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The changing profile of a city in the United States is apparent in the shifting definitions used by the United States Bureau of the Census. In 1870 the census officially distinguished the nation’s "urban" from its "rural" population for the first time. "Urban population" was defined as persons living in towns of 8,000 inhabitants or more. But after 1900 it meant persons living in incorporated places having 2,500 or more inhabitants. Then, in 1950 the Census Bureau radically changed its definition of "urban" to, take account of the new vagueness of city boundaries. In addition to persons living in incorporated units of 2,500 or more, the census now included those who lived in unincorporated units of that size, and also all persons living in the densely settled urban fringe, including both incorporated and unincorporated areas located around cities of 50, 000 inhabitants or more. Each such unit, conceived as an integrated economic and social unit with a large population nucleus, was named a Standard Metropolitan Statistical Area (SMSA). Each SMSA would contain at least one central city with 50,000 inhabitants or more or two cities having shared boundaries and constituting, for general economic and social purposes, a single community with a combined population of at least 50,000, the smaller of which must have a population of at least 15,000. Such an area included the country in which the central city is located, and adjacent countries that are found to be metropolitan in character and economically and socially integrated with the country of the central city. By 1970, about two-thirds of the population of the United States was living in these urbanized areas, and of that figure more than half were living outside the central cities. While the Census Bureau and the United States government used the term SMSA (by 1969 there were 233 of them), social scientists were also using new terms to describe the elusive, vaguely defined areas reaching out from what used to be simple "towns" and "cities". A host of terms came into use: "metropolitan regions", "polynucleated population groups", "conurbations", "metropolitan clusters", "megalopolises", and so on. What does the passage mainly discuss
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云南省原保山地委书记杨善洲，始终廉洁奉公，公而忘私，尽心竭力为老百姓办实事，辞世前，他把自己20多年辛勤营造的数万亩森林无偿交给国家。杨善洲的行为（）。①践行了中国共产党的宗旨②体现了共产党员的先锋模范作用③反映了公民的权利和义务是统一的④表明了只有在劳动和奉献中才能实现人生价值
Old Henry and his wife Phoebe loved one another. They were simple ____21____ . Their world was their fruit trees, cornfields and a backyard ____22____ pigs and chickens. The rest of the world was a ____23____ place like stars in the sky. Sometimes, Henry worried about ____24____ . His wife would say, "If you ____25____ talking like that, I will go away and what would you do There is nobody to ____26____ you. " Old Henry knew his wife would never ____27____ him. The only thing he ____28____ was death and the life if his wife died. Knowing she was there, beside him, in the dark, made Henry ____29____ again. In this way, they lived ____30____ in their world. One day, Phoebe became sick and ____31____ . Old Henry watched them put her body in the earth. When people left, he still stood near the tomb for long. At night, he read newspapers ____32____ most of the time, he just sat, looking at the door, ____33____ where Phoebe was and ____34____ he would die. For five months, he lived like this. One day, he went out to cut grass. Just ____35____ the hill, he saw Phoebe again. Yes, there she was, down in the valley, smiling up at him. She was in the same blue dress. She ____36____ a hand and seemed to say, "Come, come with me. " Henry felt the strong pull of a new world ____37____ he and Phoebe would always be together. He gave a ____38____ cry, " Wait, Phoebe, wait for me. I’m coming. " The next day, some farm boys ____39____ Henry at the bottom of the hill. His body was broken. There was a soft, happy smile on his face. The ____40____ smile he had worn when Phoebe was alive. 26().
A Young adult filmmakers all hope to show their works in international festivals like Sundance and Toronto. But what about really young filmmakers who aren’t in film school yet and aren’t, strictly speaking, even adults They are at the heart of Wingspan Arts Kids Films Festival, tomorrow, in a setting any director might envy: Lincoln Center. Complete with "red carpet" interviews and various awards, the festival has much in common with events for more experienced moviemakers, except for the age of the participants: about 8 to 18. "What’s really exciting is that it’s film for kids by kids," said Cori Gardner, managing director of Wingspan Arts, a nonprofit organization offering youth arts programs in the New York area. This year the festival will include films not only from Wingspan but also from other city organizations and one from a middle school in Arlington, Virginia. "We want to make this a national event," Ms. Gardner added. The nine shorts to be shown range from a Claymation biography of B. B. King to a science fiction adventure set in the year 3005. "A lot of the material is really mature," Ms. Gardner said, talking about films by the New York City branch of Global Action Project, a media arts and leadership-training group. "The Choice is about the history of a family and Master Anti-Smoker is about the dangers of secondhand smoke. " Dream of the Invisibles describes young immigrants’feelings of both belonging and not belonging in their adopted country. The festival will end with an open reception at which other films will be shown. These include a music video and full-length film whose title is Pressures. The underlined word "shorts" in Paragraph 4 refers to ______.
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