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秒以后自动返回美国习惯用语Lesson 49 - stand on one's own two feet...
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to stand on one's own two feet
to throw oneself at someone's feet
在美国的成语和俗语中，有不少是围绕着&脚&这个字构成的，&脚&这个字在英文里就是 foot ，多数就是 feet。在美国的成语和俗语中，以 foot 或 feet 这个字为主的俗语为数还不少，它们的意思也各不相同。
今天我们要给大家再介绍两个由 foot 或者 feet 这个字组成的俗语。第一个是：to stand on one's own two feet。 To stand on one's own two feet 的意思恐怕不难猜到。一个人如果能站稳脚跟的话，他就一定能独立自主，靠自己的力量来办事。我们下面要举的一个例子是一位父亲担心他的儿子吸毒或酗酒，所以在劝告他的儿子：
例句-1: Son, somebody may try to get you to smoke marijuana or drink, just to fit in with the crowd. But I hope you can stand on your own two feet and say no.
这位父亲说：&儿子呀，有的人为了要你合群也许会劝你喝酒或吸毒。但是我希望你能够独立自主，拒绝他们的引诱。&
那些能够独立自主的人的确很令人钦佩。下面就是一个例子：
例句-2: Bill Brown has managed to stay in Congress now for twenty years. The voters don't always agree with him but they really like the way he stands on his own feet and makes his own decisions on which way to vote, regardless of pressures from all the lobbyists.
这个人说：&比尔&布朗在国会当议员已经二十年了。选民们不一定都同意他的观点，但是他们倒很欣赏他在对各种提案投票时的那种独立自主精神。不管那些游说者给他施加多大压力，他都按自己的决定投票。&
今天我们要讲的第二个习惯用语是： to throw oneself at someone's feet。 To throw oneself at someone's feet 这个俗语可以解释为：公开对某人表示爱慕。比如说，一个男子在幻想自己未来的婚事，他对他的朋友说：
例句-3: I'm still looking for the right girl to marry. And when I find her, I'll throw myself at her feet and ask her to spend the rest of her life with me.
他说：&我现在还在物色一个我认为合适的女孩作为我的妻子。一旦我找到了，我就要拜倒在她的石榴裙下，恳求她作为我的终身伴侣。&
To throw oneself at someone's feet 还可以解释为：为了得到一些好处而溜须拍马，或拜倒在某人脚下。下面的例子是说一个被判了罪的犯人：
例句-4: The prisoner who has been convicted as a traitor threw himself at the feet of the judge and begged for mercy.
这句话的意思是：&那个被定罪为叛徒的犯人拜倒在法官的面前，求他发发慈悲。&
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Drowning Girl (also known as Secret Hearts or I Don't Care! I'd Rather Sink) is a 1963 painting in oil and synthetic polymer paint on canvas by . Using the conventions of
conveys the thoughts of the figure, while
echo the effect of the mechanized printing process. It is one of the most representative paintings of the
movement, and part of the 's permanent collection since 1971. The painting is considered among Lichtenstein's most significant works, perhaps on a par with his acclaimed 1963 diptych . Drowning Girl has been described as a "masterpiece of melodrama", and is one of the artist's earliest images depicting women in tragic situations, a theme to which he often returned in the mid-1960s.
The painting shows a teary-eyed woman on a turbulent sea. She is emotionally distressed, seemingly from a romance. A thought bubble reads: "I Don't Care! I'd Rather Sink — Than Call Brad For Help!" This narrative element highlights the clichéd , while its graphics reiterate Lichtenstein's theme of
work imitating mechanized reproduction. The work is derived from a 1962
panel, while also borrowing from 's
and from elements of modernist artists
and . It is one of several Lichtenstein works that mention a character named Brad who is absent from the picture. Both the graphical and narrative elements of the work are cropped from the source image.
During the late 1950s and early 1960s a number of American painters began to adapt the imagery and motifs of comic strips.
made drawings of comic strip characters in 1958.
produced his earliest paintings in the style in 1960. Lichtenstein, unaware of Warhol's work, produced
and Popeye in 1961. Although Warhol had produced silkscreens of
and of other
subjects, he supposedly relegated himself to
as a subject at the time to avoid competing with the more finished style of comics by Lichtenstein. He once said "I've got to do something that really will have a lot of impact that will be different enough from Lichtenstein and , that will be very personal, that won't look like I'm doing exactly what they're doing."
In 1961, 's cartoon work advanced from animated cartoons to more serious themes such as romance and wartime armed forces.
Drowning Girl depicted the advancement of Lichtenstein's cartoon work, which represented his 1961 departure from his
period, from animated cartoons to more serious themes such as romance and wartime armed forces. Lichtenstein said that, at the time, "I was very excited about, and very interested in, the highly emotional content yet detached impersonal handling of love, hate, war, etc., in these cartoon images." Lichtenstein parodied four Picassos between 1962 and 1963. Picasso's depictions of weeping women may have influenced Lichtenstein to produce portrayals of vulnerable teary-eyed women, such as the subjects of
and Drowning Girl. Another possible influence on his emphasis on depicting distressed women in the early- to mid-1960s was that his first marriage was dissolving at the time. Lichtenstein's first marriage to Isabel Wilson, which resulted in two sons, lasted from 1949 to 1965; the couple separated in 1963.
When Lichtenstein made his transition to comic-based work, he began to mimic the style while adapting the subject matter. He applied simplified color schemes and commercial printing-like techniques. The style he adopted was "simple, well-framed images comprised of solid fields of bold color often bounded by thick, stark border lines." The borrowed technique was "representing tonal variations with patterns of colored circles that imitated the half-tone screens of Ben Day dots used in newspaper printing".
asserts that this is an adaptation of the
style associated with . Lichtenstein once said of his technique: "I take a cliche and try to organize its forms to make it monumental."
The subject of Drowning Girl is an example of Lichtenstein's post-1963 comics-based women who "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup."
In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing women to be miserable, such as Drowning Girl, Hopeless and .
These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states. "In Hopeless and Drowning Girl, for example, the heroines appear as victims of unhappy love affairs, with one displaying helplessness ... and the other defiance (she would rather drown than ask for her lover's help)." Drowning Girl, the aforementioned works and
are among those tragedies that make the author a popular draw at museums.
Tony Abruzzo's splash page from "Run for Love!" in Secret Hearts no. 83 (November 1962) was the source for Drowning Girl.
Drowning Girl is derived from the
from "Run for Love!", illustrated by Tony Abruzzo and lettered by , in Secret Hearts #83 (November 1962), . This is the same comic book issue that inspired Hopeless.
In 1963, Lichtenstein was parodying various types of sources such as commercial illustrations, comic imagery and even modern masterpieces. The masterpieces represented what could have been dubbed the "canon" of art and was thought of as "high art," while the "low-art" subject matter included comic strip images. His masterworks sources included the likes of ,
and . During this time in his career, Lichtenstein noted that "the things that I have apparently parodied I actually admire." At the time, Lichtenstein was exploring the theme of "industrialization of emotion". In Lichtenstein's obituary,
critic Christopher Knight said the work was "a witty rejoinder to 's famously brushy paintings of women". His comic romances often depicted stereotypical representations of thwarted passions. Although the Lichtenstein Foundation website claims that Lichtenstein did not begin using his
technique until the fall of 1963, Lichtenstein described his process for producing comics based art, including Drowning Girl:
As directly as possible ... From a cartoon, photograph or whatever, I draw a small picture—the size that will fit into my opaque projector ... I don't draw a picture to reproduce it—I do it in order to recompose it ... I project the drawing onto the canvas and pencil it in and then I play around with the drawing until it satisfies me.— Lichtenstein
When Lichtenstein had his first solo show at the
in New York City in February 1962, it sold out before the opening. In addition to Drowning Girl, the exhibition included Look Mickey, ,
and The Refrigerator. The show ran from February 10 through March 3, 1962.
According to the Lichtenstein Foundation website, Drowning Girl was part of Lichtenstein's first exhibition at
in Los Angeles from April 1 – April 27, 1963, featuring ,
and other works from 1962 and 1963. It was also part of his second solo exhibition at the Leo Castelli Gallery from September 28 – October 24, 1963 that included , , In the Car, Conversation, and Whaam!. Marketing materials for the show included the
The Museum of Modern Art acquired Drowning Girl in 1971, and their webpage for this work credits
and Mr. and Mrs.
for the acquisition.
Some sources describe the subjects of Lichtenstein's tragic girls series as heroines (in the sense that they are the counterparts to the heroes), and others do not (in the sense that they are not heroic). Drowning Girl is a painting of a female subject who would prefer to give in to the power of the ocean than call for aid. Lichtenstein's version of the scene eliminates everything but the sea and a few body parts of the subject: her head, shoulder and hand, which are barely above the water. As her face is presented her eyes are shut with drops of what appear to be tears flowing from them. Because Lichtenstein only presents a single frame, the viewer does not know what happened before this moment and what is going to happen after it.
Furthermore, the viewer has no way to know who Brad is and why she is so reluctant to call him.
According to The Grove Encyclopedia of American Art, the most important element of Lichtenstein's procedure in the early 1960s was "the enlargement and unification of his source material". Although, according to some sources, the changes made to produce Drowning Girl are not regarded as significant, Lichtenstein made several notable changes from the original source: "In the original illustration, the drowning girl's boyfriend appears in the background, clinging to a capsized boat. Lichtenstein cropped the image dramatically, showing the girl alone and encircled by a threatening wave. He changed the caption from 'I don't care if I have a cramp!' to 'I don't care!' and the boyfriend's name from Mal to Brad." With the former narrative change, Lichtenstein removed evidence that the drowning girl has a cramp in her leg. With the latter narrative change, Lichtenstein attempted to change the perception of the boyfriend. When discussing another work (), Lichtenstein stated that the name Brad sounded heroic to him and was used with the aim of clichéd oversimplification.
Lichtenstein's method entailed "strengthening of the formal aspects of the composition, a stylization of motif, and a 'freezing' of both emotion and actions". Although comic-book panels depict a moment in time, Drowning Girl is borrowed from an example of a comic-book panel depiction of a moment relatively more "pregnant" with past- and future-dependent drama than most moments. This work also marks a phase in Lichtenstein's career when many of his works were given
titles such as ,
and Blonde Waiting, which accentuates the works' "relation to process and action." According to The Grove Encyclopedia of American Art, during this phase of Lichtenstein's career "a constant if restrained and a gentle sense of humor contribute just as much to the cheerful lightness of Lichtenstein's work as the balanced, completely harmonious composition."
Narrative content of Drowning Girl
Narrative content was in the forefront of much of Lichtenstein's work as a means to engage the viewer.
Measuring 171.6 cm × 169.5 cm (67.625 in × 66.75 in), Drowning Girl presents "a young woman who seems to have cried herself a river ... literally drowning in emotion," according to Janis Hendrickson. The
makes it clear that she has been hurt by a "Brad", the name given to several of Lichtenstein's heroes.
Vian Shamounki Borchert says that the caption makes it clear that the subject is practically "drowning in a sea of tears".
In typical Lichtenstein fashion, the tragic female is presented "in a suspended state of distress." According to Janis Hendrickson, the subject's head appears to rest on a wave as if it were a pillow and lies in the water as if it were a bed, creating a blend of "eroticism and final resting place". The waters of the sea swirl around the subject's waves of hair creating the perception of a whirlpool. The painting is representative of Lichtenstein's affinity for single-frame drama that reduces the viewer's ability to identify with it and that abstracts emotion. His use of industrial and mechanical appearance further trivialize the sentiments, although the painterly touches add to its simplification.
In the early 1960s Lichtenstein's theme of comics-based work was hotly debated. In a 1963
wrote that Lichtenstein's work was not art, saying Lichtenstein was "one of the worst artists in America" who "briskly went about making a sow's ear out of a sow's ear." This was part of a widespread debate about the merits of Lichtenstein's comic blow-ups as true art. In January 1964
ran a story under the title "Is He the Worst Artist in the U.S.?" on this controversy. Later reviews were much kinder.
noted that this may have been motivat he told Life in 1986 that "Those cartoon blowups may have disturbed the critics, but collectors, tired of the solemnity of abstract expressionism, were ready for some comic relief. Why couldn't the funny pages be fine art?" His work is now widely accepted, although some criticize him for borrowing from comics without attributing the original creators, paying royalties, or seeking permission from copyright holders. David Barsalou has dedicated decades to identifying all of Lichtenstein's source materials and has posted more than 1,000 images on
detailing Lichtenstein's unrecognized sources.
Some critics question Lichtenstein's artistic skills.
said that despite Lichtenstein's association with romance comics, in his day "no comics publisher would have hired Lichtenstein—he wasn't good enough." Kinstler said Lichtenstein lacked the ability to portray the emotional range of the story through facial expressions and body language independently.
Many sources describe Whaam! and Drowning Girl as Lichtenstein's most famous works. The
listed it along with Whaam! and Oh, Jeff...I Love You, Too...But... as one of his most famous at the time of its 2013 Lichtenstein Retrospective display at the . It is also regarded as one of his most influential works along with Whaam! and Look Mickey. , Museum of Modern Art chief curator noted that the 2004 "MoMA in Berlin" exhibition held during the Museum's renovation was a "synoptic overview of 20th-century art". Highlights from the 212-piece exhibition according to various publications such as
were 's , 's
and Lichtenstein's Drowning Girl, all of which were touring outside the United States for the first time.
Drowning Girl was part of the largest ever retrospective of Lichtenstein that visited the
from May 16 to September 3, 2012, the
from October 14, 2012 to January 13, 2013, the
in London from February 21 to May 27, 2013 and
from July 3 to November 4, 2013. During the 2012–13 retrospective,
described Drowning Girl as Lichtenstein's "masterpiece of melodrama". Danish art critic and
called the work an example of Lichtenstein's "post- perdition" pieces, describing it as the "star witness" of this genre of his works. He notes that the subject is reaching far-flung depths as she acts out of pride. T?jner perceived eroticism in this painting, likening the open mouth to a vaginal feature and noting the singularity of Lichtenstein using an open mouth. With that in mind, he compares the tears to
Lichtenstein acknowledges that the wave is adapted from 's famous print, .
This was painted at the apex of Lichtenstein's use of enlarged dots, cropping and magnification of the original source.
curator Diane Waldman notes that Lichtenstein made Drowning Girl a cornerstone of his career because of "his extraordinary sense of organization, his ability to use a sweeping curve and manipulate it into an allover pattern". According to The Oxford Dictionary of American Art and Artists, the work is "a mix of cliché, melodrama, pathos, and absurdity ..." The result is described by art scholar Jonathan Fineberg as "a remarkably impassive style". The image is typical of Lichtenstein's depiction of comic subjects responding to a situation in a clichéd manner.
Lichtenstein's tinkering with the source material resulted in a recomposition with sharper focus after he eliminated several elements that distract from the depiction of the woman, such as the
boat, troubled male subject and the general seascape. The result was swirling, swooping waves and "animate white foam" that envelope the subject with a "pictorial buoyancy" that form an "aquatic continuum".
Drowning Girl presents an "unmistakeable acknowledgement to the flamboyant linearism of ". The waves are intended to "recall
as well as the biomo" just as the source comics may have intended to.
Lichtenstein has claimed a strong relation between the original comic book source panel and Hokusai's , making this work a bridge between the two.
The adaptation of the wave print is said to add a decorative look and feel to the painting, without which the work might be much more alarming to the viewer. Lichtenstein even made the connection between Drowning Girl's arabesque waves and "the Art Nouveau aesthetic". Regarding this work, Lichtenstein stated:
In the Drowning Girl the water is not only Art Nouveau, but it can also be seen as Hokusai. I don't do it just because it is
another reference. Cartooning itself sometimes resembles other periods in art – perhaps unknowingly ... They do things like the little Hokusai waves in the Drowning Girl. But the original wasn't very clear in this regard – why should it be? I saw it and then pushed it a little further until it was a reference that most people will get ... it is a way of crystallizing the style by exaggeration.— Sources,
T?jner describes the work as "Lichtenstein's finest formulation of a counter-image to the many explosions in his universe", noting that the drama is past its peak although it may seem to be at a crescendo. He also notes that "the tears are drawn with classic Lichtenstein waxy fullness" despite the surrounding water, which must be significant since "naturalistic justification" is absent. A November 1963 Art Magazine review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery. Nonetheless, the name of the work was not universally known.
In a December 1964 Art Magazine review of his October 24 – September 19, 1964 Castelli Gallery show, Lichtenstein was referred to as the author of I Don't Care, I'd Rather Sink (Drowning Girl). According to Gary Garrels of the Museum of Modern Art, the work is a "poetics of the utterly banal, of displaced ordinariness" resulting in an "image frozen in time and space", making it "iconic". Comparing this to the source, Garrels says it is a rendering "in a simplified vocabulary" produced while Lichtenstein put aside his mechanical objectivity. According to The Grove Encyclopedia of American Art, extreme examples of his formalization become "virtual abstraction" when the viewer recalls that the motif is an element of a larger work. Thus, Lichtenstein reinforced a non-realist view of comic strips and advertisements, presenting them as artificial images with minimalistic graphic techniques. Lichtenstein's magnification of his source material stressed the plainness of his motifs as an equivalent to mechanical commercial drawing, leading to implications about his statements on modern industrial America. Nonetheless, Lichtenstein appears to have accepted the American capitalist industrial culture.
Lanchner wrote of how Lichtenstein's translation of a "highly charged" content with coolly handled presentation intensified the contrast between the two. While contrasting Lichtenstein's
use in Drowning Girl with another artist's work, Sarah Rich and Joyce Henri Robinson note that the work "satirizes the melodrama of soap operas and serial comics, turning the drama of the title figure's potential suicide into a high camp performance".
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