Luyện nói tiếng Anh bằng Shadowing qua video: The Art World Couldn't Understand William Blake
Chọn chế độ luyện tập
Mỗi chế độ mở một phòng luyện tập toàn màn hình.
128 câu
Nếu các câu quá ngắn hoặc quá dài, hãy bấm Edit để chỉnh sửa.
1
This is a coin sorter and it's a useful tool to help me explain why certain works of art become classics,
Đây là một máy phân loại tiền xu, và nó là một công cụ hữu ích giúp tôi giải thích tại sao một số tác phẩm nghệ thuật nhất định lại trở thành kinh điển.
2
get taught in schools, live on in the culture, while so many others just disappear into oblivion.
3
In order to achieve that level of prestige, it's not always enough for creative work to be beautiful or thought -provoking.
4
It also has to fit into one of a handful of accepted categories.
5
Categories like painting, poetry, the novel, or the film.
6
When a work of art drops into one of these channels it enters a whole ecosystem of commercial, critical, and scholarly attention.
7
Institutions that can promote it, consecrate it, and preserve it.
8
You can think of this whole coin sorter as that ecosystem.
9
All the institutions that comprise it have for a very long time been organized to classify work in this way.
10
And when something comes along that can't be classified, well, the ecosystem has a hard time assimilating or even seeing it.
11
And left on the outside, its chances of long -term survival are slim.
12
This is a predicament that unclassifiable artists have faced for centuries.
13
And for centuries, so many of them have found solace and inspiration in the radical visionary work of William Blake,
14
the patron saint of unclassifiable artists.
15
Here, take a look at this.
16
How would you categorize this from Blake's book
17
Songs of Innocence?
18
Is it poetry?
19
Is it illustration?
20
Well, there's a poem here, a short one, you can see, but it's embedded in this gorgeous design,
21
in the curving spiky stem of this evocative red flower.
22
Despite what you might expect, this imagery is not a depiction of the subject of the poem.
23
Not really.
24
The poem makes no mention of a flower.
25
Each of the two art forms have their own aesthetic and symbolic integrity, neither one subordinate to the other.
26
And yet, when you put them together like this, their interaction, their dialogue, creates something new.
27
What you're seeing here, these are not paintings.
28
They're prints of engravings from Blake's illuminated books, which he designed, wrote, etched,
29
colored, and printed himself using a technique that he invented.
30
These extraordinary books are works of art that mix and synthesize categories.
31
And as a result, the art world of the late 17 and early 1800s didn't really know what to make of them.
32
And Blake never sold more than a handful.
33
At that time, the ecosystem that we've been talking about was in the process of forming and hardening.
34
The key event in England was the founding of the Royal Academy of Arts in 1768 when Blake was 11 years old.
35
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
36
while also wielding their power to help define the standards by which art was judged.
37
The Academy in England trained students to be obedient to its values and rewarded
38
that obedience at their annual exhibitions where a good placement on the wall could make an artist's reputation
39
and create a demand from private clients.
40
In turn, these exhibitions, which were popular events, shaped the taste of collectors, patrons, and the public, dramatically expanding the commercial market for artworks.
41
After apprenticing as an engraver, a 21 -year -old
42
Blake entered the Royal Academy as a student in 1779, but quickly found himself at odds with its teaching,
43
especially the aesthetic philosophy of its first president, Sir Joshua Reynolds.
44
Blake despised Reynolds' emphasis on generalizing and idealizing nature
45
and hated his reverence for Venetian and Flemish -style oil painting with its soft tonal variations and blurred contours.
46
Blake believed that art should come from within,
47
from imaginative vision, and he preferred the strong lines and distinct forms of artists like Raphael and Durr.
48
Blake just didn't fit at the Academy.
49
By refusing to work in oils, his paintings were classed as watercolors, considered a minor medium.
50
He was primarily regarded as an engraver anyway, which the Academy treated as an even lesser art, but he didn't fit there either.
51
As Eileen Ward points out, engravers were valued to the extent that they approximated the effects of the works they copied.
52
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.
53
What's more, many of those designs incorporated the entirely different art form of poetry.
54
There was simply no category that could contain him.
55
His choice, Morris Eaves writes, to work as a maker of words, maker of images, and crossbreeder of both,
56
amounted to a decision to live in incommensurable neighborhoods of meaning.
57
He swam against the current of modern human understanding, whose bedrock is the principle of specialization.
58
Why was Blake like this?
59
Why did he resist, at the cost of money and recognition, that trend towards specialization?
60
Well, I think the answer could be found in possibly his greatest work ever, his engravings of the Book of Job.
61
Here, check this out.
62
So this series includes 22 engraved illustrations like this, based on earlier watercolors that
63
Blake made for a patron.
64
In the engravings, however, you can see
65
that he added these ornate borders full of symbolic imagery and handwritten quotes from the Bible.
66
His blending of text and image, his mixing of media, it's more than a stylistic choice.
67
It's a thematic one.
68
You see, Blake believed that the fall of man, the source of human suffering, was a fall into division.
69
A division of body from spirit, man from woman, person from nature, humanity from God.
70
All around him, he saw one faculty of the human mind, reason, claiming dominance over all others,
71
measuring, explaining, dividing everything in its path, even the arts and religion.
72
It's this situation that led to the rigid classifications and hierarchies that he saw at the Royal Academy,
73
and to a dry, legalistic interpretation of the Bible.
74
For Blake, the Book of Job isn't the story of a righteous man being tested by an inscrutable God.
75
It's the story of a man who believes mistakenly that salvation requires a slavish obedience to words written in a book.
76
That's what Job's doing in this first page.
77
Surrounded by his wife and children, Bible on his lap, he's performing what he believes is piety.
78
But the moment is cheerless, empty.
79
Above him, musical instruments hang like fruit on the tree, unused.
80
There's no music, no vitality in the scene where the sun retreats behind the horizon and the sheep doze.
81
As the caption says, thus did Job continually.
82
This is what
83
Job does out of habit, unthinkingly, day after day after day.
84
The text recontextualizes the image and vice versa.
85
The very existence of the surrounding border suggests that there's a wider perspective that
86
Job can't see.
87
He can't see that submission to the letter killeth, that only spirit giveth life.
88
For Blake, God doesn't exist in some separate heaven above man.
89
Job looks up where he believes the deity resides, but there's no God there, only more words.
90
All throughout the series, as Job goes through his trials, as his worldview begins to change, there is this interplay between border and image,
91
image and text, inviting our creative participation to interpret Blake's meaning.
92
Gradually, Job learns the folly of a religion based on law, tradition, received wisdom.
93
By page 14, his experience of divinity is no longer mediated by a book.
94
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,
95
expands past the border of the image and fills the whole sheet.
96
On page 17, the book has been moved from the image proper into the lower margin.
97
As the caption says, I have heard thee with the hearing of the ear, but now my eye seeth thee.
98
And who does he see?
99
It's Christ, the divine inhuman, entreating Job to see the divine in himself.
100
Books are not discarded entirely here.
101
They're just restored to their proper place in the balance.
102
For Blake, words aren't evil in themselves, just as reason isn't evil.
103
The danger comes when we try to understand reality through words alone, or reason alone, or any one fragment of the human soul.
104
The danger is when we divide and sort ourselves.
105
Blake's antidote to classification and division is imaginative art, an art that seeks to reunify what's been split apart.
106
His plea for that unity is expressed in his work, but as with the engravings of Job, it's also enacted by it.
107
Words and images coalesce in an art object made without a division of labor.
108
The writing, designing, engraving, coloring, printing, they're all the product of a single set of hands, a single visionary mind.
109
In 1827, at age 69, William Blake died in poverty and relative obscurity.
110
And when he was rediscovered some decades after his death, his resurrectors did so by isolating the component parts of his work,
111
ripping his poetry from the surrounding designs and printing it in nice, respectable font, formatted and categorized for scholarly attention.
112
Next year, 2027, will mark two centuries since Blake's death,
113
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.
114
But the ecosystem will always need categories, and there will always be unclassifiable artists whose work.. is overlooked.
115
If you, you, happen to be one of those artists, you already know what there is to lose by being so radical.
116
Let the visionary work of William Blake remind you of all there is to gain.
117
Hey everybody, thank you so much for watching.
118
This episode was brought to you by Squarespace, the all -in -one website platform for entrepreneurs to stand out and succeed online.
119
To get started, you can use Blueprint AI, Squarespace's AI -enhanced website builder, to get a fully customized site in just a few steps,
120
or choose from their library of professionally designed templates that are sleek and engaging.
121
Every website you make will be optimized for SEO, so you'll show up more often in search results.
122
And you can do so much within Squarespace, like creating members -only content,
123
videos, blogs, courses, creative work that you can monetize via one -time payments or subscriptions.
124
The bottom line is that Squarespace is going to make a home for your products
125
or your work that looks and feels professional, something that will impress your customers and fans.
126
Head over to squarespace .com for a free trial, and when you're ready to launch,
127
go to squarespace .com slash nerdwriter for 10 % off your first purchase.
128
Thanks, guys, and I'll see you next time.
Tải Ứng Dụng
Mọi thứ bạn cần để nói trôi chảy
Chấm điểm AIChấm từng câu nói
Luyện IPAThành thạo mọi âm
Từ vựngMở rộng vốn từ
Game Từ vựngHọc qua chơi
Cùng kênh
FOR YOU
Video gợi ý
C11
43 câu
An Experiment on a Bird in the Air Pump
Daily ConversationUniversity StudentsWorking Adults
C11
191 câu
Romanticizing The Classical Life Isn’t Foolish.. It’s Necessary To Survive Today
Daily ConversationUniversity StudentsWorking Adults
C12
65 câu
Snowclones and Clichés and Memes, Oh My! | Otherwords
Daily ConversationUniversity StudentsWorking Adults
C13
62 câu
A mind-blowing explanation of symmetry | Frank Wilczek for Big Think
Daily ConversationUniversity StudentsWorking Adults
C11
654 câu
Stuart & Cliffe Knechtle | Do Agnostics Just Want To Have Control? | Give Me an Answer
Daily ConversationUniversity StudentsWorking Adults
C11
148 câu
The SYMBOLISM, MEANING, and BEAUTY of La La Land | EXPLAINED
Daily ConversationUniversity StudentsWorking Adults
C12
68 câu
Monet's Water Lilies: Great Art Explained
Daily ConversationUniversity StudentsWorking Adults
C11
128 câu
The Terrible Paradox of Self-Awareness | Fernando Pessoa
Daily ConversationUniversity StudentsWorking Adults
B22
23 câu
Why Study Art? | TateShots
Daily ConversationUniversity StudentsWorking Adults
C12
286 câu
Becoming Yourself Is More Important Than Preserving Yourself
Daily ConversationUniversity StudentsWorking Adults
C11
326 câu
The Art of Sfumato: An In-Depth Oil Painting Masterclass
Daily ConversationUniversity StudentsWorking Adults
C13
311 câu
Shakespeare's Sonnet 18: Explanation and Analysis
Daily ConversationUniversity Students
Từ vựng và ghi chú luyện nói cho bài học này
Bài luyện nói này dựa trên video “The Art World Couldn't Understand William Blake”. Những từ được nhắc lại nhiều nhất trong bài: Blake, image, Academy. Video này có 128 câu và 1786 từ để luyện shadowing. Phần lời nói dài 11:19. Người nói nói với tốc độ tự nhiên, khoảng 158 từ mỗi phút, gần với hội thoại hằng ngày. Chỉ 77% số từ nằm trong 3.000 từ tiếng Anh thông dụng nhất, nên từ vựng khá khó.
Từ vựng quan trọng trong video
15 từ đáng học trong video, kèm phiên âm và nghĩa:
| Từ | Phiên âm | Nghĩa |
|---|---|---|
| ecosystem danh từ | /ˈikoʊˌsɪstəm/ | hệ sinh thái |
| poetry danh từ | /ˈpoʊ.ə.tɹi/ | thơ ca, thi ca |
| poem danh từ | /ˈpoʊ.əm/ | bài thơ, thơ |
| surround động từ | /səˈɹaʊnd/ | bao vây |
| flower danh từ | /ˈfloʊɚ/ | hoa, bông |
| exhibition danh từ | /ɛksɪˈbɪʃən/ | triển lãm |
| radical danh từ | /ˈɹædɪkəl/ | bộ thủ |
| maker danh từ | /ˈmeɪk.ɚ/ | người làm, người chế tạo |
| coin danh từ | /ˈkoɪ̯n/ | đồng tiền |
| classification danh từ | /ˌklæsɪfɪˈkeɪʃən/ | sự phân loại |
| divide động từ | /dɪˈvaɪd/ | chia |
| relative danh từ | /ˈɹɛl.ə.tɪv/ | họ hàng, người thân |
| recognition danh từ | /ˌɹɛkəɡˈnɪʃ(ə)n/ | công nhận |
| reputation danh từ | /ˌɹɛpjʊˈteɪʃən/ | danh giá, danh tiếng |
| technique danh từ | /tɛkˈniːk/ | kỹ thuật, kĩ thuật |
Cụm động từ bạn sẽ nghe
| Từ | Phiên âm | Nghĩa |
|---|---|---|
| look up động từ | /ˌlʊk ˈʌp/ | ngước |
Ngữ pháp trong video
Những cấu trúc người nói dùng nhiều nhất, kèm đúng cụm từ trong video:
| Cấu trúc | Trong video |
|---|---|
| Câu bị động be + quá khứ phân từ — nhấn vào việc xảy ra, không phải người làm | been organized · can't be classified · was judged |
| Thì hiện tại hoàn thành have/has + quá khứ phân từ — việc đã xảy ra nhưng còn liên quan đến hiện tại | have faced · have found · has been moved |
| Mệnh đề quan hệ who / which + mệnh đề — thêm thông tin về người hoặc vật | exhibitions, which were · man who believes |
Phát âm cần chú ý
Người nói dùng 20 dạng rút gọn, ví dụ can't, didn't, they're. Hãy nói theo dạng ngắn đúng như bạn nghe.
- Âm “sh” và “zh”: exhibition /ɛksɪˈbɪʃən/, classification /ˌklæsɪfɪˈkeɪʃən/, illustration /ˌɪləsˈtɹeɪ̯ʃən/, caption /ˈkæp.ʃən/, recognition /ˌɹɛkəɡˈnɪʃ(ə)n/
- Từ dài — đặt trọng âm cho đúng: ecosystem /ˈikoʊˌsɪstəm/, exhibition /ɛksɪˈbɪʃən/, classification /ˌklæsɪfɪˈkeɪʃən/, illustration /ˌɪləsˈtɹeɪ̯ʃən/, primarily /ˈpɹaɪ.mə.ɹə.li/
Những âm người Việt thường gặp khó:
- Cụm phụ âm cuối — đọc đủ từng âm, đừng nuốt âm cuối: surround /səˈɹaʊnd/, expand /ɪkˈspænd/, extent /ɪkˈstɛnt/, saint /seɪnt/, remind /ɹəˈmaɪnd/
- Âm /tʃ/, /dʒ/ và /ʒ/ — tiếng Việt không có, đừng đọc thành “ch” hay “gi”: imagery /ˈɪmɪd͡ʒɹi/, engage /ɪnˈɡeɪd͡ʒ/, gorgeous /ˈɡoɹd͡ʒəs/, margin /ˈmɑɹ.d͡ʒɪn/, gradually /ˈɡɹæd͡ʒuəli/
- Âm /æ/ — mở miệng rộng hơn âm “e”: expand /ɪkˈspænd/, radical /ˈɹædɪkəl/, classification /ˌklæsɪfɪˈkeɪʃən/, handful /ˈhæn(d)fʊl/, caption /ˈkæp.ʃən/
Cách luyện với video này
- Nghe hết video một lần, chưa cần nói, và ghi lại những từ bạn chưa biết.
- Bắt đầu ở tốc độ 0,75×, nói đuổi từng câu, rồi quay lại tốc độ bình thường khi đã quen.
- Ghi âm giọng mình rồi so với bản gốc, chú ý các từ như ecosystem, poetry, poem.
Phương Pháp Shadowing Là Gì?
Shadowing là kỹ thuật học ngôn ngữ có cơ sở khoa học, ban đầu được phát triển cho chương trình đào tạo phiên dịch viên chuyên nghiệp và được phổ biến rộng rãi bởi nhà đa ngôn ngữ học Dr. Alexander Arguelles. Nguyên lý cốt lõi đơn giản nhưng cực kỳ hiệu quả: bạn nghe tiếng Anh của người bản xứ và lặp lại to ngay lập tức — như một "cái bóng" (shadow) đuổi theo người nói với độ trễ chỉ 1–2 giây. Khác với luyện ngữ pháp hay học từ vựng bị động, Shadowing buộc não bộ và cơ miệng phải đồng thời xử lý và tái tạo ngôn ngữ thực tế. Các nghiên cứu khoa học xác nhận phương pháp này cải thiện đáng kể phát âm, ngữ điệu, nhịp điệu, nối âm, kỹ năng nghe và độ lưu loát khi nói — đặc biệt hiệu quả cho người luyện IELTS Speaking và muốn giao tiếp tiếng Anh tự nhiên như người bản ngữ.