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Dorothy Crowfoot Hodgkin When Dorothy Crowfoot Hodgkin was ten years old, she watched her first crystals form on a string dangling in a glass of salt water. Many children before and since have done the same, but in Hodgkin’s case, the sparkling geometric shapes kindled a fascination that would lead her to world fame. In 1964, nearly half a century later, Hodgkin received a Nobel Prize in Chemistry for discovering the structures of penicillin and vitamin B12 from photographic images of their crystals. She made the images with a technique called x-ray crystallography, which involves firing x-rays through a crystal to determine the arrangement of the atoms in it. It is a bit like determining the shape of a jungle gym from its shadow. Born in 1910, Hodgkin spent the first few years of her life in Cairo, where her father was an official in the British colonial government. Most of her education had been at home, but once back at school in England, her keen interest in crystals won the attention of her schoolteacher. Hodgkin and a friend got special permission to join the boys studying chemistry. By age 12, she was doing chemistry experiments on rocks she found in her garden to see what they contained. That summer, while visiting her father in Khartoum, Sudan, she met Dr. A. E. Joseph, a friend of her father’s and a well-known soil chemist. Joseph took her on a tour of his laboratory. Pleased by her intense interest, he put together a small chemistry set for her, which she took back to England and set up in her mother’s attic. It was her first laboratory. Hodgkin enrolled at Oxford University, where she eventually specialized in x-ray crystallography. At the time, the analysis of the structures of even the simplest chemicals by x-ray crystallography required at least 30 sets of calculations, all done by hand. The work demanded perseverance and diligence, and a good head for math. Under these conditions, Hodgkin flourished. Seeking a greater challenge after college, Hodgkin went to Cambridge to study with a young crystallographer named J.D. Bernal. Together they solved some of the most complex chemical structures ever attempted, including those of several vitamins and sex hormones. They took the first x-ray photographs of a protein—the stomach enzyme pepsin—showing that proteins form regular crystals. In 1937, Hodgkin received her doctorate. Within a few months, she also married historian Thomas Hodgkin, taking his name. The Hodgkins were a two-career family, working in different towns and commuting on alternate weekends to see each other. Dorothy Hodgkin remained at Oxford, where she continued her research, taught university classes, and raised three children. When the demand for penicillin soared during World War Ⅱ, chemists all over the world raced to determine its structure. Experimental chemists used chemical reactions. Structural chemists, such as Hodgkin, used crystallography. Despite daunting calculations, Hodgkin and her students at Oxford completed the structure in 1949, beating the experimental chemists and establishing x-ray crystallography as an indispensable tool in biochemistry. Even as Hodgkin was finishing her analysis of penicillin, however, she had already begun a study of B12, widely used to treat pernicious anemia. In 1957, she published the structure of this 180-atom molecule. A. [■] When she was awarded the Nobel Prize in 1964, she told a group of students at the ceremonies in Stockholm, Sweden, that she hoped her position as the only woman to receive the prize that year "will not be so very uncommon in the future, as more and more women carry out research in the same way as men". B. [■] But what was perhaps Hodgkin’s greatest success came after the Nobel Prize, when she tackled the biggest molecule of her career. Insulin, a protein that regulates the body’s sugar storage, contains over 1000 atoms.C. [■] A deficiency in or insensitivity to insulin causes diabetes, a complex disease that causes suffering in several hundred million people worldwide. Hodgkin solved the structure of insulin in only five years. D. [■] Her achievement proved that proteins have regular shapes, and it spawned research that ultimately led to effective treatments for diabetes. All of the following are mentioned as the key factors which contribute to her success in her career EXCEPT______.
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Narrator Listen to part of a lecture in a history class. Now get ready to answer the questions. You may use your notes to help you answer. What is the professor’s attitude toward the second theory
The Concept of Style Style may be defined as the characteristic manner of presentation of any art form. We distinguish between the style of a novel and that of an essay, between the style of a cathedral and that of a palace. The word may also indicate the creator’s personal manner of expression—the distinctive flavor that sets one artist apart from all others. Thus we speak of the literary style of Dickens or Shakespeare, the painting style of Picasso or Michelangelo, the musical style of Bach or Mozart. We often identify style with nationality, as when we refer to French, Italian, or German style; or with an entire culture, as when we contrast a Western musical style with one of China, India, or some other region. It is the difference in the treatment of the elements of music that makes one musical work sound similar to or different from another. We have seen that western music is largely a melody-oriented art based on a particular musical system from which the underlying harmonies are also built. Relatively speaking, rhythm and meter in western music are based on simpler principles than are melody and harmony. Music of other cultures may sound foreign to our ears and sometimes out of tune because they are based on entirely different musical systems from which they derive their melodic material and many do not involve harmony to any great extent. One important factor in these differing languages of music is the way in which the octave is divided and scales are produced. Complex rhythmic procedures and textures set some world music apart from western styles, while basic formal considerations—such as repetition, contrast, and variation—bring music of disparate cultures closer. In short, a style is made up of all the factors relating to pitch, time, timbre, and expression, creating a sound that each culture recognizes as its own. Since all art changes from one age to the next, one very important use of the word "style" is in connecting the various historical periods. The music of each world culture has its own style periods. Focusing on the development of western music we will find that the concept of style enables us to draw connections between musicians and their time, so that the musical work is placed in its socio-historical frame. No matter how greatly the artists, writers, and composers of a particular era may vary in personality and outlook, when seen in the perspective of time, they turn out to have certain qualities in common. Because of this, we can tell at once that a work of art—whether music, poetry, painting, sculpture, or architecture—dates from the Middle Ages or the Renaissance, from the eighteenth century or the nineteenth. The style of a period, then, is the total art language of all its artists as they react to the artistic, political, economic, religious, and philosophical forces that shape their environment.A.[■] Scholars will always disagree as to precisely when one style period ends and the next begins.B.[■] Each period leads by imperceptible degrees into the following one, dates and labels being merely convenient signposts.C.[■] The following outline shows the generally accepted style periods in the history of western music.D.[■] Each represents a concept of form and technique, an ideal of beauty, a manner of expression and performance attuned to the cultural climate of the period—in a word, a style! 350～600: Period of the Church Fathers 600～850: Early Middle Ages—Gregorian chant 850～1150: Romanesque period—development of the staff in musical notation, about 1000 1150～1450: Late Middle Ages (Gothic period. 1450～1600: Renaissance period 1600～1750: Baroque period 1725～1775: Rococo period 1750～1825: Classical period 1820～1900: Romantic period 1890～1915: Post-Romantic and Impressionist period 1910～20th century: All of the following are mentioned in Paragraph 2 as contributing to the commonness of all the music varieties EXCEPT______.
The Concept of Style Style may be defined as the characteristic manner of presentation of any art form. We distinguish between the style of a novel and that of an essay, between the style of a cathedral and that of a palace. The word may also indicate the creator’s personal manner of expression—the distinctive flavor that sets one artist apart from all others. Thus we speak of the literary style of Dickens or Shakespeare, the painting style of Picasso or Michelangelo, the musical style of Bach or Mozart. We often identify style with nationality, as when we refer to French, Italian, or German style; or with an entire culture, as when we contrast a Western musical style with one of China, India, or some other region. It is the difference in the treatment of the elements of music that makes one musical work sound similar to or different from another. We have seen that western music is largely a melody-oriented art based on a particular musical system from which the underlying harmonies are also built. Relatively speaking, rhythm and meter in western music are based on simpler principles than are melody and harmony. Music of other cultures may sound foreign to our ears and sometimes out of tune because they are based on entirely different musical systems from which they derive their melodic material and many do not involve harmony to any great extent. One important factor in these differing languages of music is the way in which the octave is divided and scales are produced. Complex rhythmic procedures and textures set some world music apart from western styles, while basic formal considerations—such as repetition, contrast, and variation—bring music of disparate cultures closer. In short, a style is made up of all the factors relating to pitch, time, timbre, and expression, creating a sound that each culture recognizes as its own. Since all art changes from one age to the next, one very important use of the word "style" is in connecting the various historical periods. The music of each world culture has its own style periods. Focusing on the development of western music we will find that the concept of style enables us to draw connections between musicians and their time, so that the musical work is placed in its socio-historical frame. No matter how greatly the artists, writers, and composers of a particular era may vary in personality and outlook, when seen in the perspective of time, they turn out to have certain qualities in common. Because of this, we can tell at once that a work of art—whether music, poetry, painting, sculpture, or architecture—dates from the Middle Ages or the Renaissance, from the eighteenth century or the nineteenth. The style of a period, then, is the total art language of all its artists as they react to the artistic, political, economic, religious, and philosophical forces that shape their environment.A.[■] Scholars will always disagree as to precisely when one style period ends and the next begins.B.[■] Each period leads by imperceptible degrees into the following one, dates and labels being merely convenient signposts.C.[■] The following outline shows the generally accepted style periods in the history of western music.D.[■] Each represents a concept of form and technique, an ideal of beauty, a manner of expression and performance attuned to the cultural climate of the period—in a word, a style! 350～600: Period of the Church Fathers 600～850: Early Middle Ages—Gregorian chant 850～1150: Romanesque period—development of the staff in musical notation, about 1000 1150～1450: Late Middle Ages (Gothic period. 1450～1600: Renaissance period 1600～1750: Baroque period 1725～1775: Rococo period 1750～1825: Classical period 1820～1900: Romantic period 1890～1915: Post-Romantic and Impressionist period 1910～20th century: Based on the information in Paragraph 1, what can be inferred about style
The Concept of Style Style may be defined as the characteristic manner of presentation of any art form. We distinguish between the style of a novel and that of an essay, between the style of a cathedral and that of a palace. The word may also indicate the creator’s personal manner of expression—the distinctive flavor that sets one artist apart from all others. Thus we speak of the literary style of Dickens or Shakespeare, the painting style of Picasso or Michelangelo, the musical style of Bach or Mozart. We often identify style with nationality, as when we refer to French, Italian, or German style; or with an entire culture, as when we contrast a Western musical style with one of China, India, or some other region. It is the difference in the treatment of the elements of music that makes one musical work sound similar to or different from another. We have seen that western music is largely a melody-oriented art based on a particular musical system from which the underlying harmonies are also built. Relatively speaking, rhythm and meter in western music are based on simpler principles than are melody and harmony. Music of other cultures may sound foreign to our ears and sometimes out of tune because they are based on entirely different musical systems from which they derive their melodic material and many do not involve harmony to any great extent. One important factor in these differing languages of music is the way in which the octave is divided and scales are produced. Complex rhythmic procedures and textures set some world music apart from western styles, while basic formal considerations—such as repetition, contrast, and variation—bring music of disparate cultures closer. In short, a style is made up of all the factors relating to pitch, time, timbre, and expression, creating a sound that each culture recognizes as its own. Since all art changes from one age to the next, one very important use of the word "style" is in connecting the various historical periods. The music of each world culture has its own style periods. Focusing on the development of western music we will find that the concept of style enables us to draw connections between musicians and their time, so that the musical work is placed in its socio-historical frame. No matter how greatly the artists, writers, and composers of a particular era may vary in personality and outlook, when seen in the perspective of time, they turn out to have certain qualities in common. Because of this, we can tell at once that a work of art—whether music, poetry, painting, sculpture, or architecture—dates from the Middle Ages or the Renaissance, from the eighteenth century or the nineteenth. The style of a period, then, is the total art language of all its artists as they react to the artistic, political, economic, religious, and philosophical forces that shape their environment.A.[■] Scholars will always disagree as to precisely when one style period ends and the next begins.B.[■] Each period leads by imperceptible degrees into the following one, dates and labels being merely convenient signposts.C.[■] The following outline shows the generally accepted style periods in the history of western music.D.[■] Each represents a concept of form and technique, an ideal of beauty, a manner of expression and performance attuned to the cultural climate of the period—in a word, a style! 350～600: Period of the Church Fathers 600～850: Early Middle Ages—Gregorian chant 850～1150: Romanesque period—development of the staff in musical notation, about 1000 1150～1450: Late Middle Ages (Gothic period. 1450～1600: Renaissance period 1600～1750: Baroque period 1725～1775: Rococo period 1750～1825: Classical period 1820～1900: Romantic period 1890～1915: Post-Romantic and Impressionist period 1910～20th century: In Paragraph 4, why does the author mention the outline
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