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Passenger jets of Japan"s air carrier All Nippon Airways are seen parked on the tarmac at Tokyo International Airport in 2008. The Japanese airline is taking its weight-saving efforts to new heights, asking passengers on some of its flights to visit the restroom before flying. 1. A Japanese airline is taking its weight-saving efforts to new heights, asking passengers on some of its flights to visit the restroom before flying. The unusual request is one of a number of measures being tried out by All Nippon Airways to reduce fuel consumption. ANA estimates that if half its passengers went to the bathroom before boarding, it could reduce its carbon dioxide emissions by 4.2 tons a month, said company spokeswoman Megumi Tezuka. 2. The airline will also recycle paper cups and plastic bottles, and use chopsticks produced from wood from forest thinning projects, as part of its efforts to become more environmentally friendly. The measures are being trialed on 38 domestic flights and four international flights—on the Tokyo-Singapore route—during October. 3. The move follows earlier steps by airlines to reduce the weight of flights by trimming the size of in-flight magazines, slimming the handles of forks and spoons and using lighter drink trolleys and porcelain. ANA announced in April its first annual loss in six years as the global economic downturn reduced the number of people taking to the skies. It is not the only airline looking to the lavatory to save money. Irish budget airline Ryanair has previously said it is considering charging passengers to use on-board toilets.
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Who won the World Cup 1994 football game What happened at the United Nations How did the critics like the new play 1 an event takes place, newspapers are on the street 2 the details. 3 anything happens in the world, reporters are on the spot to gather the news.Newspapers have one basic 4 , to get the news as quickly as possible from its source, from those who make it to those who want to 5 it.Radio, telegraph, television, and 6 inventions brought competition for newspapers. So did the development of magazines and other means of communication. 7 , this competition merely spurred the newspapers on. They quickly made use of the newer and faster means of communication to improve the 8 and thus the efficiency of their own operations. Today more newspapers are 9 and read than ever before. Competition also led newspapers to 10 out into many other fields. Besides keeping readers informed of the latest news, today"s newspapers entertain and influence readers about politics and other important and serious 11 .Newspapers influence readers" economic choices 12 advertising. Most newspapers depend on advertising for their very 13 .Newspapers are sold at a price that 14 even a small fraction of the cost of production. The main 15 of income for most newspapers is commercial advertising. The 16 in selling advertising depends newspaper"s value to advertisers. This 17 in terms of circulation. How many people read the newspaperCirculation depends 18 on the work of the circulation department and on the services or entertainment 19 in a newspaper"s pages. But for the most part, circulation depends on a newspaper"s value to readers as a source of information 20 the community, city, county, state, nation and world—and even outer space.
Painter Frida Kahlo (1910-1954) often used harrowing images derived from her Mexican heritage to express suffering caused by a disabling accident and a stormy marriage. Suggesting much personal and emotional content, her works—many of them self-portraits—have been exhaustively psychoanalyzed, while their political content has been less studied. Yet Kahlo was an ardent political activist who in her art sought not only to explore her own roots, but also to champion Mexico"s struggle for an independent political and cultural identity.Kahlo was influenced by Marxism, which appealed to many intellectuals in the 1920s and 1930s, and by Mexican nationalism. Interest in Mexico"s culture and history had revived in the nineteenth century, and by the early 1900s, Mexican indigenista tendencies ranged from a violently anti-Spanish idealization of Aztec Mexico to an emphasis on contemporary Mexican Indians as the key to authentic Mexican culture. Mexican nationalism, reacting against contemporary United States political intervention in labor disputes as well as against past domination by Spain, identified the Aztecs as the last independent rulers of an indigenous political unit. Kahlo"s form of Mexicanidad, a romantic nationalism that focused upon traditional art uniting all indigenistas, revered the Aztecs as a powerful pre-Columbian society that had united a large area of the Middle Americas and that was thought to have been based on communal labor, the Marxist ideal.In her paintings, Kahlo repeatedly employed Aztec symbols, such as skeletons or bleeding hearts that were traditionally related to the emanation of life from death and light from darkness. These images of destruction coupled with creation speak not only to Kahlo"s personal battle for life, but also to the Mexican struggle to emerge as a nation—by implication, to emerge with the political and cultural strength admired in the Aztec civilization. Self-portrait on the Border between Mexico and the United States 1932. , for example, shows Kahlo wearing a bone necklace, holding a Mexican flag, and standing between a highly industrialized United States and an agricultural, preindustrial Mexico. On the United States side are mechanistic and modem images such as smokestacks, light bulbs, and robots. In contrast, the organic and ancient symbols on the Mexican side—a blood-drenched Sun, lush vegetation, an Aztec sculpture, a pre-Columbian temple, and a skull alluding to those that lined the walls of Aztec temples—emphasize the interrelation of life, death, the earth, and the cosmos.Kahlo portrayed Aztec images in the folkloric style of traditional Mexican paintings, thereby heightening the clash between modem materialism and indigenous tradition; similarly, she favored planned economic development, but not at the expense of cultural identity. Her use of familiar symbols in a readily accessible style also served her goal of being popularly understood; in turn, Kahlo is viewed by some Mexicans as a mythic figure representative of nationalism itself. In the context of the passage, which one of the following phrases could best be substituted for the word "romantic" (paragraph 2, line 7) without substantially changing the author"s meaning
Medievalists usually distinguish medieval public law from private law: the former was concerned with government and military affairs and the latter with the family, social status, and land transactions. Examination on medieval women"s lives shows this distinction to be overly simplistic. Although medieval women were legally excluded from roles that categorized as public, such as solider, justice, jury member, or professional administrative official, women"s control of land—usually considered a private or domestic phenomenon—had important political implications in the feudal system of thirteenth- century England. Since land equaled wealth and wealth equaled power, certain women exercised influence by controlling land. Unlike unmarried women who were legally subject to their guardians or married women who had no legal identity separate from their husbands, women who were widows had autonomy with respect to acquiring or disposing of certain property, suing in court, incurring liability for their own debts, and making wills.Although feudal lands were normally transferred through primogeniture (the eldest son inheriting all), when no sons survived, the surviving daughters inherited equal shares under what was known as partible inheritance. In addition to controlling any such land inherited from her parents and any bridal dowry—property a woman brought to the marriage from her own family—a widow was entitled to use of one-third of her late husband"s lands. Called "dower" in England, this grant had greater legal importance under common law than did the bridal dowry; no marriage was legal unless the groom endowed the bride with this property at the wedding ceremony. In 1215 Magna Carta (The charter of English political and civil liberties granted by King John at Runnymede in June 1215) guaranteed a widow"s fight to claim her dower without paying a fine; this document also strengthened widow"s ability to control land by prohibiting forced remarriage. After 1272 women could also benefit from jointure: the groom could agree to hold part or all of his lands jointly with the bride, so that if one spouse died, the other received these lands.Since many widows had inheritances as well as dowers, widows were frequently the financial heads of the family; even though legal theory assumed the maintenance of the principle of primogeniture, the amount of land the widow controlled could exceed that of her son or of other male heirs. Anyone who held feudal land exercised authority over the people attached to the land—knights, rental tenants, and peasants—and had to hire estate administrators, oversee accounts, receive rents, protect tenants from outside encroachment, punish tenants for not paying rents, appoint priests to local parishes, and act as guardians of tenants" children and executors of their wills. Many married women fulfilled these duties as deputies for husbands away at court or at war, but widows could act on their own behalf. Widow"s legal independence is suggested by their frequent appearance in thirteenth-century English legal records. Moreover, the scope of their sway (3. a: a controlling influence b: sovereign power: DOMINION c: the ability to exercise influence or authority: DOMINANCE; synonyms see POWER.) is indicated by the fact that some controlled not merely single estates, but multiple counties. According to information in the passage, a widow in early thirteenth-century England could control more land than did her eldest son if ______.
Painter Frida Kahlo (1910-1954) often used harrowing images derived from her Mexican heritage to express suffering caused by a disabling accident and a stormy marriage. Suggesting much personal and emotional content, her works—many of them self-portraits—have been exhaustively psychoanalyzed, while their political content has been less studied. Yet Kahlo was an ardent political activist who in her art sought not only to explore her own roots, but also to champion Mexico"s struggle for an independent political and cultural identity.Kahlo was influenced by Marxism, which appealed to many intellectuals in the 1920s and 1930s, and by Mexican nationalism. Interest in Mexico"s culture and history had revived in the nineteenth century, and by the early 1900s, Mexican indigenista tendencies ranged from a violently anti-Spanish idealization of Aztec Mexico to an emphasis on contemporary Mexican Indians as the key to authentic Mexican culture. Mexican nationalism, reacting against contemporary United States political intervention in labor disputes as well as against past domination by Spain, identified the Aztecs as the last independent rulers of an indigenous political unit. Kahlo"s form of Mexicanidad, a romantic nationalism that focused upon traditional art uniting all indigenistas, revered the Aztecs as a powerful pre-Columbian society that had united a large area of the Middle Americas and that was thought to have been based on communal labor, the Marxist ideal.In her paintings, Kahlo repeatedly employed Aztec symbols, such as skeletons or bleeding hearts that were traditionally related to the emanation of life from death and light from darkness. These images of destruction coupled with creation speak not only to Kahlo"s personal battle for life, but also to the Mexican struggle to emerge as a nation—by implication, to emerge with the political and cultural strength admired in the Aztec civilization. Self-portrait on the Border between Mexico and the United States 1932. , for example, shows Kahlo wearing a bone necklace, holding a Mexican flag, and standing between a highly industrialized United States and an agricultural, preindustrial Mexico. On the United States side are mechanistic and modem images such as smokestacks, light bulbs, and robots. In contrast, the organic and ancient symbols on the Mexican side—a blood-drenched Sun, lush vegetation, an Aztec sculpture, a pre-Columbian temple, and a skull alluding to those that lined the walls of Aztec temples—emphasize the interrelation of life, death, the earth, and the cosmos.Kahlo portrayed Aztec images in the folkloric style of traditional Mexican paintings, thereby heightening the clash between modem materialism and indigenous tradition; similarly, she favored planned economic development, but not at the expense of cultural identity. Her use of familiar symbols in a readily accessible style also served her goal of being popularly understood; in turn, Kahlo is viewed by some Mexicans as a mythic figure representative of nationalism itself. The passage implies that Kahlo"s attitude toward the economic development of Mexico was ______.
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