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To address such concerns, an experimental version of the traditional scholarly methods course was designed to raise students' consciousness about the usefulness of traditional learning for any modern critic or theorist. To minimize the artificial aspects of the conventional course, the usual procedure of assigning a large number of small problems drawn from the entire range of historical periods was abandoned, though this procedure has the obvious advantage of at least superficially familiarizing students with a wide range of reference sources. Instead students were engaged in a collective effort to do original work on a neglected eighteenth-century writer, Elizabeth Griffith, to give them an authentic experience of literary scholarship and to inspire them to take responsibility for the quality of their own work.
Griffith's work presented a number of advantages for this particular pedagogical purpose. First, the body of extant scholarship on Griffith was so tiny that it could all be read in a day; thus students spent little time and effort mastering the literature and had a clear field for their own discoveries. Griffith's play The Platonic Wife exists in three versions, enough to provide illustrations of editorial issues but not too many for beginning students to manage. In addition, because Griffith was successful in the eighteenth century, as her continued productivity and favorable reviews demonstrate, her exclusion from the canon and virtual disappearance from literary history also helped raise issues concerning the current canon.
The range of Griffith's work meant that each student could become the world's leading authority on a particular Griffith text. For example, a student studying Griffith's Wife in the Right obtained a first edition of the play and studied it for some weeks. This student was suitably shocked and outraged to find its title transformed into A Wife in the Night in Watt's Bibliotheca Britannica. Such experiences, inevitable and common in working on a writer to whom so little attention has been paid, serve to vaccinate the student--I hope for a lifetime against credulous use of reference sources. (433)
The author of the passage is primarily concerned with ______.
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They're diamonds!
For hundreds of years men have risked their lives searching for diamonds. To many the discovery of this glittering treasure has seemed more important than the discovery of new lands. Fairy stories tell of brave knights who battled fierce dragons and evil wizards to win kingdom rich with diamonds. In the Tower of Lon- don in England, there is a very special room protected by guards. There, inside a thick glass ease, are jeweled crowns once worn by kings and queens. People from all over the world come to see the shimmering diamonds and other precious stones that shine from behind the glass.
Most diamonds seem to flash with a kind of white fire. But there are diamonds that sparkle in other colors, too. Sometimes diamonds are discovered in gravel at the bottom of rivers and streams. (To get these diamonds, the gravel is sucked up through giant hoses that act like vacuum cleaners.) Diamonds are found in rivers, on land, and in great stretches of hot desert sand. A few small ones are even found or near meteorites that strike the ground from outer space.
But most diamonds are found in rocks deep inside the diamond mines of Africa. The diamonds were made millions and millions of years ago when flaming volcanoes melted a mineral called carbon which was a part of these rocks. Gigantic earthquakes shook the rock and pressed them tightly, together. The hot melted carbon in the rock squeezed at the same time--squee2ed so tightly that by the time it cooled, it had changed into the lovely hard gems called diamonds,
To get at these valuable diamond rocks, workers ride in an elevator that goes down and down into the blackness far below the ground. Tunnels connect this deep shaft with the openings--called pipes--inside the ancient volcanoes.
When they are first dug from the mines, diamonds don't glitter or sparkle as they do when we see them in tings or other jewelry. They look more like dull bits of glass. A man who knows all about diamonds--a diamond cutter--must cut them just right. Diamonds are so hard that nothing can cut them except the edge of another diamond.
Using his diamond-edged tools, the diamond cutter carefully removes tiny pieces so that the diamond will have many sharp edges and smooth surfaces--like little windows. It is because of these shaft edges and smooth surfaces that the diamond reflects light, sparkles and flashes with tiny bursts of color, and seems almost ablaze with fire. Diamond cutters often use diamond saws. The fine powder--diamond dust--that is left after the sawing is done can be used in a kind of sandpaper to polish the sparking gems.
Not all diamonds are clear enough or pretty enough or large enough to be made into jewelry. But because they are so hard, they can be used for other things, such as points for drills and needles for record player. These diamonds are called industrial diamonds. Some of them are man made. Carbon is heated until it is hot and then squeezed. If men ever learn how to make it hot enough and to squeeze it tightly enough, they will probably be able to make big diamonds. Then maybe diamonds will be cheap enough to use as buttons on your shirt or coat! (610)
The following are the characters of diamonds EXCEPT ______.
听力原文： Russian President Vladimir Putin says Russia will support any option of reforming the UN's Security Council approved by consensus.
Russian President Vladimir Pntin says debate on the United Nations reform. would not split the organization. Putin made the remarks after talks with French President jacques Chirac and German Chancellor Gerhard Schroeder. Putin said that Russia will support any option of reforming the United Nations' Security Council approved by consensus. Pntin said Russia will continue supporting Germany as candidate to the seat of permanent member of the UN Security Council. Jacques Chirac and Gerhard Schroeder came to Kaliningrad at Putin's invitation to mark the 750th anniversary of the exclave's founding.
According to the passage, which statement is NOT true？
根据《商业银行个人理财业务风险管理指引》的要求:保证收益型理财计划的起点金额,人民币应在5万元以上,外币应在5000美元(或等值外币)以上。()
Proponents of different jazz styles have always argued that their predecessors, musical style. did not include essential characteristics that define jazz as jazz. Thus, 1940's swing was belittled by beboppers of the 1950's, who were themselves attacked by free jazzers of the 1960s. The neoboppers of the 1980s and 1990s attacked almost everybody else. The titanic figure of black saxophonist John Coltrane bas complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style. that had brought him fame, to explore the outer reaches of jazz.
Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, Indian, and African melodies. On the other hand, this dogged student and prodigious technician--who insisted on spending hours each day practicing scales from theory books--was never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.
Two stylistic characteristics shaped the way Coltrane played the tenor saxophone, and he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to "sheets of sound" where he raced faster and faster, pile-driving notes into each other to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop.
Three recordings illustrate Coltrane's energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repeated motifs--an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions. Here the sheets of sound, downbeat accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltrane's searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results were astounding. With the soprano's piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy.
When Coltrane began recording for the Impulse! label, he was still searching. His music became raucous, physical. His influence on rockers was enormous, including Jimi Hendrix, the rock guitarist, who following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form. (451)
The primary purpose of the passage is to ______.
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