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MEMOTo : Ms. (5) From: Williams SmithType of job applied for (6) Time of interview: (7) tomorrow.Location of the company: (8) Washington Street. 8()

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The provision of positive incentives to work in the new society will not be an easy task. But the most difficult task of all is to devise the ultimate and final sanction to replace the ultimate sanction of hunger--the economic whip of the old dispensation. Moreover, in a society which rightly rejects the pretence of separating economies from politics and denies the autonomy of the economic order, that sanction can be found only in some conscious act of society. We can no longer ask the invisible hand to do our dirty work for us. I confess that I am less horror-struck than some people at the prospect, which seems to me unavoidable, of an ultimate power of what is called direction of labor resting in some arm of society, whether in an organ of state or of trade unions. I should indeed be horrified if I identified this prospect with a return to the conditions of the pre-capitalist era. The economic whip of laissea-faire undoubtedly represented an advance on the serf-like conditions of that period: in that relative sense, the claim of capitalism to have established for the first time a system of "free" labour deserves respect But the direction of labour as exercised in Great Britain in the Second World War seems to me to represent as great an advance over the economic whip of the heyday of capitalist private enterprise as the economic whip represented over pre-capitalist serfdom, Much depends on the effectiveness of the positive incentives, much, too, on the solidarity and self-discipline of the community. After all, under the system of laissea-faire capitalism the fear of hunger remained an ultimate sanction rather than a continuously operative force. It would have been intolerable if the worker had been normally driven to work by conscious fear of hunger; nor, except in the early and worst days of the Industrial Revolution, did that normally happen. Similarly in the society of the future the power of direction should be regarded not so much as an instrument of daily used but rather as an ultimate sanction held in reserve where voluntary methods fail It is inconceivable that, in any period or in any conditions that can now be foreseen, any organ of state in Great Britain would be in a position, even if it had the will, to marshal and deploy the labour force over the whole economy by military discipline like an army in the field. This, like other nightmares of a totally planned economy, can be left to those who like to frighten themselves and others with scarecrows. The last sentence of the text indicates the author’s

A. hatred.
B. affection.
C. stubbornness.
D. rejection.

Ms Blunsden is a 38-year-old woman who lives by herself in Brooklyn, New York. She has no right to keep any animals now. A police officer told a Brooklyn court(法庭) that he had found 15 dogs and 20 cats living in a small room which was just 10 feet by 12 feet. "There was not enough place for one animal, let alone 35,"he said. "The room was very dirty. " "The animals are taken good care of," Ms Blunsden told the court. "I take them all for walks in a shopping cart (购物车). " When the court asked Ms Blunsden why she kept so many animals, she said,"Everybody loves animals and I do, too. You may think that my room is too small for so many animals, but I think it is just right. " The court ordered the animals to be taken to a place where they could be taken good care of. The court also ordered Ms Blunsden to get help from Dr Eugene Wilson, whose clinic(诊所) is well-known for taking care of such cases. People are beginning to keep many animals, and Ms Blunsden’s case will not be the only one of its kind. The court ordered the animals to be sent to where

A. they could live in the open air
B. they could be well looked after
C. they could get help from Dr Wilson

Summer holidy camps(夏令营) for children began in the USA over sixteen years ago.Today there are (41) than 8000 summer camps in the United States and every year (42) four million children pass through their gates (43) June and August. Some (44) By bus every clay from the nearest town. (45) stay as campers for one or two weeks. Quite a lot of children go off to camp (46) the whole of the summer holiday. The people there are young and (47) .There is good food and lots of interesting things (48) In many camps children learn things (49) cooking and drawing pictures. Every evening there are camp fires and games. Everyone goes to bed (50) but happy.

A. by
B. from
C. between

Theories of the value of art are of two kinds, which we may call extrinsic and intrinsic. The first regards art and the appreciation of art as means to some recognized moral good, while the second regards them as valuable not instrumentally but as objects unto themselves. It is characteristic of extrinsic theories to locate the value of art in its effects on the person who appreciates it. (41) _____________________The extrinsic approach, adopted in modem times by Leo Tolstoy in What Is Art in 1896, has seldom seemed wholly satisfactory. Philosophers have constantly sought for a value in aesthetic experience that is unique to it and that, therefore, could not be obtained from any other source. The extreme version of this intrinsic approach is that associated with Walter Pater, Oscar Wilde, and the French Symbolists, and summarized in the slogan "art for art’s sake."(42) _____________________Between those two extreme views there lies, once again, a host of intermediate positions. We believe, for example, that works of art must be appreciated for their own sake, but that, in the act of appreciation, we gain from them something that is of independent value. (43) _____________________The analogy with laughter--which, in some views, is itself a species of aesthetic interest--introduces a concept without which there can be no serious discussion of the value of art: the concept of taste. (44) _____________________Similarly, we regard some works of art as worthy of our attention and others as not. In articulating this judgment, we use all of the diverse and confusing vocabulary of moral appraisal; works of art, like people, are condemned for their sentimentality, coarseness, vulgarity, cruelty, or self-indulgence, and equally praised for their warmth, compassion, nobility, sensitivity, and truthfulness. Clearly, if aesthetic interest has a positive value, when motivated by good taste; it is only interest in appropriate objects that can be said to be good for us. (45) _____________________.[A] Thus a joke is laughed at for its own sake, even though there is an independent value in laughter, which lightens our lives by taking us momentarily outside ourselves. Why should not something similar be said of works of art, many of which aspire to be amusing in just the way that good jokes are[B] All discussion of the value of art tends, therefore, to turn from the outset in the direction of criticism. Can there be genuine critical evaluation of art, a genuine distinction between that which deserves our attention and that which does not[C] Art is held to be a form of education, perhaps an education of the emotions. In this case, it becomes an open question whether there might not be some more effective means of the same result. Alternatively, one may attribute a negative value to art, as Plato did in his Republic, arguing that art has a corrupting or diseducative effect on those exposed to it.[D] Artistic appreciation, a purely personal matter, calls for appropriate means of expression. Yet, it is before anything a process of “cultivation", during which a certain part of one’s "inner self" is "dug out" and some knowledge of the outside world becomes its match.[E] If I am amused it is for a reason, and this reason lies in the object of my amusement. We thus begin to think in terms of a distinction between good and bad reasons for laughter. Amusement at the wrong things may seem to us to show corruption of mind, cruelty, or bad taste; and when it does so, we speak of the object as not truly amusing, and feel that we have reason on our side.[F] Such thinkers and writers believe that art is not only an end in itself but also a sufficient justification of itself. They also hold that in order to understand art as it should be understood, it is necessary to put aside all interests other than an interest in the work itself. 44

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