广东省台山市华侨中学高中英语人教版选修6《UNIT 1 ART》教案：THE SIXTH PERIOD INTEGRATING SKILLS (II).doc

1、The Sixth Period Integrating Skills (II)Teaching goals教学目标1. Target language 目标语言a. 重点词汇和短语environment, council, attractive, permission, imagination, cross out b. 重点句式 P45We would like to turn . into.When we have finished the work, we hope . will join us in . so that.2. Ability goals能力目标Enable the s

2、tudents to talk about environment.Enable the students to write a letter asking for permission.3. Learning ability goals 学能目标Help the students learn how to talk about environment.Help the students learn how to write a letter asking for permission.Teaching important & difficult points 教学重难点Teach the s

3、tudents to write a letter asking for permission.Teaching methods教学方法Fast reading; careful reading; discussion.Teaching aids 教具准备A projector, a computer and a recorder.Teaching procedures & ways教学过程与方式Step I Reading Task Task 1 Fast readingT: At the beginning of this week, we have noticed that our sc

4、hool has been painted white and decorated with many famous works of art. They all make our school look more beautiful. Here is a letter on page 45 from a group of students who would like to make their school more attractive. Please read it as fast as possible to answer the questions on the screen.Sh

5、ow the questions on the screen.1. Why do they become worried?2. What do they hope the headmaster to do for their project?After a few minutes, check the answers.Sample answers:1. Lately their class has become worried about the environment at the back of the school and they would like to do something

6、to make their school more attractive.2. They hope their headmaster will give them permission for their valuable plan and help them donate 500 dollars.Task 2 Careful readingT: Suppose you were the president of the high school council and you received this letter. Prepare to make notes for a report ab

7、out the letter to the school council, filling the blanks on page 46. Before reading, Ill show you some tips about how to make notes.Show the following on the screen.1. Just write down some key words.2. Use words or phrases.3. Omit the small words like prepositions.T: Now please read the letter caref

8、ully. When you read, please catch the key words. Then make notes for the report by filling the blanks.A few minutes later, check the answers with the whole class.Step II Speaking TaskAsk the students to discuss how to improve the environment of their school in groups of 4. Then ask some of them to s

9、peak out some proposals to make their school more attractive. T: Now I would like you to discuss how to improve the environment of our school to make it more attractive in groups of 4. Practice the tasks according to the instruction in SPEAKING TASK on page 46.After a few minutes.T: Id like some of

10、you to give your opinions about what and how we should do to improve the environment of our school.S: I suggest planting more trees, grass and flowers to make our school look like a beautiful garden. They can also make the air fresh. Youd better not to pick the flowers and stamp the grass.S: I think

11、 we should not throw litter on the ground or floor. Instead, pick up rubbish and throw it into a dustbin, collect waste paper and bottles for recycling. We should put different rubbish into different dustbins. S: We should prevent the factories from pouring waste and polluted water not only into the

12、 river near our school but also into the other rivers. We can go outside to hand out leaflets about protecting the environment. We also can visit the factories to tell the owners the serious result they will bring to the people. S: Keep the schoolyard or the classroom clean. Dont draw pictures on wa

13、lls. Dont carve names on the trees or on the desks and chairs. Do some cleaning carefully and regularly. We may draw some big posters about environmental protection. We shouldnt throw about waste batteries and fruit peel.S: I advise making our school a non-smoking place. Id like to persuade both tea

14、chers and staffs not to smoke, telling them its a bad habit to smoke, and smoking does damage to ones health and cause some deadly diseases. T: It means that you have already done something useful to improve the environment. If everyone makes contribution to protecting the environment, the world wil

15、l become much more beautiful. If all Chinese care about the environment, Im sure China will become one of the most beautiful countries in the world.Step Writing TaskAsk the students to write a letter to the headmaster of the school asking for permission to improve the environment of the school. Tell

16、 them while writing, they can refer to the instruction in WRITING TASK.A sample letter:Dear Mr. Wang,As you know, our school used to look like a beautiful garden with green trees and many kinds of flowers in our schoolyard all year round. But great changes have taken place since a chemical work was

17、built near our school two years ago. It produces poisonous gases and pours a large amount of waste water into the river. The terrible pollution has done great harm to students and teachers as well as to the surroundings. Its time for us to do something to protect our school and prevent her from bein

18、g polluted.First, we must make great efforts to clean up polluted water and stop further water pollution. Ask the government to maintain and improve present facilities, and construct new project with health, safety, and protection of the environment as primary concerns.Second, we must insist that wa

19、ter pollution control laws be passed and strictly enforced. This responsibility extends also to members of the general public in our surrounding community. An important aspect of this responsibility is making ongoing programs to protect the communitys air, land and water quality. This is of such imp

20、ortance, that is must be given precedence over operating productivity. Finally, we can also protect ourselves against polluted water. We should take measures to clean the polluted water. To cooperate with government, industry and academia is supporting research and maximizing benefits for the genera

21、l public in safety, health and environmental matters.We hope you will give us a permission to carry out the project and donate 5,000 yuan we need. And we also require you to make a report to ask for the governments rescue. By doing so, we will be able to live a healthier and happier life.Yours since

22、rely, Liu Wei附件. 课文重点难点解析 1. There are so many different styles of Western art that it would be impossible to describe all of them in a short text. P1 a. so . that . 如此以致于; so之后可接形容词、副词或加修饰语的名词：e.g. This is so interesting a book that we all like to read it. 这本书很有趣， 我们都喜欢读。 He had so many falls that

23、he was black and blue all over.他摔了许多跤，以致全身都青一块紫一块。b. 当不定式、动名词、从句等结构用作主语时， 为了避免“头重脚轻”，往往用it作形式主语而把真正的主语放在句子末尾。e.g. Is it necessary to tell her father everything? 有必要把一切都告诉她父亲吗？ It is said that he got married last month.据说他上个月已经结婚了。2. People became focused more on humans and less on religion. P2focus

24、. on . 对准焦点；使集中e.g. He focused the camera on her. 他把照相机的焦点对准了她。The teacher focuses her attention on the book.老师正集中精力看书。3. During the Renaissance oil paints were also developed, which made colors look richer and deeper. P2 Which可用作关系代词，引导非限制性定语从句时，可指代其前面的一个指代事物的名词，在此句中指代整个主句。e.g. She received an invi

25、tation from her boss, which came as a surprise.她收到了老板的邀请，这是她意想不到的。The river, which flows through London, is called the Thames.这条流经伦敦的河叫泰晤士河。. 文化背景知识Painting StylesWhen we speak of painting styles coming and going, we often think in terms of a decade or so of prominence in this century, perhaps twice

26、 that length of time in the previous century, and a generation or two in the century before that. As painting has developed in the art of man, the lifespan of a given style of painting has decreased in duration geometrically. Broadly speaking, for instance, the so-called “Renaissance” style of paint

27、ing spans a hundred years or more. The mannerist style of painting that followed it somewhat less than that, perhaps 75 years, while the Baroque era lasted anywhere from 75 to 100 years depending upon which art historian you prefer. Moving back a century or so, early Christian art, sometimes called

28、Byzantine art was little changed for perhaps 1,000 years. Talk about a style with legs! A Madonna and Child fresco painting from the Catacomb of Priscilla in Rome dates from the third century. It features a sitting Madonna holding a child-like Christ on her lap. Stylistically, it is little different

29、 from one painted in the 1300s by the Italian artist, Duccio. The Duccio panel is rich in heavy gold leaf and much more linear in design with the Madonna enthroned in what would appear to be a circular seat that would appear to have been modelled after the Coliseum. The third century fresco, in cont

30、rast, lacks a halo and actually seems more naturalistic than the Duccio figure. It seems possible, if not certain, that Duccio might have been familiar with the catacomb fresco. Whatever the case, though different, there is little doubt that stylistically, they are cut from the same thousand-year-ol

31、d cloth. Pursuing Madonna and child paintings down through Giotto, (a student of Duccio) to Massaccio (a student of Giotto) to his student, Piero della Francesca we can watch generation by generation as the Byzantine slowly gave birth to the Renaissance like a mother giving birth to a child. Traditi

32、onal Chinese PaintingNext to the supremely difficult art of calligraphy, the Chinese have for centuries seen painting as the highest form of art. Chinese paintings have an air of living nature, harmony and peace that is not always found in the art of other civilizations. Like all other forms of art,

33、 the Chinese strive to maintain a delicate, harmonious balance between tradition and innovation. Painting originated in the late Chou Dynasty, and its roots were cultivated in the Han Dynasty. These early paintings, which usually depicted the afterlife and heroic tales, saw a heightened sensitivity

34、to space, distance and the first exhibition of the elements of the landscape: small trees and great mountains. In the period of the Six Dynasties, which harbored Ku Kai-chih, long considered the father of landscape painting, Chinese painting took on a delicate and ethereal quality that has been adhe

35、red to throughout the long tradition of Chinese landscape art. The Tang Dynasty (618-906), the golden age of cultural accomplishment, saw the rise of three great painters Wang Wei, who instilled a sense of intimacy, simplicity and sad quietness into his works, Li Su-hsun and Li Chao-tao, who are bot

36、h known for the vivid green and blue, complex landscapes that have come to define the Tang painting. Painting diverged into many threads of ideas, styles and schools in what is generally seen as its culmination in the Song Dynasty (960-1279). The Song established a royal painting academy for the fir

37、st time, and officially patronized a plethora of famous artists. The bird-and-flower painting found its home in the royal court and has since been a popular theme among modern artists. A split between the Northern and the Southern styles emerged as well. The paintings of the North Song reflected a c

38、oncern with complex composition and brushwork, texture, and high concentrations of rocky cliffs, waterfalls, and bands of small figures. A type of literati painting, known as wen-jen hua, surfaced, preferring simple, revelatory subjects such as a tree or a rock or a bamboo shoot. The South Song saw

39、a landscape tradition regarded as the Ma-Hsia school, after Ma Yuan and Hsia Kuei, which produced expansive, over-arching views, covering great spans of land and mist, and cultivating a feeling of weightlessness and otherworldliness. To convey the void, the sensation of open space, and to suggest th

40、e never-ending quality of the world was the greatest objective here. Ma Yuan, “one-corner Ma”, liked to paint in one corner of the canvas and leave the rest empty. The Zen painting, originating with Zen monks, who disliked the academic cult and coveted the spontaneity of painting, produced free and

41、loosely defined paintings, which would be popular in later centuries. The Yuan (1279-1368), Ming (1368-1644) and Qing (1644-1912) Dynasties, saw a gradual disillusionment with the court, and many officials retired from royalty to become painters, comprising a school known as the literati and separat

42、e from the patronized and academic tradition. In the Yuan and Ming, bolder dashes of brush strokes were employed and interested in void and space yielded to a dramatic appreciation for form. While the academic art school continued to imitate the work of previous centuries, individual scholars or lit

43、erati, compensated by contributing to the dynamism and mutability of Chinese painting. The seeds of individuality were planted as painters rejected orthodoxy and imitation, and became freer and less restrained with their art. In the 20th century, with the fall of the Qing Dynasty and the rise of the

44、 Republic of China and then the Peoples Republic of China, Chinese painting has also undergone the pressure to modernize and adopt Western styles and traditions. Many painters studied in the international world and brought innovative styles, such as the use of bold colors, European brushwork and per

45、spective. Some paintings by Mao Zedong even took on political commentary in subject matter while retaining the old styles. Nevertheless, Chinese painting has never let go of its long-standing and centuries-old tradition. Painting will always contain the Tao, the notion of one power penetrating the w

46、hole universe. The Chinese artist still seeks harmony with the universe by communion with all things. If an artist has qi, the spirit of art and of the universal order, everything else follows; but if he or she misses chi, no amount of likeness, embellishment, skill, or even genius can save the work

47、 from lifelessness. The western mind is apt to think of Chinese painting as unemotional, as western content leans so heavily on the portrayal of love, joy, grief, anger and courage. But in Chinese painting, drama is handled differently. Brush and ink are not just tools. They possess the Tao, and rev

48、eal the spirit of chi. The chi is in the tip of the brush. The brush is an extension of the hand, which is the servant of the spirit. Use of the brush must be effortless. Yet there must be strength in the brush, which depicts the trees and mountains. Ink is thought to have five colors. It can be use

49、d to depict both what is and what is not. There must be unity in composition. Yin and yang are opposing forces, which need one another for completeness. The term for landscape, shan shui or mountain-water, is in itself symbolic of yin-yang. Mountains are believed to be associated with yang while wat

50、er is associated with yin. Yin-yang applies to perspective. Objects in the layout should be looked at from the front and the side. Brush strokes should be upright and slanted. There should be parts that are sparse and parts are dense. The light and the thick should balance. Thick ink must be accompa

51、nied by thin ink. Everywhere this principle of the opposites is applied to painting. Voids contribute much towards the suggestive quality of landscape painting. Like all other forms of art, Chinese painting, while changing and yielding to the times like an organism, will always have its distinctly C

52、hinese character.The Pioneer of Contemporary Realistic PaintingThe New Culture Movement started from the May Fourth Movement, which at the beginning of the 20th century started a revolution against imperialism and feudalism in Chinese cultural fields. Many Chinese painters went abroad to learn Weste

53、rn painting skills. One of them was Xu Beihong, who went to Europe to study Western classical realist painting, and then combined it with traditional Chinese painting methods. He was the pioneer of contemporary Chinese realist fine arts. Xu Beihong (1895-1953) was a native of Yixing, Jiangsu Provinc

54、e. His father, from whom he learned painting in his childhood, was also a painter. At the age of 20, Xu went to Shanghai to sell paintings. In 1918, at the invitation of Cai Yuanpei, he went to Peking University to work as an instructor at the Painting Research Society. The next year, he went to Par

55、is to study, then transferred to Berlin and Belgium to learn oil painting and sketch drawing. He liked the Western classical paintings of the Renaissance very much and diligently copied them day and night. After he came back to Beiping (present-day Beijing) in 1927, he served as the president of the

56、 Beiping Art Institute, dean of the Art Department of Nanjing Central University and later as principal of the Beiping Vocational Art School. After the liberation of the Peoples Republic of China in 1949, Xu worked as the president of the Chinese Central Academy of Fine Arts and chairman of the Chin

57、ese Artists Association.Learning from Western paintings, Xu also incorporated his knowledge of human anatomy and modeling in his figure paintings. During his eight years in Europe, he studied the classic, romantic and impressionist painting styles and tried to understand their different ideas. After

58、 he came back to China, he blended them with traditional Chinese painting. He considered Chinese and Western paintings as different branches of art with respective advantages and he thought they should be combined, absorbing the essence and rejecting the dross.Though Xu adopted many Western painting

59、 techniques, he was also a master of traditional Chinese painting. He spoke highly of Yan Liben, Wu Daozi, Li Sixun of the Tang Dynasty, Huang Quan and Fan Kuan of the Five Dynasties and Xu Wei, Chen Laolian, Shi Tao and Bada Shanren of the Ming and Qing Dynasties. He also had great admiration for R

60、en Bonian. According to him, artists should seek after truth and take a proper attitude to life. He summarized seven painting rules in the preface of his book, The Painting Center. The seven rules are proper composition, accurate proportion, clear distinction of white and black, natural movements an

61、d gestures, harmony between bright and light colors, clear characterization and unambiguous expression of emotions. From these rules, we can see Xus careful research into traditional Chinese and Western paintings and his quest to combine the painting methods of the two. The rules provide a good summ

62、ary of his art practice and also represent a big achievement in modern realist fine arts research.Xu Beihong created thousands of excellent traditional Chinese paintings, oil paintings and sketches during his life. In his traditional Chinese painting Foolish Old Man Removing Mountains, (Fig. 2-40) o

63、il paintings Five Hundred Soldiers in The Field and Wait After Me, he depicted traditional Chinese folk tales or historical stories to hint obliquely at contemporary realist themes. His works have impeccable composition, extensive scenes and rich characterization to reflect the themes. His paintings

64、 of animals, flowers and birds, such as Crowing Cock in Storm and Galloping Horses, all reflect positive ideas. His works reveal his concern about society, the people and his devotion to art. Xu Beihong had researched the body shape and characteristics of horses and drew sketches of thousands of hor

65、ses. The horses under his painting brush combine Western and traditional Chinese painting skills, which have a unique attraction.During his life, Xu Beihong also devoted heart and soul to the education of new artists and made important contributions to fine arts education after the founding of New China.