Вопрос № 992331 - Английский язык

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Friend: «You should go and see the exhibition».
You: «__________________»

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Receptionist: “Welcome to the equipment exhibition. Where are you from?”

Participant: “______________________”

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Receptionist: «Can I help you?»
Customer: «________________»

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                                       First English Newspapers
1. The first regular newspaper in England – that is, one periodically published – was started in 1622. It was called the Weekly News. Averaging twenty-two pages, this and others like it, were appropriately called news-books. Besides foreign news, which was copied from similar publications in France and Holland, they contained local information: accounts of murders, accidents, witch burnings, monsters and miracles. It wouldn't be wrong to assume that in those days the investigation of news at the source and the checking of facts must have never been part of the news-gathering procedure.
2. It was almost immediately seen by the authorities that political news was a power that could agitate the people or pacify them. So early in the 16th century press censorship was introduced in England. It was a well-exercised part of the crown's prerogative: the activities of the newspapermen were checked and the press was severely restricted.
3. In the 17th century the only periodical of any account was the London Gazette, a bi-weekly court paper. It was started as the Oxford Gazette in 1665 when the court had to move to Oxford on account of London plague, The London Gazette has come down to the present time. It carries official announcements such as acts of Parliament, promotions and appointments, etc. Most other papers of the 17th century were ruthlessly put down.
4. After the so-called Glorious Revolution of 1688 the press censorship was relaxed, being finally abandoned in 1693, and a number of newspapers came into being. In 1702 appeared the Daily Courant, the first English daily, a single-sheet, two-column small paper, printed on one side only. It must have quickly gained popularity, for soon it had to add another page, and, along with foreign news, it began to publish local information and advertisements.
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                                              Historical Archaeology
1. Archaeology has long been an accepted tool for studying prehistoric cultures. Relatively recently the same techniques have been systematically applied to studies of the more immediate past. This has been called «historical archaeology», a term that is used in the United States to refer to any archaeological investigation into North American sites that postdate the arrival of Europeans.
2. Back in the 1930's and 1940's, when building restoration was popular, historical archaeology was primarily a tool of architectural reconstruction. The role of archaeologists was to find the foundations of historic buildings and then take a back seat to architects. The mania for reconstruction had largely subsided by the 1950's and 1960's. Most people entering historical archaeology during this period came out of university anthropology departments, where they had studied prehistoric cultures.
3. They were, by training, social scientists, not historians, and their work tended to reflect this bias. The questions they framed and the techniques they used were designed to help them understand, as scientists, how people behaved. But because they were treading on historical ground for which there was often extensive written documentation, and because their own knowledge of these periods was usually limited, their contributions to American history remained circumscribed. Their reports, highly technical and sometimes poorly written, went unread.
4. More recently, professional archaeologists have taken over. These researchers have sought to demonstrate that their work can be a valuable tool not only of science but also of history, providing fresh insights into the daily lives of ordinary people whose existences might not otherwise be so well documented. This newer emphasis on archaeology as social history has shown great promise, and indeed work done in this area has lead to a reinterpretation of the United States past.
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                                           Realism and formalism
1. Even before the turn of the century, movies began to develop in two major directions: the realistic and the formalistic. Realism and formalism are merely general, rather than absolute, terms. When used to suggest a tendency toward either polarity, such labels can be helpful, but in the end they are still just labels. Few films are exclusively formalist in style, and fewer yet are completely realist.
2. There is also an important difference between realism and reality, although this distinction is often forgotten. Realism is a particular style, whereas physical reality is the source of all the raw materials of film, both realistic and formalistic. Virtually all movie directors go to the photographable world for their subject matter, but what they do with this material – how they shape and manipulate it – determines their stylistic emphasis.
3. Generally speaking, realistic films attempt to reproduce the surface of concrete reality with a minimum of distortion. The filmmaker tries to suggest the copiousness of life itself. Both realist and formalist film directors must select certain details from the chaotic sprawl of reality. But the element of selectivity in realistic films is less obvious. Realists try to preserve the illusion that their film world is unmanipulated, an objective mirror of the actual world. Formalists, on the other hand, deliberately stylize and distort their raw materials so that only the very naive would mistake a manipulated image of an object or event for the real thing.
4. We rarely notice the style in a realistic movie; the artist tends to be self-effacing. Some filmmakers are more concerned with what is being shown than how it is manipulated. The camera is used conservatively. It is essentially a recording mechanism that reproduces the surface of tangible objects with as little commentary as possible. A high premium is placed on simplicity, spontaneity, and directness. This is not to suggest that these movies lack artistry, however, for at its best the realistic cinema specializes in art that conceals art.
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