>69 The Revolution in American
      Higher Education To produce the upheaval in the United States that changed and modernized the domain of higher education from the mid 1860's to the mid 1880's, three primary causes interacted. The emergence of a half dozen leaders in education provided the personal force that was needed. Moreover, an outcry for a fresher, more practical, and more advanced kind of instruction arose among the alumni and friends of nearly all of the old colleges and grew into a movement that overrode all conservative opposition. The aggressive "Young Yale" movement appeared, demanding partial alumni control, a more liberal spirit, and a broader course of study. The graduates of Harvard college simultaneously rallied to relieve the college's poverty and demand new enterprise. Education was pushing toward higher standards in the East by throwing off church leadership everywhere, and in the West by finding a wider range of studies and a new sense of public duty. The old style classical education received its most crushing blow in the citadel of Harvard College, where Dr. Charles Eliot, a young captain of thirty five, son of a former treasurer of Harvard, led the progressive forces. Five revolutionary advances were made during the first years of Dr. Eliot's administration. They were the elevation and amplification of entrance requirements, the enlargement of the curriculum and the development of the elective system, the recognition of graduate study in the liberal arts, the raising of professional training in law, medicine, and engineering to a postgraduate level, and the fostering of greater maturity in students' life. Standards of admission were sharply advanced in 1872-1873 and 1876-1877. By the appointment of a dean to take charge of student affairs, and a wise handling of discipline, the undergraduates were led to regard themselves more as young gentlemen and less as young animals. One new course of study after another was opened up - science, music, the history of the fine arts, advanced Spanish, political economy, physics, classical philology, and international law.

      美国高等教育的革命
      从19 世纪 60 年代中期到 19 世纪 80 年代中期，改变了美国高等教 育并使其现代化的激变有三个互相作用的因素。 六位教育界领导者的出现保证了所需的人 力因素。 除此之外，要求更新、更实用、更高层次的教育呼声在几乎所有老式学院的校友 和朋友间升起并发展成压倒所有保守派的一场运动。 咄咄逼人的"青年耶鲁"运动出现了， 要求校友具有部分控制，更自由的精神和更广的选课范围。哈佛学院的毕业生同时团结起来 缓解学校的贫困状况并要求新的事业。 在东部地区的高等学府抛弃了教堂的领导，西部地 区的学校则扩大了学习范围，树立了一种新的社会责任感，由此教育不断地被推向更高的标 准。 在哈佛学院的城堡里，旧式的经典教育受到了最毁灭性的打击。 哈佛以前一个财政主 管的儿子，35 岁的年轻领袖查尔斯·艾略特博士，领导了进步的力量。 在他管理学院的第 一年取得了五个革命性的进展。 那就是提高和加强入学要求，扩充课程和发展选修课，承 认大学文科的研究生学习，将法学、医学和工程学的职业训练提高到研究生水平和促进学生 生活的成熟。 入学标准在 1872～1873 年及 1876 年～1877 年急剧提高。 由于采用了学生 事务院长负责制和明智的处理纪律的手段，大学生把自己更多地看作是年轻的绅士，而不是 年轻的动物。 学校开设了一个又一个的新课程--自然科学、音乐、美术史、高级西班牙语、 政治经济学、物理、古典语言学和国际法。
>70 Garza's Art Works
      Carmen Lomas Garza's eloquent etchings, lithographs, and gouache paintings depict primal images of the rural environment and communal cultural experience of Mexican decended people in the United States. In an introspective and personal language, she describes the customs, traditions, a nd ways of life of her Texan Mexican heritage.By 1972, Lomas Garza had evolved her distinctive monitos, paintings of stylized figures in culturally specific social environments. She transposes images and scenes from her past, combining cultural documentation with invention in an interplay of fact and fiction. Through selection, emphasis, and creation, these monitos delineate facets of experience, expressing deeper truths. Oral tradition is a mainstay of Chicano culture. In both urban and rural communities, a rich and varied repertoire of ballads, tales, and poetic forms is preserved in memory and passed from generation to generation. Lomas Garza's monitos function as an oral tradition in visual form. Her unique art of storytelling employs iconographic elements to create a concentrated narration. Visual episodes within an unfolding epic tale of cultural regeneration, the monitos keep alive the customs and daily practices that give meaning and coherence to Chicano identity. Their basic aim is to delight and instruct. For those outside Chicano culture, the precise and minutely detail ed monitos provide a glimpse into the rich and vibrant lifestyl e of the largest Spanish speaking cultural group within the United States society. Although her art has an innocent earnestness and folkloric affinity, Lomas Garza's expression is neither naive nor instinctive. The artist is highly trained academically, but has chosen to remain independent of dominant artistic trends in order to work toward a private aesthetic response to social concerns. While her work does not posit an overt political statement, it originates from a desire to respo nd to the contemporary situation of Mexican Americans by expressing positive images of their culture.

      加扎的艺术作品
      卡门·洛玛斯·加扎富有表现力的蚀刻画、平刻画和树胶水彩画，描绘 了美国墨西哥后裔居住的乡村环境和群体的文化经验中的原始形象。 她用一种反省和个性 化的语言，描绘了得克萨斯州墨西哥后裔的风俗、传统和生活方式。 到 1972 年为止，洛玛 斯·加扎已逐渐完成了风格独特的 monitos。 这是将风格化的人物置身于特定的社会文化环 境中的系列画作。她从自己的经验中移植出来一些形象和场景，用虚构和现实的交融，实现 了文化注释和艺术创造的结合。 通过挑选、突出和虚构的手段，这些画勾勒了人情事故的 各个方面，并表现了更深层的真实。 口语传统是美国墨西哥文化的主流。 在城市和农村， 人们在记忆中保留了各类民谣、传说和诗歌并世代相传。 洛玛斯·加扎的 monitos，以可视 的形象表现了这一口语传统。 她独一无二的艺术，用肖像法的元素创造了高度凝炼的叙事。 作为逐渐展开的文化更新史诗中的视觉片断，monitos 生动地表现了赋予墨裔美国人有价值 及完整的认同感的习俗和日常生活。 这些画的根本目的是给人娱悦和教育。 对墨西哥文化 以外的人来说，这些画准确而细致地描绘了美国社会中最大的西班牙语文化群的丰富和充满 活力的生活方式。 尽管她的艺术天真、诚挚并与民间艺术有极深的渊源，洛玛斯·加扎的 表现手法却绝不幼稚也并不是仅仅出于本能。 这位艺术家在学术上受过高度训练。 她选择 独立于艺术主流之外，目的是对社会的良心做出个性化的美学反应。 尽管她的作品未提出 公开的政治宣言，但却是发源于通过描述墨美文化中的正面形象来反映墨美人目前处境的愿望。 转贴于：PETS考试_考试大