Shadowing Practice: The Art World Couldn't Understand William Blake - Learn English Speaking with Video
בחר מצב תרגול
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128 משפטים
אם המשפטים קצרים או ארוכים מדי, לחץ על ערוך כדי להתאים אותם.
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This is a coin sorter and it's a useful tool to help me explain why certain works of art become classics,
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get taught in schools, live on in the culture, while so many others just disappear into oblivion.
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In order to achieve that level of prestige, it's not always enough for creative work to be beautiful or thought -provoking.
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It also has to fit into one of a handful of accepted categories.
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Categories like painting, poetry, the novel, or the film.
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When a work of art drops into one of these channels it enters a whole ecosystem of commercial, critical, and scholarly attention.
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Institutions that can promote it, consecrate it, and preserve it.
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You can think of this whole coin sorter as that ecosystem.
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All the institutions that comprise it have for a very long time been organized to classify work in this way.
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And when something comes along that can't be classified, well, the ecosystem has a hard time assimilating or even seeing it.
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And left on the outside, its chances of long -term survival are slim.
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This is a predicament that unclassifiable artists have faced for centuries.
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And for centuries, so many of them have found solace and inspiration in the radical visionary work of William Blake,
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the patron saint of unclassifiable artists.
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Here, take a look at this.
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How would you categorize this from Blake's book
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Songs of Innocence?
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Is it poetry?
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Is it illustration?
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Well, there's a poem here, a short one, you can see, but it's embedded in this gorgeous design,
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in the curving spiky stem of this evocative red flower.
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Despite what you might expect, this imagery is not a depiction of the subject of the poem.
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Not really.
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The poem makes no mention of a flower.
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Each of the two art forms have their own aesthetic and symbolic integrity, neither one subordinate to the other.
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And yet, when you put them together like this, their interaction, their dialogue, creates something new.
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What you're seeing here, these are not paintings.
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They're prints of engravings from Blake's illuminated books, which he designed, wrote, etched,
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colored, and printed himself using a technique that he invented.
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These extraordinary books are works of art that mix and synthesize categories.
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And as a result, the art world of the late 17 and early 1800s didn't really know what to make of them.
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And Blake never sold more than a handful.
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At that time, the ecosystem that we've been talking about was in the process of forming and hardening.
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The key event in England was the founding of the Royal Academy of Arts in 1768 when Blake was 11 years old.
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The Royal Academy was one of several similar institutions springing up across Europe in this period, institutions that elevated the status of the fine arts
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while also wielding their power to help define the standards by which art was judged.
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The Academy in England trained students to be obedient to its values and rewarded
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that obedience at their annual exhibitions where a good placement on the wall could make an artist's reputation
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and create a demand from private clients.
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In turn, these exhibitions, which were popular events, shaped the taste of collectors, patrons, and the public, dramatically expanding the commercial market for artworks.
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After apprenticing as an engraver, a 21 -year -old
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Blake entered the Royal Academy as a student in 1779, but quickly found himself at odds with its teaching,
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especially the aesthetic philosophy of its first president, Sir Joshua Reynolds.
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Blake despised Reynolds' emphasis on generalizing and idealizing nature
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and hated his reverence for Venetian and Flemish -style oil painting with its soft tonal variations and blurred contours.
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Blake believed that art should come from within,
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from imaginative vision, and he preferred the strong lines and distinct forms of artists like Raphael and Durr.
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Blake just didn't fit at the Academy.
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By refusing to work in oils, his paintings were classed as watercolors, considered a minor medium.
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He was primarily regarded as an engraver anyway, which the Academy treated as an even lesser art, but he didn't fit there either.
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As Eileen Ward points out, engravers were valued to the extent that they approximated the effects of the works they copied.
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Blake could do that, he earned a living doing that, but his creative focus was on his own original designs, and that was very uncommon.
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What's more, many of those designs incorporated the entirely different art form of poetry.
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There was simply no category that could contain him.
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His choice, Morris Eaves writes, to work as a maker of words, maker of images, and crossbreeder of both,
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amounted to a decision to live in incommensurable neighborhoods of meaning.
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He swam against the current of modern human understanding, whose bedrock is the principle of specialization.
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Why was Blake like this?
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Why did he resist, at the cost of money and recognition, that trend towards specialization?
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Well, I think the answer could be found in possibly his greatest work ever, his engravings of the Book of Job.
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Here, check this out.
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So this series includes 22 engraved illustrations like this, based on earlier watercolors that
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Blake made for a patron.
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In the engravings, however, you can see
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that he added these ornate borders full of symbolic imagery and handwritten quotes from the Bible.
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His blending of text and image, his mixing of media, it's more than a stylistic choice.
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It's a thematic one.
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You see, Blake believed that the fall of man, the source of human suffering, was a fall into division.
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A division of body from spirit, man from woman, person from nature, humanity from God.
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All around him, he saw one faculty of the human mind, reason, claiming dominance over all others,
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measuring, explaining, dividing everything in its path, even the arts and religion.
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It's this situation that led to the rigid classifications and hierarchies that he saw at the Royal Academy,
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and to a dry, legalistic interpretation of the Bible.
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For Blake, the Book of Job isn't the story of a righteous man being tested by an inscrutable God.
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It's the story of a man who believes mistakenly that salvation requires a slavish obedience to words written in a book.
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That's what Job's doing in this first page.
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Surrounded by his wife and children, Bible on his lap, he's performing what he believes is piety.
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But the moment is cheerless, empty.
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Above him, musical instruments hang like fruit on the tree, unused.
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There's no music, no vitality in the scene where the sun retreats behind the horizon and the sheep doze.
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As the caption says, thus did Job continually.
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This is what
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Job does out of habit, unthinkingly, day after day after day.
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The text recontextualizes the image and vice versa.
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The very existence of the surrounding border suggests that there's a wider perspective that
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Job can't see.
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He can't see that submission to the letter killeth, that only spirit giveth life.
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For Blake, God doesn't exist in some separate heaven above man.
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Job looks up where he believes the deity resides, but there's no God there, only more words.
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All throughout the series, as Job goes through his trials, as his worldview begins to change, there is this interplay between border and image,
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image and text, inviting our creative participation to interpret Blake's meaning.
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Gradually, Job learns the folly of a religion based on law, tradition, received wisdom.
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By page 14, his experience of divinity is no longer mediated by a book.
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He and his wife and his friends apprehend creation directly, and the glory of creation, with God not at the top but at the center,
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expands past the border of the image and fills the whole sheet.
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On page 17, the book has been moved from the image proper into the lower margin.
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As the caption says, I have heard thee with the hearing of the ear, but now my eye seeth thee.
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And who does he see?
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It's Christ, the divine inhuman, entreating Job to see the divine in himself.
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Books are not discarded entirely here.
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They're just restored to their proper place in the balance.
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For Blake, words aren't evil in themselves, just as reason isn't evil.
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The danger comes when we try to understand reality through words alone, or reason alone, or any one fragment of the human soul.
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The danger is when we divide and sort ourselves.
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Blake's antidote to classification and division is imaginative art, an art that seeks to reunify what's been split apart.
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His plea for that unity is expressed in his work, but as with the engravings of Job, it's also enacted by it.
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Words and images coalesce in an art object made without a division of labor.
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The writing, designing, engraving, coloring, printing, they're all the product of a single set of hands, a single visionary mind.
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In 1827, at age 69, William Blake died in poverty and relative obscurity.
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And when he was rediscovered some decades after his death, his resurrectors did so by isolating the component parts of his work,
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ripping his poetry from the surrounding designs and printing it in nice, respectable font, formatted and categorized for scholarly attention.
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Next year, 2027, will mark two centuries since Blake's death,
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and in that time we've become much better at recognizing and celebrating art that crosses boundaries, that can't be contained by any one category.
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But the ecosystem will always need categories, and there will always be unclassifiable artists whose work.. is overlooked.
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If you, you, happen to be one of those artists, you already know what there is to lose by being so radical.
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Let the visionary work of William Blake remind you of all there is to gain.
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Hey everybody, thank you so much for watching.
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אוצר מילים והערות הגייה לשיעור הזה
שיעור הדיבור הזה ברמה C1 מבוסס על הסרטון “The Art World Couldn't Understand William Blake”. המילים שחוזרות הכי הרבה: Blake, image, Academy. בסרטון הזה יש 128 משפטים ו-1786 מילים לתרגול Shadowing. הדיבור נמשך 11:19. הדובר מדבר בקצב טבעי של כ-158 מילים בדקה, קרוב לשיחה יומיומית. רק 77% מהמילים נמצאות בין 3,000 המילים הנפוצות ביותר באנגלית, כך שאוצר המילים מאתגר.
אוצר מילים מרכזי בסרטון הזה
15 המילים המתקדמות ביותר בסרטון, עם ההגייה והמשמעות שלהן:
| מילה | הגייה | משמעות |
|---|---|---|
| categorize פועל | /ˈkætɪɡəˌɹaɪz/ | קטלג, סִוֵּג |
| obedience שם עצם | /oʊˈbidiəns/ | צַיְתָנוּת |
| specialization שם עצם | [ˌspɛʃəlaɪ̯ˈzeɪ̯ʃn̩] | התמחות |
| symbolic שם תואר | סמלי, סמלית | |
| assimilate פועל | /əˈsɪm.ɪ.leɪt/ | הטמעה |
| coalesce פועל | /ˌkoʊ.əˈlɛs/ | התגבש, התאחד |
| consecrate פועל | /ˈkɑnsəkɹeɪt/ | קידש \ קִדֵּשׁ |
| divinity שם עצם | /dɪˈvɪnɪti/ | אלוהות |
| fragment שם עצם | /ˈfɹæɡmənt/ | פָּרוּר, רְסִיס |
| deity שם עצם | /ˈdi.ə.ti/ | אלוהים \ אֱלֹהִים, אֵל |
| comprise פועל | /kəmˈpɹaɪz/ | כלל |
| reside פועל | /ɹɪˈzaɪd/ | גָּר |
| rigid שם תואר | /ˈɹɪd͡ʒ.ɪd/ | נוקשה |
| righteous שם תואר | /ˈɹaɪt͡ʃəs/ | צדיק, צדיקה |
| font שם עצם | /fɑnt/ | גּוֹפָן |
דקדוק בסרטון הזה
המבנים שהדובר משתמש בהם הכי הרבה, עם המילים המדויקות מהסרטון:
| מבנה | בסרטון |
|---|---|
| סביל (Passive voice) be + past participle — הדגש הוא על מה שקורה, לא על מי שעושה את הפעולה | been organized · can't be classified · was judged |
| הווה מושלם (Present perfect) have/has + past participle — פעולה שקרתה בעבר ועדיין יש לה חשיבות או השפעה עכשיו | have faced · have found · has been moved |
| משפטי זיקה (Relative clauses) who / which + clause — מידע נוסף על אדם או דבר | exhibitions, which were · man who believes |
הגייה ששווה לשים לב אליה
הדובר משתמש ב-20 קיצורים וצורות מקוצרות, כמו can't, didn't, they're. אמרו אותם בצורה הקצרה, כפי שאתם שומעים אותם.
- הצלילים של “sh” ו-“zh”: visionary /ˈvɪʒəˌnɛɹi/, specialization [ˌspɛʃəlaɪ̯ˈzeɪ̯ʃn̩], caption /ˈkæp.ʃən/, illustration /ˌɪləsˈtɹeɪ̯ʃən/, depiction /dɪˈpɪkʃən/
- מילים ארוכות — שימו לב להטעמה: ecosystem /ˈikoʊˌsɪstəm/, unclassifiable /ʌnˈklæsɪfaɪ.əbəl/, visionary /ˈvɪʒəˌnɛɹi/, categorize /ˈkætɪɡəˌɹaɪz/, imaginative /ɪˈmæd͡ʒɪnətɪv/
צלילים שדוברי עברית מתקשים בהם:
- /æ/ — פתוח יותר מה-“אֶ” העברית, לא כמו “a” ב-“cup”: unclassifiable /ʌnˈklæsɪfaɪ.əbəl/, categorize /ˈkætɪɡəˌɹaɪz/, classify /ˈklæs.əˌfaɪ/, imaginative /ɪˈmæd͡ʒɪnətɪv/, caption /ˈkæp.ʃən/
- /r/ — הלשון לא נוגעת בשום מקום, לא ה-“ר” הגרונית: visionary /ˈvɪʒəˌnɛɹi/, patron /ˈpeɪ.tɹən/, surround /səˈɹaʊnd/, categorize /ˈkætɪɡəˌɹaɪz/, imagery /ˈɪmɪd͡ʒɹi/
- עיצור קולי בסוף מילה — /b/, /d/, /g/, /z/, /v/ בלי להפוך אותם לאטומים: surround /səˈɹaʊnd/, categorize /ˈkætɪɡəˌɹaɪz/, imaginative /ɪˈmæd͡ʒɪnətɪv/, apprehend /ˌæpɹɪˈhɛnd/, customize /ˈkʌs.tə.maɪ̯z/
איך לתרגל עם הסרטון הזה
- הקשיבו לכל הסרטון פעם אחת בלי לדבר, ורשמו את המילים שאתם לא מכירים.
- התחילו במהירות 0.75×, תרגלו Shadowing משפט אחר משפט, וחזרו למהירות רגילה כשזה מרגיש קל.
- הקליטו את עצמכם והשוו למקור, תוך תשומת לב למילים כמו categorize, obedience, specialization.
מהי טכניקת השאדואינג?
שאדואינג היא טכניקת למידת שפה מבוססת מדע שפותחה במקור להכשרת מתורגמנים מקצועיים ופופולרית על ידי הפוליגלוט ד"ר אלכסנדר ארגואלס. השיטה פשוטה אך עוצמתית: אתה מקשיב לאודיו באנגלית ילידית וחוזר עליו בקול רם מיד — כמו צל העוקב אחרי הדובר עם עיכוב של 1–2 שניות בלבד. בניגוד להאזנה פסיבית או תרגילי דקדוק, שאדואינג מכריח את המוח והשרירים בפה לעבד ולשחזר דפוסי דיבור אמיתיים בו זמנית. מחקרים מראים שזה משפר משמעותית את דיוק ההגייה, האינטונציה, הקצב, הדיבור המחובר, הבנת השמיעה ושטף הדיבור — מה שהופך אותו לאחת השיטות היעילות ביותר להכנה לIELTS Speaking ולתקשורת באנגלית בעולם האמיתי.