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Newcomers to San Francisco who can’t speak English have a hard time finding an apartment, a job, or health care. Institutions that baffle and frustrate native-born Americans, such as the Department of Motor Vehicles, are even more intimidating to immigrants. Many immigrants are greeted at the airport by relatives who can ease their transition to life in the U.S. But some arrive without contacts and need immediate help. In San Francisco, this help comes more from local ethnic communities than from the government. Organizations such as the Chinatown Youth Center and Jewish Family and Children’s Services apply for grant money and provide services to immigrants. Many Hispanic immigrants to the city seek help at the Good Samaritan Family Resource Center in the heart of the Mission district. The Good Samaritan center teaches "survival" English to help people get by until they can enroll in a regular language class. The center also teaches newcomers about life in San Francisco, such as how to find health care and schools. The center offers support groups that function as extended families. If a client is afraid to go to the hospital, for example, someone from the support group will go with her. English classes have become a precious commodity in San Francisco, with some people waiting six months to get instruction. In the meantime, they have to survive the best they can, often without a job. Foreign-born Americans who do not speak English well have much higher unemployment rates than those who speak English well, according to the Bureau of Labor Statistics. This rule is not true for female Hispanics, however. Many Hispanic immigrants live in Spanish-speaking communities where they can get by without learning English. Government offices try to help non-English speakers, but their bureaucracy is intimidating to the newcomer who wants a driver’s license or Social Security number. Immigrants "are afraid that no one will understand them," says Joe C. Buenavista, principal of San Francisco’s Newcomer High School. This passage is probably written with a purpose to ______ .
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Newcomers to San Francisco who can’t speak English have a hard time finding an apartment, a job, or health care. Institutions that baffle and frustrate native-born Americans, such as the Department of Motor Vehicles, are even more intimidating to immigrants. Many immigrants are greeted at the airport by relatives who can ease their transition to life in the U.S. But some arrive without contacts and need immediate help. In San Francisco, this help comes more from local ethnic communities than from the government. Organizations such as the Chinatown Youth Center and Jewish Family and Children’s Services apply for grant money and provide services to immigrants. Many Hispanic immigrants to the city seek help at the Good Samaritan Family Resource Center in the heart of the Mission district. The Good Samaritan center teaches "survival" English to help people get by until they can enroll in a regular language class. The center also teaches newcomers about life in San Francisco, such as how to find health care and schools. The center offers support groups that function as extended families. If a client is afraid to go to the hospital, for example, someone from the support group will go with her. English classes have become a precious commodity in San Francisco, with some people waiting six months to get instruction. In the meantime, they have to survive the best they can, often without a job. Foreign-born Americans who do not speak English well have much higher unemployment rates than those who speak English well, according to the Bureau of Labor Statistics. This rule is not true for female Hispanics, however. Many Hispanic immigrants live in Spanish-speaking communities where they can get by without learning English. Government offices try to help non-English speakers, but their bureaucracy is intimidating to the newcomer who wants a driver’s license or Social Security number. Immigrants "are afraid that no one will understand them," says Joe C. Buenavista, principal of San Francisco’s Newcomer High School. In San Francisco, English classes are ______ .
My writing in my late teens and early adulthood was fashioned after the U.S. short stories and poetry taught in the high schools of the 1940s and 1950s, but by the 1960s, after I had gone to college and dropped out and served in the military, I began to develop topics and themes from my Native American background. The experience in my village of Deetziyamah and Acoma Pueblo was readily accessible. My mother was a potter of the well-known Acoma clayware. My father carved figures from wood and did beadwork. There was always some kind of artistic endeavor that Native American people, set themselves to, although they did not necessarily articulate it as "Art" in the sense of Western civilization. When I turned my attention to my own heritage, I did so because this was my identity, and I wanted to write about what that meant. My desire was to write about the integrity and dignity of a Native American identity, and at the same time I wanted to look at what this was within the context of an America that had too often denied its Native American heritage. To a great extent my writing has a natural political-cultural bent simply because I was nurtured intellectually and emotionally within an atmosphere of Native American resistance. The Acoma Pueblo, despite losing much of their land and surrounded by a foreign civilization, have not lost sight of their native heritage. At times, in the past, it was outright armed struggle; currently, it is often in the legal arena, and it is in the field of literature. In 1981, when I was invited to the White House for an event celebrating American poets and poetry, I did not immediately accept the invitation. I questioned myself about the possibility that I was merely being exploited as an Indian, and I hedged against accepting. But then I recalled the elders going among our people in the poor days of the 1950s, asking for donations in order to finance a trip to the nation’s capital. They were to make another countless appeal on behalf of our people, to demand justice, to reclaim lost land even though there was only spare hope they would be successful. I went to the White House realizing that I was to do no less than they and those who had fought in the Pueblo Revolt of 1680, and I read my poems and sang songs that were later described as "guttural" by a Washington, D.C. newspaper. I suppose it is more or less understandable why such a view of Native American literature is held by many, and it is also clear why there should be a political stand taken in my writing and those of my sister and brother Native American writers. The 1960s and afterward have been an invigorating and liberating period for Native American people. It has been only a little more than twenty years since Native American writers began to write and publish extensively, but we are writing and publishing more and more; we can only go forward. We come from an ageless, continuing oral tradition that informs us of our values, concepts, and notions as native people, and it is amazing how much of this tradition is ingrained so deeply in our contemporary writing, considering the brutal efforts of cultural repression that was not long ago outright U.S. policy. In spite of the fact that there is to some extent the same repression today, we persist and insist in living, believing, hoping, loving, speaking, and writing as Native Americans. Which of the following assumptions most influenced the author’s main argument in this selection
In the world of management, employees are nonexempt or exempt, depending on whether they get paid for overtime or not. (21) a creative scientist, like a creative artist, does not see his or her time. The very idea of a creative scientist (22) out time sheets is ludicrous. Fascination in science cannot be turned on or off on (23) The creative mind continues to wander (24) the body eats, exercises, or sleeps. Interruptions in or out of the laboratory, the library, the office or the home study may (25) a promising effort. (26) the well-established practice of moonlighting. Do what you need to do to keep the wolf (27) from the door, the world (28) your thesis adviser, team leader, or laboratory director. Then use the rest of your time, perhaps at night or on the weekends, to do (29) you really want to do. All of us who had done science know how to (30) effectively. So many scientific books are prefaced by remarks such as "I thank my spouse, who tolerated my awful antics while this book was being written." I (31) that some of the most creative results to come out of my laboratory were obtained by graduate students or postdoctoral assistants in the (32) of my instructions or even (33) against them. The creative mind has a vision. And vision, (34) Jonathan Smith, is the art of seeing things (35) . To try to explain a vision can get one into serious trouble, as Joan of Arc (圣女贞德) found out. It is better to moonlight until things become visible.
The Oscars am the biggest movie event of every year, and are always a star- studded, glamorous occasion. Their full title is the Academy Awards’, and the first awards took place in 1929, when fdms had only just begun being talkies, and not silent movies. The famous golden ’Oscar’ statuettes represent the greatest honor an actor or film-maker can achieve.This year’s event (2006), the 78th Academy Awards, was as fashionable as ever, with designer frocks and tuxedos parading up the red carpet. The awards this year were dominated by intimate, thought-provoking films, and there was a good spread of awards, no one film swept the board. Crash was the surprise winner of the coveted best film award, as well as two other awards. The film is about racial tension in Los Angeles, and features an ensemble cast, lots of different characters with no one lead role.Despite being tipped as the hottest favorite ever to win best picture, Brokeback Mountain only won three of its eight nominations, including a best director award for Ang Lee. George Clooney won the best supporting actor award for Syriana, but was also nominated as best director for Good Night and Good Luck. He joked about why he likes directing, "You can get old and grey and they still let you do the job!" British films had limited success, but a seven- month pregnant Rachel Weisz collected the best supporting actress award, and British-made Sit Shooter won in the best short film category. British animators Nick Park and Steve Box were surprised and jubilant that their film Wallace and Gromit in the Curse of the Were-Rabbit won the animated film award.They collected their award wearing matching oversized stripy bow-ties. Steve Box commented, "We really didn’t think we would win because a lot of the films were worthy and meaningful and deep and our film is just ridiculous.\ What’s the film Crash talking about().
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