法兰西失尽海上的殖民地，巴黎永远是全世界艺术崇拜者的麦加。罗丹的“思想者”高踞于自家庭院里，天天接待来自全世界各式人种的瞻仰和膜拜。巴黎的地铁靠近罗丹博物馆的那一站，站台两壁的张挂全部是罗丹作品的巨幅照片，是旅游广告，是民族骄傲。出国成潮，那潮，起于贫困落后的国度，人们涌向西方发达国家，去学习、谋生、乞讨。立志自救的中国改革开放，促进了经济、文化的交流，潮去潮来，换了人间。罗丹的“思想者”初次出国，首先来到北京，坐落于中国美术馆，在东方人流中苦苦思索。
与印象主义绘画同步，罗丹冲破学院式雕刻描写对象形似的局限，毫不掩饰捏塑与劈凿的手感，淋漓尽致地表现对象的造型特征，探求雕塑之所以独立为雕塑的本质美感。在拓展现代造型领域的同时，罗丹深深扎根于人间社会，他的美感诞生于人生的悲欢：加莱义民、一狱之门、行走的人、夏娃、娼妇、爱之物、造物之手……雕刻家罗丹是思想者。这对今日中国观念，已是满城唱和的下里巴人了。从罗丹引申发展的布尔特尔、马约、享利•摩、杰克梅蒂……他们比罗丹走得更远。中国人民似乎看不真切，今罗丹既来，他们的被邀也应是期待之中了。
世界上不少国家的元首访问过北京，他们百忙中抽空看看长城，惟有法国的蓬皮先生宁可不看长城，提出要看云冈石窟，当时周恩来同志陪同去欣赏了祖国的瑰宝，今日并非元首的“思想者”来京，谁来招待贵宾我多么盼望请霍去病墓及西安博物馆的汉唐雕刻群前来陪客，与罗丹作品展同时，展出我国古代雕刻，“思想者”从未见过的这些东方古代雕刻原作，他将为之吃惊，古代东方原是现代西方的知音!被人们仰止了一个世纪的“思想者”面对一、二十个世纪前的无名氏之作，他将坠入深深的迷惘中吧
Most of us are taught to pay attention to what is said-the words. Words do provide us with some information, but meanings are derived from so many other sources that it would hinder our effectiveness as a partner to a relationship to rely too heavily on words alone. Words are used to describe only a small part of the many ideas we associate with any given message. Sometimes we can gain insight into some of those associations if we listen for more than words. We don’t always say what we mean or mean what we say. Sometimes our words don’t mean anything except "I’m letting off some steam. I don’t really want you to pay close attention to what I’m saying. Just pay attention to what I’m feeling." Mostly we mean several things at once. A person wanting to purchase a house says to the current owner, "This step has to be fixed before I’ll buy." The owner says, "It’s been like that for years." Actually, the step
A. I’m just calling your attention
B. I’m just kidding
C. I’m just saying the opposite
D. I’m just giving off some sound
Analysts have had their go at humor, and I have read some of this interpretative literature, but without being greatly instructed. Humor can be dissected, as a frog can, but the thing dies in the process and the innards (内在部分) are discouraging to any but the pure scientific mind.
In a newsreel theatre the other day I saw a picture of a man who had developed the soap bubble to a higher point than it had ever before reached. He had become the ace soap bubble blower of America, had perfected the business of blowing bubbles, refined it, doubled it, squared it, and had even worked himself up into a convenient lather. The effect was not pretty. Some of the bubbles were too big to be beautiful, and the blower was always jumping into them or out of them, or playing some sort of unattractive trick with them. It was, if anything, a rather repulsive sight. Humor is a little like that: it won’t stand much blowing up, and it won’t stand much poking. It has a certain fragil
A. skill is required to produce humor
B. neither too much exaggeration nor absolute explicitness is fit for humor
C. people should perfect the art of humor just as the bubble blower does to the bubbles
D. humor should make people frantic for a while
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