题目内容
What an ignominious destiny for medicine if its future turned into one of bestowing meagre increments of unenjoyed life! It would mirror the fate of athletics, in which disproportionate energies and resources -- not least medical ones, like illegal steroids -- are now invested to shave records by milliseconds. And, it goes without saying, the logical extension of longevism -- the "abolition" of death -- would not be a solution but only an exacerbation. To air these predicaments is not anti-medical spleen, but simply to face the growing reality of medical power not exactly without responsibility but with dissolving goals.
Hence medicine's finest hour becomes the dawn of its dilemmas. For centuries, medicine was impotent and hence unproblematic. 'From the Greeks to the Great War, its job was simple: to struggle with lethal diseases and gross disabilities, to ensure live births, and to manage pain. It performed these uncontroversial tasks by and large with meagre success. Today, with mission accomplished, medicine's triumphs are dissolving in disorientation. Medicine has led to vastly inflated expectations, which the public has eagerly swallowed. Yet as these expectations grow unlimited, they become unfulfillable. The task facing medicine in the twenty-first century will be to redefine its limits even as it extends its capacities.
In the author's opinion, the prolongation of life is equal to
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SECTION B INTERVIEW
Directions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Questions 1 to 5 are based on an interview. At the end of the interview you will be given 10 seconds to answer each of the following five questions.
Now listen to the interview.
听力原文： Over the past two weeks the BBC World Service has been running an AIDS season and we've heard many aspects of the illness but today we want to get a sense of your personal contribution and whether you think that you're winning the battle. So I want to start by asking you about the enemy. When did you first realize what a serious enemy you were up against with AIDS？
Annan: I think it was when I discussed the issue with the World Health Organization and the UNAIDS and looked at the figures and the statistics and the devastation it was causing in many African countries and the attitude of the leaders. We needed leadership. We needed leadership at all levels. But it was most important to get the Presidents and the Prime Ministers speaking up and that was not happening and I thought we should do whatever we can to raise awareness and to get them involved.
BBC: And is your sense of the problem, is it all from talking to leaders and talking to officials or have you been out there on the ground talking to sufferers？
Annan: I've been out there on the ground talking to sufferers, in fact my wife and I were in Lima just last week and we had a rather painful experience with a group of women who had set themselves up to help AIDS sufferers. They had with them a nine years old. The mother and the father had died of AIDS. She was left with her grandmother who was illiterate and didn't know what to do. When we met them she was getting no assistance at all so I called my UNDP colleague there, the resident coordinator, and I said "can't we do something for this girl？" And of course he's going to try and see if PAHO, the WHO's regional organization can help her. But we were both quite struck, we knew this was happening but we hadn't expected - I've seen the situation in parts of Africa where I've visited AIDS patients in villages where you see grandmother and lots of grandchildren, no mother, no father and yet you go to a place like Mozambique, a small clinic which is doing a lot, which is following pregnant women, ensuring that the children are born free of AIDS and following the mother to try and protect her so that they can have their mother as well and they do not become one of tile 14 million plus orphans. And I've also lost some very close friends, including people who worked here in the UN and that also hits you.
BBC: So you've watched individuals struggle through the course of the illness？
Annan: Exactly, so for me it's not statistics, it's not statistics. I've seen the human suffering and the pain and what is even more difficult is when you see somebody lying there dying who knows that there's medication and medicine somewhere else in the world that can save her but she can't have it because she's poor and lives in a poor country. Where is our common humanity？ How do you explain it to her that in certain parts of the world AIDS is a disease that can be treated and one can live with and function but in her particular situation it's a death sentence. It's a tough one.
BBC: And how do you explain it？
Annan: You try to explain to them about what you are trying to do and what you are trying to get the governments to do to increase assistance, not only in areas of treatment, prevention and education and getting the youth and the women's organizations involved, it may not necessarily help her particular situation but at least its good for her to know that action is contemplated, action is on the way, if it will not save her it will save others, that in itself is consoling but its not good enough. This is why I'm rather pleased with Dr. Lee's approach of trying to get the AIDS
Garlan explains some of what was in her mind as she' began to create the new design: "I saw this as an opportunity to bring the look closer to matching the elegance and power of the writing which the magazine is known for. The overall design has to be able to encompass a great diversity of styles and subjects -- urgent pieces of reporting, serious essays, lighter pieces, lifestyle-oriented pieces, short stories, poetry. We don't want lighter pieces to seem too heavy, and we don't want heavier pieces to seem too pretty. We also use a broad range of art and photography, and the design has to work well with that, too. At the same time, the magazine needs to have a consistent feel, needs to underscore the sense that everything in it is part of one Atlantic world."
The primary typefaces Garlan chose for this task are Times Roman, for a more readable body type, and Bauer Bodoni, for a more stylish and flexible display type (article titles, large initials, and so on). Other aspects of the new design are structural. The articles in the front of the magazine, which once flowed into one another, now stand on their own, to gain prominence. The Travel column, now featured in every issue, has been moved from the back to the front. As noted in this space last month, the word "Monthly" rejoins "The Atlantic" on the cover, after a decade-long absence.
Judy Garlan came to The Atlantic in 1981 after having served as the art director of several other magazines. During her tenure here The Atlantic has won more than 300 awards for visual excellence, from the Society of illustrators, the American Institute of Graphic Arts, the Art Directors Club, Communication Arts, and elsewhere. Garlan was in various ways assisted in the redesign by the entire art-department staff. Robin Gilmore, Barnes, Betsy Urrico, Gillian Kahn, and Lisa Manning.
The artist Nicholas Gaetano contributed as well: he redrew our colophon (the figure of Neptune that appears on the contents page) and created the symbols that will appear regularly on this page (a rendition of our building), on the Puzzler page, above the opening of letters, and on the masthead. Gaetano, whose work manages to combine stylish clarity and breezy strength, is the cover artist for this issue.
Part of the new design is to be concerned with the following EXCEPT
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