Members of the opposite culture felt a need to point out to us how these actions ______ have the opposite effect of what we intended and desired.
A job description should give details of the performance ______ a specific job.
As a child, time used to move as slowly as lightning bugs drift in the summer evening skies, but as an adult, time is_____.
All the difficulties of words meaning make for problems of draftsmanship as well as of interpretation. The legal draftsman attempts to cover every situation that might arise in the operation of his statute but may fail to foreshadow some interpretations which may be placed upon the words he has chosen. Likewise he may fail to foreshadow some situation which arises under the statute and when it does arise there is again a question of interpretation of the words he has used to determine whether they can be stretched to cover the unforeseen situation. Rules of interpretation have been worked out to assist judges and lawyers in this process. One difficulty peculiar to legal language is that neither draftsmanship nor judge or legislator can be consulted at a later point of time regarding the meanings of words used by them. It is meaning to be placed upon it even though that meaning might in fact be different to that which was in fact intended by the write.
Early men were also greatly interested in the stars they saw twinkling in the sky at night. What they did not realize was that the stars were also present during the daytime, but their light was not visible because of the brilliance of the sun. How did they discover this?There is one event which does enable us to see the stars in the daytime. It is the total eclipse of the sun(日全食),when the moon passes in front of the sun and hides it from view. When this happens, the sky becomes dark enough for the stars to be seen. Total eclipses of this kind do not occur very often and are not likely to be seen from the same area more than once every fifty-four years. One can imagine what an awe-inspiring sight it must have been for an early man, who would remember the event for the rest of his life.So man watched the movements of the sun, the moon and the stars and wondered about them. It was practicing the oldest branch of science—astronomy.
The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defense of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting—that is, abstract art as developed indifferent ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.47. What is the author mainly concerned with? The author is concerned with ______.48. Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in paragraph 2?49. Why does the author introduce Abstract Expressionist painter?50. How did the nineteenth-century defenders of photography stress the photography?