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A child who has once been pleased with a tale likes, as a rule, to have it retold in identically the same words, but this should not lead parents to treat printed fairy stories as sacred texts. It is always much better to tell a story than read it out of a book, and, if a parent can produce what, in the actual circumstances of the time and the individual child, is an improvement on the printed text, so much the better.A charge made against fairy tales is that they harm the child by frightening him or arousing his sadistic impulse. To prove the latter, one would have to show in a controlled experiment that children who have read fairy stories were more often guilty of cruelty than those who had not. Aggressive, destructive, sadistic impulses every child has and, on the whole, their symbolic verbal discharge seem to be rather a safety valve than an incitement to overt action. As to fears, there are, I think, well-authenticated cases of children being dangerously terrified by some fairy story. Often, however, this arises from the child having heard the story once. Familiarity with the story by repetition turns the pain of fear into the pleasure of a fear faced and mastered.There are also people who object to fairy stories on the grounds that they are not objectively true, that giants, witches, two-headed dragons, magic carpets, etc., do not exist; and that, instead of indulging his fantasies in fairy tales, the child should be taught how to adapt to reality by studying history and mechanics. I find such people, I must confess, so unsympathetic and peculiar that I do not know how to argue with them. If their case were sound, the world should be full of madmen attempting to fly from New York to Philadelphia on a broomstick or covering a telephone with kisses in the belief that it was their enchanted girl-friend.No fairy story ever claimed to be a description of the external world and no sane child has ever believed that it was. In the second paragraph, which statement best expresses the author"s attitude towards fairy stories
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The writing of a historical synthesis involves integrating the materials available to the historian into a comprehensible whole. The problem in writing a historical synthesis is how to find a pattern in, or impose a pattern upon, the detailed information that has already been used to explain the causes for a historical event.A synthesis seeks common elements in which to interpret the contingent parts of a historical event. The initial step, therefore, in writing a historical synthesis, is to put the event to be synthesized in a proper historical perspective, so that the common elements or strands making up the event can be determined. This can be accomplished by analyzing the historical event as part of a general trend or continuum in history. The common elements that are familiar to the event will become the ideological framework in which the historian seeks to synthesize. This is not to say that any factor will not have a greater relative value in the historian"s handling of the interrelated when viewed in a broad historical perspective.The historian, in synthesizing, must determine the extent to which the existing hypotheses have similar trends. A general trend line, once established, will enable these similar trends to be correlated and paralleled within the conceptual framework of a common base. A synthesis further seeks to determine, from existing hypotheses, why an outcome took the direction it did; thus, it necessitates reconstructing the spirit of the times in order to assimilate the political, social, psychological, etc., factors within a common base.As such, the synthesis becomes the logical construct in interpreting the common ground between an original explanation of an outcome (thesis) and the reinterpretation of the outcome along different lines (antithesis). Therefore, the synthesis necessitates the integration of the materials available into a comprehensible whole which will in turn provide a new historical perspective for the event being synthesized. The best definition for the term "historical synthesis" would be ______.
We are entering a period in which rapid population growth, the presence of deadly weapons, and dwindling resources will bring international tensions to dangerous levels for an extended period. Indeed, 1 seems no reason for these levels of danger to subside unless population equilibrium is 2 and some rough measure of fairness reached in the distribution of wealth among nations. 3 of adequate magnitude imply a willingness to redistribute income internationally on a more generous 4 than the advanced nations have evidenced within their own domains. The required increases in 5 in the backward regions would necessitate gigantic applications of energy merely to extract the 6 resources.It is uncertain whether the requisite energy-producing technology exists, and more serious, 7 that its application would bring us to the threshold of an irreversible change in climate 8 a consequence of the enormous addition of manmade heat to the atmosphere. It is this 9 problem that poses the most demanding and difficult of the challenges. The existing 10 of industrial growth, with no allowance for increased industrialization to repair global poverty, hold 11 the risk of entering the danger zone of climatic change in as 12 as three or four generations. If the trajectory is in fact pursued, industrial growth will 13 have to come to an immediate halt, for another generation or two along that 14 would literally consume human, perhaps all life. The terrifying outcome can be postponed only to the extent that the wastage of heat can be reduced, 15 that technologies that do not add to the atmospheric heat burden—for example, the use of solar energy—can be utilized. (1996)
There has been a lot of hand-wringing over the death of Elizabeth Steinberg. Without blaming anyone in particular, neighbors, friends, social workers, the police and newspaper editors have struggled to define the community"s responsibility to Elizabeth and to other battered children. As the collective soul-searching continues, there is a pervading sense that the system failed her.The fact is, in New York State the system couldn"t have saved her. It is almost impossible to protect a child from violent parents, especially if they are white, middle-class, well-educated and represented by counsel.Why does the state permit violence against children There are a number of reasons. First, parental privilege is a rationalization. In the past, the law was giving its approval to the biblical injunction againstsparing the rod.Second, while everyone agrees that the state must act to remove children from their homes when there is danger of serious physical or emotional harm, many child advocates believe that state intervention in the absence of serious injury is more harmful than helpful.Third, courts and legislatures tread carefully when their actions intrude or threaten to intrude on a relationship protected by the Constitution. In 1923, the Supreme Court recognized the "liberty of parent and guardian to direct the upbringing and education of children under their control." More recently, in 1977, it upheld the teacher"s privilege to use corporal punishment against schoolchildren. Read together, these decisions give the constitutional imprimatur to parental use of physical force.Under the best conditions, small children depend utterly on their parents for survival. Under the worst, their dependency dooms them. While it is questionable whether anyone or anything could have saved Elizabeth Steinberg, it is plain that the law provided no protection.To the contrary, by justifying the use of physical force against children as an acceptable method of education and control, the law lent a measure of plausibility and legitimacy to her parents" conduct.More than 80 years ago, in the teeth of parental resistance and Supreme Court doctrine, the New York State Legislature acted to eliminate child labor law. Now, the state must act to eliminate child abuse by banning corporal punishment. To break the cycle of violence, nothing less will answer. If there is a lesson to be drawn from the death of Elizabeth Steinberg, it is this: spare the rod and spare the child. "Sparing the rod" (in boldface) means ______.
Whenever we are involved in a creative type of activity that is self-rewarding, a feeling overcomes us—a feeling that we can call "flow." When we are flowing we lose all sense of time and awareness of what is happening around us; instead, we feel that everything is going just right.A rock dancer describes his feeling of flow like this: "If I have enough space, I feel I can radiate an energy into the atmosphere. I can dance for walls, I dance for floors. I become one with the atmosphere." "You are in an ecstatic state to such a point that you don"t exist," says a composer, describing how he feels when he "flows." Players of any sport throughout the world are familiar with the feeling of flow; they enjoy their activity very much, even though they can expect little extrinsic reward. The same holds true for surgeons, cave explorers, and mountain climbers.Flow provides a sort of physical sensation along with an altered state of being. One man put it this way: "Your body feels good and awake all over. Your energy is flowing." People who flow feel part of this energy; that is, they are so involved in what they are doing that they do not think of themselves as being separated from their activity. They are flowing along with their enjoyment. Moreover, they concentrate intensely on their activity. They do not try to concentrate harder, however; the concentration comes automatically. A chess player compares this concentration to breathing. As they concentrate, these people feelimmersedin the action, lost in the action. Their sense of time is altered and they skip meals and sleep without noticing their loss. Sizes and spaces also seem altered: successful baseball players see and hit the ball so much better because it seems larger to them. They can even distinguish the seams on a ball approaching them at 165 kilometers per hour.It seems then that flow is a "floating action" in which the individual is aware of his actions but not aware of his awareness. A good reader is so absorbed in his book that he knows he is turning the pages to go on reading, but he does not notice he is turning these pages. The moment people think about it, flow is destroyed, so they never ask themselves questions such as "Am I doing well" or "Did everyone see my jump"Finally, to flow successfully depends a great deal on the activity itself; not too difficult to produce anxiety, not too easy to bring about boredom; challenging, interesting, fun. Some good examples of flow activities are games and sports, reading, learning, working on what you enjoy, and even day-dreaming. The word "immersed" (in boldface) is closest in meaning to ______.
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