New Wallpaper Designs托福聽(tīng)力原文翻譯及問(wèn)題答案

New Wallpaper Designs托福聽(tīng)力原文翻譯及問(wèn)題答案，今天中國(guó)教育在線就來(lái)為大家分析這個(gè)問(wèn)題。

一、New Wallpaper Designs托福聽(tīng)力原文：

As the industrial revolution took hold in early 19th century,England. Uh,the increased availability of cheap goods made in the latest styles was taken advantage of by the rising middle class. Home decoration became very popular. And this LED to the popularity of mass produced carpets and wallpaper in all sorts of ornate patterns and bright colors. And while this explosion of manufacturing LED to breakthroughs in the kinds of designs that could be produced,it didn't necessarily lead to improvements in design quality.

According to a group of designers and social critics in England,who were known as design reformers. And we'll talk more about them in a minute. The great exhibition of 1851 in London,uh showcase,the new wallpaper designs and styles. There you had thousands of exhibits that were meant to celebrate how Good Contemporary manufacturing was. There were many,many machine made wallpapers on display there with prizes awarded to some of the best pieces. There are a lot of very detailed patterns and bright colors. Some papers had very realistic pictures and others had special effects like the illusion of depth.So you'd think this would be good. But the exhibition LED to outraged newspaper editorials,criticizing how poor public taste was. The British inspector general for art actually wrote a report specifically about the wallpaper at the exposition. In his view,the judges gave awards based on technical aspect,like the number of colors used in the papers,rather than on more traditional aesthetic criteria,like beauty or simplicity.

Uh,despite being a leader in industrial progress,England,by some accounts,seemed to be lagging behind its rival France in terms of design quality. And some design reformers worried that the nation could lose its advantage in international trade if designs weren't changed. So the new technical abilities in production introduced by the industrial revolution,uh,prompted or enabled these new wallpaper designs. You see,manufacturers had figured out how to use engraved metal rollers in the production of wall paper. Using metal rollers to print wallpaper allowed a level of extremely fine detail and shading that previously had not been possible. I mean,before the papers were being made by block printing,which was pretty imprecise,uh,plus the new production techniques made wall paper a lot cheaper to buy since it reduced production costs.

And these new wallpapers were popular. To the average industrialist,good design meant whatever sold the best,popular taste,equated ornate embellishment with excellence. So many manufacturers created wall papers with as much surface decoration as possible. Graphic elements from different areas were combined without regard to period or,or stylistic unity.And designs became increasingly cluttered.

All of which irritated design purists,even the Victorian era writers mock the wallpaper design trend. In his 1852 short story,a house full of horrors,the writer Henry Morley described the garish combination of mismatch design elements that represented the new style in wallpaper design. Quote,the paper in my parlor contains 4 kinds of birds of paradise besides bridges and pagodas. Wilkie Collins described another of the new wall papers as,quote,a gaudy pattern of birds,trellis work and flowers in red and green on a white background. And quote,one technique,in particular,became associated with the new wallpapers. Trompe I’oeil,um,Trompe I’oeil that's French for tricking or cheating the eye was a design technique that created visual illusions. So you'd have wallpaper that actually looked like marble or wood,grain,or maybe like aged leather.

Now,the design reform critics,they oppose this. They thought that Trompe I’oeil designs were inherently deceptive,because they made walls look like something they were not. This was also,this was the design reformers critique of the three dimensional illusions of death. To them,It was all a type of lying.So these designs were actually immoral. And..and according to their shaky logic,if people filled their houses with wallpapers that were visually deceitful,then the inhabitants would become deceitful,too. Yeah.Right.When they created wall papers,design,reform,advocates avoided illusions and visual deceptions. They created primarily geometric,two dimensional patterns,which they said would confirm the wall as a flat surface,rather than disguise or misrepresent it. And they used fewer and more subdued colors in their wallpaper. So it's probably not surprising that design reform products didn't do well in the marketplace. From the 1840s,on the three dimensional and Trompe I’oeil designs continue to sell in huge quantities despite their supposed corrupting influence. Meanwhile,design reforms,geometric patterns sold in small quantities,and were used mainly to decorate government buildings instead of homes.

二、New Wallpaper Designs托福聽(tīng)力中文翻譯：

隨著19世紀(jì)初工業(yè)革命的爆發(fā)，英國(guó)呃，最新款式的廉價(jià)商品越來(lái)越多，這被不斷上升的中產(chǎn)階級(jí)所利用家庭裝飾變得非常流行這導(dǎo)致了大量生產(chǎn)的地毯和壁紙的流行，它們有各種華麗的圖案和鮮艷的顏色雖然制造業(yè)的爆炸性發(fā)展導(dǎo)致了可生產(chǎn)設(shè)計(jì)的突破，但這并不一定會(huì)提高設(shè)計(jì)質(zhì)量。

據(jù)英國(guó)一組被稱(chēng)為設(shè)計(jì)改革家的設(shè)計(jì)師和社會(huì)評(píng)論家稱(chēng)稍后我們將進(jìn)一步討論它們1851年在倫敦舉辦的大型展覽展示了新的壁紙?jiān)O(shè)計(jì)和風(fēng)格在那里，你有成千上萬(wàn)的展品，旨在慶祝當(dāng)代制造業(yè)的卓越那里展出了許許多多機(jī)器制作的壁紙，其中一些最佳作品獲得了獎(jiǎng)品有很多非常詳細(xì)的圖案和明亮的顏色有些報(bào)紙有非常逼真的圖片，還有一些報(bào)紙有特殊效果，比如深度錯(cuò)覺(jué)。所以你會(huì)覺(jué)得這很好但這次展覽引發(fā)了憤怒的報(bào)紙社論，批評(píng)公眾品味有多差英國(guó)藝術(shù)總監(jiān)在博覽會(huì)上專(zhuān)門(mén)寫(xiě)了一份關(guān)于壁紙的報(bào)告在他看來(lái)，評(píng)委們的獎(jiǎng)項(xiàng)是基于技術(shù)層面的，比如論文中使用的顏色數(shù)量，而不是基于更傳統(tǒng)的審美標(biāo)準(zhǔn)，比如美或簡(jiǎn)單。

嗯，盡管在工業(yè)進(jìn)步方面處于領(lǐng)先地位，但據(jù)一些人說(shuō)，英國(guó)在設(shè)計(jì)質(zhì)量方面似乎落后于其競(jìng)爭(zhēng)對(duì)手法國(guó)一些設(shè)計(jì)改革者擔(dān)心，如果不改變?cè)O(shè)計(jì)，美國(guó)可能會(huì)失去在國(guó)際貿(mào)易中的優(yōu)勢(shì)因此，工業(yè)革命帶來(lái)的新的生產(chǎn)技術(shù)能力，促使或促成了這些新的壁紙?jiān)O(shè)計(jì)你看，制造商已經(jīng)想出了如何在墻紙生產(chǎn)中使用雕刻金屬輥使用金屬滾筒打印壁紙，可以獲得以前無(wú)法達(dá)到的極其精細(xì)的細(xì)節(jié)和明暗效果我的意思是，在紙被木版印刷之前，這是非常不精確的，嗯，再加上新的生產(chǎn)技術(shù)使得墻紙買(mǎi)起來(lái)便宜得多，因?yàn)樗档土松a(chǎn)成本。

這些新壁紙很受歡迎對(duì)于一般的實(shí)業(yè)家來(lái)說(shuō)，好的設(shè)計(jì)意味著任何賣(mài)得最好的東西，流行的品味，把華麗的裝飾等同于卓越因此，許多制造商創(chuàng)造了盡可能多的表面裝飾墻紙來(lái)自不同地區(qū)的圖形元素被組合在一起，不考慮時(shí)期或風(fēng)格的統(tǒng)一性。設(shè)計(jì)變得越來(lái)越雜亂。

所有這些都激怒了設(shè)計(jì)純粹主義者，甚至維多利亞時(shí)代的作家也嘲笑壁紙?jiān)O(shè)計(jì)潮流作家亨利·莫利（Henry Morley）在其1852年的短篇小說(shuō)《充滿(mǎn)恐怖的房子》中描述了代表壁紙?jiān)O(shè)計(jì)新風(fēng)格的不匹配設(shè)計(jì)元素的華麗組合引述一下，我客廳里的報(bào)紙上除了橋梁和寶塔外，還有4種天堂鳥(niǎo)威爾基·柯林斯（Wilkie Collins）將另一份新墻紙描述為，引述一句話(huà)，白色背景上的鳥(niǎo)、格子和紅色和綠色花朵的華麗圖案引用一句話(huà)，有一種技術(shù)尤其與新壁紙相關(guān)trompei'oeil，嗯，trompeioeil是法語(yǔ)，用來(lái)欺騙或欺騙眼睛是一種創(chuàng)造視覺(jué)錯(cuò)覺(jué)的設(shè)計(jì)技術(shù)所以你會(huì)有一張看起來(lái)像大理石、木頭、谷粒，或者像舊皮革的壁紙。

現(xiàn)在，設(shè)計(jì)改革批評(píng)家們反對(duì)這一點(diǎn)他們認(rèn)為T(mén)rompe I'oeil的設(shè)計(jì)天生具有欺騙性，因?yàn)樗鼈兪箟Ρ诳雌饋?lái)不像它們?cè)瓉?lái)的樣子這也是，這是設(shè)計(jì)改革者對(duì)三維死亡幻覺(jué)的批判對(duì)他們來(lái)說(shuō)，這都是一種謊言。因此，這些設(shè)計(jì)實(shí)際上是不道德的；而且，根據(jù)他們不可靠的邏輯，如果人們用視覺(jué)上具有欺騙性的壁紙?zhí)畛渌麄兊姆孔?，那么居民也?huì)變得欺騙性；是啊正當(dāng)當(dāng)他們創(chuàng)造墻紙、設(shè)計(jì)和改革時(shí)，倡導(dǎo)者避免了幻想和視覺(jué)欺騙他們主要?jiǎng)?chuàng)造了幾何、二維圖案，他們說(shuō)這將確認(rèn)墻是一個(gè)平面，而不是偽裝或歪曲它他們?cè)诒诩堉惺褂玫念伾絹?lái)越柔和因此，設(shè)計(jì)改革產(chǎn)品在市場(chǎng)上表現(xiàn)不佳可能并不奇怪從19世紀(jì)40年代開(kāi)始，盡管三維和特羅普·伊爾的設(shè)計(jì)被認(rèn)為具有腐敗的影響，但它們?nèi)栽诖罅夸N(xiāo)售同時(shí)，設(shè)計(jì)改革，

三、New Wallpaper Designs托福聽(tīng)力問(wèn)題：

Q1:What aspect of nineteenth-century interior design does the professor mainly discuss?

A.Ways that French designs affected popular taste in decorating in England

B.Elements that interfered with the international trade in wallpaper designs

C.The controversy over how much impact the design reform movement had on wallpaper patterns

D.The controversy over new wallpaper designs made possible by advances in technology

Q2:Why did design reformers criticize the wallpapers that won awards at the Exhibition of 1851?

A.The wallpapers were made using few colors and little ornamentation.

B.The wallpapers were selected for technical rather than aesthetic merit.

C.The wallpapers were poor imitations of French designs.

D.The wallpapers were not made of high quality paper.

Q3:What effect did the use of engraved metal rollers have on wallpaper production?[Click on 2 answers.]

A.It lowered the cost of making wallpaper.

B.It enabled the first printings of geometric patterns.

C.It reduced the use of trompe I'oeil design.

D.It allowed for the printing of very fine detail.

Q4:Why does the professor read descriptive passages from Victorian writers?

A.To point out the connection between interior design and literary form

B.To show why the new wallpapers irritated some critics

C.To demonstrate that the new wallpapers deserved poetic description

D.To show that wallpaper was centrally important to home decoration

Q5:What is the professor’s attitude toward design reformers who opposed trompe I’oeil wallpapers?

A.He is impressed by their ability to think critically.

B.He thinks they are misunderstood by other art critics.

C.He feels they were overly dependent on the latest technology.

D.He thinks their arguments lack credibility.

四、New Wallpaper Designs托福聽(tīng)力答案：

A1:正確答案：D

A2:正確答案：B

A3:正確答案：AD

A4:正確答案：B

A5:正確答案：D

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