步行街商场用户手册(编辑修改稿)

步行街商场用户手册(编辑修改稿)内容摘要：

d alm ost been cut off. It was John’s qui ck acti on and knowl edge of first ai d that saved Ms Sl ade’s l ife. He i mm 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 towel s 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 appl yi ng pressure to the wounds unti l the poli ce and am bul ance ari 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 i n the Young Li fesaver Scheme at hi s hi gh school . When congratul ating John, Mr Al an Southerton, Director of the Young Li fesaver Schem e sai d, “There i s no doubt that John’s qui ck thi nking and the fi rst ai d ski l s he l earned at schol saved Ms Slade’s l i fe. It shows that a knowl edge of first ai d can make a real di fference. ” Before recei ving thei r awards last ni ght, John and the ni ne other Li fe Savers attended a special recepti on yesterday hosted by the Prim e Mi ni ster. 选修六 Uni t 1 A SHO RT H ISTO RY O F WESTERN PAIN TIN G Art i s i nfl uenced by the custom s and fai th of a peopl e. Styl es i n Western art have changed m any ti m es. As there are so m any different styl es of Western art, i t woul d be i mpossi bl e to descri be al of them i n such a short text. Consequentl y, thi s text wil descri be onl y the m ost i m portant ones, starti ng from the si xth century AD. The Mi ddl e Ages (5th to the 15th century AD) Duri ng the Mi ddl e Ages, the m ai n aim of pai nters was to represent reli gi ous them es. A conventi onal artist of thi s peri od was not interested i n showi ng nature and peopl e as they real y were. A typi cal pi cture at thi s ti m e was ful l of reli gious 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 changing i n the 13th century when pai nters li ke Gi otto di Bondone began to pai nt reli gi ous scenes i n a m ore reali sti c way. The Renai ssance (15th to 16th century) Duri ng the Renai ssance, new i deas and val ues gradual y repl aced those hel d in the Mi ddl e Ages. People began to concentrate l ess on reli gi ous them es and adopt a more hum ani sti c atti tude to li fe. At the sam e ti me pai nters returned to cl assi cal Roman and Greek i deas about art. They tri ed to pai nt peopl e and nature as they real l y were. Ri ch peopl e wanted to possess their own painti ngs. so they coul d decorate thei r superb pal aces and great houses. They pai d fam ous artists to pai nt pi ctures of them sel ves, thei r houses and posessi ons as wel l as thei r activi ti es and achi evem ents. O ne of the m ost im portant di scoveri es during thi s peri od was how to draw thi ngs i n perspecti ve. This techni que was fi rst used by Masaci o i n 1428. When peopl e fi rst saw hi s painti ngs, they were convi nced that they were l ooki ng through a hol e in a wal at a real scene. If the rul es of perspecti ve had not ben di scovered, on one woul d have been abl e to paint such reali sti c pi ctures. By coinci dence, oil pai nts were al so devel oped at thi s tim e, whi ch m ade the col ors used i n pai ntings l ook richer and deeper. Wi thout the new pai nts 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 cul tural society to a m ostl y i ndustri al one. Many peopl e m oved from the countrysi de to the new citi es. There were m any new i nventi ons and soci al changes. N atural y, these changes al so l ed to new pai nti ng styl es. Am ong the pai nters who broke away from the tradi ti onal styl e of pai nti ng were the Im pressi oni sts, who l i ved and worked i n Pari s. The Im pressi oni sts were the fi rst pai nters to work outdors. They were eager to show how li ght and shadow fel on objects at di fferent tim es of day. H owever, because natural li ght changes so quickl y, the Im pressi oni sts had to pai nt qui ckl y. Thei r pai nti ngs were not as detai l ed as those of earl i er pai nters. At fi rst, m any peopl e di sl iked thi s styl e of pai nti ng and becam e very angry about i t. They sai d that the pai nters were carel ess and thei r painti ngs were ri di cul ous. Modern Art (20th century to today) At the ti m e they were created, the Im pressi onist pai nti ngs were controversi al , but today they are accepted as the begi nning of what we cal “m odern art”. Thi s i s because the Im pressi oni sts encouraged arti sts to l ook at thei r envi ronm ent i n new ways. There are scores of m odern art styl es, but without the Im pressi onists, m any of these painti ng styl es m i ght not exi st. O n the one hand, som e m odern art i s abstract。 that is, the pai nter does not attem pt to pai nt objects as we se them wi th our eyes, but i nstead concentrates on certain quali ti es of the object, usi ng col or, li ne and shape to represent them. O n the other hand, som e painti ngs of m odern art are so real i sti c that they l ook l ike photographs. These styl es are so di fferent. Who can predi ct what pai nti ng styl es there wil l be i n the future? TH E BEST OF MANH ATTAN’S ART GALLERIES The Frick Col l ecti on (5th Avenue and E. 70th Street) Many art l overs woul d rather vi sit thi s sm al art gal ery than any other i n N ew York. H enry Cl ay Frick, a ri ch New Yorker, di ed in 1919, l eavi ng his house, furni ture and art col l ecti on to the Am eri can peopl e. Fri ck had a preference for pertwentieth century Western painti ngs, and these are wel represented in thi s excel ent col l ecti on. You can al so expl ore Fri ck’s beauti ful hom e and garden whi ch are wel worth a vi sit. Guggenheim Museum (5th Avenue and 8。