2023復(fù)習(xí)正是強(qiáng)化復(fù)習(xí)階段，在考研英語中占了40分，所以考研英語閱讀是英語科目中重要的一項(xiàng)。名師老師曾建議過考研生需要堅(jiān)持每天泛讀10-15分鐘的英文原刊。強(qiáng)烈推薦了雜志《經(jīng)濟(jì)學(xué)人》.雜志中的文章也是考研英語的主要材料來源.希望考研考生認(rèn)真閱讀，快速提高考研英語閱讀水平。 　　Gallagher s ghosts 　　Gallagher之魂 　　Art inspired by myth and stories 　　源于神話的藝術(shù) 　　ELLEN GALLAGHER was born in 1965 in RhodeIsland, the daughter of an African-American fatherwith ties to Cape Verde in West Africa and anAmerican-Irish mother. Now she divides her timebetween New York and Rotterdam. Ms Gallagher mines sci-fi, marine biology and blackhistory for her art, variously making use of cut-up paper, pencil, plasticine, printed matter,rubber, gold leaf and photogravure. It is out of this rich interbreeding of method andmaterials that her astonishing work arises. 　　ELLEN GALLAGHER，1965年出生于羅德島，父親是非洲裔美國人，曾居于西非佛得角，母親則是愛爾蘭裔美國人。如今她多往來于紐約和鹿特丹港市。Gallagher的藝術(shù)靈感多源于科幻、海洋生物學(xué)以及黑人歷史。利用剪紙、鉛筆、粘土、印刷品、橡膠、金箔、凹版印刷等各式各樣的材料工具，她獨(dú)創(chuàng)出了令人嘆為觀止的作品。 　　This summer two new Gallagher exhibitions will open, one on each side of the Atlantic. Asubstantial survey at Tate Modern in London will be followed by a 20-year retrospectiveat the New Museum in New York. 　　今夏在大西洋兩岸將各舉辦一場Gallagher的新作展覽會。倫敦泰特現(xiàn)代美術(shù)館所做的大量探索研究將繼續(xù)由紐約當(dāng)代藝術(shù)館以20年回顧展的名義進(jìn)行。 　　The first room at the Tate Modern show has been covered with ruled writing paper, areminder of the importance that the line and the grid play in Ms Gallagher s work and of theinspiration of minimalist artists such as Agnes Martin and Sol LeWitt. This humble paperingprovides a formal background for her work and helps steer it away from pomposity. Butthere is much more to Ms Gallagher s work than linear scaffoldingmuch to be read into itand much to be resisted, especially easy clichs about race or gender. 　　泰特現(xiàn)代展覽的第一間陳覽室里掛滿方格紙作品，可見Gallagher頗為青睞橫格線條，并從Agnes Martin、Sol LeWitt等極簡抽象派藝術(shù)家那獲得頗多的靈感。這種極簡貼紙展現(xiàn)出勻稱的布局，避免浮夸。但Gallagher的作品并不僅僅是組建線條，還有更多發(fā)人深省的隱藏訊息，類似于種族性別這種常談之事。 　　Early works from the 1990s, such as Untitled, 1992, for instance, play with the red lips andwhite-ringed eyes that recall black and white minstrels. An abstract pattern emerges, thendisembodied golliwog smiles. Negroes Ask for German Coloniestakes its title from aphrase in an article that was written in 1919 by a Harlem radical, Hubert Harrison, andwhich Ms Gallagher cuts into paper. Above the words is a grid of 20 female wig models withblack, white and brown faces. The wigs, one named Innocence and another Coquette, aremade from elaborately cut white paper. Pink plasticine curls emerge from the models eyes.It is exquisitely constructed and at the same time funny to behold, alluding to the rise ofAmerican black consciousness and poking at the covert racism of so much consumeradvertising. 　　Gallagher 在其90年代的早期作品Untitled, 1992中，利用紅唇與白環(huán)狀眼眸的搭配喚起人們對純粹的游吟詩人的回憶。先是抽象圖案，再是出人意料的靈肉分離式的怪誕微笑。2002年的作品Negroes Askfor German Colonies得名于一篇文章中的短語，該文由Harlem radical, Hubert Harrison于1919年撰寫。Gallagher將其刻于紙上。那是一組20位黑、白、棕面色的假發(fā)女郎方格圖。名為天真無邪和賣弄風(fēng)情的假發(fā)均由白色剪紙精心拼貼而成。女郎的雙眸浮現(xiàn)出粉色的彩泥卷發(fā)。該作構(gòu)思精巧，新潮逗趣，并意指美國黑人思潮運(yùn)動的興起，劍戳眾多消費(fèi)廣告中暗涌的種族歧視。 　　The works Ms Gallagher calls the Yellow paintingswhich include Falls and Flips from 2001and Double Natural from the year after, as well as Pomp-Bang, which Ms Gallagherpainted in 2003take this theme further . Each one is a monumentalgrid of 396 advertisements for wigs and other items, such as hair grease or skin-whiteningcream, as well as illustrated articles from black magazines of the 1950s and 1960s, such asEbony, Our World, or Black Stars. Each face wears an elaborate, fantastical yellow plasticinewig. What could be dry social history becomes exuberant art-making. 　　Gallagher的Yellow paintings系列包括2001年的Falls and Flips、2002年的Double Natural和2003年的Pomp-Bang繼續(xù)深入該種族的主題。每一格都是對396支假發(fā)、發(fā)膠、美白面霜等產(chǎn)品廣告的紀(jì)念，是對五六十年代Ebony，Our World，或Black Stars等黑人雜志中插圖的致敬。每一張面孔都戴著夢幻而精致的金色彩泥假發(fā)。誰能想到枯燥的社會史也能成為生機(jī)勃勃的藝術(shù)作品呢。 　　Ms Gallagher often folds historical characters into her work, including Peg Leg Bates, aone-legged tap dancer, and Eunice Rivers, a nurse who was implicated in the notoriousTuskegee syphilis experiment carried out on black Alabamans between 1932 and 1972. At theage of 20, sponsored by the Sea Education Association, Ms Gallagher spent some time aboardan oceanographic research vessel collecting, studying and drawing pteropodsmicroscopicwing-footed snails. This experience has combined with her interest in the myth of Drexciya,an underwater country peopled with the unborn babies of pregnant African slave womenthrown overboard mid-Atlantic. It has generated an extraordinary body of work collectivelyentitled Watery Ecstatic. Detailed drawing, intricate paper cutting, and dreamy waterycolour, together create a universe of strange sea creatures. They suggest an imaginationgripped equally by precision and fluidity, by science and poetry, and a mind that feeds onthe beauty of nature while being haunted at the same time by the many layers of humanhistory. 　　Gallagher常在其作品中融入一些歷史人物，包括Peg Leg Bates，一位獨(dú)腿踢踏舞者;1932年至1972年，以阿拉巴馬州的黑人為對象進(jìn)行了臭名昭著的塔斯基吉梅毒實(shí)驗(yàn)，名為Eunice Rivers的護(hù)士卷入其中。通過海教協(xié)會的贊助，Gallagher 20歲時(shí)得以在海外學(xué)習(xí)海洋學(xué)，集艦，研究繪制翼足目動物微小的翼足蝸牛。這一經(jīng)歷更是和她感興趣的水城Drexciya，一群被推下甲板的懷有身孕的非洲奴隸居住在大西洋中央的傳說，水乳交融。由此誕生了一組名為Watery Ecstatic的非凡佳作。細(xì)致入微的刻畫，錯(cuò)綜復(fù)雜的拼剪，夢幻的水彩色，共同造就了海洋生物的奇幻世界。精細(xì)性與流動性、科學(xué)性與詩意同時(shí)抓住人們的想象力，思緒浸食自然之美的同時(shí)又被人類歷史的復(fù)雜多樣困擾著。 　　Bird in Hand, the great 2006 work on paper that is owned by the Tate, also draws on thesepreoccupations, generating out of myth and marine biology the startling figure of aone-legged pirate standing at the bottom of the ocean. His hair floats upwards in the waterin a baroque confection of seaweed made from card and paper, all painstakingly cut byhand. His stump has sprouted seaweed. His black face is occluded by a white mask. This isa work that indulges in patterned beauty even as it freezes the spirit. 　　2006年的Bird in Hand，一幅所有權(quán)歸泰特美術(shù)館的杰作，同樣利用這些勾魂攝魄的元素刻畫出傳奇的海洋生物、出人意料的人物形象，一個(gè)站在海底的獨(dú)腿海盜。他的頭發(fā)，以一團(tuán)精細(xì)的巴洛克式紙片海藻的姿態(tài)漂浮在水面。這全是Gallagher煞費(fèi)苦心的手工拼貼。他的假肢也萌生出一撮撮水藻。白色面具緊緊咬合他黑色的面孔。即使寒從心起這也是一幅令人沉溺于精美紋路的作品。 　　Many of the works exhibited, including the films she has made with her longtimecollaborator, Edgar Cleijne, and the double-sided paintings called Morphia, reveal adetermination to express complexity through an elaborate process of making. Canvassesare built up in collaged layers. Mysterious, balletic animations are projected alongsidearchival film that has been doctored to produce strange new narratives. The paper MsGallagher uses is meticulously drawn on, painted, cut, stuck, pierced, both on the front andthe back, and then hung in glass boxes. Her works are dense with thought, but thoughttransformed by intensive creative workmanship into something rich and strange. 　　被展出的眾多作品中，還有她與長期合作伙伴Edgar Cleijne共同拍攝的影片，及雙面畫作Morphia，這幅作品力圖通過精巧錯(cuò)綜的創(chuàng)作過程揭露其復(fù)雜性。多層抽象拼貼的效果極具說服力。神秘莫測的芭蕾舞式動畫制作與剪輯過的檔案電影共同創(chuàng)造出了新異的故事。Gallagher所選紙張的正反面均經(jīng)過精心繪制、裁剪、拼接，最后才掛上玻璃畫框。她的作品寓意繁多，通過別出心裁的手工將那些思想付諸于天馬行空的畫作。 　　Ellen Gallagher: AxME is at Tate Modern in London until September 1st. It will travel to theSara Hildn Art Museum in Tampere, Finland, in the autumn and to the Haus der Kunst inMunich, Germany, in 2023. Don t Axe Me will be at the New Museum in New York from June19th until September 15th. 　　Ellen Gallaghe：AxME正于倫敦泰特現(xiàn)代美術(shù)館展出，9月1日截止。秋季展將在芬蘭坦佩雷的SaraHildn 美術(shù)館舉辦。2023年在德國慕尼黑的Haus der Kunst展出。Don t Axe Me將于六月19日至9月15日在紐約New Museum展出。 　　詞語解釋 　　1.make use of 使用，利用;假借 　　Unfortunately, most companies lack the ability toreconfigure and make use of such resources. 　　可惜，大多數(shù)公司都缺乏重新調(diào)配、利用這類資源的能力。 　　To make use of this electrical current, the teamconnected tiny electrodes to the protocells. 　　為了利用這種電流，研究組將一個(gè)小電極連到原細(xì)胞上。 　　2.cover with 用遮蓋住，用填滿 　　This point is too important to cover with a few anecdotes. 　　這個(gè)問題太重要了，不能僅用一些逸聞趣事來論證。 　　Just rub tiger balm on the chest and cover with a warm towel. 　　因此把老虎油涂抹在胸膛時(shí)應(yīng)該蓋上一塊熱毛巾。 　　3.such as 例如 　　Fragile things, such as big banks or debt-laden consumers, tend to break under stress. 　　脆弱的事物，例如大銀行和負(fù)債的消費(fèi)者，面臨壓力時(shí)傾向崩潰。 　　Ancillary businesses such as derivatives have thrived. 　　一些配套的業(yè)務(wù)如金融衍生品已經(jīng)蓬勃發(fā)展了。 　　4.emerge from 露出;浮現(xiàn) 　　Simmons hopes to emerge from bankruptcy in the hands of two new private equity firms. 　　席夢思公司希望依靠兩家新興的私募股權(quán)公司從破產(chǎn)中重新站起來。 　　They are a classic form of stimulus that could help the economy emerge from the housinghangover. 　　這是一個(gè)刺激經(jīng)濟(jì)，幫助其從住房危機(jī)中復(fù)蘇的經(jīng)典方式。

　　2023復(fù)習(xí)正是強(qiáng)化復(fù)習(xí)階段，在考研英語中占了40分，所以考研英語閱讀是英語科目中重要的一項(xiàng)。名師老師曾建議過考研生需要堅(jiān)持每天泛讀10-15分鐘的英文原刊。強(qiáng)烈推薦了雜志《經(jīng)濟(jì)學(xué)人》.雜志中的文章也是考研英語的主要材料來源.希望考研考生認(rèn)真閱讀，快速提高考研英語閱讀水平。 　　Gallagher s ghosts 　　Gallagher之魂 　　Art inspired by myth and stories 　　源于神話的藝術(shù) 　　ELLEN GALLAGHER was born in 1965 in RhodeIsland, the daughter of an African-American fatherwith ties to Cape Verde in West Africa and anAmerican-Irish mother. Now she divides her timebetween New York and Rotterdam. Ms Gallagher mines sci-fi, marine biology and blackhistory for her art, variously making use of cut-up paper, pencil, plasticine, printed matter,rubber, gold leaf and photogravure. It is out of this rich interbreeding of method andmaterials that her astonishing work arises. 　　ELLEN GALLAGHER，1965年出生于羅德島，父親是非洲裔美國人，曾居于西非佛得角，母親則是愛爾蘭裔美國人。如今她多往來于紐約和鹿特丹港市。Gallagher的藝術(shù)靈感多源于科幻、海洋生物學(xué)以及黑人歷史。利用剪紙、鉛筆、粘土、印刷品、橡膠、金箔、凹版印刷等各式各樣的材料工具，她獨(dú)創(chuàng)出了令人嘆為觀止的作品。 　　This summer two new Gallagher exhibitions will open, one on each side of the Atlantic. Asubstantial survey at Tate Modern in London will be followed by a 20-year retrospectiveat the New Museum in New York. 　　今夏在大西洋兩岸將各舉辦一場Gallagher的新作展覽會。倫敦泰特現(xiàn)代美術(shù)館所做的大量探索研究將繼續(xù)由紐約當(dāng)代藝術(shù)館以20年回顧展的名義進(jìn)行。 　　The first room at the Tate Modern show has been covered with ruled writing paper, areminder of the importance that the line and the grid play in Ms Gallagher s work and of theinspiration of minimalist artists such as Agnes Martin and Sol LeWitt. This humble paperingprovides a formal background for her work and helps steer it away from pomposity. Butthere is much more to Ms Gallagher s work than linear scaffoldingmuch to be read into itand much to be resisted, especially easy clichs about race or gender. 　　泰特現(xiàn)代展覽的第一間陳覽室里掛滿方格紙作品，可見Gallagher頗為青睞橫格線條，并從Agnes Martin、Sol LeWitt等極簡抽象派藝術(shù)家那獲得頗多的靈感。這種極簡貼紙展現(xiàn)出勻稱的布局，避免浮夸。但Gallagher的作品并不僅僅是組建線條，還有更多發(fā)人深省的隱藏訊息，類似于種族性別這種常談之事。 　　Early works from the 1990s, such as Untitled, 1992, for instance, play with the red lips andwhite-ringed eyes that recall black and white minstrels. An abstract pattern emerges, thendisembodied golliwog smiles. Negroes Ask for German Coloniestakes its title from aphrase in an article that was written in 1919 by a Harlem radical, Hubert Harrison, andwhich Ms Gallagher cuts into paper. Above the words is a grid of 20 female wig models withblack, white and brown faces. The wigs, one named Innocence and another Coquette, aremade from elaborately cut white paper. Pink plasticine curls emerge from the models eyes.It is exquisitely constructed and at the same time funny to behold, alluding to the rise ofAmerican black consciousness and poking at the covert racism of so much consumeradvertising. 　　Gallagher 在其90年代的早期作品Untitled, 1992中，利用紅唇與白環(huán)狀眼眸的搭配喚起人們對純粹的游吟詩人的回憶。先是抽象圖案，再是出人意料的靈肉分離式的怪誕微笑。2002年的作品Negroes Askfor German Colonies得名于一篇文章中的短語，該文由Harlem radical, Hubert Harrison于1919年撰寫。Gallagher將其刻于紙上。那是一組20位黑、白、棕面色的假發(fā)女郎方格圖。名為天真無邪和賣弄風(fēng)情的假發(fā)均由白色剪紙精心拼貼而成。女郎的雙眸浮現(xiàn)出粉色的彩泥卷發(fā)。該作構(gòu)思精巧，新潮逗趣，并意指美國黑人思潮運(yùn)動的興起，劍戳眾多消費(fèi)廣告中暗涌的種族歧視。 　　The works Ms Gallagher calls the Yellow paintingswhich include Falls and Flips from 2001and Double Natural from the year after, as well as Pomp-Bang, which Ms Gallagherpainted in 2003take this theme further . Each one is a monumentalgrid of 396 advertisements for wigs and other items, such as hair grease or skin-whiteningcream, as well as illustrated articles from black magazines of the 1950s and 1960s, such asEbony, Our World, or Black Stars. Each face wears an elaborate, fantastical yellow plasticinewig. What could be dry social history becomes exuberant art-making. 　　Gallagher的Yellow paintings系列包括2001年的Falls and Flips、2002年的Double Natural和2003年的Pomp-Bang繼續(xù)深入該種族的主題。每一格都是對396支假發(fā)、發(fā)膠、美白面霜等產(chǎn)品廣告的紀(jì)念，是對五六十年代Ebony，Our World，或Black Stars等黑人雜志中插圖的致敬。每一張面孔都戴著夢幻而精致的金色彩泥假發(fā)。誰能想到枯燥的社會史也能成為生機(jī)勃勃的藝術(shù)作品呢。 　　Ms Gallagher often folds historical characters into her work, including Peg Leg Bates, aone-legged tap dancer, and Eunice Rivers, a nurse who was implicated in the notoriousTuskegee syphilis experiment carried out on black Alabamans between 1932 and 1972. At theage of 20, sponsored by the Sea Education Association, Ms Gallagher spent some time aboardan oceanographic research vessel collecting, studying and drawing pteropodsmicroscopicwing-footed snails. This experience has combined with her interest in the myth of Drexciya,an underwater country peopled with the unborn babies of pregnant African slave womenthrown overboard mid-Atlantic. It has generated an extraordinary body of work collectivelyentitled Watery Ecstatic. Detailed drawing, intricate paper cutting, and dreamy waterycolour, together create a universe of strange sea creatures. They suggest an imaginationgripped equally by precision and fluidity, by science and poetry, and a mind that feeds onthe beauty of nature while being haunted at the same time by the many layers of humanhistory. 　　Gallagher常在其作品中融入一些歷史人物，包括Peg Leg Bates，一位獨(dú)腿踢踏舞者;1932年至1972年，以阿拉巴馬州的黑人為對象進(jìn)行了臭名昭著的塔斯基吉梅毒實(shí)驗(yàn)，名為Eunice Rivers的護(hù)士卷入其中。通過海教協(xié)會的贊助，Gallagher 20歲時(shí)得以在海外學(xué)習(xí)海洋學(xué)，集艦，研究繪制翼足目動物微小的翼足蝸牛。這一經(jīng)歷更是和她感興趣的水城Drexciya，一群被推下甲板的懷有身孕的非洲奴隸居住在大西洋中央的傳說，水乳交融。由此誕生了一組名為Watery Ecstatic的非凡佳作。細(xì)致入微的刻畫，錯(cuò)綜復(fù)雜的拼剪，夢幻的水彩色，共同造就了海洋生物的奇幻世界。精細(xì)性與流動性、科學(xué)性與詩意同時(shí)抓住人們的想象力，思緒浸食自然之美的同時(shí)又被人類歷史的復(fù)雜多樣困擾著。 　　Bird in Hand, the great 2006 work on paper that is owned by the Tate, also draws on thesepreoccupations, generating out of myth and marine biology the startling figure of aone-legged pirate standing at the bottom of the ocean. His hair floats upwards in the waterin a baroque confection of seaweed made from card and paper, all painstakingly cut byhand. His stump has sprouted seaweed. His black face is occluded by a white mask. This isa work that indulges in patterned beauty even as it freezes the spirit. 　　2006年的Bird in Hand，一幅所有權(quán)歸泰特美術(shù)館的杰作，同樣利用這些勾魂攝魄的元素刻畫出傳奇的海洋生物、出人意料的人物形象，一個(gè)站在海底的獨(dú)腿海盜。他的頭發(fā)，以一團(tuán)精細(xì)的巴洛克式紙片海藻的姿態(tài)漂浮在水面。這全是Gallagher煞費(fèi)苦心的手工拼貼。他的假肢也萌生出一撮撮水藻。白色面具緊緊咬合他黑色的面孔。即使寒從心起這也是一幅令人沉溺于精美紋路的作品。 　　Many of the works exhibited, including the films she has made with her longtimecollaborator, Edgar Cleijne, and the double-sided paintings called Morphia, reveal adetermination to express complexity through an elaborate process of making. Canvassesare built up in collaged layers. Mysterious, balletic animations are projected alongsidearchival film that has been doctored to produce strange new narratives. The paper MsGallagher uses is meticulously drawn on, painted, cut, stuck, pierced, both on the front andthe back, and then hung in glass boxes. Her works are dense with thought, but thoughttransformed by intensive creative workmanship into something rich and strange. 　　被展出的眾多作品中，還有她與長期合作伙伴Edgar Cleijne共同拍攝的影片，及雙面畫作Morphia，這幅作品力圖通過精巧錯(cuò)綜的創(chuàng)作過程揭露其復(fù)雜性。多層抽象拼貼的效果極具說服力。神秘莫測的芭蕾舞式動畫制作與剪輯過的檔案電影共同創(chuàng)造出了新異的故事。Gallagher所選紙張的正反面均經(jīng)過精心繪制、裁剪、拼接，最后才掛上玻璃畫框。她的作品寓意繁多，通過別出心裁的手工將那些思想付諸于天馬行空的畫作。 　　Ellen Gallagher: AxME is at Tate Modern in London until September 1st. It will travel to theSara Hildn Art Museum in Tampere, Finland, in the autumn and to the Haus der Kunst inMunich, Germany, in 2023. Don t Axe Me will be at the New Museum in New York from June19th until September 15th. 　　Ellen Gallaghe：AxME正于倫敦泰特現(xiàn)代美術(shù)館展出，9月1日截止。秋季展將在芬蘭坦佩雷的SaraHildn 美術(shù)館舉辦。2023年在德國慕尼黑的Haus der Kunst展出。Don t Axe Me將于六月19日至9月15日在紐約New Museum展出。 　　詞語解釋 　　1.make use of 使用，利用;假借 　　Unfortunately, most companies lack the ability toreconfigure and make use of such resources. 　　可惜，大多數(shù)公司都缺乏重新調(diào)配、利用這類資源的能力。 　　To make use of this electrical current, the teamconnected tiny electrodes to the protocells. 　　為了利用這種電流，研究組將一個(gè)小電極連到原細(xì)胞上。 　　2.cover with 用遮蓋住，用填滿 　　This point is too important to cover with a few anecdotes. 　　這個(gè)問題太重要了，不能僅用一些逸聞趣事來論證。 　　Just rub tiger balm on the chest and cover with a warm towel. 　　因此把老虎油涂抹在胸膛時(shí)應(yīng)該蓋上一塊熱毛巾。 　　3.such as 例如 　　Fragile things, such as big banks or debt-laden consumers, tend to break under stress. 　　脆弱的事物，例如大銀行和負(fù)債的消費(fèi)者，面臨壓力時(shí)傾向崩潰。 　　Ancillary businesses such as derivatives have thrived. 　　一些配套的業(yè)務(wù)如金融衍生品已經(jīng)蓬勃發(fā)展了。 　　4.emerge from 露出;浮現(xiàn) 　　Simmons hopes to emerge from bankruptcy in the hands of two new private equity firms. 　　席夢思公司希望依靠兩家新興的私募股權(quán)公司從破產(chǎn)中重新站起來。 　　They are a classic form of stimulus that could help the economy emerge from the housinghangover. 　　這是一個(gè)刺激經(jīng)濟(jì)，幫助其從住房危機(jī)中復(fù)蘇的經(jīng)典方式。