【正文】 work is whole generation of children in Afghanistan has never known peace,until UNICEF is bringing food for malnourished 39。re rebuilding schools,they39。s not the wasn39。re also bringing hope. 幫助兒童 當(dāng)今世界，很多兒童生活在貧困中。他們不能上學(xué)。這里的孩子們甚至從不了解和平，直到不久前。 ―在塔利班時(shí)期，我們?cè)?40000 孩子中做了調(diào)查。 ―多于一半的學(xué)校被完全摧毀，另一半的，則需要重修。這位教師Habiba Kilwati，已經(jīng)管理這家學(xué)校 12 年了。在塔利班控制下，警方會(huì)懲罰那些有孩子上學(xué)的家庭。他們重修校園，印刷教材，并給學(xué)校發(fā)書和其他所需物品。女孩們因可以重返校園而開心。 ‖―我們打算開放校園，讓 孩子們?nèi)雽W(xué)，重返校園， 并給他們教育使他們可以讀書和寫字。我為我們年經(jīng)的女孩，年輕的孩子們感到驕傲，他們可以重返學(xué)校。我曾在這附近的一家戲院里工作過(guò)。 （電話響了） Andy: 噢， Joe 打來(lái)的。 （ Andy 掛了電話） Andy: 不管怎樣，快點(diǎn)把，我們最好動(dòng)身了。 Joe: 算了，我們別說(shuō)這個(gè)了。 . Andy: 能更多地談?wù)勀切┭莩鰡幔? Toby: 好的，其中有雜耍演員在高空鋼絲上的表演、有木偶表演、吞劍表演、魔術(shù)表演、還有個(gè)柔韌性很好的人 從一個(gè)網(wǎng)球拍中成功地鉆了過(guò)去。 . Andy: Ja，這些你都錄好了嗎 ? Joe: 讓我聽聽看 Ja: 哦不，我做錯(cuò)什么了嗎？ Joe: 問(wèn)題是，我什么都聽不見啊。 . Andy: 今天我們很榮幸地邀請(qǐng)到 Toby Jenkins 接受我們的采訪?? Outside View 外語(yǔ)下載中心 外語(yǔ)下載中心 The Mona Lisa, the most famous painting in the world, was trully revolutionary even in its time. While he was painting the Mona Lisa, Leonardo da Vinci broke all the rules, even his own. In spite of the fact that Leonardo and other aritists believed that women should only be portrayed with eyes gazing slightly down. Leonodo painted the Mona Lisa looking directly at the viewer. The positon of her body is another innovation. While her face looks straight ahead, her body is slight turned, a pose that creates a sense of movement and tension. In another break from tradition, the Mona Lisa is not wearing any jewellery or adorments. Finally, backgrounds in portraits usually indicated a real place but the landscape in Leonardo‘s portrait seems almost imaginary. A:One of the things I like to do is, um, think about her face and why, what is she trying, why, what is she trying to say with her face and I used to think that her face told more than one story. For instance, if I covered up one side of her face, it seemed like she might be a little sad or resevered, almost secretive. S:Her eyes are, they‘re kind of looking at us or around us, through us perhaps. I think with that painting she is the viewer and we are the subject in a way. And she has this look that she knows somehting that we don‘t know. A:And then when I coverd up that side and looked at the other side, she seemed happier, um, more satisfied. And togher, it created sort of the mystery about her that, um, made interpreting her face very enigmatic. S:There‘s speculation that the Mona Lisa is a selfportrait of Leonardo and I, I believe that it is, there, there, the features do line up between the Mona Lisa and sketches of Leonardo. Scott McMahon and Anne Pfaff are both portrait artists. They believe that portraits can tell a story and make people think, just as the Mona Lisa has done for so many years. A:When I was young, um, I was always interested in, um, reading books about people and, and the dynamics, different kinds of relationships they had and so when I became a painter it was natural for me to be interested in painting poeple and looking for similar kinds of stories to tell about them that you might read in a book. S:Uh, most of my work consists of photographic selfportraiture. Um, I‘m interested in using myself as th subject, um, not only as the creator of the image but as the, the character, or the performer of, of the images. So in my portraits I‘m trying to capture, um, a deeper essence of a person, um, more or less. This work here is done with a pinhole camera, which requires a very long exposure so, with a portrait you can get this feeling of time passed. It‘s not a, it‘s not an instant, per se, it could be five minutes of exposure. A:So this is another project I‘m working on. I‘m almost finished with it but I still need to work on the reflections in the wather, um, and the face of the boy before it‘s finished. S:I often work with multiples and, you know, using a mirror or the same image twice and what I wanted to do was link the two portraits together with the string. It‘s kind of the string of thought or this idea of remembering or the resilience of memory. A:I don‘t just paint from photographs. I try to make a work of art. Um, I try to make a painting that goes beyond a mere photographic image. I try to capture something about the soul of the, or the essence of this person. S:This piece here is, uh, it‘s called The Measure of Decay and behind the piece there are portraits, again, of me I have this clay covering on that has cracked and so it‘s, it‘s kind of like the process of decay. So as each portrait goes around you can, you can see the image in a different focus. I love painting portraits. 外語(yǔ)下載中心 外語(yǔ)下載中心 A:I love painting but portraits are very special because they‘re about people. S:I‘m fascinated by portraiture in general, and the human body and how the image lives over time. I like to capture what is unique and special about an individual in paint. 蒙娜麗莎，作為世界上做最著名的畫，在當(dāng)時(shí)的時(shí)代是完完全全顛覆性的。在達(dá)芬奇創(chuàng)作的這幅畫中，盡管他其他廣大藝術(shù)家都認(rèn)在畫像中婦女只能以眼睛微向下看的姿態(tài)出現(xiàn)，可是他仍然將蒙娜麗莎畫為直視著看畫者。最后一點(diǎn)，肖像畫的背景通常指向一個(gè)真實(shí)的地點(diǎn)，而列奧納多的肖像畫 的背景看起來(lái)都是夢(mèng)幻一般的。在一定程度上，我想在這幅畫中，她是旁觀者，而我們卻成了畫的主題。 斯科特麥克馬洪：有一種猜測(cè)說(shuō)蒙娜麗莎這幅畫是達(dá)芬奇的自畫像，而我認(rèn)為，這些特點(diǎn)是集合了蒙娜麗莎還有達(dá)芬奇的素描。 斯科特麥克馬洪：恩，我的大部分工作由攝影自畫像組成。它并不是，并不是一個(gè)瞬間的，它本身可以是五分鐘的曝光時(shí)間。那是一種思想的線，或者說(shuō)是記憶，還有記憶的重現(xiàn)。我試著捕捉一些關(guān)于人的靈魂或者是關(guān)于人的本質(zhì)的東西。我喜歡畫畫但是肖像畫是非常特殊的，因?yàn)樗鼈兪顷P(guān)于人的。s…let me see...it39。s a mixture of traditional Korean music, percussion and drums, into a western style performance Lily: I39。s a nonverbal performance so there are no language barriers. That39。clock and they also have to give the manager39。s a really great family show. In fact it39。s popular with tourists then. Hugh: Well apparently over a million foreign tourists in (South)Korea have seen the show and it39。ll have to check it out on the inter. 麗莉 ： 這次你的 韓國(guó) 之行有什么讓你難忘的事情么？ 休 ： 額。 麗莉 ：那聽起來(lái)挺有意思啊