回想起我的青春期，还真是叛逆且操蛋的惨不忍睹啊，自己痛的撕心裂肺，周围的人也跟着又气又痛。互相伤害。严重的网瘾。

那时候跟几个不学习的女孩子一起玩的不错。常和J一起听她讲道上混的事，J是一个长得漂亮又灵气的女生，跟男生十分玩的来，也因为“骚”而闻名。我以一个好学生的身份常常帮她骗她妈妈，跟她在一起的时候我大概是感觉猎奇又刺激，后来高中不在一个班，也就淡了。

M和J关系就很好，我常去她家玩，有一次还撞见她爸跟外遇在家里，弄得我俩人心惶惶。只是有一次，我非要她送我回家，走到半路她要折回，我拉住她不放，也许是半开玩笑的，M说了句，你再不让我走我就叫XX来打你！我立马就怒了，一甩头就跑，还觉得很伤心，当时还很蛋逼的总结出了一句充满了华丽丽的忧伤的话：当你想流泪的时候，就奔跑吧，那样眼泪就流不出来了。

至于H，因为她，我跟老妈闹得很僵。H是个有点稀奇古怪想法而人又很执拗的女孩子，跟家里关系也不是太好，比我叛逆多了，所以老妈不喜欢她。H有好多次在我家过夜，跟我一起睡，当时都聊了些什么我也不记得，总之当时和她还感觉挺投机的，我们都是想法多多的人。她说她想改名叫芥末。她说她想当空姐。她问我为什么她的嗓子唱假声那么难听。嗯对，我们都是爱好音乐的人。后来高二的寒假，我去找她教我弹吉他，我至今仅有的一点吉他技巧都是她教给我的。那个冬天她在帮人看店，我没事就骑着自行车去找她。她把头发剃光了，戴着帽子也看不出来，我也一只叫嚣着要剃光头，可是从来也没拥有过像她那么偏激的勇气。后来似乎她也没能考上空姐，同学聚会她也没出现过，我却仍能记得她那双水灵灵的大眼睛，受伤时里面充满泪水和开心时盛满了光的模样。

关于自己的故事，无非也就是充满了绝望、哭泣、抑郁、割腕、离家出走这样的字眼，现在想想觉得幼稚可笑得很，可当时看来又的的确确是天塌下来的感觉。没经历过那些痛彻心扉的成长，又怎么会知道骨感的现实生活的满足感呢。

好久没有看到过一部电影让我从头揪心到尾的，《卢旺达饭店》以卢旺达大屠杀为背景讲述了一个饭店经理如何保护许多难民度过弯刀的屠杀的故事。片中有许许多多值得让人深思的地方。比如说片中那位西方国家的记者对保罗说道：“你以為拍下的東西就會有人看，如此就有人關心這兒的情況？我想不，他們會邊看電視邊說：『天哪，那真恐怖！』然後繼續吃晚飯。” 我们对于他人的苦难不总是处于这种态度么？是的，我们能做的太少太少，但总不该漠不关心。就连我们对周围这个病态的社会都已经到了适应并习惯于是漠然处之的态度，对于苦难更是有种事不关己的心境。

上次看毕淑敏的《芒果女人》，文中的女性实在很可爱，那么执着的想要以一己之力改变这个社会的不良现象，不怕碰钉子，不怕被别人用异样的眼光看待，她只为自己的原则而坚持。有人在下面回帖说这种人是吃饱了撑的，我实在是很奇怪这种自己不愿打水宁愿渴死的人还在嘲笑那些从几百公里外拿小桶挑水给大家喝的人。

最近许多恶狼瞄准了石油丰富的利比亚以解救民众的名义对这片可怜的土地进行各种空袭。为什么在可怜的卢旺达不见你们强大的队伍，因为那里没有石油，没有你们想要的。多么可笑，所谓政治援助不过利益使然，真正的善类是如片中的Madamn Archer和那位神父一般愿意留守在这片混乱的土地上帮助这些难民的外籍人士。

这个世界总是杀戮不断，战争不断。正如片中所说的，都是为了利益。物质丰富了，精神文明却还处于最原始的状态，你喝上了苏格兰的生命之泉又怎么样，你手上的枪火还是要瞄准了平民老百姓，无辜的鲜血还是会因你而喷洒。这个世界的秩序不就是这样么？弱肉强食，法律和制度在暴乱面前显得那么苍白无力。可我们又绝不该绝望，即使这个社会再病态，我们还是要相信人性，起码相信自己。没有人来救你，那么便自救。看到别人的苦难，尽自己最大的可能去拉它们一把。

邱吉尔说，没有永远的敌人，也没有永远的朋友，有的只是永远的利益。保罗以为联合国会派兵来进行干扰，阻止暴乱。结果呢，新来的士兵只不过是来带走所有的白人。只有靠他们自己了，危机关头靠得住的只有自己的聪明才智和勇敢。

在很多情况下，那些道貌岸然的你一直在巴结着的人，其实只不过是几朵云，他们不会长久的为这片土地停留，偶尔挤出几滴雨，象征性的怜悯一下这片贫瘠的大地，一旦有风，他们便要飘走。如果可以，在可预见的将来，我愿意投身去做沙漠中的一片绿洲，永远的驻足在那，为饥渴的人们奉献一汪生命之泉。

在这个世界上，有许许多多我们不可知的事情。比如说从未吃过的一道菜，比如说该叫谁出来陪你散散步。

那些未知的事情，将我们对生活的信心，对事物的信念，不断的消减。

有些人有些地方总是在你最绝望的时候才浮现在你脑海，而当你想给他说说你的郁闷的时候却发现你不能。你在这个世界上一直孤独一人。没有人可以一直在你身边为你打气安慰你哄你。

虽然尴尬的情况不止碰到几次，但今天晚上还是尤其郁闷，也许我是个特别容易受别人情绪感染的人，朋友一旦心情不好也会勾起我近期所有的郁闷，最后整的大家都很郁闷自己也不知道怎么办。

有时候人太有责任感了反而会让自己不断碰壁，其他人早就军心涣散，只有你一个人还傻傻的以为要担起一个学姐的责任，带好这个队伍。谁不是在为自己的事情奔忙，又有几个人像你这么没原则，总把朋友放在第一位，抹不开面子说拒绝呢。

我这人最大的特点就是怎么都想让别人舒服，默默也好，扮丑也好，不管通过什么途径，只要让别人感觉舒服，就算让别人觉得你是个很闷的人或者根本就不把你放在眼里，你还是没有办法去做一些更突破的事，你唯一能做的就是让别人感觉你是个很舒服的人，仅此而已。所以你没有任何人格攻击力，连声音都是低低懒懒的，说话总是要重复几遍才能让人听清。就连老妈都知道叫你学会增强气场，是的，我是没有强大的气场，在我的周围就像一个无聊的午后，让人懒懒想打呵欠，却不会留下任何记忆。

情绪化。这种时候做不了任何事，直到找到宣泄的出口。心累，是因为你没有过上你想要的那种生活，对自己的表现亦不满意。懒得去经营一段感情，懒得去主动，你总是害怕自己失去什么，可机会总是在被动之中失去。所以你的人际关系一直是淡淡的，只有少数那么几个用一只手能数过来的真正可以无话不说的朋友。

没有合适的结尾，就让它讽刺的结束。

pooh百宝箱是个资料精华库，刚好想了解一些有关文艺复兴的知识，就看了艺术篇，跟我的需求相差还是甚远，先站在一个比较广阔的范围上来获取一些信息把。

文章很长，分段记录。

We may generally agree that art has many incarnations: drama, music, painting and sculpture, film, such literary expressions as poetry and the novel, the dance, and, in some ways, architecture. Today we see art forms entering fields that were undreamed of only a half-century ago -- video art, for example; music in which the performers rather than the composer decide what to play and when; dance in which dancers deliberately fall down; and plays without words. The primary question, "what are the arts" is best addressed if we ask about the function of art. Just what do the arts do? For whom?
art的形式以及变i化。提出最主要的中心疑问句：艺术到底用来干嘛的？都是为谁而创作的？

Across the history of Western civilization there have been more than a few formulations of what the arts do, but I will focus on five. These are functions that have been important, both in the longer Western tradition, and in the relatively short three centuries in which our country has participated in art. Perhaps the oldest definition of the function of the arts is that they provide pleasure. They offer sheer entertainment. We like stories, as in short fiction and TV specials and popular movies. We enjoy being reminded of the familiar, as in musical patterns we have heard since childhood, and we are pleased by arrangements of color, form, sound, and process that remove us from our everyday cares.
作者想叙述五点作用，第一点就是提供给人们以愉悦之情。

That the arts provide pleasure and escape is one formulation. Another is that they present us with insight into what is eternal and universal. Traditionally, this has been called the theory of imitation. Behind every profound work of art, this point of view proposes, is a set of principles about humanity that always prevails. A Renaissance painting of a Madonna and child, for many viewers, is somehow a revelation of transcendent spirituality; a Beethoven symphony is the last word on human endurance. Certain arrangements of color and movement satisfy us over a long period of time, like the ballet Swan Lake, for instance, or Impressionist paintings. We judge them as beautiful. Beauty, many would insist, is the very hallmark of what is truly "art."
第二点：给我们带来永恒和世界性的视野。后人就在这些思想的基础上不断模仿和创作。呐，我的文艺复兴有了，圣母玛丽亚怀抱婴儿坐在宝座上，made by Beato Angelico,充满了灵性的光辉（a revelation of transcendent spirituality）。贝多芬交响曲是人们忍耐力到达极限时的呐喊。最后总结，艺术最纯正的印记即是美，beauty!

To these may be added a third function. The arts are didactic -- they teach us. Shakespeare's Macbeth, for instance, teaches us that inordinate ambition is pernicious. Ingemar Bergman's films urge us not to miss the unspoken and the delicately nuanced. All the narrative arts, in fact, instruct us to some extent. When we watch a play that is deeply moral, we see ourselves in the characters, we recognize our own destinies in the plot, and we find the moral dilemma of the action to be representative of problems in all human relationships.
第三点，就是艺术的指导性。莎士比亚的麦克白告诉我们野心太大要倒霉。因格曼伯格曼的电影告诉我们不要错过了那些没有台词的微小镜头。所有的叙事体都在一定程度上教育了我们。当我们看那种道德伦理剧的时候，在那些姑妈奶奶大叔弟弟身上看到了自己的性格相似点，我们也许会幻想如果我们是那蜗居的海藻我会选择青梅竹马还是开路虎的有妇之夫。

So far we have defined the arts as providing pleasure, beauty, and instruction. At the beginning of the 19th century, these functions were considered to be the primary responsibilities of art. During most of Western history before this point, the nature of art had been determined primarily by leaders of society's most powerful institutions -- the church, the government, and the aristocracy. Artists were craftsmen at the service of leaders, and much of the work that they were commissioned to create interpreted and upheld their social vision.
在19世纪初呢，艺术是被统治阶级用来奴役人们让他们造那些代表他们统治思想和社会远见的建筑的。

Beginning about 1800, these principles were radically called into question, and we continue to live in an era of challenge. As the church and government, first in one European country and then another, pulled away from commissioning art, artists became competing members of entrepreneurial societies. Artists clamored to attract the notice of potential patrons, setting themselves apart as distinctive individual creators. The pianist Franz Liszt, for instance, in the 1830s and 40s created a public personality as the great piano virtuoso of the era. Socialites who hired him to play at their salons were proud to tell friends that he played the piano with such intensity that repairmen had to be called in afterwards. This function of the arts can be denoted as "expressionism" -- the artist's use of a medium to express unique passion and insight. Poets such as Emily Dickinson and Theodore Roethke, painters such as the American sea painter Winslow Homer, the black folk artist Horace Pipkin, and musicians like blues artist Clarence Leadbelly used the arts to express their deepest private feelings and their vision of the universe. What they created were not works that expressed an official or institutional point of view. They elevated the personal to a level of all-consuming importance.
后来呢，随着艺术表现形式越来越多样化，这个贵族们就爱攀比啦，一攀比就有竞争，艺术家们都去毛遂自荐，好的还可以受到重用，像这种感情强烈到把钢琴都弹坏的主也成了那些富太太们争相膜拜的对象，囧。那么艺术就有了它的第四点作用，即表现主义（expressionism）。写诗的有Emily Dickinson,Theodore Roethke，画画的有Winslow Homer，写歌的有蓝调风格Clarence Leadbelly。这些都不是权贵的奴隶，人家才是真正搞艺术的！

 

A second kind of expressionism also developed in the 19th century. This one was much more offensive. In societies undergoing tremendous change, artists began to use art to agitate for social change. The French painter Honore Daumier, for instance, in the 1830s used his brush and pencil to protest political oppression. In early 20th-century America, Theodore Dreiser used the novel to point out the devastating loss of place experienced by workers who fled the rural for the opportunities of the city. Photographer Sherry Levine has used grotesque images of women to protest the oppression of the female gender by American advertising, law, and social custom. This form of expressionism we can call cultural criticism. That is, artists take a stand against certain practices in the society that they consider to be unjust. They become a social conscience. Their viewers and readers are typically angered, and in response, artists often consider the intensity of their offensiveness a badge of honor. Their responsibility, in this view, is to shock. "The artist sees what his fellow citizens can't," the French critic Charles Baudelaire wrote in the 1840s. Some artists pay dearly for it. Henrik Ibsen was almost run out of town for a play that showed the willingness of a resort community to poison its visitors with contaminated water so long as the tourist dollars kept pouring in. Daumier was imprisoned for his caricatures of the King. In the early 20th century, Georges Braque, the French cubist painter, expressed his conviction that the most valuable art is deeply provocative. "Science reassures us," Braque wrote. "The arts disturb us."
另外一种表现主义呢，更有艺术的强烈感情色彩，更具历史性，他们用art来defend，去反抗压迫，去消除歧视，去发动暴动。这也就是为什么Braque说，科学让我们对生活充满信心，而艺术却动摇我们的信心。

One can well understand that these most recent functions of art -- the expression of private feelings and the criticism of society -- are seen as grave threats by citizens who want entertainment, or beauty, or peace. Yet, an ever-lengthening honor roll distinguishes works first received as unacceptable by resistant audiences. Beethoven's early listeners, accustomed to the predictable harmonies and melodic lengths of Haydn, dismissed his symphonies as literally causing their ears to hurt. The Parisian audience for Stravinsky's "Rites of Spring" in 1913 rioted when the orchestra first performed it. The paintings of Thomas Eakins, now recognized as among the greatest in the American tradition, were rejected as intolerable by his sitters. Van Gogh, two of whose still life paintings have recently broken all records in selling for $50 million, sold only one of his paintings in his entire career. Thoreau's Walden was an economic failure, and Melville's Moby Dick was so poorly received that he went into seclusion for years. When the French gave the Statue of Liberty to our nation in 1886, the Augusta Chronicle -- in Georgia -- condemned it as a pagan image unsuitable to our country.
这里就说了那些怀才不遇命途多舛的艺术家了。什么Beethoven,Stravinsky,Van Gogh,Thoreau,Melville还有自由女神像啦都被拿来当典型范例。

The corollary to the function of the arts is the inquiry, who consumes the arts? In the earliest years of the American Colonies, most artistic practice was applied to the making of architectural ornament, of pewter and silver vessels for home use -- elements we would consider "craft" that were part of the everyday lives of many of the colonists. Paintings, drama, and imaginative literature were rarely part of everyday life, even of occasional life -- even for the educated and well-to-do. This was because the vast systems of assistance -- of what Howard Becker calls "art worlds" -- were not yet in place. To produce plays, a director needs actors, costumes, a place to produce them, and an audience -- all of which come into being through the slow building up of expectations that plays are important enough to support with money and time. No less is this true of the creation of large paintings, or publishing novels. These are very practical reasons, and in early New England at least, there were factors of ideology as well. The Puritans, and those they influenced, were suspicious of complex artistic productions. They were persuaded that such art distracted attention from religious contemplation and work.

However small the early audience for art was in the Colonies, it was to expand by leaps and bounds in the 19th century United States. By the time of the Revolution, American political leaders and thinkers had been acutely aware of the ambitiousness of our government ideals and insisted that we must distinguish ourselves from European nations. As they observed the role of the most complex of the arts in European societies -- none of which were democracies -- they saw that arts were enjoyed only by the privileged. They had in mind lavish gardens of sculptured mythological figures, rooms of huge paintings depicting mythological fantasies, and expensive stage productions in which the aristocracy actually took part. In those contexts, the arts were expensive, and what was even more worrisome, they were patently not devoted to instruction or spiritual uplift.

Some Americans argued that complex forms of art did not have to assume the forms they had taken in Europe. They felt that after Americans had developed their economy, their intellectual life, and the social glue of their communities, the arts would find a natural place in national life. John Adams, for instance, wrote his wife Abigail at the time of the Revolution:

"I must study politics and war, that my sons may have liberty to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce, and agriculture, in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry, and porcelain."

By the 1830s, this vision began to come true in the United States. It took place first in the realm of print, with the importation of journals, novels, poetry, and philosophy. European musicians came to this country to teach and tour. People in urban centers, like New York, Philadelphia, Boston, Baltimore, Cincinnati, Charleston, Saint Louis, and New Orleans, began to take national pride in works that were about American places and experiences. Washington Irving wrote light satirical sketches about old Dutch characters and timorous New Englanders, delighting his New York readers. Dramatists and actors began to develop plays and character sketches about such original American characters as the Yankee and the frontiersman. Landscape painters began to interest buyers in pictures of American scenery. By about 1840, it was not unusual to argue that all of this activity meant that the nation was intellectually and morally healthy. In addition, many argued that this activity was necessary in order for the community of citizens to live the fullest possible lives. Amidst the great concern that Americans were entirely too concerned with making money, many expressed the conviction that pictures would turn their thoughts to beauty, music would calm their ambition, and the best literature would send them into the contemplation of matters other than dollars. Through the expansion of networks of publishing, of art academies, traveling dramatic troupe, and small orchestras, towns and cities across the growing nation became part of the democratization of the arts. After the Civil War, many citizens amassed gigantic fortunes and became major collectors, and in the 1870s some of these very citizens began to establish public museums so that their less affluent fellow citizens could enjoy paintings and other beautiful objects as part of their everyday lives.

If we look briefly at recent times, we find an even greater enlargement of audiences for the arts throughout the nation. The mass media have become part of that spread. Television has made it possible to explore the work of artists with a close-up focus that is impossible in museum visits. Television has made it possible to see in the performance of music -- the very bowing technique of violinists and the embouchere of flutists -- and to sit with Bill Moyers in the study of noted philosophers and sociologists of our time to hear them discuss their ideas. In communities large and small, in chain bookstores, as well as in the few specialty stores left, and on television, plays, ballet, paintings, sculptures, novels, and films in a wide range of intensity have been presented to mass -- as well as select -- audiences. Yet even as the employment of television in artistic production spread, many onlookers were persuaded that all was not well. Much of the mass audience seemed to wish merely to be pleased. What was being produced for the audiences who wished to be instructed, or to come face to face with the personal expression, or to be challenged, provoked, and even angered?

The National Endowments for the Arts and for the Humanities were chartered to meet some of these concerns. As the result of a substantial groundswell, in the early 1960s, of the conviction that the arts were crucial to the preservation of a lively, thoughtful society, Congress chartered the National Endowments in 1965. The NEA was given the responsibility to make possible individual artist's creativity as well as exhibitions that would bring art to large numbers of viewers across the country. The NEH was given the responsibility to encourage the interpretation of the arts, and more broadly, of the humanities. Scholars were to carry out this interpretation in formats accessible to large numbers of American readers, viewers, and museum-goers.

At the heart of the work of the Endowments was the conviction that the market forces in our society would not by themselves sustain a challenging artistic culture. In the 15-year period previous to the foundation of the Endowments, for instance, the art market had begun the climb to the precipitous heights at which it prevails today. Prices for old master and 19th-century paintings tripled, while artists still alive were struggling to make a living. The establishment of the Endowments attempted to guarantee American audiences that viewing or consuming would not be controlled by the marketplace. The Endowments were created to offer the creators, exhibitors, and viewers of art the same kind of encouragement and sanctuary that our constitution offers the pursuit of ideas in language.

到后面基本上是说美国艺术史了，没什么太多看头和用处。其实是我境界还不够，看不太懂也没耐心，嘎嘎。

今天突然间就领悟了备考GRE的真谛,我是永远也不可能达到牛人水平的四分之三了,倒是在准备AW的这段时间里学习到很多社科艺术历史等各类知识.这类知识是我一直以来渴求学习却没有动力去看的，现在从另一种语言的角度来学习反而有效率的多。

Samuel Adams 这货是导致美国独立的积极分子之一，在中学历史教科书上出现过的著名的波士顿倾茶事件Boston Tea Party就是他领头做这个浪费资源但为American Freedom推波助澜的事情的。这家伙一开始经商不成功才转而投怀于政治，你看看人家米国，不会做生意的才跑去当官，在俺们国度，人们都挤破了脑袋想混个一官半职，从商做的再好还得巴结当官的。扯远了，这个Adams参与签署了独立宣言，为人直言不讳很outspoken，以我暂时复习到的issue程度可以用到48这篇里面。这货就是带头闹事的好案例嘛，创造了历史，被世人铭记。

Label:American Patriot & Politician

 

Alfred Nobel.这货没什么好说的，世界战争的罪魁祸首= =。据我以前的了解这个男人姻缘方面比较寡淡，他爱的人拿了他的钱跟别人跑了让他伤心不已，好不容易喜欢上个女孩人家又看不上他个老骨头。总之最后伤心欲绝的他决定把遗产奉献给科学事业。这家伙貌似用不上什么大段的案例，嗯对了，诺爷爷的爱好还是 很广泛的，没事喜欢写写小诗啦，奏奏小曲啦，人家还精通五种语言哦～

Label:Swedish industrialist