Doris Newman
Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage. It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies. We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared． In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered．Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. "So few authors have brains enough or literary gift enough to keep their own end up in journalism," Newman wrote, "that I am tempted to define 'journalism' as a term of contempt applied by writers who are not read to writers who are." Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England's foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored． Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists. Is there any chance that Cardus's criticism will enjoy a revival? The prospect seems remote. Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized． Moreover, the amateur tradition in music criticism has been in headlong retreat. It is indicated in Paragraphs 1 and 2 that__A.arts criticism has disappeared from big-city newspapers B.English-language newspapers used to carry more arts reviews C.high-quality newspapers retain a large body of readers D.young readers doubt the suitability of criticism on dailies
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Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage. It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies. We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared． In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered．Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. "So few authors have brains enough or literary gift enough to keep their own end up in journalism," Newman wrote, "that I am tempted to define 'journalism' as a term of contempt applied by writers who are not read to writers who are." Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England's foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored． Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists. Is there any chance that Cardus's criticism will enjoy a revival? The prospect seems remote. Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized． Moreover, the amateur tradition in music criticism has been in headlong retreat. Which of the following would Shaw and Newman most probably agree on?A.It is writers' duty to fulfill journalistic goals. B.It is contemptible for writers to be journalists. C.Writers are likely to be tempted into journalism. D.Not all writers are capable of journalistic writing.
Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage. It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies. We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared． In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered．Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. "So few authors have brains enough or literary gift enough to keep their own end up in journalism," Newman wrote, "that I am tempted to define 'journalism' as a term of contempt applied by writers who are not read to writers who are." Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England's foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored． Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists. Is there any chance that Cardus's criticism will enjoy a revival? The prospect seems remote. Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized． Moreover, the amateur tradition in music criticism has been in headlong retreat. Newspaper reviews in England before World War II were characterized by__A.free themes B.casual style C.elaborate layout D.radical viewpoints
共用题干 第三篇The Age of being Bullied and Its EffectThe age at which kids first fall victim to bullying（欺辱）could influence how strongly they are affected,suggests a new study.And,surprisingly,it is not the youngest kids who are hurt the most in the long term. Bullying can have long-lasting effects,but particularly when it begins in adolescence（青春期）,the researchers say.People subjected to either oral or physical bullying are known to be at greater risk for developing depression,anxiety disorders or to behave violently.But not everyone reacts in this way.Children bullied for the first time before their adolescence seem to get over it,but those who are victimized for the first time late on in adolescence seem to become more aggressive or are more likely to turn to drink as a means of coping. These are the conclusions of psychologist Matthew Newman and his colleagues from the University of Texas at Austin,U.S.The team gave questionnaires to nearly 1,500 college students regarding their experience of physical and psychological bullying before adolescence一before high school一and in late adolescence一at high school.They assessed mood and mental state,judging by signs of anxiety or depression,such as sleeplessness.The group was also questioned about how they would react to certain challenges,such as being embarrassed or provoked.People who were bullied all revealed slightly higher levels of stress.But while those bullied earlier in life seemed to respond normally to provocation,people bullied for the first time late in adolescence are more withdrawn and sensitive to violence.The best solution was strong social support,whether from friends,family or school.Those with no one to share their problems were suffered the most.So perhaps it is best not to shelter children completely from bullying early on,suggests Newman."They may get stressed,but unhealthy coping really jumps out when they are bullied for the first time later on."The effects are likely to be related to the developing stress hormone system, which matures during adolescence,he concludes.Studies show abnormal stress responses in adult animals that experience social stress or aggression from other animals during adolescence.The author most probably agrees that,when a child falls victim to bullying,his parents should_______.A:help and comfort him right awayB:not shelter him completely from itC:wait until his stress hormone system maturesD:not interfere in until the child wants to share
共用题干 第三篇The Age of being Bullied and Its EffectThe age at which kids first fall victim to bullying（欺辱）could influence how strongly they are affected,suggests a new study.And,surprisingly,it is not the youngest kids who are hurt the most in the long term. Bullying can have long-lasting effects,but particularly when it begins in adolescence（青春期）,the researchers say.People subjected to either oral or physical bullying are known to be at greater risk for developing depression,anxiety disorders or to behave violently.But not everyone reacts in this way.Children bullied for the first time before their adolescence seem to get over it,but those who are victimized for the first time late on in adolescence seem to become more aggressive or are more likely to turn to drink as a means of coping. These are the conclusions of psychologist Matthew Newman and his colleagues from the University of Texas at Austin,U.S.The team gave questionnaires to nearly 1,500 college students regarding their experience of physical and psychological bullying before adolescence一before high school一and in late adolescence一at high school.They assessed mood and mental state,judging by signs of anxiety or depression,such as sleeplessness.The group was also questioned about how they would react to certain challenges,such as being embarrassed or provoked.People who were bullied all revealed slightly higher levels of stress.But while those bullied earlier in life seemed to respond normally to provocation,people bullied for the first time late in adolescence are more withdrawn and sensitive to violence.The best solution was strong social support,whether from friends,family or school.Those with no one to share their problems were suffered the most.So perhaps it is best not to shelter children completely from bullying early on,suggests Newman."They may get stressed,but unhealthy coping really jumps out when they are bullied for the first time later on."The effects are likely to be related to the developing stress hormone system, which matures during adolescence,he concludes.Studies show abnormal stress responses in adult animals that experience social stress or aggression from other animals during adolescence.According to Newman,why people bullied for the first time in adolescence suffer most?A:Their stress hormone system is fully developed then.B:Their parents mistakenly shelter them from bullying.C:They usually lack social support.D:They do not turn to proper solutions.
国际地球参考框架ITRF是国际地面参考框架的具体实现，它所运用的大地测量技术有（）A甚长基线干涉测量（VLBI）B卫星激光测距（SLR）C激光测月（LLR）DGPSE卫星多普勒定位（DORIS）
下列说法错误的是：（）。A、史瓦西黑洞是黑洞的激发态B、带电不转动的黑洞是R-N黑洞C、既转动又带电的黑洞是KERR-NEWMAN黑洞D、转动不带电的黑洞是KERR黑洞
