题目内容
Is Miss Lee in
查看答案
搜索结果不匹配？点我反馈
更多问题
In studying both the recurrence of special habits or ideas in several districts, and their prevalence within each district, there come before us ever-repeated proofs of regular causation producing the phenomena of human life, and of laws of maintenance and diffusion conditions of society, at definite stages of culture. But, while giving full importance to the evidence bearing on these standard conditions of society, let us be careful to avoid a pitfall which may entrap the unwary student. Of course the opinions and habits belonging in common to masses of mankind are to a great extent the results of sound judgment and practical wisdom. But to a great extent it is not so. That many numerous societies of men should have believed in the influence of the evil eye and the existence of a firmament, should have sacrificed slaves and goods to the ghosts of the departed, should have handed down traditions of giants slaying monsters and men turning into beast--all this is ground for holding that such ideas were indeed produced in men’s minds by efficient causes, but it is not ground for holding that the rites in question are profitable, the beliefs sound, and the history authentic. This may seem at the first glance a truism, but, in fact, it is the denial of a fallacy which deeply affects the minds of all but a small critical minority of mankind. Popularly, what everybody says must be true, what everybody does must be right--"Quod ubique, quod semper, quod ab omnibus creditum est, hoc est vere proprieque Catholicum’ --and m forth. There are various topics, especially in history, law, philosophy, and theology, where even the educated people we live among can hardly be brought to see that the cause why men do hold an opinion, or practise a custom, is by no means necessarily a reason why they ought to do so. Now collections of ethnographic evidence bringing so prominently into view the agreement of immense multitudes of men as to certain traditions, beliefs, and usages, are peculiarly liable to be thus improperly used in direct defense of these institutions themselves, even old barbaric nations being polled to maintain their opinions against what are called modern ideas. As it has more than once happened to myself to find my collections of traditions and beliefs thus set up to prove their own objective truth, without proper examination of the grounds on which they were actually received, I take this occasion of remarking that the same line of argument will serve equally well to demonstrate, by the strong and wide consent of nations, that the earth is flat, and nightmare the visit of a demon. The author’s attitude towards the phenomena mentioned at the beginning of the text is one of
The author of some forty novels, a number of plays, volumes of verse, historical, critical and autobiographical works, an editor and translator, Jack Lindsay is clearly an extraordinarily prolific writer--a fact which can easily obscure his very real distinction in some of the areas into which he bas ventured. His co editorship of Vision in Sydney in the early 1920’s, for example, is still felt to have introduced a significant period in Australian culture, while his study of Kickens written in 1950 is highly regarded. But of all his work it is probably the novel to which he has made his most significant contribution. Since 1936 when, to use his own words in Fanfrolico and after, he "reached bedrock", Lindsay bas maintained a consistent Marxist viewpoint--and it is this viewpoint which if nothing else has guaranteed his novels a minor but certainly not negligible place in modern British literature. Feeling that "the historical novel is a form that bas a limitless future as a fighting weapon and as a cultural instrument" (New Masses, January 1937), Lindsay first attempted to formulate his Marxist convictions in fiction mainly set in the past: particularly in his trilogy in English novels--1949 (dealing with the Digger and Leveller movements), Lost Birthright (the Wilkesite agitations), and Men of Forth-Eight (written in 1939, the Chartist and revolutionary uprisings in Europe). Basically these works set out, with most success in the first volume, to vivify the historical traditions behind English Socialism and attempted to demonstrate that it stood, in Lindsay’s words, for the "true completion of the national destiny." Although the war years saw the virtual disintegration of the left-wing writing movement of the 1930s, Lindsay himself carried on: delving into contemporary affairs in We Shall Return and Beyond Terror, novels in which the epithets formerly reserved for the evil capitalists or Franco’s soldiers have been transferred rather crudely to the German troops. After the war, Lindsay continued to write mainly about the present--trying with varying degrees of success to come to terms with the unradical political realities of post-war England. In the series of novels known collectively as The British Way, and beginning with Betrayed Spring in 1953, it seemed at first as if his solution was simply to resort to more and more obvious authorial manipulation and heavy-banded didacticism. Fortunately, however, from Revolt of the Sons, this process was reversed, as Lindsay began to show an increasing tendency to ignore party solutions, to fail indeed to give anything but the most elementary political consciousness to his characters, so that in his latest (and what appears to be his last) contemporary novel, Choice of Times, his hero, Colin, ends on a note of desperation: "Everything must be different, I can’t live this way any longer. But how can I change it, how" To his credit as an artist, Lindsay doesn’t give him any explicit answer. The impact of Jack Lindsay’s ideological attitudes on his literary success was
The author of some forty novels, a number of plays, volumes of verse, historical, critical and autobiographical works, an editor and translator, Jack Lindsay is clearly an extraordinarily prolific writer--a fact which can easily obscure his very real distinction in some of the areas into which he bas ventured. His co editorship of Vision in Sydney in the early 1920’s, for example, is still felt to have introduced a significant period in Australian culture, while his study of Kickens written in 1950 is highly regarded. But of all his work it is probably the novel to which he has made his most significant contribution. Since 1936 when, to use his own words in Fanfrolico and after, he "reached bedrock", Lindsay bas maintained a consistent Marxist viewpoint--and it is this viewpoint which if nothing else has guaranteed his novels a minor but certainly not negligible place in modern British literature. Feeling that "the historical novel is a form that bas a limitless future as a fighting weapon and as a cultural instrument" (New Masses, January 1937), Lindsay first attempted to formulate his Marxist convictions in fiction mainly set in the past: particularly in his trilogy in English novels--1949 (dealing with the Digger and Leveller movements), Lost Birthright (the Wilkesite agitations), and Men of Forth-Eight (written in 1939, the Chartist and revolutionary uprisings in Europe). Basically these works set out, with most success in the first volume, to vivify the historical traditions behind English Socialism and attempted to demonstrate that it stood, in Lindsay’s words, for the "true completion of the national destiny." Although the war years saw the virtual disintegration of the left-wing writing movement of the 1930s, Lindsay himself carried on: delving into contemporary affairs in We Shall Return and Beyond Terror, novels in which the epithets formerly reserved for the evil capitalists or Franco’s soldiers have been transferred rather crudely to the German troops. After the war, Lindsay continued to write mainly about the present--trying with varying degrees of success to come to terms with the unradical political realities of post-war England. In the series of novels known collectively as The British Way, and beginning with Betrayed Spring in 1953, it seemed at first as if his solution was simply to resort to more and more obvious authorial manipulation and heavy-banded didacticism. Fortunately, however, from Revolt of the Sons, this process was reversed, as Lindsay began to show an increasing tendency to ignore party solutions, to fail indeed to give anything but the most elementary political consciousness to his characters, so that in his latest (and what appears to be his last) contemporary novel, Choice of Times, his hero, Colin, ends on a note of desperation: "Everything must be different, I can’t live this way any longer. But how can I change it, how" To his credit as an artist, Lindsay doesn’t give him any explicit answer. According to the text, the speech at the end of the text
Over the last decade, demand for the most common cosmetic surgery procedures, like breast enlargements and nose jobs, has increased by more than 400 percent. According to Dr. Dai Davies, of the Plastic Surgery Partnership in Hammersmith, the majority of cosmetic surgery patients are not chasing physical perfection. Rather, they are driven to fantastic lengths to improve their appearance by a desire to look normal. "What we all crave is to look normal, and normal is what is prescribed by the advertising media and other external pressures. They give us a perception of what is physically acceptable and we feel we must look like that." In America, the debate is no longer about whether surgery is normal; rather, it centers on what age people should be before going under the knife. New York surgeon Dr. Gerard Imber recommends "maintenance" work for people in their thirties. "The idea of waiting until one needs a heroic transformation is silly," he says. "By then, you’ve wasted 20 great years of your life and allowed things to get out of hand." Dr. Imber draws the line at operating on people who are under 18, however, "It seems that someone we don’t consider old enough to order a drink shouldn’t be considering plastic surgery. ’ In the UK cosmetic surgery has long been seen as the exclusive domain of the very rich and famous. But the proportionate cost of treatment has fallen substantially, bringing all but the most advanced laser technology within the reach of most people, Dr. Davies, who claims to "cater for the average person", agrees. He says: "I treat a few of the rich and famous and an awful lot of secretaries. Of course, 3, 000 for an operation is a lot of money. But it is also an investment for life which costs about half the price of a good family holiday." Dr. Davies suspects that the increasing sophistication of the fat injecting and removal techniques that allow patients to be treated with a local anaesthetic in an afternoon has also helped promote the popularity of cosmetic surgery. Yet, as one woman who recently paid ￡2,500 for liposuction to remove fat from her thighs admitted, the slope to becoming a cosmetic surgery Veteran is a deceptively gentle one. "I had my legs done because they’d been bugging me for years. But going into the clinic was so low key and effective it whetted my appetite. Now I don’t think there’s any operation that I would rule out having if I could afford it.\ The statement "draws the line at operating on people" (Para. 2) is closest in meaning to
微信支付 
支付宝支付