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Nouns, verbs and adjectives can be classified as
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Tell an investment banker that a picture bought in 1950 for $30,000 sold this month for $104.1 million and you will be unlucky if you fail to get his attention. That was the case with the portrait of a young boy by Picasso when Sotheby’s dispersed on May 5 the tail end of the famous collection formed by the late John Hay Whitney and his wife Betsy Cushing Whitney. Sales added up to almost $190 million within two hours. If you then go on to explain that Whitney bought the 1905 portrait not for investment but for art’s sake, because he loved 19th- and 20th-century painting, you might well be greeted with a stare of compassionate irony. Yet that was exactly so. Had the heir to a vast fortune consulted experts at the time, most would have advised against the acquisition. Received wisdom in the 1950s had it that it was Picasso’s breakthrough in modern art that made him truly important, i. e. his early Cubist work. The Picasso case, which is probably the greatest success story ever in the art market, neatly illustrates the financial gamble that buying art represents. The biggest winners are not investors, but art lovers with a great eye who follow their intuition. The last paragraph tells us all of the following EXCEPT that ______. A．that large charcoal sketch by Picasso is not appealing to the eyes B．that charcoal sketch is Picasso’s first Cubist work C．it had previously passed through the hands of one of the greatest 20th-century dealers D．paintings long out of the sight of the public tend to be forgotten
Who were the first settlers of the New England Region
Researchers investigating brain size and mental ability say their work offers evidence that education protects the mind from the brain’s physical deterioration. It is known that the brain shrinks as the body ages, but the effects on mental ability are different from person to person. Interestingly, in a study of elderly men and women, those who had more education actually had more brain shrinkage. "That may seem like bad news," said study author Dr. Edward Coffey, a professor of psychiatry and of neurology at Henry Ford Health System in Detroit. However, he explained, the finding suggests that education allows people to withstand more brain-tissue loss before their mental functioning begins to break down. The study, published in the July issue of Neurology, is the first to provide biological evidence to support a concept called the "reserve" hypothesis, according to the researchers. In recent years, investigators have developed the idea that people who are more educated have greater cognitive reserves to draw upon as the brain tissue to spare. Examining brain scans of 320 healthy men and women ages 66 to 90, researchers found that for each year of education the subjects had, there was greater shrinkage of the outer layer of the brain known as the cortex. Yet on tests of cognition and memory, all participants scored in the range indicating normal. "Everyone has some degree of brain shrinkage," Coffey said. "People lose (on average) 2.5 percent per decade starting at adulthood." There is, however, a "remarkable range" of shrinkage among people who show no signs no mental decline, Coffey noted. Overall health, he said, accounts for some differences in brain size. Alcohol or drug use, as well as medical conditions such as diabetes and high blood pressure, contribute to brain-tissue loss throughout adulthood. In the absence of such medical conditions, Coffey said, education level helps explain the range of brain shrinkage exhibited among the mentally-fit elderly. The more-educated can withstand greater loss. Coffey and colleagues gauged shrinkage of the cortex by measuring the cerebrospinal fluid surrounding the brain. The greater the amount of fluid, the greater the cortical shrinkage. Controlling for the health factors that contribute to brain injury, the researchers found that education was related to the severity of brain shrinkage. For each year of education from first grade on, subjects had an average of 1.77 milliliters more cerebrospinal fluid around the brain. For example, Coffey’s team reported, among subjects of the same sex and similar age and skull size, those with 16 years of education had 8 percent to 10 percent more cerebrospinal fluid compared with those who had four years of schooling. Of course, achieving a particular education level is not the definitive measure of someone’s mental capacity. And, said Coffey, education can be "a proxy. for many things". More-educated people, he noted, are often less likely to have habits, such as smoking, that harm overall health. But Coffey said that his team’s findings suggest that like the body, the brain benefits from exercise. "The question is whether by continuing to exercise the brain we can forestall the effects of (brain shrinkage)," he said. "My hunch is that we can." According to Coffey, people should strive throughout life to keep their brains alert by exposing themselves to new experiences. Travelling is one way to stimulate the brain, he said; a less adventuresome way is to do crossword puzzles. "A hot topic down the road," Coffey said, will be whether education even late in life has a protective effect against mental decline. Just how education might affect brain cells is unknown. In their report, the researchers speculated that in people with more education, certain brain structures deeper than the cortex may stay intact to compensate for cortical shrinkage. According to Coffey’s research, the brain may benefit from ______.
Story telling is an ancient and honored art. Story tellers entertained during the long dark hours before sleep arrived after the sun disappeared over the western horizon. But the story teller’s job is more than just entertainment Before the printed page appeared, story tellers provided cultural continuity, preserving the past to serve as guide through the future. Storytellers told tales of heroes to provide positive examples, the legends that held the tribe together and provided its identity, and the stories of foolish or evil beings to remind young and old the penalties for not riving correctly. Even behavior too horrible to speak of directly, such as cannibalism, cowardice or death, could be examined through the mediation of a story. Even today, books, magazines, radio, television and movies still have not replaced the storyteller. None of these permanent, reproducible media are able to deliver a personal, individualized message with the impact of a well-told story. Whether the purpose of a story is to set a mood, to entertain, to teach a lesson, to amuse or to scare, nothing works like a good story at the right moment. A story with an obvious message concerning the results of another person’s misbehavior can deliver a warning and deterrent that a direct confrontation can not produce and the story will do so without hurting egos. A positive relationship can be maintained and, sometimes, even strengthened while still delivering an unwelcome message. This is the power of the storyteller. Not every story will fit every situation. The story teller needs to select a story which will meet the needs of the situation and thon the story teller must tailor the story to fit the time available, the age of the audience, the location and the mood desired. A good story choice will capture the interest of the audience. Audience members will relate to a location, experience or emotion that they share in common with the story teller and will suspend disbelief long enough to be drawn into the story as it unfolds. Good stories build to a climax with a beginning, a middle and an end. The elements of the story revealed in each section will lead to the next. Predicaments and solutions will depend on the details of the story revealed in an earlier section. However, better stories may add a twist to make the ending unexpected and, therefore, more interesting. Scary stories should be matched to the age of the audience. A little feeling of fright as the story is told may be beneficial in learning how to deal with scary things, but the use of lingering fear that is carried away from the stow is simply terrorizing a susceptible person and helps no one. It is the responsibility of the story miler to determine what is appropriate and not to abuse the audience’s good faith. Stories can come from nearly anywhere. Folk tales, myths, legends, history (especially local history), Indian stories, adventure yams and other stow tellers are all sources of inspiration. A short listing of collected stories is appended along with several examples of good stories. However, the best sources of stories for good stow tellers are their own experiences. When inspiration and opportunity unite, a story is ready to be born. No matter what the source, the best stories are those of which the story teller has some personal experience or knowledge. This can be combined with other sources and a little practice to produce the tale to be told. When personal experience is the base on which a story is built, the stow will "ring true" to the audience and have a greater vitality. A dislike of insects crawling on your skin, an encounter with a wild animal or the memory of a weird noise experienced when you were home alone can each provide the experience or feeling that will form the basis of a story. The experience need only be a wee part of the story, but that can be enough. When you have chosen a source from a book or another story teller, learn the stow thoroughly before giving it publicly. Do not memorize the story! Memorize the outline and flow of the stow. Take special note of key points, events and names that the story hinges on. Also note where and how they fit in the narrative. If there are key phrases make sure you anchor them in your memory so they come out naturally where they should. Don’t try to deliver a stow verbatim, a story should be told in your own words. Make the story a part of you and then share that part with you. Live the stow as you tell it. To deliver a story, you should do all of the following EXCEPT ______. A. capturing the audience’s attention right at the beginning. B. making as few gestures as possible. C. appealing to the audience’s sense of sight. D. monitoring feedback from the audience.
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