable choice for men to make about (tailored) clothing: everyth

59、ing else was a delicate matter of choosing between seemingly hardly noticeable differences in appearance.LPT- sartorialDetailed Readingsartorial adj. (fml.) usu. of mens clothes; of or relating to a tailor or a way of dressingHis sartorial elegance left a deep impression on me.The mans sartorial cas

60、ualness on such a formal occasion shocked almost everyone present.e.g.LPT- subtleDetailed Readingsubtle adj. fine, delicate, not easy to detect or describe; ingenious, organized in a clever and complex way; sensitive, able to see and describe fine and delicate differencese.g.She has a subtle charm a