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The first and most important agents of socialization are the people who care for infants. In the earliest months, messages from nurturers constitute the child’s basic understanding of the world around it. This is the infant’s first introduction to the language that shapes perception and elicits emotion.Another powerful source of information and socialization is the friendship of peers. Peers are equals that one can deal with on the same level as oneself, whereas parents are superiors. The heavy emotional overlay of family relationships makes some kinds of learning difficult.Much formal socialization is placed in the hands of professionals. Teachers from kindergarten on are specifically designated agents of socialization. Ideally, a teacher is one who has both knowledge and the skills to present it. During the course of teaching their subjects, classroom instructors provide role models and attempt to convey the excitement of learning itself.In earlier times, parents, friends and teachers would comprise the list of primary childhood socializers. Children’s books, comics and magazines might also have been mentioned as sources of information on norms and role models. Today one must add three powerful indirect or non-personal socialization agents: radio, movies and television. Many people learn about politics, form a vision of well-being, and develop attitudes towards others from what they see on the screen and hear through the speakers. ()are/is powerful indirect socialization agents.
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In the United States, the first day nursery was opened in 1854. Nurseries were established in various areas during the (1) half of the 19th century; most of (2) were charitable. Both in Europe and in the U. S. , the day-nursery movement received great (3) during the First World War, when (4) of manpower caused the industrial employment of unprecedented numbers of women. In some European countries nurseries were established (5) in munitions (军火)plants, under direct government sponsorship. (6) the number of nurseries in the U.S. also rose (7) , this rise was accomplished without government aid of any kind. During the years following the First World War, (8) , Federal, State, and local governments gradually began to exercise a measure of control (9) the day nurseries by (10) them and by inspecting and regulating the conditions within the nurseries.The (11) of the Second World War was quickly followed by an increase in the number of day nurseries in almost all countries, as women were (12) called upon to replace men in the factories. On this (13) the U. S. government immediately came to the support of the nursery schools, (14) $6,000,000 in July, 1942, for a nursery school program for the children of working mothers. Many States and local communities (15) this Federal aid. By the end of the war, in August, 1945, more than 100,000 children were being cared (16) in day-care centers receiving Federal (17) Soon afterward, the Federal government (18) cut down its expenditures for this purpose and later (19) them, causing a sharp drop in the number of nursery schools in operation. However, the expectation that most employed mothers would leave their (20) at the end of the war was only partly fulfilled. （12）处填入（）。
随机抽取了5人，测量他们在接受某一项治疗前后的呼吸量，资料如下： 治疗前 2750 2360 2950 2830 2260 治疗后 2850 2380 2930 2860 2330 可选用何种统计方法分析治疗有无效果
Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875-1948). (46)Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance. His appreciation of the camera’ s possibilities produced novel dramatic effects. (47) By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control tile dramatic intensity of the events as the story progressed. (48) Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.Besides developing the cinema’s language, Griffith immensely broadened its range and treatment of subjects. (49) His early output was remarkably eclectic: it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith’ s introduction of the American-made multi-reel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historic philosophical spectacle, reached the unprecedented length of four reels, or one hour’ s running time. (50) From our contemporary viewpoint, the pretensions of this film may seem a little ridiculous, but at the time it provoked endless debate and discussion and gave a newintellectual respectability to the cinema. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since
In the dimly lit cyber-cafe at Sciences-Po, hot-house of the French elite, no Gauloise smoke fills the air, no dog-eared copies of Sartre lie on the tables. French students are doing what all students do: surfing the web via Google. Now President Jacques Chirac wants to stop this American cultural invasion by setting up a rival French search-engine. The idea was prompted by Google’s plan to put online millions of texts from American and British university libraries. If English books are threatening to swamp cyberspace, Mr Chirac will not stand idly by. He asked his culture minister, Renaud Donnedieu de Vabres, and Jean-Noёl Jeanneney, head of France’ s Bibliothèque Nationale, to do the same for French text—and create a home-grown search-engine to browse them. Why not let Google do the job Its French version is used for 74% of intemet searches in France. The answer is the vulgar criteria it uses to rank results. "I do not believe", wrote Mr Donnedieu de Vabres in Le Monde," that the only key to access our culture should be the automatic ranking by popularity, which has been behind Google’ s success." This is not the first time Google has met French resistance. A court has upheld a ruling against it, in a lawsuit brought by two firms that claimed its display of rival sponsored links (Google’ s chief source of revenues) constituted trademark counterfeiting. The French state news agency, Agence France-Presse, has also filed suit against Google for copyright infringement. Googlephobia is spreading. Mr Jeanneney has talked of the "risk of crushing domination by America in defining the view that future generations have of the world. "" I have nothing in paricular against Google, "he told L’Express, a magazine. "I simply note that this commercial cial company is the expression of the American system, in which the law of the market is king. " Advertising muscle and consumer demand should not triumph over good taste and cultural sophistication. The flaws in the French plan are obvious. If popularity cannot arbitrate, what will Mr Jeanneney wants a "committee of experts". He appears to be serious, though the supply of French-speaking experts, or experts speaking any language for that matter, would seem to be insufficient. And if advertising is not to pay, will the taxpayer The plan mirrors another of Mr Chirac’ s pet projects: a CNNàla francaise. Over a year ago, stung by the power of Englishspeaking television news channels in the Iraq war, Mr Chirac promised to set up a French rival by the end of 2004. The project is bogged down by infighting. France’s desire to combat English, on the web or the airwaves, is understandable. Protecting France’s tongue from its citizens’ inclination to adopt English words is an ancient hobby of the rifling elite. The Académie Francaise was set up in 1635 to that end. Linguists devise translations of cyber-terms, such as arrosage (spam) or bogue(bug). Laws limit the use of English on TV—"Super Nanny" and "Star Academy" are current pests—and impose translations of English slogans in advertising. Treating the invasion of English as a market failure that must be corrected by the state may look clumsy. In France it is just business as usual. President Jacques Chirac wants to set up a French search engine to
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