『新东方在线托福听力』为托福考生准备了ETS托福TPO/Official 8 Lec 2听力练习：What does the professor mean when he says this:原文题目答案解析，TPO/Official 8 Lec 2听力原文范文音频翻译。

托福TPO/Official 8 Lec 2听力原文What does the professor mean when he says this:-新东方托福官方网校手机版

Narrator: Listen to part of a lecture in an Art History class.

教授：我们一直在讨论巴黎世纪末期的艺术世界。

Pro: We’ve been talking about the art world of the late 19th century in Paris.

今天我想把视角转到当时去巴黎并变为艺术家的这位女性。

And today I’d like to look at the women who went to Paris at that time to become artists.

现在，从你们阅读中你们了解到19世纪晚期巴黎的艺术世界是怎样的呢？

Now from your reading, what do you know about Paris, about the art world of Paris during the late 19th century?

学生1：来自世界各地的人们都来这里学习。

Stu1: People came there from all over the world to study.

学生2：有很多艺术院校，而且有很多艺术家教授绘画。

Stu2: It had a lot of art schools and artists who taught painting.

我们的书上还提到专门为女性艺术家设置的课程。

There were, our book mentions, classes for women artists.

And it was a good place to go to study art.

教授：如果你想成为艺术家，巴黎不是一个好去处，而是唯一之处。

Pro: If you wanted to become an artist, Paris was not a good place to go; Paris was “THE” place to go.

女性可以在那里学到技巧，并找到指导者。

And women could find skilled instructors there.

19世纪以前，如果女性想成为艺术家，她们必须上私教，或者从家人那里学习。

Before the late 19th century, if they...women who wanted to become artists had to take private lessons or learn from family members.

她们的选择性不如男性那么高。

They had more limited options than men did.

但是在19世纪70年代左右，巴黎的一些艺术家开始为女性学生开设课程。

But around 1870s, some artists in Paris began to offer classes for female students.

在19世纪晚期，就普及到了男性和女性在同一个班级一起学习了。

And by the end of the 19th century, it became much more common for women and men to study together in the same classes.

因此在几十年内发生了巨大的改变。

So within a few decades, things had changed significantly.

好了，我们再回顾一下，谈谈从1860年到19世纪80年代这个阶段女性艺术课程都发生了什么。

OK. Let’s back up again and talk about the time period from the 1860s to the 1880s and talk more about what happened in women’s art classes.

在1868年，巴黎开设了一个私人艺术课程，这可能在当时几十年内是世界上最著名的私人艺术学校了。

In 1868, a private art academy opened in Paris, and for decades it was probably the most famous private art school in the world.

创建人鲁道夫朱利安是一个聪明的商人。

Its founder, Rodolphe Julian, was a canny businessman.

而且不久就让他的学校成为了女性艺术家的最优去处。

And quickly established his school as a premier destination for women artists.

他怎么做的呢？起初，他将男性和女性放在相同班级里学习，后来他改变了学校的政策。

What he did was: after an initial trail period of mixed classes, he changed the school policy.

他彻底的将男女学生分割开来。

He completely separated the men and women students.

教授：正如我刚才说的，朱利安是一个才华横溢的商人，有着先进的见解。

Pro: Well. Like I said, Julian was a brilliant businessman, with progressive ideas.

他想到了当时另一个声誉不错的小型私立艺术学校，里面都是女性学生。

He saw that another small private art school where all the students were women was very popular at that time.

这可能是他仅招收女性学生的原因。

And that’s probably why he adopted the women only classes.

他的课程基本都是一位有建树的艺术家在一个小工作间里授课的，这也是她们作画之处。

His classes were typically offered by... by established artists and were held in the studio, the place where they painted.

这已经是很值得一提的事情了，因为女性们终于可以在一个正式的场景里学习了。

This was a big deal because finally women could study art in a formal setting.

还有另一个好处，课程还包括每周评论。

And there was another benefit to the group setting of these classes. The classes included weekly criticism.

老师会将学生的作品从最优到最差进行排位。

And the teacher would rank the art of all the students in the class from best to worst.

如果我在班上也这么做的话你们认为如何？

How would you like it if I did that in this class?

学生2：但是教科书上说竞争对女性有好处。

Stu2: But our textbook said that the competitive... the competition was good for women.

这帮助了她们知道自己的不足之处在哪里。

It helped them see where they needed to improve.

其中一个女性艺术家，名字叫做玛丽巴什基尔采夫。

One woman artist, her name was Marie Bashkirtseff.

她曾写过关于她同学们作品的想法。

Bashkirtseff once wrote how she felt about a classmate’s work.

她认为同学的作品比她的好很多，这也给了她努力的动力。

She thought her classmate’s art was much better than her own and it gave her an incentive to do better.

整体来讲，这种竞争使女性们在艺术课上更加自信了。

Overall the competition in the women’s art classes gave women more confidence.

这种自信帮助她们在毕业以后仍然能在艺术界与其他人有力竞争。

Confidence that they could also compete in the art world after their schooling.

尽管巴什基尔采夫不能和男性在一个班级学习，而她作为一名艺术家是很有影响的。

And even though Bashkirtseff could not study in the same classes as men, she was having an impact as an artist.

学生2：就是一个大型的展览，在巴黎每年都有这种大型的艺术展览。

Stu2: It was a big exhibition, a big art show that they had in Pairs every year.

教授：你可以在沙龙上展示一幅画或者一个雕塑，那么当你回到自己祖国的时候，你就可以说你在巴黎很成功。

Pro: You can have a painting or sculpture in the salon and go back to your home country saying you’ve been a success in Paris.

对于艺术家来讲是一种极大的肯定。

It was a great encouragement for an artist’s career.

在19世纪后20年，沙龙上五分之一的作品都来自女性，远高于之前。

And by the last two decades of the 19th century, one fifth of the paintings in the salon were by women, much higher than in the past.

事实上，玛丽巴什基尔采夫在1881年的沙龙上有一副作品。

In fact, Marie Bashkirtseff herself had a painting in the salon in 1881.

有趣的是，这幅名作在朱利安的艺术学校的工作室里被称之为劣等作品。

Interestingly this masterpiece called “In the Studio” is a painting of the interior of Julian’s art school.

一幅绘制了活跃的挤满了绘画的女性的工作室。

The painting depicts an active crowded studio with women drawing and painting a live model.

巴什基尔采夫其实就是采取了朱利安的建议，并绘制了她的同学们在学校的状态，她自己则是在画面的远远的右方。

It was actually, Bashkirtseff actually followed Julian’s savvy suggestion and painted her fellow students in a class at the school with the artist herself at the far right.

在沙龙上这幅画被悬挂起来的时刻，也为学校做了很大的宣传，这种女性工作室的作品从没有被别人绘制过。

A great advertisement for the school when the painting eventually hung up at the salon, for a women’s studio had never been painted before.

What point does the professor make about Julian when he mentions that Julian's art school offered some classes only for women?

What does the professor emphasize as one benefit of competition in women's classes?

According to the professor, what were two ways that the situation of women artists had changed by the end of the nineteenth century in Paris?

What does the professor imply about Bashkirtseffs' painting In the Studio?

What does the professor mean when he says this:

Pro: We‘ve been talking about the art world of the late 19th century in Paris. And today I’d like to look at the women who went to Paris at that time to become artists. Now from your reading what do you know about Paris, about the art world of Paris during the late 19th century? Stu: People came there from all over the world to study. Stu: It had a lot of art schools and artists who taught painting. There were, our book mentions classes for women artists. And it was a good place to go to study art. Pro: If you wanted to become an artist, Paris was not a good place to go; Paris was THE place to go. And women could find skilled instructors there. Before the late 19th century, if they women who wanted to become artists had to take private lessons or learn from family members. They had more limited options than men did. But around 1870s, some artists in Paris began to offer classes for female students. These classes were for women only. And by the end of the 19th century, it became much more common for women and men to study together in the same classes. So within a few decades, things had changed significantly. OK. Let’s back up again and talk about the time period from the 1860s to the 1880s and talk more about what happened in women’s art classes. In 1868, a private art academy opened in Paris, and for decades it was probably the most famous private art school in the world. Its founder Rodolphe Julian was a canny businessman. And quickly established his school as a premier destination for women artists. What he did was: After an initial trial period of mixed classes, he changed the school policy. He completely separated the men and women students. Stu: Any reason why he did that? Pro: Well. Like I said Julian was a brilliant businessman, with progressive ideas. He saw that another small private art school where all the students were women was very popular at that time. And that’s probably why he adopted the women only classes. His classes were typically offered by... by established artists and were held in the studio, the place where they painted. This was a big deal because finally women could study art in a formal setting. And there was another benefit to the group setting of these classes. The classes included weekly criticism. And the teacher would rank the art of all the students in the class from best to worst. How would you like it if I did that in this class? Stu1: Hah…No way. Stu2: But our textbook said that the competitive…the competition was good for women. It helped them see where they needed to improve. Pro: Isn’t that interesting? One woman artist, her name was Marie Bashkirtseff. Bashkirtseff once wrote how she felt about a classmate’s work. She thought her classmate’s art was much better than her own and it gave her an incentive to do better. Overall the competition in the women’s art classes gave women more confidence, confidence that they could also compete in the art world after their schooling. And even though Bashkirtseff could not study in the same classes as men, she was having an impact as an artist. Just look like the salon, what do you know about the salon? Stu: It was a big exhibition, a big art show that they had in Pairs every year. They art had to be accepted by judges. Stu: It was a big deal you can make a name for yourself. But around 1870s, some artists in Paris began to offer classes for female students. These classes were for women only. And by the end of the 19th century, it became much more common for women and men to study together in the same classes. So within a few decades, things had changed significantly. …... And even though Bashkirtseff could not study in the same classes as men, she was having an impact as an artist. Just look like the salon, what do you know about the salon? Stu: It was a big exhibition, a big art show that they had in Pairs every year. They art had to be accepted by judges. Stu: It was a big deal you can make a name for yourself. Pro: You can have a painting or sculpture in the salon and go back to your home country saying you‘ve been a success in Paris. It was sort of uh, a seal of approval. It was a great encouragement for an artist’s career. And by the last two decades of the 19th century, one fifth of the paintings in the salon were by women, much higher than in the past. Pro: You can have a painting or sculpture in the salon and go back to your home country saying you‘ve been a success in Paris. It was sort of uh, a seal of approval. It was a great encouragement for an artist’s career. And by the last two decades of the 19th century, one fifth of the paintings in the salon were by women, much higher than in the past. In fact, Marie Bashkirtseff herself had a painting in the salon in 1881. Interestingly this masterpiece called In the Studio is a painting of the interior of Julian’s art school. It is not in your textbook. I will show you the painting next week. The painting depicts an active crowded studio with women drawing and painting a live model. It was actually Bashkirtseff, actually followed Julian’s savvy suggestion and painted her fellow students in a class at the school with the artist herself at the far right. A great advertisement for the school when the painting eventually hung up at the salon, for a women’s studio had never been painted before. Pro: If you wanted to become an artist, Paris was not a good place to go; Paris was THE place to go. And women could find skilled instructors there. Before the late 19th century, if they women who wanted to become artists had to take private lessons or learn from family members. They had more limited options than men did. But around 1870s, some artists in Paris began to offer classes for female students. These classes were for women only. And by the end of the 19th century, it became much more common for women and men to study together in the same classes. So within a few decades, things had changed significantly.