【導讀】shesaid.“Whereisagoodpictureofthisman?”ThenasthearticlewasgoingtobewritteninEnglishZhouYangalsotookacopytothenativespeakeremployedbythenewspapertopolishthestyle.ShewasalsoveryhappywithZhouYang’sstory.“Youarerealyabletowriteagoodfrontpagearticle,”shesaid.ZhouYangsmiledwithhappiness.Lastofall,thechiefeditorreaditandapprovedit.“Welldone,”hesaidtoZhouYang.“Butpleaseshowmeyourevidencesowe’resurewe’vego

　　

【正文】 Cover the burned area wi th a dry, cl ean bandage that wi l not sti ck to the ski n. H ol d the bandage i n pl ace wi th tape. N ever put butter, oi l or oi ntm ent on burns as they keep the heat i n the wounds and m ay cause i nfection. If burns are on arms or l egs, keep them hi gher than the heart, i f posi bl e. If burns are on the face, the vi cti m shoul d si t up. If the i njuri es are second or thi rd degree burns, it i s vi tal to get the vi ctim to the doctor or hospi tal at once. H EROIC TEENAGER RECEIVES AWARD Seventeenyearol d teenager, John Janson, was honored at the Li fesaver Awards l ast ni ght i n Ri vertown for gi vi ng li fesavi ng fi rst ai d on hi s nei ghbor after a shocki ng kni fe attack. John was presented wi th hi s award at a cerem ony whi ch recogni zed the bravery of ten peopl e who had saved the li fe of another. John was studyi ng i n hi s room when he heard screami ng. When he and hi s father rushed outsi de, a m an ran from the scene. They di scovered that Anne Sl ade, m other of three, had been stabbed repeatedl y wi th a kni fe. She was l yi ng i n her front garden bleedi ng very heavil y. H er hands had al most been cut off. It was John’s qui ck action and knowl edge of fi rst ai d that saved Ms Sl ade’s li fe. H e imm edi atel y asked a num ber of nearby peopl e for bandages, but when nobody coul d put thei r hands on any, hi s father got som e tea towels and tape from thei r house. John used these to treat the m ost severe i njuri es to Ms Sl ade’s hands. H e sl owed the bl eedi ng by apl yi ng pressure to the wounds unti l the pol i ce and ambul ance arri ved. “I’m proud of what I di d but I was just doi ng what I’d been taught, ” John sai d. John had taken parti ng in the Young Li fesaver Schem e at hi s hi gh school. When congratul ati ng John, Mr Al an Southerton, Di rector of the Young Li fesaver Schem e sai d, “There i s no doubt that John’s qui ck thi nki ng and the fi rst ai d skil l s he l earned at school saved Ms Sl ade’s l i fe. It shows that a knowl edge of fi rst ai d can m ake a real di fference.” Before recei vi ng thei r awards l ast ni ght, John and the ni ne other Life Savers attended a speci al recepti on yesterday hosted by the Prim e Mini ster. 選修六 Unit 1 A SHO RT H ISTO RY O F WESTERN PAIN TIN G Art i s i nfl uenced by the custom s and faith of a people. Styl es i n Western art have changed m any ti m es. As there are so m any di fferent styl es of Western art, i t woul d be im posi bl e to descri be al of them in such a short text. Consequentl y, thi s text wil descri be onl y the m ost im portant ones, starti ng from the si xth century AD. The Mi ddl e Ages (5th to the 15th century AD) Duri ng the M i ddl e Ages, the mai n aim of pai nters was to represent reli gi ous them es. A conventi onal arti st of thi s peri od was not i nterested in showi ng nature and peopl e as they real y were. A typi cal pi cture at thi s ti m e was ful of reli gi ous sym bol s, whi ch created a feeli ng of respect and l ove for God. But i t was evi dent that i deas were changi ng i n the 13th century when pai nters li ke Gi otto di Bondone began to pai nt rel i gi ous scenes i n a m ore real i sti c way. The Renai ssance (15th to 16th century) Duri ng the Renai ssance, new i deas and val ues gradual l y repl aced those hel d i n the Mi ddl e Ages. Peopl e began to concentrate l ess on rel i gi ous them es and adopt a m ore hum ani stic atti tude to l i fe. At the sam e tim e painters returned to cl assi cal Rom an and Greek i deas about art. They tried to pai nt peopl e and nature as they real y were. Ri ch peopl e wanted to posses thei r own pai nti ngs. so they coul d decorate thei r superb pal aces and great houses. They paid fam ous arti sts to pai nt pictures of them sel ves, thei r houses and posessi ons as wel l as thei r activi ti es and achi evements. O ne of the m ost im portant discoveri es during thi s peri od was how to draw thi ngs i n perspecti ve. This techni que was first used by Masacci o i n 1428. When peopl e first saw hi s pai nti ngs, they were convinced that they were l ooki ng through a hol e i n a wal at a real scene. If the rul es of perspective had not been di scovered, on one woul d have been abl e to pai nt such real i sti c pictures. By coi nci dence, oi l pai nts were al so devel oped at this tim e, whi ch made the col ors used in pai nti ngs l ook ri cher and deeper. Wi thout the new paints and the new techni que, we woul d not be abl e to see the m any great m asterpi eces for whi ch thi s peri od i s fam ous. Im pressi oni sm (late 19th to earl y 20th century) In the l ate 19th century, Europe changed a great deal , from a m ostl y agri cultural soci ety to a m ostl y industri al one. Many peopl e m oved from the countryside to the new ci ti es. There were many new inventi ons and soci al changes. Naturaly, she sai d. “Where i s a good pi cture of thi s m an?” Then as the arti cl e was goi ng to be written i n Engl i sh Zhou Yang al so took a copy to the native speaker em pl oyed by the newspaper to poli sh the styl e. She was al so very happy wi th Zhou Yang’s story. “You are real y abl e to wri te a good front page arti cl e,” she sai d. Zhou Yang smil ed wi th happi ness. Last of al l, the chi ef edi tor read i t and approved it. “Wel l done, ” he sai d to Zhou Yang. “But pl ease show m e your evidence so we’re sure we’ve got our facts strai ght. ” “I’l l bri ng it to you imm ediately, ” sai d Zhou Yang exci tedl y. The news desk edi tor took the story and began to work on al l the stori es and photos until al l the pages were set. Al l the i nform ati on was then ready to be processed into fil m negati ves. Thi s was the fi rst stage of the pri nti ng proces. They needed four negati ves, as several col ors were goi ng to be used on the story. Each of the m ai n colors had one negati ve sheet and when they were bi