- 2016年06月17日15:14 来源：小站教育作者：orangejojo
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The actor’s performance was so absurdly _____that Gwen felt a little ashamed to have to resort to tissues in the final scene.
Although most land snails are ______, the giant African snail is a notable exception; it can be 15 inches long and weigh 2 pounds.
Fables often endure due to their (i) _____________, often telling one simple narrative, based around one character. This is both by design, because direct statements are more easily remembered than florid ones, and by accident: As fables are passed from teller to teller, (ii) _____________ details fall away, leaving only the essential story.
His new role gives the normally clownish actor a chance to impress audiences with his (i)___. He is among the most uninhibited comic performers around, but here he buttons his lip and stares straight ahead. Perhaps without quite knowing it, the audience waits for a wink, a hint that some of the (ii) ___ spirit that animated his previous movies might be lurking inside the (iii) ___ manner he presents in this film.
The gorilla has the misfortune to be native to an area that has been ravaged by war. Rwanda and the Congo are war-tom nations, and the resulting damage to habitat has affected gorillas as well as humans. Gorilla populations have also been ransacked by the Ebola virus, which has killed an estimated 90 percent of the gorilla population in each area of western and central Africa where it has been found.
The number one threat to gorillas, however, is human greed. Humans are burning down the forests where the last remaining gorilla families live. They are doing this to harvest charcoal, which is used to fuel cooking fires throughout the region. In addition, they are poaching the last remaining gorillas for meat and for their hands or other parts, which are considered a delicacy in Africa and are used medicinally in parts of Asia.
By far the most popular United States literature of its time was a body of now-neglected novels written between 1820 and 1870 by, for, and about women. According to Nina Baym, who has termed this genre “woman’s fiction,” the massive popularity of these novels claimed a place for women in the writing profession. The novels chronicle the experiences of women who, beset with hardships, find within themselves qualities of intelligence, will, resourcefulness, and courage sufficient to overcome their obstacles. According to Baym, the genre began with Catharine Sedgwick’s New-England Tale (1822), manifested itself as the best-selling reading matter of the American public in the unprecedented sales of Susan Warner’s Wide, Wide World (1850), and remained a dominant fictional type until after 1870. The critical, as opposed to popular, reception of these novels in their own time was mixed. Theoretical opposition by those who saw fiction as a demoralizing and corrupting influence was by no means dead in mid-nineteenth-century America, and popular successes naturally bore a significant proportion of the attack. The moralistic tone of much woman’s fiction did not placate these antagonists; on the contrary, many clerical opponents of the novel thought that women were trying to take over the clergy’s functions and hence attacked all the more fiercely. Similarly, some male authors, disgruntled by the emergence of great numbers of women writers, expressed contempt for the genre.
On the other hand, the women had a powerfully ally--their publishers, who not only put these works into print but advertised them widely and enthusiastically. Some few reviewers wrote about these works with attention and respect, distinguishing between the works of the different authors and identifying individual strengths and weaknesses. These approving contemporary critics were particularly alert to each writer’s contribution to the depiction of American social life, especially to regional differences in manners and character types. On the whole, however, even these laudatory critics showed themselves uninterested in the stories that this fiction told, or in their significance.
Baym acknowledges that these novels are tell--with variations--a single familiar tale, and correctly notes that this apparent lack of artistic innovation has been partly responsible for their authors’ exclusion from the canon of classic American writers traditionally studied in university literature courses. Baym points out, however, that unlike such male contemporaries as Nathaniel Hawthorne, these women did not conceive of themselves as “artists,” but rather as professional writers with work to do and a living to be made from fulfilling an obligation to their audience. This obligation included both entertainment and instruction, which are not, says Baym, at odds with one another in these books, nor is entertainment the sweet coating on a didactic pill. Rather, the lesson itself is an entertainment: the central character’s triumph over adversity is profoundly pleasurable to those readers who identify with her.