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Text2 ThomasHardy’simpulsesasawriterallofwhichindulgedinhisnovelswerenumerousanddivergentandtheydidnotalwaysworktogetherinharmony.Hardywastosomedegreeinterestedinexploringhischaracters’psychologiesthoughimpelledlessbycuriositythanbysympathy.Occasionallyhefelttheimpulsetocomedyinallitsdetachedcoldnessaswellastheimpulsetofarcebuthewasmoreofteninclinedtoseetragedyandrecordit.Hewasalsoinclinedtoliteraryrealismintheseveralsensesofthatphrase;Hewantedtodescribeordinaryhumanbeings.Hewantedtospeculateontheirdilemmasrationallyandunfortunatelyevenschematically;andhewantedtorecordpreciselythematerialuniverse.Finallyhewantedtobemorethanarealist.Hewantedtotranscendwhatheconsideredtobethebanalityofsolelyrecordingthingsexactlyandtoexpressaswellhisawarenessoftheoccultandthestrange. InhisnovelsthesevarieusimpulsesweresacrificedtoeachotherinevitablyandofteninevitablybecauseHardydidnotcareinthewaythatnovelistssuchasFlaubertorJameslearnedandthereforetookpathsofleastresistance.Thusoneimpulseoftensurrenderedtoafresheroneandunfortunatelyinsteadofexactingacompromisesimplydisappeared.Adesiretothrowoverrealityalightthatneverwasmightgivewayabruptlytothedesireonthepartofwhatwemightconsideranovelistscientisttorecordexactlyandconcretelythestructureandtextureofaflower. Inthisinstancethenewimpulsewasatleastanenergeticone.Andthusitsindulgencedidnotresultinarelaxedstyle.ButonotheroccasionsHardyabandonedaperilousriskyandhighlyenergizingimpulseinfavorofwhatwasforhimthefatallyrelaxingimpulsetoclassifyandschematizeabstractly.Whenarelaxingimpulsewasindulgedthestyle--thatsureindexofanauthor’sliteraryworth—wascertaintobecomeverbose. Hardy’sweaknessderivedfromhisapparentinabilitytocontrolthecomingsandgoingsofthesedivergentimpulsesandfromhisunwillingnesstocultivateandsustaintheenergeticandriskyones.Hesubmittedoffirstoneandthenanotherandthespiritblewwhereitlisted;hencetheunevennessofanyoneofhisnovels.HismostcontrollednovelUndertheGreenwoodTreeprominentlyexhibitstwodifferentbutreconcilableimpulses—adesiretobearealist-historianandadesiretobeapsychologistoflovebuttheslightinterlockingsofplotarenotenoughtobindthetwocompletelytogether.Thuseventhisbooksplitsintotwodistinctparts. TheauthormentionsHardy'snovelUndertheGreenwoodTreetojustifyhiscommentson
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism.thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—20anart. 8
18
Text1 FewpeoplewoulddefendtheVictorianattitudetochildrenbutifyouwereaparentinthosedaysatleastyouknewwhereyoustood:childrenweretobeseenandnotheard.Freudandcompanydidawaywithallthatandparentshavebeenbewilderedeversince.Thechild’shappinessisall-importantthepsychologistssaybutwhatabouttheparents’happinessParentssuffercontinuallyfromfearandguiltwhiletheirchildrengailyrompaboutpullingtheplaceapart.Agood"old-fashioned"spankingisoutofthequestion:nomodernchild-rearingmanualwouldpermitsuchbarbarity.Thetroubleisyouarenotallowedeventoshout.WhoknowswhatdeeppsychologicalwoundsyoumightinflictThepoorchildmayneverrecoverfromthedreadfultraumaticexperience.Soitisthatparentsbendoverbackwardstoavoidgivingtheirchildrencomplexeswhichahundredyearsagohadn’tevenbeenheardof.Certainlyachildneedsloveandalotofit.Buttheexcessivepermissivenessofmodernparentsissurelydoingmoreharmthangood. Psychologistshavesucceededinunderminingparents’confidenceintheirownauthority.Andithasn’ttakenchildrenlongtogetwindofthefact.Inadditiontothegreatmodernclassicsonchild-caretherearecountlessarticlesinmagazinesandnewspapers.Withsomuchunsolicitedadviceflyingaboutmumanddadjustdon’tknowwhattodoanymore.Intheendtheydonothingatall.$ofromearlychildhoodthekidsareinchargeandparents’livesareregulatedaccordingtotheneedsoftheiroffspring.Whenthelittledearsdevelopintoteenagerstheytakecompletecontrol.Laxauthorityovertheyearsmakesadolescentrebellionagainstparentsallthemoreviolent.Iftheyoungpeoplearegoingtohaveapartyforinstanceparentsareaskedtoleavethehouse.Theirpresencemerelyspoilsthefun.Whatelsecanthepoorparentsdobutobey Childrenarehardycreaturesfarhardierthanthepsychologistswouldhaveusbelieveandmostofthemsurvivetheharmfulinfluenceofextremepermissivenesswhichisthenormalconditioninthemodernhousehold.Butagreatmanydonot.Thespreadofjuveniledelinquencyinourownageislargelyduetoparentallaxity.MotherbelievingthatlittleJohnnycanlookafterhimselfisnotathomewhenhereturnsfromschoolsolittleJohnnyroamsthestreets.Thedividing-linebetweenpermissivenessandsheernegligenceisveryfineindeed. Thepsychologistshavemuchtoanswerfor.Theyshouldkeeptheirmouthsshutandletparentsgetonwiththejob.Andifchildrenareknockedaboutalittlebitintheprocessitmaynotreallymattertoomuch.Atleastthiswillhelpthemtodevelopvigorousviewsoftheirownandgivethemsomethingpositivetoreactagainst.Perhapsthere’ssometruthintheideathatchildrenwhohavehadasurfeitofhappinessintheirchildhoodappearlikestodgypuddingsandfailtomakeasuccessoflife. Itseemsthattheauthorismostcriticalof
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism.thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—20anart. 10
A.Studythefollowingpicturecarefullyandwriteanessayofabout160--200words. B.YouressaymustbewrittenclearlyontheANSWERSHEET2. C.Youressayshouldmeettherequirementsbelow: 1.Describethedrawingandinterpretitsmeaning 2.Andgiveyourcomments.
1ThisisthestoryofasturdyAmericansymbolwhichhasnowspreadthroughoutmostoftheworld.Thesymbolisnotthedollar.ItisnotevenCoca-Cola.ItisasimplepairofpantscalledbluejeansandwhatthepantssymbolizeiswhatAlexisdeTocquevillecalled"amanlyandlegitimatepassionforequality..." 2Bluejeansarefavoredequallybybureaucratsandcowboys;bankersanddeadbeats;fashiondesignersandbeerdrinkers.Theydrawnodistinctionsandrecognizenoclasses;theyaremerelyAmerican. 341.___________ 4ThisubiquitousAmericansymbolwastheinventionofaBavarian-bornJew.HisnamewasLeviStrauss. 5HewasborninBadOcheimGermanyin1829andduringtheEuropeanpoliticalturmoilof1848decidedtotakehischancesinNewYorktowhichhistwobrothersalreadyhademigrated.UponarrivalLevisoonfoundthathistwobrothershadexaggeratedtheirtalesofaneasylifeinthelandofthemainchance.Hefoundthempushingneedlesthreadpotspansribbonsyarnscissorsandbuttonstohousewives. 642.___________ 7Itwasthewrongkindofcanvasforthatpurposebutwhiletalkingwithaminerdownfromthemotherlodehelearnedthatpants-sturdypantsthatwouldstanduptotherigorsofthedigging--werealmostimpossibletofind. 8OpportunitybeckonedonthespotStraussmeasuredtheman’sgirthandinseamwithapieceofstringandforsixdollarsingolddusthad[thecanvas]tailoredintoapairofstiffbutruggedpants. 943.___________ 10WhenStraussranoutofcanvasheWrotehistwobrotherstosendmore.HereceivedinsteadatoughbrowncottonclothmadeinNimesFrance. 11AlmostfromthefirstStrausshadhisclothdyedthedistinctiveindigothatgavebluejeanstheirnamebutitwasnotuntilthe1870sthatheaddedthecopperrivetswhichhavelongsincebecomeacompanytrademark. 1244.___________ 13ForthreedecadesthereafterthebusinessremainedprofitablethoughsmallwithsaleslargelyconfinedtotheworkingpeopleoftheWest-cowboyslumberjacksrailroadworkersandthelike. 14Levi’sjeanswerefirstintroducedtotheEastapparentlyduringthedude-ranchcrazeofthe1930swhenvacationingEasternersreturnedandspreadthewordaboutthewonderfulpantswithrivets. 1545.___________ 16ThepantshavebecomeatraditionandalongthewayhaveacquiredahistoryoftheirownsomuchsothatthecompanyhasopenedamuseuminSanFrancisco.Forexamplethereistheparticularlyterrifyingstoryofthecarelessconstructionworkerwhodangledfifty-twostoriesabovethestreetuntilrescuedhissolesupporttheLevi’sbeltloopthroughwhichhisropewashooked. [A]Theminerwasdelightedwiththeresultwordgotaroundabout"thosepantsofLevi’s"andStrausswasinbusiness.Thecompanyhasbeeninbusinessverysince. [B]AsakindofjokeDavistookthepantstoablacksmithandhadthepocketsriveted;onceagaintheideaworkedsowellthatwordgotaround;in1873Straussappropriatedandpatentedthegimmick—andhiredDavisasaregionalmanager. [C]BythistimeStrausshadtakenbothhisbrothersandtwobrothers-in-lawintothecompanyandwasreadyforhisthirdSanFranciscostore.Overtheensuingyearsthecompanyprosperedlocallyandbythetimeofhisdeathin1902StrausshadbecomeamanofprominenceinCalifornia. [D]Fortwoyearshewasalowlypeddlerhaulingsome180poundsofsundriesdoor-to-doortoekeoutamarginalliving.WhenamarriedsisterinSanFranciscoofferedtopayhiswayWestin1850hejumpedattheopportunitytakingwithhimboltsofcanvashehopedtosellfortenting. [E]AnotherboostcameinWorldWarIIwhenbluejeansweredeclaredanessentialcommodityandweresoldonlytopeopleengagedindefensework.FromacompanywithfifteensalespeopletwoplantsandalmostnobusinesseastoftheMississippiin1946theorganizationgrewinthirtyyearstoincludeasalesforceofmorethantwenty-twothousandwithplantsandofficesinthirty-fivecountries. [F]Theyadaptthemselvestoanysortofidiosyncraticuse;womenslitthemattheinseamsandconvertthemintolongskirtsmenchopthemoffabovethekneesandturnthemintosomethingtobewornwhilechallengingthesurf.Decorationsandornamentationsabound. [G]Yettheyaresoughtafteralmosteverywhereintheworld-includingRussiawhereauthoritiesrecentlybrokeupateen-agedgangthatwassellingthemontheblackmarketfortwohundreddollarsapair. 44
Text1 WhoeversaidthatvictoryhasmanyfathersanddefeatisanorphansurelyhadneverheardoftheWorldTradeOrganizationWTO.InthecaseofthehaplessmultilateraltradebodyanditslongsufferingrepresentativesthetotalfailureoftheopeningmeetingofthesocalledMillenniumtraderoundhaslotsofpeopleboastingoftheirroleintheviolentphysicalstruggle.Well.That’sjustbrilliant.Theyareproudofbeingpartofamovementthatwantstowreckthemostimportantengineofeconomicgrowthprosperityandoverallglobalrisinglivingstandardswehave—thefreedomoftradeandmovementofpeopleandgoodsbetweennations. The135-memberWTOiscomposedofsovereigngovernmentswishingtofurtherthisgoalandeasethesettlementofinternationaltradedisputes.FromthesoundsemanatingfromSeattlethoughitwouldnowseemtheWTOhasnowreplacedtheTrilateralCommissionandtheFreemasonsascandidateNo.1totakeovertheworld. EverybodyhashisfavoriteSeattlestory.Thecity’spolicechiefwillhaveplentyoftimetothinkabouthishavingnowresignedindisgraceoverthelossofcontrolofdowntownSeattle.TheSeattlebusinesscommunitymaybemoreinclinedtobroodovertheirs;thepoorfoolsinvested$9milliontoattractthemeetingtotheirfinecity.WhatstandsoutmoreIwouldnominatetheunionofsteelworkerswhoweremarchinginprotest.It’sanimagethatwillbogglethemindforyearstocome. Thedebatenowisoverjusthoweffectivethisanti-globalistcoalitionwillturnouttobe.Intheheatofthemomentitalwayslooksasthoughtheworldasweknowitiscomingtoanend.Buttheoverwhelminglikelihoodisthatwehavenotactuallyseenareplayoftheanti-VietnamWarmovementwhichhadmuchclearerfocusobviouslythoughitsconsequenceswerefar-reaching.Howlongafterallcanyouprotestagainstcheapimportswhenthosesameimportsarealloveryourhouse NotherealreasonforthedisasterinSeattleispoliticalandreportscomingoutofthemeetingpointtoPresidentClintonasamajorculprit.Whichmaybebothgoodandbad.Takingthelongviewothertraderoundshavehaddifficultbeginningstoo.IttookyearstogettheUruguayRoundunderwaywhichfinallyhappenedin1986.Thankfullywewillsoonbeelectinganotherpresidentanditshouldbesomeonewhoseactionsmatchhisrhetoric. Stillitisadisgracethattheworld’sgreatesttradingnationi.e.theUnitedStatesiscurrentlyledbyamanwhosemotivationsaresonarrowlypoliticalandegocentricthathehasnowwreckedanychanceofenteringthehistorybooksasachampionoffreetrade. ThestatementvictoryhasmanyfathersanddefeatisanorphanPara.1isusedtointroduce
UnitedStatesSenatorJohnGlennreturnedtoorbitaboardthespaceshuttleDiscoveryinlateOctober199836yearsafterhisfirstlift-offfromCapeCanaveralinFlorida.46The77-year-oldpoliticianwhoin1962becameAmerica’sfirstmantoorbittheEarthblastedoffwithsixotherastronautsonamissionthatwouldincluderesearchintoageing.Takingleaveofhimatthespacecenteralongwith3000mediarepresentatives20000invitedguestsandanestimatedhalfmillionpeoplewhocrowdedvantagepointsroundabouttowatchthelaunch—werehiswifeofmorethan50yearsAnniehistwochildrenandtwograndchildren. GlennfeverstruckFlorida’sspacecoastmonthsaheadofthelaunchwithhotelroomsbookeduphalfayearinadvance.Onelocalnewspapercalledthephenomenon"HurricaneGlenn"anironicreferencetothespateofdevastatinghurricanethathadalreadyhittheFloridacoastduring1998. TheOhiosenatorhadcampaignedforseveralyearstobeallowedthisreturntripintospace.47NASAadministersfinallyagreedtohisproposedstudyontheeffectsofweightlessnessonelderlypeopleandthepossibleparallelsbetweentheside-effectsofweightlessnessandtheageingprocessitself.48CriticshowevercomplainedthatthemissionwaslittlemorethanapublicrelationsexerciseaimedatraisingtheprofileofNASAandwoulddonothingtoadvanceresearchintothegeriatriccondition.Somewereevensayingthatthetriprepresentedtheultimatecongressionaljunket. Glenninsistedfromthebeginningthatthespacemissionwasaseriousonehowever.Hesubjectedhimself—andothers—toaseriesoftestsinaspeciallaboratorywhileinorbit.49Heswallowedaspecialthermometerbeforelift-offsothathistemperaturecouldbemonitoredandhadatubeimplantedinhisarmtofacilitatethetakingofbloodsampleswithouttheneedforfreshneedleseachtime.OthertestsconductedonhisreturntoEarthweredesignedtomeasurehisbonedensityandchangesinhisspinalcord. 50NASAofficialsfuelledsuspicionthatGlenn’striphaddubiouspracticalvaluehoweverbyannouncingthattherewerenoplanstotestanymoreelderlyastronautsafterhistrip.Thiswasdespitethefactthat67-year-oldJerrieCobboneof13womenwhotrainedfortheSpaceprogrammewithGlennintheearly1960sbutwhowereneverallowedtoflyexpressedherdeterminationtobecomethenextgeriatricguineapiginorbit. Thespaceexperiencehaschangedagreatdealinthe36yearssinceGlennwaslastinorbit.Unlikehisfive-hour1962tripthiswasnosolomission. CriticshowevercomplainedthatthemissionwaslittlemorethanapublicrelationsexerciseaimedatraisingtheprofileofNASAandwoulddonothingtoadvanceresearchintothegeriatriccondition.
Text2 ThomasHardy’simpulsesasawriterallofwhichindulgedinhisnovelswerenumerousanddivergentandtheydidnotalwaysworktogetherinharmony.Hardywastosomedegreeinterestedinexploringhischaracters’psychologiesthoughimpelledlessbycuriositythanbysympathy.Occasionallyhefelttheimpulsetocomedyinallitsdetachedcoldnessaswellastheimpulsetofarcebuthewasmoreofteninclinedtoseetragedyandrecordit.Hewasalsoinclinedtoliteraryrealismintheseveralsensesofthatphrase;Hewantedtodescribeordinaryhumanbeings.Hewantedtospeculateontheirdilemmasrationallyandunfortunatelyevenschematically;andhewantedtorecordpreciselythematerialuniverse.Finallyhewantedtobemorethanarealist.Hewantedtotranscendwhatheconsideredtobethebanalityofsolelyrecordingthingsexactlyandtoexpressaswellhisawarenessoftheoccultandthestrange. InhisnovelsthesevarieusimpulsesweresacrificedtoeachotherinevitablyandofteninevitablybecauseHardydidnotcareinthewaythatnovelistssuchasFlaubertorJameslearnedandthereforetookpathsofleastresistance.Thusoneimpulseoftensurrenderedtoafresheroneandunfortunatelyinsteadofexactingacompromisesimplydisappeared.Adesiretothrowoverrealityalightthatneverwasmightgivewayabruptlytothedesireonthepartofwhatwemightconsideranovelistscientisttorecordexactlyandconcretelythestructureandtextureofaflower. Inthisinstancethenewimpulsewasatleastanenergeticone.Andthusitsindulgencedidnotresultinarelaxedstyle.ButonotheroccasionsHardyabandonedaperilousriskyandhighlyenergizingimpulseinfavorofwhatwasforhimthefatallyrelaxingimpulsetoclassifyandschematizeabstractly.Whenarelaxingimpulsewasindulgedthestyle--thatsureindexofanauthor’sliteraryworth—wascertaintobecomeverbose. Hardy’sweaknessderivedfromhisapparentinabilitytocontrolthecomingsandgoingsofthesedivergentimpulsesandfromhisunwillingnesstocultivateandsustaintheenergeticandriskyones.Hesubmittedoffirstoneandthenanotherandthespiritblewwhereitlisted;hencetheunevennessofanyoneofhisnovels.HismostcontrollednovelUndertheGreenwoodTreeprominentlyexhibitstwodifferentbutreconcilableimpulses—adesiretobearealist-historianandadesiretobeapsychologistoflovebuttheslightinterlockingsofplotarenotenoughtobindthetwocompletelytogether.Thuseventhisbooksplitsintotwodistinctparts. Concerningliteraryrealismasmentionedinthepassagewhichofthefollowingwouldtheauthorbemostlikelytoagreewith
Text2 ThomasHardy’simpulsesasawriterallofwhichindulgedinhisnovelswerenumerousanddivergentandtheydidnotalwaysworktogetherinharmony.Hardywastosomedegreeinterestedinexploringhischaracters’psychologiesthoughimpelledlessbycuriositythanbysympathy.Occasionallyhefelttheimpulsetocomedyinallitsdetachedcoldnessaswellastheimpulsetofarcebuthewasmoreofteninclinedtoseetragedyandrecordit.Hewasalsoinclinedtoliteraryrealismintheseveralsensesofthatphrase;Hewantedtodescribeordinaryhumanbeings.Hewantedtospeculateontheirdilemmasrationallyandunfortunatelyevenschematically;andhewantedtorecordpreciselythematerialuniverse.Finallyhewantedtobemorethanarealist.Hewantedtotranscendwhatheconsideredtobethebanalityofsolelyrecordingthingsexactlyandtoexpressaswellhisawarenessoftheoccultandthestrange. InhisnovelsthesevarieusimpulsesweresacrificedtoeachotherinevitablyandofteninevitablybecauseHardydidnotcareinthewaythatnovelistssuchasFlaubertorJameslearnedandthereforetookpathsofleastresistance.Thusoneimpulseoftensurrenderedtoafresheroneandunfortunatelyinsteadofexactingacompromisesimplydisappeared.Adesiretothrowoverrealityalightthatneverwasmightgivewayabruptlytothedesireonthepartofwhatwemightconsideranovelistscientisttorecordexactlyandconcretelythestructureandtextureofaflower. Inthisinstancethenewimpulsewasatleastanenergeticone.Andthusitsindulgencedidnotresultinarelaxedstyle.ButonotheroccasionsHardyabandonedaperilousriskyandhighlyenergizingimpulseinfavorofwhatwasforhimthefatallyrelaxingimpulsetoclassifyandschematizeabstractly.Whenarelaxingimpulsewasindulgedthestyle--thatsureindexofanauthor’sliteraryworth—wascertaintobecomeverbose. Hardy’sweaknessderivedfromhisapparentinabilitytocontrolthecomingsandgoingsofthesedivergentimpulsesandfromhisunwillingnesstocultivateandsustaintheenergeticandriskyones.Hesubmittedoffirstoneandthenanotherandthespiritblewwhereitlisted;hencetheunevennessofanyoneofhisnovels.HismostcontrollednovelUndertheGreenwoodTreeprominentlyexhibitstwodifferentbutreconcilableimpulses—adesiretobearealist-historianandadesiretobeapsychologistoflovebuttheslightinterlockingsofplotarenotenoughtobindthetwocompletelytogether.Thuseventhisbooksplitsintotwodistinctparts. Aspointedoutinthepassagetheexpositionofthestructureandtextureofaflowerisagoodexampleof
UnitedStatesSenatorJohnGlennreturnedtoorbitaboardthespaceshuttleDiscoveryinlateOctober199836yearsafterhisfirstlift-offfromCapeCanaveralinFlorida.46The77-year-oldpoliticianwhoin1962becameAmerica’sfirstmantoorbittheEarthblastedoffwithsixotherastronautsonamissionthatwouldincluderesearchintoageing.Takingleaveofhimatthespacecenteralongwith3000mediarepresentatives20000invitedguestsandanestimatedhalfmillionpeoplewhocrowdedvantagepointsroundabouttowatchthelaunch—werehiswifeofmorethan50yearsAnniehistwochildrenandtwograndchildren. GlennfeverstruckFlorida’sspacecoastmonthsaheadofthelaunchwithhotelroomsbookeduphalfayearinadvance.Onelocalnewspapercalledthephenomenon"HurricaneGlenn"anironicreferencetothespateofdevastatinghurricanethathadalreadyhittheFloridacoastduring1998. TheOhiosenatorhadcampaignedforseveralyearstobeallowedthisreturntripintospace.47NASAadministersfinallyagreedtohisproposedstudyontheeffectsofweightlessnessonelderlypeopleandthepossibleparallelsbetweentheside-effectsofweightlessnessandtheageingprocessitself.48CriticshowevercomplainedthatthemissionwaslittlemorethanapublicrelationsexerciseaimedatraisingtheprofileofNASAandwoulddonothingtoadvanceresearchintothegeriatriccondition.Somewereevensayingthatthetriprepresentedtheultimatecongressionaljunket. Glenninsistedfromthebeginningthatthespacemissionwasaseriousonehowever.Hesubjectedhimself—andothers—toaseriesoftestsinaspeciallaboratorywhileinorbit.49Heswallowedaspecialthermometerbeforelift-offsothathistemperaturecouldbemonitoredandhadatubeimplantedinhisarmtofacilitatethetakingofbloodsampleswithouttheneedforfreshneedleseachtime.OthertestsconductedonhisreturntoEarthweredesignedtomeasurehisbonedensityandchangesinhisspinalcord. 50NASAofficialsfuelledsuspicionthatGlenn’striphaddubiouspracticalvaluehoweverbyannouncingthattherewerenoplanstotestanymoreelderlyastronautsafterhistrip.Thiswasdespitethefactthat67-year-oldJerrieCobboneof13womenwhotrainedfortheSpaceprogrammewithGlennintheearly1960sbutwhowereneverallowedtoflyexpressedherdeterminationtobecomethenextgeriatricguineapiginorbit. Thespaceexperiencehaschangedagreatdealinthe36yearssinceGlennwaslastinorbit.Unlikehisfive-hour1962tripthiswasnosolomission. The77-year-oldpoliticianwhoin1962becameAmerica’sfirstmantoorbittheEarthblastedoffwithsixotherastronautsonamissionthatwouldincluderesearchintoageing.
Text3 Biologicallythereisonlyonequalitywhichdistinguishesusfromanimals:theabilitytolaugh.Inauniversewhichappearstobeutterlydevoidofhumorweenjoythissupremeluxury.Anditisaluxuryforunlikeanyotherbodilyprocesslaughterdoesnotseemserveabiologicallyusefulpurpose.Inadividedworldalaughterisaunifyingforce.Humanbeginsopposeeachotheronagreatmanyissues.Nationsmaydisagreeaboutsystemsofgovernmentandhumanrelationsmaybeplaguedbyideologicalfactionsandpoliticalcampsbutweallsharetheabilitytolaugh.Andlaughterinturndependsonthemostcomplexandsubtleofall-humanqualities:asenseofhumor.Certaincomicstereotypeshaveauniversalappeal.Thiscanbestbeseenfromtheworld-widepopularityofCharlieChaplain’searlyfilms.Thelittlemanatoddswithsocietyneverfailstoamusenomatterwhichcountrywecomefrom.AsthatgreatcommentatoronhumanaffairsDr.SamuelJohnsononceremarked"Menhavebeenwiseinverydifferentmodes;buttheyhavealwayslaughedinthesameway. Asenseofhumormaytakevariousformsandlaughtermaybeanythingfromrefinedtinkletoanearthquakingroarbuttheeffectisalwaysthesame.Humorhelpsustomaintainacorrectsenseofvalues.Itistheonequalitywhichpoliticalfanaticsappeartolack.Ifwecanseethefunnysidewenevermakethemistakeoftakingourselvestooseriously.Wearealwaysremindedthattragedyisnotreallyfarremovedfromcomedysowenevergetalopsidedviewofthings. Thisisoneofthechieffunctionsofsatireandirony.Humanpainandsufferingaresogrim;wehoversooftenonthebrinkofwarpoliticalrealitiesareusuallyenoughtoplungeusintototaldespair.Insuchcircumstancescartoonsandsatiricalaccountsofsomberpoliticaleventsredressthebalance.Theytakethewindoutofpompousandarrogantpoliticianswhohavelosttheirsenseofproportion.Theyenableustoseethatmanyofourmostprofoundactionsaremerelycomicorabsurd.WelaughwhenagreatsatiristlikeSwiftwritesaboutwarsinGulliver’sTravels.TheLilliputiansandtheirneighborsattackeachotherbecausetheycan’tagreewhichendtobreakanegg.Welaughbecausewearemeanttolaugh;butwearemeanttoweeptoo.ItisnowonderthatintotalitarianregimesanysatireagainsttheEstablishmentiswhollybanned.Itistoopowerfulweapontobeallowedtoflourish. Thesenseofhumormustbesingledoutasman’smostimportantqualitybecauseitisassociatedwithlaughter.Andlaughterinturnisassociatedwithhappiness.Couragedeterminationinitiative--theseare.qualitieswesharewithotherformsoflife.Butthesenseofhumorisuniquelyhuman.Ifhappinessisoneofthegreatgoalsoflifethenitisthesenseofhumorthatprovidesthekey. Towhichofthefollowingistheauthorlikelytoagree
1ThisisthestoryofasturdyAmericansymbolwhichhasnowspreadthroughoutmostoftheworld.Thesymbolisnotthedollar.ItisnotevenCoca-Cola.ItisasimplepairofpantscalledbluejeansandwhatthepantssymbolizeiswhatAlexisdeTocquevillecalled"amanlyandlegitimatepassionforequality..." 2Bluejeansarefavoredequallybybureaucratsandcowboys;bankersanddeadbeats;fashiondesignersandbeerdrinkers.Theydrawnodistinctionsandrecognizenoclasses;theyaremerelyAmerican. 341.___________ 4ThisubiquitousAmericansymbolwastheinventionofaBavarian-bornJew.HisnamewasLeviStrauss. 5HewasborninBadOcheimGermanyin1829andduringtheEuropeanpoliticalturmoilof1848decidedtotakehischancesinNewYorktowhichhistwobrothersalreadyhademigrated.UponarrivalLevisoonfoundthathistwobrothershadexaggeratedtheirtalesofaneasylifeinthelandofthemainchance.Hefoundthempushingneedlesthreadpotspansribbonsyarnscissorsandbuttonstohousewives. 642.___________ 7Itwasthewrongkindofcanvasforthatpurposebutwhiletalkingwithaminerdownfromthemotherlodehelearnedthatpants-sturdypantsthatwouldstanduptotherigorsofthedigging--werealmostimpossibletofind. 8OpportunitybeckonedonthespotStraussmeasuredtheman’sgirthandinseamwithapieceofstringandforsixdollarsingolddusthad[thecanvas]tailoredintoapairofstiffbutruggedpants. 943.___________ 10WhenStraussranoutofcanvasheWrotehistwobrotherstosendmore.HereceivedinsteadatoughbrowncottonclothmadeinNimesFrance. 11AlmostfromthefirstStrausshadhisclothdyedthedistinctiveindigothatgavebluejeanstheirnamebutitwasnotuntilthe1870sthatheaddedthecopperrivetswhichhavelongsincebecomeacompanytrademark. 1244.___________ 13ForthreedecadesthereafterthebusinessremainedprofitablethoughsmallwithsaleslargelyconfinedtotheworkingpeopleoftheWest-cowboyslumberjacksrailroadworkersandthelike. 14Levi’sjeanswerefirstintroducedtotheEastapparentlyduringthedude-ranchcrazeofthe1930swhenvacationingEasternersreturnedandspreadthewordaboutthewonderfulpantswithrivets. 1545.___________ 16ThepantshavebecomeatraditionandalongthewayhaveacquiredahistoryoftheirownsomuchsothatthecompanyhasopenedamuseuminSanFrancisco.Forexamplethereistheparticularlyterrifyingstoryofthecarelessconstructionworkerwhodangledfifty-twostoriesabovethestreetuntilrescuedhissolesupporttheLevi’sbeltloopthroughwhichhisropewashooked. [A]Theminerwasdelightedwiththeresultwordgotaroundabout"thosepantsofLevi’s"andStrausswasinbusiness.Thecompanyhasbeeninbusinessverysince. [B]AsakindofjokeDavistookthepantstoablacksmithandhadthepocketsriveted;onceagaintheideaworkedsowellthatwordgotaround;in1873Straussappropriatedandpatentedthegimmick—andhiredDavisasaregionalmanager. [C]BythistimeStrausshadtakenbothhisbrothersandtwobrothers-in-lawintothecompanyandwasreadyforhisthirdSanFranciscostore.Overtheensuingyearsthecompanyprosperedlocallyandbythetimeofhisdeathin1902StrausshadbecomeamanofprominenceinCalifornia. [D]Fortwoyearshewasalowlypeddlerhaulingsome180poundsofsundriesdoor-to-doortoekeoutamarginalliving.WhenamarriedsisterinSanFranciscoofferedtopayhiswayWestin1850hejumpedattheopportunitytakingwithhimboltsofcanvashehopedtosellfortenting. [E]AnotherboostcameinWorldWarIIwhenbluejeansweredeclaredanessentialcommodityandweresoldonlytopeopleengagedindefensework.FromacompanywithfifteensalespeopletwoplantsandalmostnobusinesseastoftheMississippiin1946theorganizationgrewinthirtyyearstoincludeasalesforceofmorethantwenty-twothousandwithplantsandofficesinthirty-fivecountries. [F]Theyadaptthemselvestoanysortofidiosyncraticuse;womenslitthemattheinseamsandconvertthemintolongskirtsmenchopthemoffabovethekneesandturnthemintosomethingtobewornwhilechallengingthesurf.Decorationsandornamentationsabound. [G]Yettheyaresoughtafteralmosteverywhereintheworld-includingRussiawhereauthoritiesrecentlybrokeupateen-agedgangthatwassellingthemontheblackmarketfortwohundreddollarsapair. 42
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism.thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—20anart. 6
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism.thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—20anart. 2
Text2 "Popularart"hasanumberofmeaningsimpossibletodefinewithanyprecisionwhichrangefromfolkloretojunk.Thepolesareclearenoughbutthemiddletendstoblur.TheHollywoodWesternofthe1930’sforexamplehaselementsoffolklorebutisclosertojunkthantohighartorfolkart.Therecanbegreattrashjustasthereisbadhighart.ThemusicalsofGeorgeGershwinaregreatpopularartneveraspiringtohighart.SchubertandBrahmshoweverusedelementsofpopularmusic—folkthemes—inworksclearlyintendedashighart.ThecaseofVerdiisadifferentone.hetookapopulargenre-bourgeoismelodramasettomusicanaccuratedefinitionofnineteenth-centuryoperaandwithoutalteringitsfundamentalnaturetransmuteditintohighart.Thisremainsoneofthegreatestachievementsinmusicandonethatcannotbefullyappreciatedwithoutrecognizingtheessentialtrashinessofthegenre. AsanexampleofsuchatransmutationconsiderwhatVerdimadeofthetypicalpoliticalelementsofnineteenth-centuryopera.Generallyintheplotsoftheseoperasaheroorheroine—usuallyportrayedonlyasanindividualunfetteredbyclass—iscaughtbetweentheimmoralcorruptionofthearistocracyandthedoctrinairerigidityorsecretgreedoftheleadersoftheproletariat.Verditransformsthisnaiveandunlikelyformulationwithmusicofextraordinaryenergyandrhythmicvitalitymusicmoresubtlethanitseemsatfirsthearing.Therearescenesandariasthatstillsoundlikecallstoarmsandwereclearlyunderstoodassuchwhentheywerefirstperformed.Suchpieceslendanimmediacytotheotherwiseveiledpoliticalmessageoftheseoperasandcallupfeelingsbeyondthoseoftheoperaitself. OrconsiderVerdi’streatmentofcharacter.BeforeVerditherewererarelyanycharactersatallinmusicaldramaonlyaseriesofsituationswhichallowedthesingerstoexpressaseriesofemotionalstates.Anyattempttofindcoherentpsychologicalportrayalintheseoperasismisplacedingenuity.Theonlycoherencewasthesinger’svocaltechnique:whentheeastchangednewariaswerealmostalwayssubstitutedgenerallyadaptedfromotheroperas.Verdi’scharactersontheotherhandhavegenuineconsistencyandintegrity.Evenifinmanycasestheconsistencyisthatofpasteboardmelodramatheintegrityofthecharacterisachievedthroughthemusic:oncehehadbecomeestablished.Verdididnotrewritehismusicfordifferentsingersorcountenancealterationsorsubstitutionsofsomebodyelse’sariasinoneofhisoperasaseveryeighteenth-centurycomposerhaddone.Whenherevisedanoperaitwasonlyfordramaticeconomyandeffectiveness. Thispassageismainly
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism.thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—20anart. 12
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Text1 FewpeoplewoulddefendtheVictorianattitudetochildrenbutifyouwereaparentinthosedaysatleastyouknewwhereyoustood:childrenweretobeseenandnotheard.Freudandcompanydidawaywithallthatandparentshavebeenbewilderedeversince.Thechild’shappinessisall-importantthepsychologistssaybutwhatabouttheparents’happinessParentssuffercontinuallyfromfearandguiltwhiletheirchildrengailyrompaboutpullingtheplaceapart.Agood"old-fashioned"spankingisoutofthequestion:nomodernchild-rearingmanualwouldpermitsuchbarbarity.Thetroubleisyouarenotallowedeventoshout.WhoknowswhatdeeppsychologicalwoundsyoumightinflictThepoorchildmayneverrecoverfromthedreadfultraumaticexperience.Soitisthatparentsbendoverbackwardstoavoidgivingtheirchildrencomplexeswhichahundredyearsagohadn’tevenbeenheardof.Certainlyachildneedsloveandalotofit.Buttheexcessivepermissivenessofmodernparentsissurelydoingmoreharmthangood. Psychologistshavesucceededinunderminingparents’confidenceintheirownauthority.Andithasn’ttakenchildrenlongtogetwindofthefact.Inadditiontothegreatmodernclassicsonchild-caretherearecountlessarticlesinmagazinesandnewspapers.Withsomuchunsolicitedadviceflyingaboutmumanddadjustdon’tknowwhattodoanymore.Intheendtheydonothingatall.$ofromearlychildhoodthekidsareinchargeandparents’livesareregulatedaccordingtotheneedsoftheiroffspring.Whenthelittledearsdevelopintoteenagerstheytakecompletecontrol.Laxauthorityovertheyearsmakesadolescentrebellionagainstparentsallthemoreviolent.Iftheyoungpeoplearegoingtohaveapartyforinstanceparentsareaskedtoleavethehouse.Theirpresencemerelyspoilsthefun.Whatelsecanthepoorparentsdobutobey Childrenarehardycreaturesfarhardierthanthepsychologistswouldhaveusbelieveandmostofthemsurvivetheharmfulinfluenceofextremepermissivenesswhichisthenormalconditioninthemodernhousehold.Butagreatmanydonot.Thespreadofjuveniledelinquencyinourownageislargelyduetoparentallaxity.MotherbelievingthatlittleJohnnycanlookafterhimselfisnotathomewhenhereturnsfromschoolsolittleJohnnyroamsthestreets.Thedividing-linebetweenpermissivenessandsheernegligenceisveryfineindeed. Thepsychologistshavemuchtoanswerfor.Theyshouldkeeptheirmouthsshutandletparentsgetonwiththejob.Andifchildrenareknockedaboutalittlebitintheprocessitmaynotreallymattertoomuch.Atleastthiswillhelpthemtodevelopvigorousviewsoftheirownandgivethemsomethingpositivetoreactagainst.Perhapsthere’ssometruthintheideathatchildrenwhohavehadasurfeitofhappinessintheirchildhoodappearlikestodgypuddingsandfailtomakeasuccessoflife. Theauthorassertsthatinthefaceofexcessiveamountsofchild-careliteratureparentsare
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism.thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—20anart. 14
Text4 Thehousingmarkethasbeenfortwoyearsproppingupconsumers’spiritswhiletherestoftheeconomyliesexhaustedonthefloorstilltryingtostruggletoitsfeet.AccordingtotheNationalAssociationofRealtorsthenationalmedianexisting-homepriceendedtheyearat$164000up7.1percentfrom2001.That’sthestrongestannualincreasesince1980. Althoughresidentialrealestateactivitymakesuplessthan8%oftotalU.S.GDPahousingmarketlikethisonecanmakethedifferencebetweenpositiveandnegativegrowth.Mostsignificantlyconsumerspendingis66%ofGDPandthepurchaseofanewhometendstohavean"umbrellaeffect"onthehomeowner’sspendingashehastostockitwithawasher/dryeranewbig-screenTVandmaybeaswingsetfortheyard. Themainfactorinhousing’scontinuedstrengthisaclassiceconomicexampleofzero-sumboom:thepersistentweaknesseverywhereelse.Asthe2003recoverycontinuestobemoreforecastthanreality.FallingstockpricesraisedinvestorappealforU.S.TreasuryBondswhichinturnallowedmostinterestratestodriftevenlower.Buttherearenotmanysignsthatthere’sabubblereadytoburst. December’snewrecordinhousingstartsforexamplewasnicelymatchedbythenewrecordinnewhomesales.Ifyoubuildittheywillbuyandevenifaneconomicpickupstartstoreducehousing’srelativeattractivenessthere’snoreasonwhymodesteconomicgrowthandimprovedconsumermoodcan’thelpsustaininghousing’sstrength."Themomentumgainedfromlowmortgageinterestrateswillcarrystronghomesalesinto2003withanimprovingeconomyoffsettingmodestlyhighermortgageinterestratesastheyearprogresses"saidDavidLereahchiefeconomistattheNationalAssociationofRealtors. Justashousinghastakenupmuchoftheeconomicslackforthepasttwoyearsbothasacomfortinginvestmentforfrettingconsumersandadriverofconsumerspendingitselfabigbumpelsewhereintheeconomyin2003couldbehousing’sdownfall.Ifstocksroarbackthisspringcapitalinflowscouldstealfromthebondmarketpushinguplong-terminterestrates.OrAlanGreenspanandtheFedcoulddothesametoshort-termratesasawaytohitthebrakesonarecoverythatisheatinguptoofast.Inotherwordsifeverythingpossiblegoeswrongforhousinghomeownersshouldhaveplentytocompensatethemintermsofjobsecurityandincomehikes. Howdotheconsumersfeelabouttheirinvestmentinthehousingmarket
Text2 "Popularart"hasanumberofmeaningsimpossibletodefinewithanyprecisionwhichrangefromfolkloretojunk.Thepolesareclearenoughbutthemiddletendstoblur.TheHollywoodWesternofthe1930’sforexamplehaselementsoffolklorebutisclosertojunkthantohighartorfolkart.Therecanbegreattrashjustasthereisbadhighart.ThemusicalsofGeorgeGershwinaregreatpopularartneveraspiringtohighart.SchubertandBrahmshoweverusedelementsofpopularmusic—folkthemes—inworksclearlyintendedashighart.ThecaseofVerdiisadifferentone.hetookapopulargenre-bourgeoismelodramasettomusicanaccuratedefinitionofnineteenth-centuryoperaandwithoutalteringitsfundamentalnaturetransmuteditintohighart.Thisremainsoneofthegreatestachievementsinmusicandonethatcannotbefullyappreciatedwithoutrecognizingtheessentialtrashinessofthegenre. AsanexampleofsuchatransmutationconsiderwhatVerdimadeofthetypicalpoliticalelementsofnineteenth-centuryopera.Generallyintheplotsoftheseoperasaheroorheroine—usuallyportrayedonlyasanindividualunfetteredbyclass—iscaughtbetweentheimmoralcorruptionofthearistocracyandthedoctrinairerigidityorsecretgreedoftheleadersoftheproletariat.Verditransformsthisnaiveandunlikelyformulationwithmusicofextraordinaryenergyandrhythmicvitalitymusicmoresubtlethanitseemsatfirsthearing.Therearescenesandariasthatstillsoundlikecallstoarmsandwereclearlyunderstoodassuchwhentheywerefirstperformed.Suchpieceslendanimmediacytotheotherwiseveiledpoliticalmessageoftheseoperasandcallupfeelingsbeyondthoseoftheoperaitself. OrconsiderVerdi’streatmentofcharacter.BeforeVerditherewererarelyanycharactersatallinmusicaldramaonlyaseriesofsituationswhichallowedthesingerstoexpressaseriesofemotionalstates.Anyattempttofindcoherentpsychologicalportrayalintheseoperasismisplacedingenuity.Theonlycoherencewasthesinger’svocaltechnique:whentheeastchangednewariaswerealmostalwayssubstitutedgenerallyadaptedfromotheroperas.Verdi’scharactersontheotherhandhavegenuineconsistencyandintegrity.Evenifinmanycasestheconsistencyisthatofpasteboardmelodramatheintegrityofthecharacterisachievedthroughthemusic:oncehehadbecomeestablished.Verdididnotrewritehismusicfordifferentsingersorcountenancealterationsorsubstitutionsofsomebodyelse’sariasinoneofhisoperasaseveryeighteenth-centurycomposerhaddone.Whenherevisedanoperaitwasonlyfordramaticeconomyandeffectiveness. Thewritermentionsthepoliticalelementsin19thcenturyoperatoillustrate
Text4 Thehousingmarkethasbeenfortwoyearsproppingupconsumers’spiritswhiletherestoftheeconomyliesexhaustedonthefloorstilltryingtostruggletoitsfeet.AccordingtotheNationalAssociationofRealtorsthenationalmedianexisting-homepriceendedtheyearat$164000up7.1percentfrom2001.That’sthestrongestannualincreasesince1980. Althoughresidentialrealestateactivitymakesuplessthan8%oftotalU.S.GDPahousingmarketlikethisonecanmakethedifferencebetweenpositiveandnegativegrowth.Mostsignificantlyconsumerspendingis66%ofGDPandthepurchaseofanewhometendstohavean"umbrellaeffect"onthehomeowner’sspendingashehastostockitwithawasher/dryeranewbig-screenTVandmaybeaswingsetfortheyard. Themainfactorinhousing’scontinuedstrengthisaclassiceconomicexampleofzero-sumboom:thepersistentweaknesseverywhereelse.Asthe2003recoverycontinuestobemoreforecastthanreality.FallingstockpricesraisedinvestorappealforU.S.TreasuryBondswhichinturnallowedmostinterestratestodriftevenlower.Buttherearenotmanysignsthatthere’sabubblereadytoburst. December’snewrecordinhousingstartsforexamplewasnicelymatchedbythenewrecordinnewhomesales.Ifyoubuildittheywillbuyandevenifaneconomicpickupstartstoreducehousing’srelativeattractivenessthere’snoreasonwhymodesteconomicgrowthandimprovedconsumermoodcan’thelpsustaininghousing’sstrength."Themomentumgainedfromlowmortgageinterestrateswillcarrystronghomesalesinto2003withanimprovingeconomyoffsettingmodestlyhighermortgageinterestratesastheyearprogresses"saidDavidLereahchiefeconomistattheNationalAssociationofRealtors. Justashousinghastakenupmuchoftheeconomicslackforthepasttwoyearsbothasacomfortinginvestmentforfrettingconsumersandadriverofconsumerspendingitselfabigbumpelsewhereintheeconomyin2003couldbehousing’sdownfall.Ifstocksroarbackthisspringcapitalinflowscouldstealfromthebondmarketpushinguplong-terminterestrates.OrAlanGreenspanandtheFedcoulddothesametoshort-termratesasawaytohitthebrakesonarecoverythatisheatinguptoofast.Inotherwordsifeverythingpossiblegoeswrongforhousinghomeownersshouldhaveplentytocompensatethemintermsofjobsecurityandincomehikes. Aclassiceconomicexampleofzero-sumboomParagraph3connotes
Text4 Thehousingmarkethasbeenfortwoyearsproppingupconsumers’spiritswhiletherestoftheeconomyliesexhaustedonthefloorstilltryingtostruggletoitsfeet.AccordingtotheNationalAssociationofRealtorsthenationalmedianexisting-homepriceendedtheyearat$164000up7.1percentfrom2001.That’sthestrongestannualincreasesince1980. Althoughresidentialrealestateactivitymakesuplessthan8%oftotalU.S.GDPahousingmarketlikethisonecanmakethedifferencebetweenpositiveandnegativegrowth.Mostsignificantlyconsumerspendingis66%ofGDPandthepurchaseofanewhometendstohavean"umbrellaeffect"onthehomeowner’sspendingashehastostockitwithawasher/dryeranewbig-screenTVandmaybeaswingsetfortheyard. Themainfactorinhousing’scontinuedstrengthisaclassiceconomicexampleofzero-sumboom:thepersistentweaknesseverywhereelse.Asthe2003recoverycontinuestobemoreforecastthanreality.FallingstockpricesraisedinvestorappealforU.S.TreasuryBondswhichinturnallowedmostinterestratestodriftevenlower.Buttherearenotmanysignsthatthere’sabubblereadytoburst. December’snewrecordinhousingstartsforexamplewasnicelymatchedbythenewrecordinnewhomesales.Ifyoubuildittheywillbuyandevenifaneconomicpickupstartstoreducehousing’srelativeattractivenessthere’snoreasonwhymodesteconomicgrowthandimprovedconsumermoodcan’thelpsustaininghousing’sstrength."Themomentumgainedfromlowmortgageinterestrateswillcarrystronghomesalesinto2003withanimprovingeconomyoffsettingmodestlyhighermortgageinterestratesastheyearprogresses"saidDavidLereahchiefeconomistattheNationalAssociationofRealtors. Justashousinghastakenupmuchoftheeconomicslackforthepasttwoyearsbothasacomfortinginvestmentforfrettingconsumersandadriverofconsumerspendingitselfabigbumpelsewhereintheeconomyin2003couldbehousing’sdownfall.Ifstocksroarbackthisspringcapitalinflowscouldstealfromthebondmarketpushinguplong-terminterestrates.OrAlanGreenspanandtheFedcoulddothesametoshort-termratesasawaytohitthebrakesonarecoverythatisheatinguptoofast.Inotherwordsifeverythingpossiblegoeswrongforhousinghomeownersshouldhaveplentytocompensatethemintermsofjobsecurityandincomehikes. Theauthordrawsasharpcontrastbetweenthehousingmarketandtherestoftheeconomysoastoshow
UnitedStatesSenatorJohnGlennreturnedtoorbitaboardthespaceshuttleDiscoveryinlateOctober199836yearsafterhisfirstlift-offfromCapeCanaveralinFlorida.46The77-year-oldpoliticianwhoin1962becameAmerica’sfirstmantoorbittheEarthblastedoffwithsixotherastronautsonamissionthatwouldincluderesearchintoageing.Takingleaveofhimatthespacecenteralongwith3000mediarepresentatives20000invitedguestsandanestimatedhalfmillionpeoplewhocrowdedvantagepointsroundabouttowatchthelaunch—werehiswifeofmorethan50yearsAnniehistwochildrenandtwograndchildren. GlennfeverstruckFlorida’sspacecoastmonthsaheadofthelaunchwithhotelroomsbookeduphalfayearinadvance.Onelocalnewspapercalledthephenomenon"HurricaneGlenn"anironicreferencetothespateofdevastatinghurricanethathadalreadyhittheFloridacoastduring1998. TheOhiosenatorhadcampaignedforseveralyearstobeallowedthisreturntripintospace.47NASAadministersfinallyagreedtohisproposedstudyontheeffectsofweightlessnessonelderlypeopleandthepossibleparallelsbetweentheside-effectsofweightlessnessandtheageingprocessitself.48CriticshowevercomplainedthatthemissionwaslittlemorethanapublicrelationsexerciseaimedatraisingtheprofileofNASAandwoulddonothingtoadvanceresearchintothegeriatriccondition.Somewereevensayingthatthetriprepresentedtheultimatecongressionaljunket. Glenninsistedfromthebeginningthatthespacemissionwasaseriousonehowever.Hesubjectedhimself—andothers—toaseriesoftestsinaspeciallaboratorywhileinorbit.49Heswallowedaspecialthermometerbeforelift-offsothathistemperaturecouldbemonitoredandhadatubeimplantedinhisarmtofacilitatethetakingofbloodsampleswithouttheneedforfreshneedleseachtime.OthertestsconductedonhisreturntoEarthweredesignedtomeasurehisbonedensityandchangesinhisspinalcord. 50NASAofficialsfuelledsuspicionthatGlenn’striphaddubiouspracticalvaluehoweverbyannouncingthattherewerenoplanstotestanymoreelderlyastronautsafterhistrip.Thiswasdespitethefactthat67-year-oldJerrieCobboneof13womenwhotrainedfortheSpaceprogrammewithGlennintheearly1960sbutwhowereneverallowedtoflyexpressedherdeterminationtobecomethenextgeriatricguineapiginorbit. Thespaceexperiencehaschangedagreatdealinthe36yearssinceGlennwaslastinorbit.Unlikehisfive-hour1962tripthiswasnosolomission. NASAofficialsfuelledsuspicionthatGlenn’striphaddubiouspracticalvaluehoweverbyannouncingthattherewerenoplanstotestanymoreelderlyastronautsafterhistrip
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism.thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity—20anart. 4
Text2 "Popularart"hasanumberofmeaningsimpossibletodefinewithanyprecisionwhichrangefromfolkloretojunk.Thepolesareclearenoughbutthemiddletendstoblur.TheHollywoodWesternofthe1930’sforexamplehaselementsoffolklorebutisclosertojunkthantohighartorfolkart.Therecanbegreattrashjustasthereisbadhighart.ThemusicalsofGeorgeGershwinaregreatpopularartneveraspiringtohighart.SchubertandBrahmshoweverusedelementsofpopularmusic—folkthemes—inworksclearlyintendedashighart.ThecaseofVerdiisadifferentone.hetookapopulargenre-bourgeoismelodramasettomusicanaccuratedefinitionofnineteenth-centuryoperaandwithoutalteringitsfundamentalnaturetransmuteditintohighart.Thisremainsoneofthegreatestachievementsinmusicandonethatcannotbefullyappreciatedwithoutrecognizingtheessentialtrashinessofthegenre. AsanexampleofsuchatransmutationconsiderwhatVerdimadeofthetypicalpoliticalelementsofnineteenth-centuryopera.Generallyintheplotsoftheseoperasaheroorheroine—usuallyportrayedonlyasanindividualunfetteredbyclass—iscaughtbetweentheimmoralcorruptionofthearistocracyandthedoctrinairerigidityorsecretgreedoftheleadersoftheproletariat.Verditransformsthisnaiveandunlikelyformulationwithmusicofextraordinaryenergyandrhythmicvitalitymusicmoresubtlethanitseemsatfirsthearing.Therearescenesandariasthatstillsoundlikecallstoarmsandwereclearlyunderstoodassuchwhentheywerefirstperformed.Suchpieceslendanimmediacytotheotherwiseveiledpoliticalmessageoftheseoperasandcallupfeelingsbeyondthoseoftheoperaitself. OrconsiderVerdi’streatmentofcharacter.BeforeVerditherewererarelyanycharactersatallinmusicaldramaonlyaseriesofsituationswhichallowedthesingerstoexpressaseriesofemotionalstates.Anyattempttofindcoherentpsychologicalportrayalintheseoperasismisplacedingenuity.Theonlycoherencewasthesinger’svocaltechnique:whentheeastchangednewariaswerealmostalwayssubstitutedgenerallyadaptedfromotheroperas.Verdi’scharactersontheotherhandhavegenuineconsistencyandintegrity.Evenifinmanycasestheconsistencyisthatofpasteboardmelodramatheintegrityofthecharacterisachievedthroughthemusic:oncehehadbecomeestablished.Verdididnotrewritehismusicfordifferentsingersorcountenancealterationsorsubstitutionsofsomebodyelse’sariasinoneofhisoperasaseveryeighteenth-centurycomposerhaddone.Whenherevisedanoperaitwasonlyfordramaticeconomyandeffectiveness. Thewriterassertsthatthedefinitionofpopularartis
Text3 Biologicallythereisonlyonequalitywhichdistinguishesusfromanimals:theabilitytolaugh.Inauniversewhichappearstobeutterlydevoidofhumorweenjoythissupremeluxury.Anditisaluxuryforunlikeanyotherbodilyprocesslaughterdoesnotseemserveabiologicallyusefulpurpose.Inadividedworldalaughterisaunifyingforce.Humanbeginsopposeeachotheronagreatmanyissues.Nationsmaydisagreeaboutsystemsofgovernmentandhumanrelationsmaybeplaguedbyideologicalfactionsandpoliticalcampsbutweallsharetheabilitytolaugh.Andlaughterinturndependsonthemostcomplexandsubtleofall-humanqualities:asenseofhumor.Certaincomicstereotypeshaveauniversalappeal.Thiscanbestbeseenfromtheworld-widepopularityofCharlieChaplain’searlyfilms.Thelittlemanatoddswithsocietyneverfailstoamusenomatterwhichcountrywecomefrom.AsthatgreatcommentatoronhumanaffairsDr.SamuelJohnsononceremarked"Menhavebeenwiseinverydifferentmodes;buttheyhavealwayslaughedinthesameway. Asenseofhumormaytakevariousformsandlaughtermaybeanythingfromrefinedtinkletoanearthquakingroarbuttheeffectisalwaysthesame.Humorhelpsustomaintainacorrectsenseofvalues.Itistheonequalitywhichpoliticalfanaticsappeartolack.Ifwecanseethefunnysidewenevermakethemistakeoftakingourselvestooseriously.Wearealwaysremindedthattragedyisnotreallyfarremovedfromcomedysowenevergetalopsidedviewofthings. Thisisoneofthechieffunctionsofsatireandirony.Humanpainandsufferingaresogrim;wehoversooftenonthebrinkofwarpoliticalrealitiesareusuallyenoughtoplungeusintototaldespair.Insuchcircumstancescartoonsandsatiricalaccountsofsomberpoliticaleventsredressthebalance.Theytakethewindoutofpompousandarrogantpoliticianswhohavelosttheirsenseofproportion.Theyenableustoseethatmanyofourmostprofoundactionsaremerelycomicorabsurd.WelaughwhenagreatsatiristlikeSwiftwritesaboutwarsinGulliver’sTravels.TheLilliputiansandtheirneighborsattackeachotherbecausetheycan’tagreewhichendtobreakanegg.Welaughbecausewearemeanttolaugh;butwearemeanttoweeptoo.ItisnowonderthatintotalitarianregimesanysatireagainsttheEstablishmentiswhollybanned.Itistoopowerfulweapontobeallowedtoflourish. Thesenseofhumormustbesingledoutasman’smostimportantqualitybecauseitisassociatedwithlaughter.Andlaughterinturnisassociatedwithhappiness.Couragedeterminationinitiative--theseare.qualitieswesharewithotherformsoflife.Butthesenseofhumorisuniquelyhuman.Ifhappinessisoneofthegreatgoalsoflifethenitisthesenseofhumorthatprovidesthekey. Accordingtothe4thparagraphwhatintereststheauthoristhatsomepoliticiansfailto
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