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Different occupations, however, differ widely in the character of their special vocabularies. In trades and handicrafts, and other vocations, like farming and fishery, which have occupied great numbers of men from remote times, the technical vocabulary, is very old. It consists largely of native words, or of borrowed words that have worked themselves into the very fiber of our language. Hence, though highly technical in many particulars, these vocabularies are more familiar in sound, and more generally understood, than most other technicalities. The special dialects of law, medicine, divinity, and philosophy have also, in their older strata, become pretty familiar to cultivated persons, and have contributed much to the popular vocabulary. Yet every vocation possesses a large body of technical terms that remain essentially foreign, even to educated speech. And the proportion has been much increased in the last fifty years, particularly in the various departments of natural and political science and in the mechanic arts. Here new terms are coined with the great freedom, and abandoned with indifference when they have served their turn. Most of the new coinages are confined to special discussions, and seldom get into general literature or conversation. Yet no profession is nowadays, as all professions once were, a close guild. The lawyer, the physician, the man of science, the divine, associates freely with his fellow-creatures, and does not meet them in a merely professional way. Furthermore, what is called "popular science" makes everybody acquainted with modern views and recent discoveries. Any important experiment, though made in a remote or provincial laboratory, is at Once reported in the newspapers, and everybody is soon talking about it--as in the case of the Roentgen rays and wireless telegraphy. Thus our common speech is always taking up new technical terms and making them commonplace. (419)
This passage is primarily concerned with ______.
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The head of homeland security indicated that ______.
The science of wildlife management is actually quite new. It is the third major phase of the original conservation movement. The first phase involved the preservation of wildlife through laws and hunting regulations. This phase was a reaction against the terrible destruction of ninny wild creatures. The second phase involved the control of certain birds and animals that were preying on other wildlife and causing their decline.
However, the first two phases of the conservation movement had serious limitations. The new laws al lowed certain animals to increase so much that they actually "ate up" their habitat. Many of them starved to death because the land simply could not provide for them all. Something had to Be done. This is how careful wildlife management came into being.
One of the chief concerns of wildlife management is the protection and improvement of the natural habitat so that animals have enough food and water to survive. Wildlife management involves care of the soil to produce good vegetation. It involves care of plants and bushes, not only as a source of food, but also as protection. Animals needs cover to hide from their natural enemies and to raise their offspring safely.
Just as crops are harvested, wildlife too must sometimes be "harvested". By allowing limited hunting and fishing, good management can control certain species that threaten to overpopulate their habitat.
Another major part of the wildlife management is the increasing of certain species by artificial means. Some creatures, like the whooping crane, were brought back from the edge of extinction in this way. In order to save these species, members of wildlife teams have reared the young in the safety of research stations. (278)
The passage is mainly about ______.
In the art of the Middle Ages, we never encounter the personality of the artist as an individual; rather it is diffused through the artistic genius of centuries embodied in the rules of religious art. Art of the Middle Ages is first a sacred script, the symbols and meanings of which were well settled. The circular halo placed vertically behind the head signifies sainthood, while the halo impressed with a cross signifies divinity. By bare feet, we recognize God, the angels, Jesus Christ and the apostles, but for an artist to have depicted the Virgin Mary with bare feet would have been tantamount to heresy. Several concentric, wavy lines represent the sky, while parallel lines water or the sea. A tree, which is to say a single stalk with two or three stylized leaves, informs us that the scene is laid on earth. A tower with a window indicates a village, and, should an angel be depicted with curly hair, and a short beard, while Saint Paul has always a bald head and a long beard.
A second characteristic of this iconography is obedience to a sacred mathematics. "The Divine Wisdom," wrote Saint Augustine, "reveals itself everywhere in numbers", a doctrine attributable to the neo-Platonists who revived the genius of Pythagoras. Twelve is the master number of the Church and is the product of three, the number of the Trinity, and four, the number of material elements. The number seven, the most mysterious of all numbers, is the sum of four and three. There are the seven ages of man, seven virtues, seven planets. In the final analysis, the seven-tone scale of Gregorian music is the sensible embodiment of the order of the universe. Numbers require also a symmetry. At Charters. a stained glass window show the four prophets, Isaac, Ezekiel, Daniel, and Jeremiah, carrying on their shoulders the four evangelists, Matthew, Mark, Luke and John.
A third characteristic of art is to be a symbolic language, showing us one thing and inviting us to see another. In this respect, the artist was called upon to imitate Cod, who had hidden a profound meaning behind the literal and wished nature itself to be a moral lesson to man. Thus, every painting is an allegory. In a scene of the final judgment, we can see the foolish virgins at the left hand of Jesus and the wise at his right, and we understand that this symbolizes those who are Just and those who are saved. Even seemingly insignificant details carry hidden meaning: The lion in a stained glass window is the figure of the Resurrection.
These, then, are the defining characteristics of art of the Middle Ages, a system within which even the most mediocre talent was elevated by the genius of the centuries. The artists of the early Renaissance broke with traditional at their own peril. When they are not outstanding, they are scarcely able to avoid insignificance and banality in their religious works, and, even when they are great, they are no more than the equals of the old masters who passively followed the sacred rules. (523)
What does the circular halo placed behind the head signify in the art of the Middle Ages？
Why the inductive and mathematical sciences, after their first rapid development at the culmination of Greek civilization, advanced so slowly for two thousand years--and why in the following two hundred years a knowledge of natural and mathematical science has accumulated, which so vastly exceeds all that was previously known that these sciences may be justly regarded as the products of our own times--are questions which have interested the modern philosopher not less than the objects with which these sciences are more immediately conversant. Was it the employment of a new method of research, or in the exercise of greater virtue in the use of the old methods, that this singular modern phenomenon had its origin？ Was the long period one of arrested development, as in the modern era one of normal growth？ Or should we ascribe the characteristics of both periods to so-called historical accidents--to the influence of conjunctions in circumstances of which no explanation is possible, save in the omnipotence and wisdom of a guiding Providence？
The explanation which has become commonplace, that the ancients employed deduction chiefly in their scientific inquiries, while the modems employ induction, proves to be too narrow, and fails upon close examination to point with sufficient distinctness the contrast that is evident between ancient and modem scientific doctrines and inquires. For all knowledge is founded on observation, and proceeds from this by analysis and synthesis, by synthesis and analysis, by induction and deduction, and if possible by verification, or by new appeals to observation under the guidance of deduction--by steps which are indeed correlative parts of one method; and the ancient sciences afford examples of every one of these methods, or parts of one method, which have been generalized from the examples of sciences.
A failure to employ or to employ adequately anyone of these partial methods, an imperfection in the arts and resources of observation and experiment, carelessness in observation, neglect of relevant facts, vagueness and carelessness in the reasoning, and the failure to draw the consequences of theory and test them by appeal to experiment and observation-these are the faults which cause all failures to ascertain truth, whether among the ancients or the moderns, but this statement does not explain why the modern is possessed of a greater virtue, and by what means he attained his superiority. Much less does it explain the sudden growth of science in recent times.
The attempt to discover the explanation of this phenomenon in the antithesis of "facts" and "theories" or "facts" and "ideas"--in the neglect among the ancients of the former, and their too exclusive attention to the latter proves also to be too narrow, as well as open to the charge of vagueness. For, in the first place, the antihesis is not complete, facts and theories are not coordinate species. Theories. if true, are facts--a particular class of facts indeed, generally complex ones, but still facts. Facts on the other hand, even in the narrowest signification of the word, if they are at all complex, and if a logical connection subsists between their constituents, have all the positive attributes of theories.
Nevertheless, this distinction, however inadequate it may be to explain the source of the true method in science, is well founded, and connotes an important character in true method. A fact is a proposition of which the verification by an appeal to the primary sources of our knowledge or to experience is direct and simple A theory, on the other hand, if true, has all the characteristics of a fact, except that its verification is possible only by indirect, remote, and difficult means. To convert theories into facts is to add simple verification, and the theory thus acquires the full characteristics of a fact. (628)
The title that best expresses the ideas of this passage is ______.
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