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How can America encourage study for foreign students
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The culture industry did away with yesterday’s rubbish by its own perfection, and by forbidding and domesticating the amateurish, although it constantly allows gross blunders without which the standard of the exalted style cannot be perceived. 66. ______. Nevertheless the culture industry remains the entertainment business. Its influence over the consumers is established by entertainment; that will ultimately be broken not by an outright decree, but by the hostility inherent in the principle of entertainment to what is greater than itself. Since all the trends of the culture industry are profoundly embedded in the public by the whole social process, they are encouraged by the survival of the market in this area. Demand has not yet been replaced by simple obedience. As is well known, the major reorganization of the film industry shortly before World War I, the material prerequisite of its expansion, was precisely its deliberate acceptance of the public’s needs as recorded at the box-office, a procedure which was hardly thought necessary in the pioneering days of the screen. 67. ______. Amusement under late capitalism is the prolongation of work. It is sought after as an escape from the mechanized work process, and to recruit strength in order to be able to cope with it again. But at the same time mechanization has such power over a man’s leisure and happiness, and so profoundly determines the manufacture of amusement goods, that his experiences are inevitably after-images of the work process itself. The ostensible content is merely a faded foreground; what sinks in is the automatic succession of standardized operations. What happens at work, in the factory, or in the office can only be escaped from by approximation to it in one’s leisure time. 68. ______. The tendency mischievously to fall back on pare nonsense, which was a legitimate part of popular art, farce and clowning, right up to Chaplin and the Marx Brothers, is most obvious in the unpretentious kinds. 69. ______. The idea itself, together with the objects of comedy and terror, is massacred and fragmented. Novelty songs have always existed on a contempt for meaning which, as predecessors and successors of psychoanalysis, they reduce to the monotony of sexual symbolism. 70. ______. Cartoons were once exponents of fantasy as opposed to rationalism. They ensured that justice was done to the creatures and objects they electrified, by giving the maimed specimens a second life. A. All amusement suffers from this incurable malady. Pleasure hardens into boredom because, if it is to remain pleasure, it must not demand any effort and therefore moves rigorously in the worn grooves of association’. No independent thinking must be expected from the audience: the product prescribes every reaction: not by its natural structure (which collapses under reflection), but by signals. Any logical connection calling for mental effort is painstakingly avoided. As far as possible, developments must follow from the immediately preceding situation and never from the idea of the whole. For the attentive movie-goer any individual scene will give him the whole thing. Even the set pattern itself still seems dangerous, offering some meaning, wretched as it might he, where only meaninglessness is acceptable. B. But what is new is that the irreconcilable elements of culture, art and distraction, are subordinated to one end and subsumed under one false formula: the totality of the culture industry. It consists of repetition. That its characteristic innovations are never anything more than improvements of mass reproduction is not external to the system. It is with good mason that the interest of innumerable consumers is directed to the technique, and not to the contents which are stubbornly repeated, outworn, and by now half-discredited. The social power which the spectators worship shows itself more effectively in the omnipresence of the stereotype imposed by technical skill than in the stale ideologies for which the ephemeral contents stand in. C. The same opinion is held today by the captains of the film industry, who take as their criterion the more or less phenomenal song hits but wisely never have recourse to the judgment of truth, the opposite criterion. Business is their ideology. It is quite correct that the power of the culture industry resides in its identification with a manufactured need, and not in simple contrast to it, even if this contrast were one of complete power and complete powerlessness. D. Today, detective and adventure films no longer give the audience the opportunity to experience the resolution. In the non-ironic varieties of the genre, it has also to rest content with the simple horror of situations which have almost ceased to be linked in any way. E. This tendency has completely asserted itself in the text of the novelty song, in the thriller movie, and in cartoons, although in films starring Greer Garson and Bette Davis the unity of the socio- psychological case study provides something approximating a claim to a consistent plot. F. Often the plot is maliciously deprived of the development demanded by characters and matter according to the old pattern. Instead, the next step is what the script writer takes to be the most striking effect in the particular situation. Banal though elaborate surprise interrupts the story- line.
在事故原因分析时通常要明确哪些内容 2．针对该事故提出整改措施。
Questions 11 to 13 are based on the following talk on the changes of the world. You now have 15 seconds to read Questions 11 to 13. What does globalization involve
TEXT 1 People have been passionate about roses since the beginning of time. In fact, it is said that the floors of Cleopatral’s palace were carpeted with delicate rose petals, and that the wise and knowing Confucius had a 600-book library specifically on how to care for roses. The rose is a legend on its own. The story goes that during the Roman Empire, there was an incredibly beautiful maiden named Rhodanthe. Her beauty drew many zealous suitors who pursued. her relentlessly. Exhausted by their pursuit, Rhodanthe was forced to take refuge from her suitors in the temple of her friend Diana. Unfortunately, Diana became jealous. And when the suitors broke down her temple gates to get near their beloved Rhodanthe, she became angry turning Rhodanthe into a rose and her suitors into thorns. In Greek legend, the rose was created by Chloris, the Greek goddess of flowers. It was just a lifeless seed of a Nymph2 that Chloris found one day in a clearing in the woods. She asked the help of Aphrodite, the goddess of love, who gave her beauty. Dionysus, the god of wine, added Nectar3 to give her a sweet scent, and the three Graces4 gave her charm, brightness and joy. Then Zephyr, the West Wind, blew away the clouds so that Apollo, the sun god, could shine and made this flower bloom. And so the Rose was born and was immediately crowned the Queen of Flowers. The first tree primary red rose seen in Europe was "Slater’s Crimson China" introduced in 1792 from China, where it had been growing wild in the mountains. Immediately, rose breeders began using it to Hybridize5 red roses for cultivation. Ever since, the quest for the perfect red rose has been the Holy Grail6 of rosarians: a fragrant, disease-resistant, long-lasting, long-stemmed, reblooming, perfectly formed rose with a clear non-fading vivid red color. Absolute perfection still hasn’t been attained, and of course never will! There is a special rose language invented as a secret means of communication between lovers who were not allowed to express their love for one another openly. In the mid 18th century the wife of the British ambassador in Constantinople described this in her letters, which were published after her death. These letters inspired many books on the language of flowers, each describing the secret message hidden in each flower. A red rose bud stands for budding desire; an open white rose asks "Will you love me" An open red rose means "I’m full of love and desire," while an open yellow rose asks "Don’t you love me any more". Who didn’t help the creation of the rose in Greek legend
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