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Today business cards are distributed with abandon by working people of all social classes, illustrating not only the ubiquity of commercial interests but also the fluidity of the world of trade. Whether one is buttonholing potential clients for a carpentry service, announcing one’s latest academic appointment, or "networking" with fellow executives, it is permissible to advertise one’s talents and availability by an outstretched hand and the statement "Here’s my card." As Robert Louis Stevenson once observed, everybody makes his living by selling something. Business cards facilitate this endeavor. It has not always been this way. The cards that we use today for commercial purposes are a vulgarization of the nineteenth-century social calling cards, an artifact with a quite different purpose. In the Gilded Age, possessing a calling card indicated not that you were interested in forming business relationships, but that your money was so old that you had no need to make a living. For the calling-card class, life was a continual round of social visits, and the protocol (礼 仪) governing these visits was inextricably linked to the proper use of cards. Pick up any etiquette manual predating World War Ⅰ, and you will find whole chapters devoted to such questions as whether a single gentleman may leave a card for a lady; when a lady must, and must not, turn down the edges of a card; and whether an unmarried girl of between fourteen and seventeen may carry more than six or less than thirteen cards in her purse in months beginning with a "J". The calling card system was especially cherished by those who made no distinction between manners and mere form, and its preciousness was well defined by Mrs. John Sherwood. Her 1887 manual called the card "the field mark and device" of civilization. The business version of the calling card came in around the turn of the century, when the formerly well defined borders between the commercial and the personal realms were used widely, society mavens (专家) considered it unforgivable to fuse the two realms. Emily Post’s contemporary (当代) Lilian Eichler called it very poor taste to use business cards for social purposes, and as late as 1967 Amy Vanderbilt counseled that the merchant’s marker "may never double for social purposes.\ Which of the following is NOT stated or implied in the passage
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Today business cards are distributed with abandon by working people of all social classes, illustrating not only the ubiquity of commercial interests but also the fluidity of the world of trade. Whether one is buttonholing potential clients for a carpentry service, announcing one’s latest academic appointment, or "networking" with fellow executives, it is permissible to advertise one’s talents and availability by an outstretched hand and the statement "Here’s my card." As Robert Louis Stevenson once observed, everybody makes his living by selling something. Business cards facilitate this endeavor. It has not always been this way. The cards that we use today for commercial purposes are a vulgarization of the nineteenth-century social calling cards, an artifact with a quite different purpose. In the Gilded Age, possessing a calling card indicated not that you were interested in forming business relationships, but that your money was so old that you had no need to make a living. For the calling-card class, life was a continual round of social visits, and the protocol (礼 仪) governing these visits was inextricably linked to the proper use of cards. Pick up any etiquette manual predating World War Ⅰ, and you will find whole chapters devoted to such questions as whether a single gentleman may leave a card for a lady; when a lady must, and must not, turn down the edges of a card; and whether an unmarried girl of between fourteen and seventeen may carry more than six or less than thirteen cards in her purse in months beginning with a "J". The calling card system was especially cherished by those who made no distinction between manners and mere form, and its preciousness was well defined by Mrs. John Sherwood. Her 1887 manual called the card "the field mark and device" of civilization. The business version of the calling card came in around the turn of the century, when the formerly well defined borders between the commercial and the personal realms were used widely, society mavens (专家) considered it unforgivable to fuse the two realms. Emily Post’s contemporary (当代) Lilian Eichler called it very poor taste to use business cards for social purposes, and as late as 1967 Amy Vanderbilt counseled that the merchant’s marker "may never double for social purposes.\ What is NOT true about the calling-card class in the 19th century
The environment is everything that surrounds us: plants, animals, buildings, country, air, water--literally everything that can affect us in any way. The environment of a town, with its buildings and traffic and its noise and smells, where everyone is on top of everyone else, is a far cry from that of the countryside, with its fields and crops, its wild and domestic animals and its feeling of spaciousness. And the environment differs in different parts of the world. Ecology is the science of how living creatures and plants exist together and depend on each other and on the local environment. Where an environment is undisturbed, the ecology of an area is in balance, but if a creature is exterminated or an unfriendly species introduced, then the ecology of the district will upset--in other words, the balance of nature will be disturbed. Man is a part of the environment and has done more to upset the ecology during his short span on earth than any other living creature. He has done this by his ignorance, his greed, his thoughtless foolishness and wastefulness. He had poisoned the atmosphere and polluted both land and water. He has squandered the earth’s natural resources with no thought for the future, and has thought out the most savage ways of killing his fellow men--and every other sort of life at the same time. Since man has done so much damage, it is up to man to try to put matters right--if it is not already too late. If there is to be any remedy for our ills, that remedy ultimately lies in the hands of the young, and the sooner they start doing something about it, the better. One of the main causes of the earth’s troubles is that the world is overpopulated and that this overpopulation is growing at an ever-increasing rate. At the same time we are using up our natural resources--fuels and mineral ores--at an ever increasing rate with no hope of replacing them. For many years the earth has been unable to provide enough food for these rapidly expanding populations and the position is steadily worsening since the fertility of some of our richest soils has been lost and vast areas that were once fertile lands have turned into barren deserts. And the trouble with deserts is that they tend to creep outwards on to the fertile soils. What is now the northern Sahara Desert was the cradle of the civilized world 2,500 years old. Even at this moment many of the earth’s natural treasures are being destroyed. Many valuable animals and plants are being killed off, and it is becoming increasingly difficult to grow enough food to preserve much of the earth’s population from starvation. The situation is getting out of hand. Time is running out. But with your help, we may be able to reserve the trends which threaten our very existence. The ecological balance depends on
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From ancient Mayan heads to modern video installations, the culture of Mexico is surging into the United States. Over the next two years, and perhaps for a good deal longer, major Mexican art shows will be at American museums almost without interruption. There will also be many smaller shows, along with presentations of Mexican music, theater and dance in modern as well as traditional forms. This new wave of cultural generosity supports the politics of President Vicente Fox, who favors closer relations between the United States and Mexico. "It is not a coincidence," said Ignacio Duran, cultural minister at the Mexican Embassy here. "It’s a concerted effort. It has been under way for some time, but now it’s reaching a peak." "Mexico considers this a very effective instrument," he said. "People who appreciate the culture of a country begin to identify with that country. I think it has a beneficial influence on policy." Since March the Museum of Fine Arts in Houston has been showing decorative and fine art from the period of Spanish rule over Mexico. It is a broad and revealing exhibition, with objects ranging from intricately carved furniture and silver candelabra to a vivid 18th-century portrait of a self-confident noblewoman. After this show closes in Houston on Aug. 4, it will travel to the Winterthur Museum in Wilmington, Del., and the San Diego Museum of Art. Next spring the Kennedy Center for the Performing Arts here will stage a four-week festival of Mexican performers. In keeping with the image that Mexico now wants to promote, mariachi and Tex-Mex bands will share the program with modern dance companies, jazz ensembles, mime troupes and experimental theater. From October 2003 until July 2004, a large and comprehensive show of Mayan art will be mounted in the United States, first in the California Palace of the Legion of Honor in San Francisco and then at the National Gallery of Art here. Scores of other cultural programs sponsored at least partly by Mexican government agencies are under way or planned across the United States. Some are small in scale, like a literary and diplomatic reception that was recently held here to honor the late poet and philosopher Octavio Paz, who died in 1995. Others are highly ambitious, like a film festival that would trace the history of Mexican cinema through 120 movies from Sergei Eisenstein’s 1932 classic "Que Viva Mexico" to the current hit "Y Tu Mama Tambien.\ Which of the Mexican art forms has NOT been mentioned among those exhibited in the USA in this passage
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