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（46）"Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk, with poles being clear enough but the middle tending to blur. The Hollywood Western of the 1930’s, for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high art. The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music--folk themes--in works clearly intended as high art. The case of Verdi is a different one : he took a popular genre-- bourgeois melodrama set to music (an accurate definition of nineteenth-century opera)- and, without altering its fundamental nature, transmuted it into high art. (47) This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. (48) Generally in the plots of these operas, a hero or heroine--usually portrayed only as an individual, unrestrained by class--is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity of the leaders of the civilians. Verdi transforms this naive and unlike formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself.Or consider Verdi’ s treatment of character. (49) Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional state. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’ s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi’ s characters, on the other hand, have genuine consistency and integrity, even if, in many cases, the consistency is that of pasteboard melodrama. The integrity of the character is achieved through the music: (50) once he had become established, Verdi did not rewrite his music for different singers or allow alterations or substitutions of somebody else’s arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness. 48（）
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The International Whaling Commission’s (IWC) decision to retain its ban on whaling does not mean that the killings will stop. Quite the (1) .Save the Whale. It’s a phrase which became annoying with (2) , an unfavorable shorthand for liberal consciences. How appalling, then, that in the year 2010, it should be pressed (3) service again, to fight the whaling nations: Norway and Iceland, who exempted themselves from the 1986 prohibition (4) by the IWC, and Japan, which hunts whales under cover of " (5) research".I am completely (6) by this week’s events in Morocco, where talks broke down. In my heart, I agree with those who have (7) the news that this year’s negotiations of the IWC have broken up, and (8) the prohibition would not be lifted (as the US proposed in a desperate (9) to break the deadlock). Yet reason (10) something else. If we do not (11) some kind of new control, the (12) will be able to go on with their slaughter (13) . Membership of the IWC is (14) , and the ban was only ever intended to be (15) . Japan, which has been buying the votes of nations with no interest in whaling (only in the 16 Japan offers in turn), will continue to press its case, having invested millions of dollars in its (17) . Geoffrey Palmer, New Zealand’s Commissioner at the IWC, has proposed a year-long (18) period. In the meantime, more whales will die.We stand at a crossroad for whales. We see the (19) existence of these animals as an indicator of ecological threat. As symbols of an endangered world, they evoke, and provoke, a feeling that they have the same qualities as human on a scale equal to their size and supposed (20) . To some this is so much sentimental words in the New Age. 5（）
If you think you can make the planet better by clever shopping, think again. You might make it worse.You probably go shopping several times a month, providing yourself with lots of opportunities to express your opinions. If you are worried about the environment, you might buy organic food; if you want to help poor farmers, you can do your bit by buying Fairtrade products; or you can express a dislike of evil multinational companies and rampant globalization by buying only local produce. And the best bit is that shopping, unlike voting, is fun; so you can do good and enjoy yourself at the same time.Sadly, it’s not that easy. (41) . People who want to make the world a better place cannot do so by shifting their shopping habits: transforming the planet requires duller disciplines, like politics.Organic food, which is grown without man-made pesticides and fertilisers, is generally assumed to be more environmentally friendly than conventional intensive farming, which is heavily reliant on chemical inputs. But it all depends on what you mean by "environmentally friendly". Farming is inherently bad for the environment: since humans took it up around 11 000 years ago, the result has been deforestation on a massive scale.(42) . Organic methods, which rely on crop rotation, manure and compost in place of fertiliser, are far less intensive. So producing the world’s current agricultural output organically would require several times as much land as is currently cultivated. There wouldn’t be much room left for the rainforest.Fairtrade food is designed to raise poor farmers’ incomes. It is sold at a higher price than ordinary food, with a subsidy passed back to the farmer. But prices of agricultural commodities are low because of overproduction, (43) .Surely the case for local food, produced as close as possible to the consumer in order to minimise "food miles" and, by extension, carbon emissions, is clear Surprisingly, it is not. A study of Britain’s food system found that nearly half of food-vehicle miles (i. e. , miles travelled by vehicles carrying food) were driven by cars going to and from the shops. Most people live closer to a supermarket than a farmer’s market, so more local food could mean more food-vehicle miles. Moving food around in big, carefully packed lorries, as supermarkets do, may in fact be the most efficient way to transport the stuffWhat’s more, once the energy used in production as well as transport is taken into account, local food may turn out to be even less green. (44) . And the local-food movement’s aims, of course, contradict those of the Fairtrade movement, by discouraging rich-country consumers from buying poor-country produce. But since the local-food movement looks suspiciously like old-fashioned protectionism masquerading as concern for the environment, helping poor countries is presumably not the point.(45) . The problems lie in the means, not the ends. The best thing about the spread of the ethical-food movement is that it offers grounds for hope. It sends a signal that there is an enormous appetite for change and widespread frustration that governments are not doing enough to preserve the environment, reform world trade or encourage development. 45（）
The International Whaling Commission’s (IWC) decision to retain its ban on whaling does not mean that the killings will stop. Quite the (1) .Save the Whale. It’s a phrase which became annoying with (2) , an unfavorable shorthand for liberal consciences. How appalling, then, that in the year 2010, it should be pressed (3) service again, to fight the whaling nations: Norway and Iceland, who exempted themselves from the 1986 prohibition (4) by the IWC, and Japan, which hunts whales under cover of " (5) research".I am completely (6) by this week’s events in Morocco, where talks broke down. In my heart, I agree with those who have (7) the news that this year’s negotiations of the IWC have broken up, and (8) the prohibition would not be lifted (as the US proposed in a desperate (9) to break the deadlock). Yet reason (10) something else. If we do not (11) some kind of new control, the (12) will be able to go on with their slaughter (13) . Membership of the IWC is (14) , and the ban was only ever intended to be (15) . Japan, which has been buying the votes of nations with no interest in whaling (only in the 16 Japan offers in turn), will continue to press its case, having invested millions of dollars in its (17) . Geoffrey Palmer, New Zealand’s Commissioner at the IWC, has proposed a year-long (18) period. In the meantime, more whales will die.We stand at a crossroad for whales. We see the (19) existence of these animals as an indicator of ecological threat. As symbols of an endangered world, they evoke, and provoke, a feeling that they have the same qualities as human on a scale equal to their size and supposed (20) . To some this is so much sentimental words in the New Age. 20（）
（46）"Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk, with poles being clear enough but the middle tending to blur. The Hollywood Western of the 1930’s, for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high art. The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music--folk themes--in works clearly intended as high art. The case of Verdi is a different one : he took a popular genre-- bourgeois melodrama set to music (an accurate definition of nineteenth-century opera)- and, without altering its fundamental nature, transmuted it into high art. (47) This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. (48) Generally in the plots of these operas, a hero or heroine--usually portrayed only as an individual, unrestrained by class--is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity of the leaders of the civilians. Verdi transforms this naive and unlike formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself.Or consider Verdi’ s treatment of character. (49) Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional state. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’ s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi’ s characters, on the other hand, have genuine consistency and integrity, even if, in many cases, the consistency is that of pasteboard melodrama. The integrity of the character is achieved through the music: (50) once he had become established, Verdi did not rewrite his music for different singers or allow alterations or substitutions of somebody else’s arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness. 47（）
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