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1、Lesson6 Disappearing Through the SkylightOsborne Bennet Hardison Jr.12O.B. Hardison, Jr. (1928 -1990)3Background information1) The authorO.B. Hardison, Jr. (1928 -1990) was born in San Diego, California in 1928. He was educated at the University of North Carolina and the Universtiy of Wisconsin.Engl
2、ish professor, Shakespearean scholar, and amateur physicist, is always entertaining and often thought-provoking. A scholarly writerMr.hardison wrote numerous books and articles, as well as poetry and book reviews. His scholarly concerns ranged from Renaissance literature to technology and change in
3、modern society. 4He is the author of Lyrics and Elegies (1958), The Enduring Monument (1962), English Literary Criticism: The Renaissance (1964), Toward Freedom and Dignity: The Humanities and the Idea of Humanity (1973), Entering the Maze: Identity and Change in Modern Culture (1981) and Disappeari
4、ng Through the Skylight (1980).51. Disappearing Through the Skylight is not only the title of this chapter but also the title of the book. This shows the importance the writer attaches to this chapter. The book, however, also has a sub-title, Culture and Technology in the Twentieth Century.6As for d
5、isappearance, he says, In the nineteenth century, science presented nature as a group of objects set comfortably and solidly in the middle distance before the eyes of the beholder. 7It has become a set of geometric and mathematical relations that lie under the surface of the visible. It is still, ho
6、wever, indubitably there. Today, nature has slipped, perhaps finally, beyond our field of vision. We can imitate it in mathematicswe can even produce convincing images of itbut we can never know it. We can only know our own creations. 8As a logical conclusion of this idea, the writer, in the final p
7、aragraph of this key chapter we are studying, states, As surely as nature is being swallowed up by the mind, the banks, you might say, are disappearing through their own skylights.9As for the central theme of this book, the writer says: This book is about the ways culture has changed in the past cen
8、tury, changing the identities of all those born into it. Its metaphor for the effect of change on culture is disappearance.10as the title suggests, the writer puts forward his central theme of disappearance nature disappears, history disappears and even the solid banks disappear. Besides expressing
9、the central theme of the book, the metaphorical phrase, Disappearing Through the Skylight, is used also specifically in this chapter to describe the changed appearance of modern banks which seem to be disappearing.11The second important idea he puts forward is the universalizing tendency of science
10、and technology. The basic concepts of science are understood, accepted and adopted by scientists all over the world. There is only one science of thermodynamics, genetics, etc. This universalizing effect is reflected in architectural styles, dress styles, musical styles, etc. They all tend to become
11、 world styles. 12The third concept is, If man creates machines, machines in turn shape their creators. The modern man is no longer a unique individual, the product of a special environment and culture. The homogeneous world he now lives in universalizes him. He becomes a cosmopolitan, a citizen of t
12、he world.13Finally, the disappearance of history is a form of liberation and this feeling of liberation is often expressed through play. The playfulness of science has produced game theory and virtual particles, in art it has produced the paintings of Picasso and Joan Miro and so on.14Hardisonskillf
13、ullyrelatestwentieth-centurypoetry,architecture,andphysics,weavestogetherDadaismandpostmodernism,literatureandtelevision,computerartandartificialintelligence,theBauhausandrobotmusicians,medievalclockmakingandthefrontiersofchaostheory,Greekcosmologyandtheoryoflanguage,PlatoandChristo,TristanTzaraandG
14、eorgeLucas.15Theauthorfocusesonchangesinnature,history,language,art,andhumanevolutionthathavetakenplacesincethebeginningofthetwentiethcentury:Becausethechangeshavebeenfundamental,theconcepts-andeventhevocabulariesandimagesinwhichtheconceptstendtobeframed-nolongerseemtoobjectifyarealworld.Itisasthoug
15、hprogressweremakingtherealworldinvisible.16Thisbookisaboutthewaysculturehaschangedinthepostcentury,changingtheidentitiesofallthosebornintoit.Itsmetaphorfortheeffectofchangeoncultureisdisappearance.17Architecture,inalliancewithtechnology,isdissolvingage-oldculturaldifferencesaroundtheworld.Skyscraper
16、s,suspensionbridges,HolidayInns,McDonalds,orcondominiums（国际法共管）lookthesameinSingaPore,St.Louis,NewDelhiandNewEngland.Theemergenceofaglobalarchitecturalstylehastenedthedisappearanceofregionaldifferences.18 The effect of change has been the disappearance of regional and parochial（地地方方范范围围的的） identitie
17、s and the emergence of a global consciousness. The universalizing process of technology has touched every facet of culture. As this has happened, the sense of individuality has inevitably faded.19ITS A STRANGEnewworldoutthere.Factoryworkersaremadeofmetalandplastic;money,anincreasinglyabstractproposi
18、tion,ismadeandlostnotinworkshopsandfieldsbutonflickeringscreens.Databasesgrindthroughamillionmainframes,assemblingyourbiographyandminetoafantasticdegreeofdetail.20O.B. Hardison, Jr., badly wants to help. Aprofessor emeritus（退休的） of Englishliterature and former director of the FolgerShakespeareLibrar
19、y,Hardisonsetupshopas a futurist late in life, having growninterestedintheeffectsofallthisnewfangled（新奇的） technology on thearts,ourculture,andoursouls.21Disappearing Through the Skylightaboundsinhisexcitementovertheseeffects.AndifHardisonbitesoffmorethanheorhisreaderscancomfortablychew,hesunapologet
20、icforit.Instead,hetakesusonawhirlwindtourofthehistoryofthefuture-thatis,of20th-centurydevelopmentsleadingtotodayselectronicwonderland.22Hisexpeditionspinsfromsubjecttosubject:Architecturalsemantics,artificialintelligence,mathematicalbiology,theDadamovementinthearts,andthepoliticsofthemachine all ent
21、er into it at one point oranother.Theresultisasometimesincoherent(makingitperfectlypostmodern)but thought-provoking excursion into thenewandunknown.23Technology, Hardison writes, can be aliberating force, freeing workers from thedrudgeryoftheassemblylineanddouble-entry（复复式式记记帐帐）bookkeeping.(Hedoesno
22、t,however,goontosaythattechnologicaladvantagesaregenerallyheldbytheveryfew, nor that all the time-saving machinessurrounding us have increased the typicalAmericanworkweekfrom40to60hours.)24cylinder汽缸2526carburetor27carburetor282)Neomodernismaphilosophicalpositionbasedonmodernismbutaddressingthecriti
23、queofmodernismbypostmodernism.ItiscurrentlyassociatedwiththeworkofAgnesHellerandCarlosEscud,andisstronglyrootedinthecriticismswhichHabermashaslevelledatpostmodernphilosophy,namelythatuniversalismandcriticalthinkingarethetwoessentialelementsofhumanrightsandthathumanrightscreateasuperiorityofsomecultu
24、resoverothers.Thatis,thatequalityandrelativismaremutuallycontradictory.29postmodernismatermusedtodesignateamultitudeoftrendsinthearts,philosophy,religion,technology,andmanyotherareasthatcomeafteranddeviatefromthemany20th-cent.movementsthatconstitutedmodernism.Thetermhasbecomeubiquitousincontemporary
25、discourseandhasbeenemployedasacatchallforvariousaspectsofsociety,theory,andart.Widelydebatedwithregardtoitsmeaningandimplications,postmodernismhasalsobeensaidtorelatetothecultureofcapitalismasithasdevelopedsincethe1960s.Ingeneral,thepostmodernviewiscool,ironic,andacceptingofthefragmentationofcontemp
26、oraryexistence.Ittendstoconcentrateonsurfacesratherthandepths,toblurthedistinctionsbetweenhighandlowculture,andasawholetochallengeawidevarietyoftraditionalculturalvalues.30FIAt:thebiggestItaliancarmanufacturingcompany.FiatisanacronymoftheItalianname,FabbricaItalianaAutomobileTorina.31TheCrystalPalac
27、eThe Crystal Palacewasacast-ironandglassbuildingoriginallyerectedinHydePark,London,England,tohousetheGreatExhibitionof1851.Morethan14,000exhibitorsfromaroundtheworldgatheredinthePalaces990,000squarefeet(92,000m2)ofexhibitionspacetodisplayexamplesofthelatesttechnologydevelopedintheIndustrialRevolutio
28、n.DesignedbyJosephPaxton,theGreatExhibitionbuildingwas1,851feet(564m)long,withaninteriorheightof128feet(39m).1Aftertheexhibition,thebuildingwasmovedtoanewparkinPengeCommonnexttoanaffluentareaofLondoncalledSydenhamHill,awell-heeledsuburbfulloflargevillas.TheCrystalPalacewasenlargedandstoodintheareafr
29、om1854to1936,whenitwasdestroyedbyfire.Itattractedmanythousandsofvisitorsfromalllevelsofsociety.ThenameCrystal Palace(thesatiricalmagazinePunchusuallygetsthecreditforcoiningthephrase)2waslaterusedtodenotethisareaofsouthLondonandtheparkthatsurroundsthesite,homeoftheCrystalPalaceNationalSportsCentre.32
30、3334VolkswagenBeetle:ModelnameofacardesignedandmanufacturedbytheGermancarmanufacturingcompany,Volkswagen.35DadaDada(Englishpronunciation:)orDadaismisaculturalmovementthatbeganinZurich,Switzerland,duringWorldWarIandpeakedfrom1916to1922.1Themovementprimarilyinvolvedvisualarts,literaturepoetry,artmanif
31、estoes,arttheorytheatre,andgraphicdesign,andconcentrateditsanti-warpoliticsthrougharejectionoftheprevailingstandardsinartthroughanti-artculturalworks.Itspurposewastoridiculewhatitsparticipantsconsideredtobethemeaninglessnessofthemodernworld.Inadditiontobeinganti-war,dadawasalsoanti-bourgeoisandanarc
32、histinnature.36ManyDadaistsbelievedthatthereasonandlogicofbourgeoiscapitalistsocietyhadledpeopleintowar.Theyexpressedtheirrejectionofthatideologyinartisticexpressionthatappearedtorejectlogicandembracechaosandirrationality.Forexample,GeorgeGroszlaterrecalledthathisDadaistartwasintendedasaprotestagain
33、stthisworldofmutualdestruction.37超现实主义surrealismA20th-centuryliteraryandartisticmovementthatattemptstoexpresstheworkingsofthesubconsciousandischaracterizedbyfantasticimageryandincongruousjuxtapositionofsubjectmatter.ItalsoreferstoLiteratureorartproducedinthisstyle.38Picabia:FrancisPicabia弗朗西斯毕卡比亚(18
34、78-1953),aFrenchDadaist/surrealistpainterFrancisPicabia，为弗朗西斯毕卡比亚)于1879年1月22日出生于法国巴黎，其父为一成功的古巴商人。一开始毕卡比亚崇尚印象主义(Impressionism)，后转而立体主义(Cubism)。约于1909年加入立体主义团体“巴托拉瓦”集团。1913年，他放弃了立体主义的观点。1915年后，转而投向达达主义和超现实主义的运动。3940Duchamp:MarcelDuchamp(1887-1968),aFrench-bornAmericanDadadist/SurrealistConceptualArtis
35、t.41EiffelTower:The plan to build a tower 300 metres high was conceived as part of preparations for the Worlds Fair of 1889.The Eiffel Tower, symbol of innovative technique at the end of the 19th century, has maintained its universal image. 42Pablo PicassoPabloPicasso(1881-1973):Spanishartist.Hewasb
36、estknownasthe20thcenturysmostfamousartist.Oneofthemostprolificandinfluentialartistsofthe20thcentury,Picassoexcelledinpainting,sculpture,etching,stagedesign,andceramics.WithGeorgesBraquehelaunchedcubism(19061925),andheintroducedthetechniqueofcollage.AmongPicassosworksareLes Demoiselles dAvignon(1907)
37、亚维农的少女andGuernica(1937).4344Guernica(1937)45Leonardo da Vinci (1452-1519):Artist&Scientist.HeisbestrememberedasthepainteroftheMona Lisa(1503-1506)andThe Last Supper(1495).Buthesalmostequallyfamousforhisastonishingmultiplicityoftalents:hedabbledinarchitecture,sculpture,engineering,geology,hydraulicsa
38、ndthemilitaryarts,allwithsuccess,andinhissparetimedoodledparachutesandflyingmachinesthatresembledinventionsofthe19thand20thcenturies.Hemadedetaileddrawingsofhumananatomywhicharestillhighlyregardedtoday.Leonardoalsowasquirkyenoughtowritenotebookentriesinmirror(backwards)script,atrickwhichkeptmanyofhi
39、sobservationsfrombeingwidelyknownuntildecadesafterhisdeath.46CubismCubismwasa20thcenturyavant-gardeartmovement,pioneeredbyPabloPicassoandGeorgesBraque,thatrevolutionizedEuropeanpaintingandsculpture,andinspiredrelatedmovementsinmusic,literatureandarchitecture.Incubistartworks,objectsarebrokenup,analy
40、zed,andre-assembledinanabstractedforminsteadofdepictingobjectsfromoneviewpoint,theartistdepictsthesubjectfromamultitudeofviewpointstorepresentthesubjectinagreatercontext.Oftenthesurfacesintersectatseeminglyrandomangles,removingacoherentsenseofdepth.Thebackgroundandobjectplanesinterpenetrateoneanothe
41、rtocreatetheshallowambiguousspace,oneofcubismsdistinctcharacteristics47Kandinsky:WassilyKandinsky(1866-1944),Russian-bornFrenchExpressionistPainterExpressionism（表现主义）isastyleinwhichtheintentionisnottoreproduceasubjectaccurately,butinsteadtoportrayitinsuchawayastoexpresstheinnerstateoftheartist.Themo
42、vementisespeciallyassociatedwithGermany,andwasinfluencedbysuchemotionally-chargedstylesasSymbolism（象征主义）,Fauvism（野兽主义）,andCubism.4849GameTheory:Gametheoryisabranchofmathematicalanalysisdevelopedtostudydecisionmakinginconflictsituations.Suchasituationexistswhentwoormoredecisionmakerswhohavedifferento
43、bjectivesactonthesamesystemorsharethesameresources.GametheoryprovidesamathematicalprocessforselectinganOPTIMUMSTRATEGY(thatis,anoptimumdecisionorasequenceofdecisions)inthefaceofanopponentwhohasastrategyofhisown.50Scientificwriting1.technical termscylinderblock;carburettor；thermodynamics2.objective:r
44、elyingonfacts,notinvolveemotionSeldomusefiguresofspeech,exclamationTheuseofpresenttenseTheuseofpassivevoice3.sentencesa)complete:nocontractions(dept-department)b)long:1)compoundsentences2)appositions3)parenthesis4)logicalconnectors-however;but;also;yet51Generallythistechnicalwritingtendstobeveryform
45、al.Yetthecharacteristicsofanykindoflanguagestyleisnotabsolute.Inordertomeettheneedsoftheworkforpopularscience,manyscientificworkerstrytoadoptamorepopularstyle.Thentherecomesapopularscientificandtechnicalwritingstyle.5253品牌：FIAT（菲亚特）意大利都灵汽车制造厂的译文缩写“fiat”在英语中的词意为“法会”、“许可”、“批准”。该公司的标识一直沿用“FIAT”，只是形状和色彩
46、有不同的改进。品牌：VOLKSWAGEN（大众）大众汽车公司的德文VOLKSWAGENWERK，意为大众使用的汽车，标志中的VW为全称中头一个字母，标志像是由三个中指和食指做出的“V”组成，表示其公司和产品必胜-必胜-必胜。品牌：FORD福特福特汽车的标志是采用福特英文Ford字样，蓝底白字。由于创建人亨利福特喜欢小动物，所以标志设计者把福特的英文画成一只小白兔样子的图案。品牌：AUDI奥迪奥迪的四个圆环，代表着合并前的4家公司。这些公司曾经是自行车、摩托车及小客车的生产厂家。由于该公司原是由4家公司合并而成，因此每一环都是其中一个公司的象征。54品牌：奔驰BENZ标识意义：1909年6月申请
47、戴姆勒公司登记了三叉星作为轿车的标志，象征着陆上、水上和空中的机械化。1916年在它的四周加上了一个圆圈，在圆的上方镶嵌了4个小星，下面有梅赛德斯“Mercedes”字样。“梅赛德斯”是幸福的意思，意为戴姆勒生产的汽车将为车主们带来幸福。品牌：BMW宝马标识意义：宝马标志中间的蓝白相间图案，代表蓝天，白云和旋转不停的螺旋桨，喻示宝马公司渊源悠久的历史，象征该公司过去在航空发动机技术方面的领先地位，又象征在广阔的时空中，以先进的精湛技术、最新的观念，满足顾客的最大愿望。品牌：Bentley宾利标识意义：尔特欧文本特利1919年生产第一辆四汽缸赛车时车上就带有一个徽章，上面是一对隼鹰翅膀簇拥着本特
48、利的开头字母“B”。现在四汽缸汽车已不再生产，而“B”字徽章仍是本特利的象征。以公司名的第一个字母“B”为主体，生出一对翅膀，似凌空翱翔的雄鹰，此标志一直沿用至今。55品牌：Lexus雷克萨斯(凌志)雷克萨斯（凌志）的标志取车名的英文第一个字母，即LEXUS的第一个字母“L”。用椭圆环绕的L字母，椭圆弧度依照精确的数学公式修饰，动用3个以上的设计商和广告商，花了半年多才完成。品牌：克莱斯勒（Chrysler）克莱斯勒（Chrysler）公司是由创始人沃尔特克莱斯勒的姓氏命名的汽车公司。图形商标像一枚五角星勋章，它体现了克莱斯勒家族和公司员工们的远大理想和抱负，以及永无止境的追求和在竞争中获胜的
49、奋斗精神。五角星的五个部分，分别表示五大洲都在使用克莱斯勒汽车公司的汽车，克莱斯勒汽车公司的汽车遍及全世界。品牌：Rolls-royce劳斯莱斯劳斯莱斯汽车的标志图案采用两个“R”重叠在一起，象征着你中有我，我中有你，体现了两人融洽及和谐的关系。而著名的飞天女神标志则是源于一个美丽的爱情故事！56品牌：Cadillac卡迪拉克凯迪拉克徽标取自凯迪拉克家族在古代的宗教战争中，使用的“冠”和“盾”型的纹章图案。“冠”上的七颗珍珠表示凯迪拉克家族具有皇家贵族血统，即凯迪拉克家族是贵族。“盾”象征着凯迪拉克军队是一支金戈铁马、英勇善战、攻无不克、无坚不摧的英武之师。“盾”中的各种颜色也有深刻含义，它们
50、分别表示婚姻、土地和丰收。如红色表示勇猛和赤胆；银色表示婚姻、纯洁、博爱和美德；黄色表示丰收和富有；蓝色表示创新和探险；黑色表示土地。品牌：Buick通用别克别克商标中形似“三利剑”的图案为共图形商标，那三把颜色不同的利剑（从左到右分别为红、白、蓝三种颜色），依次排列在不同的高度位置上，给人一种积极进取、不断攀登的感觉，它表示别克采用顶级技术，别克人是勇于登峰的勇士。品牌：Toyota丰田标识意义：三个椭圆的丰田标识中的大椭圆代表地球，中间由两个椭圆垂直组成一个T字，代表丰田公司。象征丰田公司立足于未来，对未来的信心和雄心，以及立足于客户，用户的心和厂家的心连在一起。57品牌：Honda本田现
51、在的本田商标是三弦音箱式商标，也就是带框的“H”，H是本田拼音HONDA中的第一个字母，体现出技术创新，职工完美和经营坚实的特点，同时还有紧张感和可以放松一下的轻松感。品牌：Lamborghini兰博基尼标志是一头浑身充满力气，正准备向对手发动猛烈攻击的牛。据说兰伯基尼本人就是这种不甘示弱的牛脾气，也体现了兰伯基尼公司产品的特点，因为公司生产的汽车都是大功率、高速的运动型轿车。车头和车尾上的商标省去了公司名，只剩下一头犟牛。品牌：Infiniti英菲尼迪椭圆形标志表现的是一条无限延伸的道路。椭圆曲线代表无限扩张之意，也象征着“全世界”；两条直线代表通往巅峰的道路，象征无尽的发展。Infinit
52、i(英菲尼迪)的标志和名称象征着英菲尼迪人一种永无止境的追求，那就是创造有全球竞争力的真正的豪华车用户体验和最高的客户满意度。58品牌：Ferrari法拉利法拉利法拉利的标志是一匹跃起的马。在第一次世界大战中意大利有一位表现非常出色的飞行员；他的飞机上就有这样一匹会给他带来好运气的跃马。在法拉利最初的赛车比赛获胜后，该飞行员的父母亲一对伯爵夫妇建议：法拉利也应在车上印上这匹带来好运气的跃马。后来这位飞行员战死了，马就变成了黑颜色；而标志底色为公司所在地摩德纳的金丝雀的颜色。品牌：Porshe保时捷保时捷“PORSCHE”字样在商标的最上方，表明该商标为保时捷设计公司所拥有；商标中的“STUTT
53、CART”字样在马的上方，说明公司总部在斯图加特市；商标中间是一匹骏马，表示斯图加特这个地方盛产一种名贵种马；商标的左上方和右下方是鹿角的图案，表示斯图加特曾是狩猎的好地方；商标右上方和左下方的黄色条纹代表成熟了的麦子颜色，喻指五谷丰登，商标中的黑色代表肥沃土地，商标中的红色象征人们的智慧和对大自然的钟爱。品牌：Citroen雪铁龙雪铁龙1900年，安德烈雪铁龙发明了人字形齿轮。1912年，安德列雪铁龙开始用人字形齿轮作为雪铁龙公司产品的商标。后来，雪铁龙曾组织过横穿非洲大陆和横越亚洲大陆的两次旅行，使雪铁龙汽车名声大振。法国人生性开朗，爱赶时髦，喜欢新颖和漂亮，雪铁龙轿车就表现了法兰西这种性格，每时每刻都在散发着法国的浪漫气息。59品牌：Hyundai现代H是现代汽车应为名HYUNDAI的第一个大写字母，商标中的椭圆代表了汽车方向盘，又可以看作地球，结合在一起代表现代汽车遍布全世界的意思。品牌：Mazda马自达马自达标识椭圆中展翅飞翔的海鸥，同时又组成“M”字样。“M”是MAZDA第一个大写字母，预示该公司将展翅高飞，以无穷的创意和真诚的服务，迈向新世纪。60
