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小女英语系出身，深感学英语，听说读写永远是不能缺失的。听、说、写这三条还指望大家平时多实践。每天就给大家PO出小文一篇，顺便把里面的典型词组、句子画出来，方便大家阅读记忆。文章大多来自英美网站，语言规则标准，与大家考托福雅思风格一致。
内容包罗万象。如果不喜，请勿拍砖~~
如下是今天的文章，介绍西班牙内战的著名摄影师 Robert Capa。来自：经济学家。
这篇文章长句子比较多，关键是，找到谓语就OK了~
Robert Capa
Showing his true colours
Feb 11th 2014, 17:00 by Y.F. | NEW YORK
From: The Economist
http://www.economist.com/blogs/prospero/2014/02/robert-capa
MORE than any other photographer, perhaps, Robert Capa is remembered as the quintessential（精髓的、典型的） war photographer. His iconic black-and-white images of the Spanish Civil War came to define the idea of the courageous, morally（道德上的，moral形容词） engaged photojournalist working on the front line, staring death in the eye. His own tragic death in Indochina in 1954 at the age of 40, after he stepped on a landmine, helped seal this legacy（seal为封存，legacy是遗产，大概意思就是：1954年，他在40岁的时候误踏入雷区，丧命于中印半岛，这个悲剧为他的一生画上了休止符）.
It is a legacy that the guardians of the Capa catalogue have carefully burnished（擦亮，抛光） in the years since. His black-and-white war photography has been shown most often in posthumous（死后的。humous是腐殖土的意思，humor也有体液的意思，不知道在这里是不是这么讲） shows and books, at the expense of an extensive and important body of work in colour. That is changing, though, and as part of its celebration of the centenary（一百年的) of Capa’s birth, the International Centre of Photography (ICP) in New York is holding an exhibition highlighting（这词公关稿里经常用，嗷~） this overlooked part of his oeuvre（全部作品）. Through over 100 prints, personal documents and issues of the magazines in which some of these photos appeared, ICP has given Capa a long-overdue（早就完成了的） colour retrospective（n&adj，回顾展/回顾的）.
ICP was founded in 1974 by Cornell Capa, Robert’s brother, with the aim of promoting the work of what he termed the “concerned photographer”（恶搞翻译：忧国忧民型摄影师）, whose humanitarian（人道主义的） photojournalism（新闻摄影工作） would educate the world as much as record it. As the curator（负责人。还可以用做，图书馆馆长，大学学监，监护人等） of the exhibit, Cynthia Young, recently explained it, “[Capa’s] colour work has really been excluded from posthumous exhibitions in part because it didn’t fit in with this idea of the concerned photographer, which his brother Cornell Capa was instrumental（乐器的，此处为“有帮助的、起作用的”） in pushing forward after his death.” Indeed, while Robert Capa used colour to record many images traditionally associated with his black-and-white work, such as transatlantic（trans-atlantic，大家都懂） troop convoys（n&v. 护航队/护送） and battle preparations in North Africa, most of his best colour work captures people in a world of post-war languor（倦怠、无力、疲倦。这个词读起来好带感~）, in travel and lifestyle stories for newly glossy（有光泽的，徒有其表的） magazines catering to a now-prosperous post-war America.
Capa’s colour portraiture（肖像画法，词根：portray） is a revelation（有揭露的意思，这里是心灵启示、有启示的事物）. His photo essays for Holiday—a high-brow（文化修养高的，自我欣赏的，此处用High brow好形象 = =） travel magazine—and other journals covered subjects like skiing in the Alps, summers at French seaside resorts, an indulgent（放纵的） visit to Rome, and time on set with the likes of Humphrey Bogart, Orson Welles and Capa’s onetime-lover, Ingrid Bergman（英格丽褒曼~）. Unlike most of the headshots that typified images of Hollywood stars at the time, Capa’s portraits are more intimate and playful, close-ups of friends between takes or enjoying a cocktail on the slopes in Zermatt（瑞士旅游胜地）. These photos, luxurious in both colour and setting, add a different kind of glamour to Capa’s already renowned image as a gritty（勇敢坚强的，grit是沙砾的意思）, battle-worn（意思不言自明~） hero.
While the travel and lifestyle stories show Capa’s effort to remain relevant to magazines beyond his wartime assignments, his interest in colour began back in 1938, while he was on assignment（分配任务，工作） in China during the Sino-Japanese War, two years after Kodak introduced the first colour film. He mostly dropped it during the second world war, when black-and-white film proved easier to acquire and develop, but he then returned to it and persisted in pushing for its use even while most of his peers and publishers resisted this new technology that seemed fit only for advertising and other such frivolous（无价值的，frivol是糟蹋的意思） pursuits. After the war, Capa never prioritised one medium（此处作“媒介”） over another, almost always carrying two cameras with him, one for colour, one for black-and-white. The rest of the world would only catch up long after his death.
"Capa in Colour", International Centre of Photography, New York, until May 4th 2014
在纽约的童鞋们可以去看看~
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