ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: Michelangelo's David: Great Art Explained
กำลังสร้างบทเรียน...
1
The story of Michelangelo's David is anything but the story of a teenage boy king who slew Goliath.
2
In one of his poems, Michelangelo wrote, Som di essere brutto, I know I am ugly.
3
His nose was broken and appeared crushed into his face, which he said gave him the look of a beggar.
4
He was tortured by his appearance and alienated from his own body.
5
Despite, or perhaps because of this, he would spend his life in pursuit of sublime perfection.
6
He could do little about his own looks, but he would make sure his David would be the standard by which male beauty would be judged.
7
Michelangelo believed that he was a tool of God.
8
He wasn't creating a sculpture from marble, he was simply releasing the figure imprisoned within it.
9
Unfinished work by Michelangelo gives us many insights into his techniques.
10
Most sculptors would create a clay model and then mark up their block of marble to know where to chip.
11
But Michelangelo worked mostly freehand starting from the front and working back.
12
To sculpt in marble you need the strength of an athlete and the dexterity of a surgeon.
13
Any slip -up can destroy years of work.
14
Michelangelo would start by what is called roughing out.
15
Taking the bulk of weight off with a point chisel
16
and a large mallet for getting it down to the general shape of the sculpture.
17
Then he'd use a tooth chisel and a smaller hammer for more detailed work in modelling the form.
18
As he needed more details, he'd use finer and finer tooth chisels.
19
He would use a drill to get into the deeper crevices.
20
Then he would refine using various smaller tools, followed by finishing the surface with a tool like the rasp, a sort of file.
21
Finally he would polish the statue using abrasive pumice stones and then leather until it is smooth and glossy.
22
If we look at his unfinished work here, we can clearly see the sculpture emerging from the stone.
23
The marks we see here were made by Michelangelo's own hands.
24
The outer part show us where Michelangelo started to cut away the stone with a large pick
25
and a mallet
26
and in this area we can clearly see he has used
27
a tooth chisel here on the chest we see even more detail
28
and the marks of fainter where he has used much finer tools michelangelo was 26
29
when he was asked to sculpt a colossal statue of the
30
biblical hero david to be placed on the roof of the cathedral in florence 80 meters above street level
31
Only two years before he had carved the achingly beautiful Pieta in Rome and he was already considered a master.
32
He was asked to use an old block of marble already owned by the cathedral
33
that had been sitting around for 50 years.
34
Two other sculptors had attempted to use it but the marble was flawed and considered too narrow to produce a successful figure.
35
One sculptor had even carved a large hole out between what were to have been the legs of his figure.
36
But where others saw flaws, Michelangelo saw opportunity.
37
Because of the shape of the marble, Michelangelo had to be precise.
38
There was no room for manoeuvre.
39
David had to look to the side as there wasn't enough marble to have him facing forward.
40
David had to be in the contrapposto position so that his legs would fit around the large hole already in the marble.
41
And he would have to be slender because of the depth of the marble.
42
The story of David and Goliath is the biblical story of the Philistine giant defeated by the teenage Israelite, armed only with his sling.
43
The finale of the story is David cutting off his head and holding it up to the cheering crowd.
44
Traditionally, David had been portrayed at the point of victory, triumphant over the dead Goliath.
45
Florentine artists like Donatello and Verrocchio depicted their own version of David standing over Goliath's severed head.
46
All statues are more than mere representations, but Michelangelo's take on it would be revolutionary.
47
By removing the conventional attributes of the Biblical hero, Stripping him down, both literally and figuratively,
48
Michelangelo also removes a simplistic reading of it, as just an illustration of the story, and gives it a wider metaphorical meaning.
49
For the first time in art, David is depicted before the battle, rather than the moment of victory.
50
This changes everything.
51
First and foremost, Michelangelo's David depicts rationality.
52
David isn't about to fight Goliath with brute strength, but with skill and reason.
53
David represents the humanist ideal of a man who can become a hero by his intelligence and willpower alone.
54
These are the virtues of the thinking man, considered perfection during the Renaissance.
55
Michelangelo catches him at the peak of his concentration as he contemplates the challenge ahead of him.
56
David is no longer the traditional self -assured boy.
57
Now he is shown as an apprehensive man.
58
David's neck is tense.
59
His thigh muscles are flexed.
60
His nostrils are flared and his brow is furrowed with fear.
61
He is just about to glide easily and naturally into action.
62
He is tense but contemplates the challenge ahead of him with a calculated gaze.
63
The rock is hidden inside his right palm.
64
The slingshot rests on his shoulder and hangs down his back, almost invisible, emphasizing that David's victory was intellectual.
65
His chest appears to pulse with anxiety.
66
Like all of Michelangelo's sculptures, the viewer sees David at a specific and pivotal point.
67
It is not meant to be the whole story.
68
David is in motion.
69
The position he is in is known as contrapposto or counterpose.
70
It was invented by the ancient Greeks and is a very natural and human way to stand.
71
The red lines show where his muscles are tensed and the yellow ones where his muscles are relaxed.
72
Most of the weight is on one leg with the other leg forward, causing the figure's hips and shoulders to rest at opposing angles,
73
giving a slight S curve to the entire torso and therefore giving the statue a more dynamic look.
74
The story of David and Goliath would come to represent the city of Florence itself.
75
During the Renaissance, Italy was a collection of city -states, each with its own ruler.
76
The newly independent Republic of Florence saw itself as the David of Italy,
77
holding out with unexpected strength against the Medici's and the powerful and all consuming influence of the Pope in Rome.
78
This point was emphasized when David was placed in a secular spot, rather than its intended religious one.
79
Commissioned as a statue of the biblical story, in Michelangelo's hands it becomes something else entirely.
80
The proportions of David are not typical of Michelangelo's work.
81
The figure has an unusually large head and hands.
82
But Michelangelo, who had dissected many cadavers, understood the human body better than any physician.
83
As per the commission, the statue was designed to be seen from 80 meters below.
84
In 2010, a fiberglass replica was temporarily placed in the spot originally planned for David.
85
And we can clearly see that the proportions work perfectly when seen from below.
86
Nudity was unusual at the time for a biblical story, but the Renaissance was a decisive time for the nude in Western art.
87
A renewed interest in ancient Greek and Roman art brought the human body to the forefront of artistic innovation during the Renaissance.
88
Achievement in representing the body became the standard for measuring artistic genius.
89
It is far harder to depict a nude figure than a clothed one.
90
It is a myth though that Renaissance Europeans were comfortable with nude bodies in art, particularly when displayed in public.
91
In fact, the city fathers had a garland of 28 gilded copper leaves made to protect David's modesty, and in later years he wore a fig leaf,
92
as in this photo from the 1860s shows.
93
Why is the Jewish hero David not circumcised?
94
Again, we can trace this back to the inspiration for the Renaissance, the ancient Greeks and Romans.
95
They regarded circumcision as barbaric, and there are no depictions of circumcision in ancient statuary.
96
Also, the Catholic Church denounced circumcision in the Middle Ages.
97
The Jewish figure of David has been placed into the Christian context of Florence, a hallmark of the High Renaissance.
98
It has been remarked that David's penis is rather small this was considered an indication of modesty
99
and respectability and shows that the biblical figure is in control of his own urges.
100
We can contrast that with contemporary images of satyrs and other figures which represented evil sexuality.
101
David has a slight squint.
102
It is rarely remarked on but his eyes point in slightly different directions.
103
This is a typical Michelangelo trick to pull us into the eyes of David.
104
The pupils are carved out hollow to capture the changing sunlight adding to the intensity of the gaze.
105
Michelangelo calculated every angle and always considered the position of the viewer.
106
The details are extraordinary.
107
My own favorite is the jugular vein which is swollen.
108
This only occurs when people get excited or nervous.
109
Michelangelo understood this over a century before scientists would describe the circulatory system.
110
The veins in the raised left hand are delicate, while the veins in the hanging right hand are pulsing and more well -defined.
111
The way our blood circulates, this is exactly what would happen to our own hands in the same position.
112
Every detail points to Michelangelo's passion for human anatomy.
113
Michelangelo, who never wasted a minute of his life, worked morning, noon and night on David, alone and in total secrecy.
114
At night he would attach candles to his hat.
115
He rarely ate and when he did sleep he slept in his clothes, which he seldom, if ever, changed.
116
In 1504 he finally presented his giant to the cathedral committee.
117
They were astonished at Michelangelo's skills and agreed it was far too perfect to be placed at such a height.
118
They decided to find a better location and eventually decided it should be placed in the political heart of Florence,
119
in Piazza della Signoria, in front of the Town Hall, where its copy still is today.
120
One member of the committee tried to persuade them to place David in a less prominent place.
121
His name?
122
Leonardo da Vinci.
123
David is truly a colossus.
124
At nearly six meters tall and weighing six tons it took four days
125
and 40 men to move the statue half a mile from Michelangelo's workshop.
126
In a gesture of defiance David was placed facing south towards Rome.
127
Michelangelo then added the finishing touches on site.
128
Originally the sling and tree stump support were gilded with gold as seen in these reconstructions.
129
David received a rapturous reception from the Florentines
130
and right from the start it was hailed as a masterpiece and a symbol of the Republic.
131
The Italian 16th century historian Giorgio Vasari wrote,
132
after seeing this, no one need wish to look at any other sculpture or the work of any other artist.
133
In 1873 David was moved to the Accademia Gallery to protect it from environmental damage
134
and in 1910 a full -size copy was placed in the square.
135
His fig leaf was eventually removed and David could be seen as Michelangelo intended.
136
Statues have power beyond their initial reading.
137
One man's hero is another man's symbol of oppression.
138
Michelangelo would go on to create many masterpieces, but his miraculous transformation of a shepherd boy into the physical
139
embodiment of Florence would prove to be a defining moment in his artistic career.
140
He was an alchemist who turned marble into flesh and bone
141
and brought a psychological insight and physical realism to sculpture never seen before.
142
He died in Rome in February of 1564, still working at the age of 88 years old,
143
having outlived both his arch -rivals Leonardo da Vinci and Raphael.
144
He was brought back to Florence to be buried in Santa Croce Church, just a stone's throw away from his divine David.
📺 ช่องเดียวกัน
✨ วิดีโอแนะนำ
B21
158 ประโยค
Michelangelo - the Greatest Artist of All Time?
Daily ConversationWorking Adults
B21
303 ประโยค
The ULTIMATE Guide to Aesthetics
Daily ConversationWorking Adults
B21
29 ประโยค
How the Grand Canyon Was Really Carved?
Daily ConversationWorking Adults
B22
38 ประโยค
david bowie interview 1973
Daily ConversationWorking Adults
B21
27 ประโยค
The Scar That Gave Odysseus Away | Gustave Boulanger’s Most Human Homer Scene
Daily ConversationUniversity StudentsWorking Adults
B214
28 ประโยค
How is stuff like this possible 🤯 #arthistory
Daily ConversationWorking Adults
B21
198 ประโยค
Kim Jung Gi - How to Become a Master
Daily ConversationWorking Adults
B21
193 ประโยค
What Did Ancient Humans Actually Do All Day?
Daily ConversationWorking Adults
B21
45 ประโยค
Creating Iron Man suit. Full workflow by @AlexLab. Real life Iron Man exosuit with a box of scraps)
Daily ConversationWorking Adults
B21
325 ประโยค
I've NEVER Seen A Climb This Hard.. And Nobody Talks About It
Daily ConversationWorking Adults
B155
40 ประโยค
The Life of Picasso – Animated Cartoon Story of a Genius Artist
Daily ConversationUniversity StudentsWorking Adults
B21
370 ประโยค
Homeless Man Turns Free Painting Into $100,000
Daily ConversationWorking Adults
คำศัพท์และข้อสังเกตด้านการพูดสำหรับบทเรียนนี้
วิดีโอนี้มี 144 ประโยค และ 2007 คำ สำหรับฝึกพูดตาม ช่วงที่มีเสียงพูดยาว 14:06 ผู้พูดพูดด้วยความเร็วสม่ำเสมอ ประมาณ 142 คำต่อนาที เหมาะกับการฝึกพูดตาม มีเพียง 76% ของคำที่อยู่ใน 3,000 คำที่ใช้บ่อยที่สุดในภาษาอังกฤษ คำศัพท์จึงค่อนข้างยาก
คำศัพท์สำคัญในวิดีโอนี้
คำที่ควรเรียนรู้ 15 คำจากวิดีโอ พร้อมคำอ่านและความหมาย:
| คำศัพท์ | คำอ่าน | ความหมาย |
|---|---|---|
| marble คำนาม | /ˈmɑɹ.bəl/ | หินอ่อน |
| statue คำนาม | /ˈstæt͡ʃu/ | รูปปั้น |
| sculpture คำนาม | /ˈskʌlpt͡ʃɚ/ | รูปปั้น |
| muscle คำนาม | /ˈmʌs.əl/ | กล้ามเนื้อ, กล้าม |
| meter คำนาม | /ˈmitəɹ/ | มิเตอร์ |
| tooth คำนาม | /tuθ/ | ฟัน, เฟือง |
| nude คำคุณศัพท์ | /n(j)uːd/ | เปลือย |
| cathedral คำนาม | /kəˈθiːdɹəl/ | อาสนวิหาร |
| vein คำนาม | /veɪn/ | หลอดเลือดดำ, เส้นเลือด |
| angle คำนาม | /ˈæŋ.ɡəl/ | มุม |
| symbol คำนาม | /ˈsɪmbəl/ | สัญลักษณ์ |
| leaf คำนาม | /lif/ | ใบ, ใบไม้ |
| perfection คำนาม | /pɚˈfɛk.ʃən/ | ความสมบูรณ์ |
| tense คำนาม | /tɛns/ | กาล |
| calculate คำกริยา | /ˈkælkjʊleɪt/ | คำนวณ |
ไวยากรณ์ในวิดีโอนี้
โครงสร้างที่ผู้พูดใช้บ่อยที่สุด พร้อมคำพูดจริงจากวิดีโอ:
| โครงสร้าง | ในวิดีโอ |
|---|---|
| Passive voice be + กริยาช่อง 3 — เน้นสิ่งที่เกิดขึ้น ไม่ใช่ผู้กระทำ | was broken · was tortured · would be judged |
| Present perfect have/has + กริยาช่อง 3 — เหตุการณ์ในอดีตที่ยังเกี่ยวข้องกับปัจจุบัน | has been placed · has been remarked |
| Relative clauses who / which + อนุประโยค — ข้อมูลเพิ่มเติมเกี่ยวกับคนหรือสิ่งของ | man who can · vein which is |
การออกเสียงที่ควรระวัง
ผู้พูดใช้รูปย่อและรูปลดเสียง 5 ครั้ง เช่น he'd, wasn't, isn't ให้พูดแบบสั้นตามที่ได้ยิน
- เสียง “th”: tooth /tuθ/, cathedral /kəˈθiːdɹəl/, smooth /smuːð/, leather /ˈlɛðɚ/, athlete /ˈæθ.liːt/
- เสียง “sh” และ “zh”: proportion /pɹəˈpɔɹʃən/, perfection /pɚˈfɛk.ʃən/, unfinished /ʌnˈfɪnɪʃt/, contrast /kənˈt(ʃ)ɹæst/, unusual /ʌnˈjuːʒ(u)əl/
- คำยาว — ลงเสียงหนักให้ถูกพยางค์: naturally /ˈnæt͡ʃ.(ə.)ɹə.li/, anxiety /æŋˈzaɪ.əti/, unusual /ʌnˈjuːʒ(u)əl/, inspiration /ˌɪn.spɪˈɹeɪ.ʃən/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/
วิธีฝึกกับวิดีโอนี้
- ฟังวิดีโอให้จบหนึ่งรอบโดยยังไม่ต้องพูด แล้วจดคำที่ยังไม่รู้จัก
- พูดตามทีละประโยคด้วยความเร็วปกติ ทำซ้ำแต่ละประโยคจนจังหวะของคุณตรงกับผู้พูด
- อัดเสียงตัวเองแล้วเทียบกับต้นฉบับ โดยสังเกตคำอย่าง marble, statue, sculpture เป็นพิเศษ
เทคนิค Shadowing คืออะไร?
Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ