EricCarle
EricCarle is acclaimed and beloved as the creator of brilliantly illustrated and innovatively designed picture books for very young children.Carle’s books utilize bold color and innovative techniques to try and stimulate a child’s imagination in order to facilitate the child’s transition from home to school. The Very Hungry Caterpillar, for example, is designed with scalloped holes through the pages to demonstrate how a caterpillar eats through different materials. This book has eaten its way into the hearts of literally millions of children all over the world and has been translated into more than 30 languages and sold over 22 million copies. Since the Caterpillar was published in 1969,ErieCarle has illustrated more than seventy books, many best sellers, most of which he also wrote, and more than 71 million copies of his books have sold around the worlD、
Born in Syracuse, New York, in 1929,EricCarle moved with his parents to Germany when he was six years old; he was educated there, and graduated from the prestigious art school, theAkademie derBildenden Kunste, in Stuttgart.
But his dream was always to return toAmerica, the land of his happiest childhood memories.
So, in 1952, with a fine portfolio in hand and forty dollars in his pocket, he arrived in New York.
Later, he was the art director of an advertising agency for many years.

One day, respected educator and author,Bill Martin Jr., called to askCarle to illustrate a story he had written. Martin’s eye had been caught by a striking picture of a red lobster that carle had created for an advertisement. BrownBear,BrownBear, WhatDo You See was the result of their collaboration. It is still a favorite with children everywhere. This was the beginning ofEricCarle’s true career. SoonCarle was writing his own stories, too. His first wholly original book was 1, 2, 3 to the Zoo, followed soon afterward by the celebrated classic, The Very HungrgCaterpillar.
EricCarle’s art is distinctive and instantly recognizable. His art work is created in collage technique, using hand-painted papers, which he cuts and layers to form bright, and cheerful images. Many of his books have an added dimension-die-cut pages, twinkling lights as in The Very Lonely Firefly, even the lifelike sound of a cricket’s song as in The Very QuietCricket-- giving them a playful quality: a toy that can be read, a book that can be toucheD、Children also enjoy working in collage and many send him pictures they have made themselves, inspired by his illustrations. He receives hundreds of letters each week from his young admirers. The secret ofEricCarle’s books’ appeal lies in his intuitive understanding of and respect for children, who sense in him instinctively someone who shares their most cherished thoughts and emotions.
The themes of his stories are usually drawn from his extensive knowledge and love of nature and interest shared by most small children.Besides being beautiful and entertaining, his books always offer the child the opportunity to learn something about the world around them. It is his concern for children, for their feelings and their inquisitiveness, for their creativity and their intellectual growth that, in addition to his beautiful artwork, makes the reading of his books such a stimulating and lasting experience.
Carle says: "With many of my books I attempt to bridge the gap between the home and school. To me home represents, or should represent; warmth, security, toys, holding hands, being helD、School is a strange and n

Two Types of Social Groups
1. One of the most basic elements of human life is the way in which we form social groups and interact with the members of those groups.According to sociologists, no one is ever entirely separate from the social networks that surround him or her, and the groups we belong to play an enormous role in determining how we see ourselves and our worlD、EarlyAmerican sociologistCharles H.Cooley(1864-1929) defined two principal categories of human groupings, and his ideas are still widely accepted today. He termed them primary and secondary, based on the kinds of relationships individuals in the group share with each other.
2. In primary groups, we form whatCooley referred to as primary relationships. These are marked by strong, long-lasting emotional ties, feelings of intimacy and genuine concern for the well-being of the other person or people. Intangible items, such as love, respect, and support, are exchanged by individuals in primary groups, causing them to feel nurtured by the relationships the group affords them. Participation in the group is therefore seen as its own reward; there is no concrete, external goal that members are working towards.
3.Due to the time and effort it takes to build such close bonds, primary groups are typically small. Some prominent examples given byCooley include families, groups of childhood friends, and the tight-knit communities adults enter into with their neighbors or other close peers. In the view ofCooley and later sociologists, it is the primary group that is most important in the development of an individual’s personal beliefs and values, and assists that person with his or her integration into society at large.
4. Secondary groups, in contrast, are characterized by the lack of intimate relationships among their members. These secondary relationships involve less personal interaction and weaker emotional connections, and therefore they do not have as significant an impact on the development of an individual’s worldview. In addition, since ties between individuals are not as strong, many secondary groups either exist for only a short time before dissolving, or experience frequent changes in membership.
5. Secondary groups can be quite large.A、company’s employees, a university’s student body, and even a country’s citizens are all examples of secondary groups.
The items individuals exchange are usually tangible in nature, such as the labor provided in return for wages in the case of a commercial organization.
Most notably, though, the reason that secondary groups form in the first place is to accomplish a specific task.
Employees participate in the secondary group of their company with the intention of creating a product or service, as well as to receive pay.
lf the group fails to achieve its goal, it will most likely cease to exist.
6.Cooley believed that both primary and secondary groups are universal to human societies. While modern sociologists agree with this, they have also observed that the ratio of primary to secondary groups varies according to the level of a society’s technological development. In less-developed nations, individuals spend most of their lives in a single location with prolonged exposure to a certain group of people.This enables them to develop close bonds more easily, so primary groups are commonplace.Developed countries, on the other hand, have witnessed an increase in secondary groups at the expense of primary groups. The fast pace, widespread technology and diversity of life in these societies mak

FilmExchanges inAmerica’sEarly Movie Industry
1．Motion pictures were exhibited to the public in the late 1800s, though the first device to accomplish this would seem very unfamiliar to today’s movie-going audiences.ThomasEdison’s 1893 Kinetoscope was little more than a wooden box with a small glass window. Intended only for individual viewing, it housed a roll of film, a mechanical device to circulate the film, and a small light to illuminate it.A、person would peer through the window and watch a short moving sequence, usually just a depiction of an everyday event or the performance of an acrobat or dancer. Needless to say, the medium’s ability to serve only one customer at a time severely limited its profitability.
2．Everything changed two years later with the advent of projection, by which a much larger film image could be shown to multiple viewers simultaneously. The Lumière brothers of France were the first to introduce this new technology with a projection machine called a cinematograph.Edison was quick to follow their lead and created his Vitascope projector in late 1895. With the potential to make money by charging admission to movies now within reach, the innovators of the film industry were ready to expand their business ventures.
3．There were two industry models in practice during the early 1900s.A、handful of successful firms, such as the BiographCompany, owned the equipment to make their own films as well as the venues in which to display them. Such companies were rare, however; most films were shown by independent exhibitors. These included traditional theater owners, who added short film presentations to their programs of live-action entertainment, and traveling cinema exhibitors, who moved from town to town to reach new audiences, often following circuits established by rural fairs. They typically purchased films directly from the production companies that made them, paying a set price per foot of film regardless of its content.Because movies of the time were never longer than one or two minutes, it was feasible to buy them outright. However, this system failed to attract significant audiences as the public soon tired of the small stock of films exhibitors had to offer, and the reels of film themselves deteriorated quickly through repeated transport and screening in traveling cinema shows.
4．Things changed again when producers began increasing the length of their films in order to tell more complex stories. Longer films entailed higher prices, and it became difficult for small-scale exhibitors to purchase them. This, in turn, prevented production studios from creating as many movies as they could, since they had no one to sell them to. It was precisely this dilemma that gave rise to the film exchange.An early version of a motion-picture distributor, film exchanges were responsible for bridging the gap between production and exhibition.They financed production studios, giving them the funds they needed to film more movies. Then, they purchased these films and rented them out to exhibitors around the country for a fraction of what it would have cost the exhibitors to purchase the films themselves.
5．The film-exchange system revolutionized the industry, greatly benefiting all parties involveD、
Film rentals allowed exhibitors to show a wide variety of movies and gave them constant access to new films so they could change their programs frequently.
This led to the rise of what we now know as the movie theater, a venue dedicated solely to the public exhibition of films.
Film exchanges made money by taking a percentage of ticket sales, and the production studios were paid by the exchanges,
【单选题】： A B C D

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