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Question 1-9
In the 1600's when the Spanish moved into what later was to become the southwestern United States, they encountered the ancestors of the modern-day Pueblo, Hopi, and Zuni peoples. These ancestors, known variously as the Basket Makers, the Anasazi, or the Ancient Ones, had lived in the area for at least 2,000 years. They were an advanced agricultural people who used irrigation to help grow their crops. The Anasazi lived in houses constructed of adobe and wood. Anasazi houses were originally built in pits and were entered from the roof. But around the year 700 A.D., the Anasazi began to build their homes above ground and join them together into rambling multistoried complexes, which the Spanish called pueblos or villages. Separate subterranean rooms in these pueblos _____ known as kivas or chapels _____ were set aside for religious ceremonials. Each kiva had a fire pit and a hole that was believed to lead to the underworld. The largest pueblos had five stories and more than 800 rooms. The Anasazi family was matrilinear, that is, descent was traced through the female. The sacred objects of the family were under the control of the oldest female, but the ritual ceremonies were conducted by her brother or son. Women owned the rooms in the pueblo and the crops, once they were harvested. While still growing, crops belonged to the man who, in contrast to most other Native American groups, planted them. The women made baskets and pottery, the men wove textile and crafted turpoise jewelry. Each village had two chiefs. The village chief dealt with land disputes and religious affairs. The war chief led the men in fighting during occasional conflicts that broke out with neighboring villages and directed the men in community building projects. The cohesive political and social organization of the Anasazi made it almost impossible for other groups to conquer them | 
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发表于 2004-7-23 22:26:00
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erhaps the most striking quality of satiric literature is its freshness, its originality of perspective. Satire rarely offers original ideas. Instead it presents the familiar in a new form. Satirists do not offer the world new philosophies. What they do is look at familiar conditions from a perspective that makes these conditions seem foolish, harmful or affected. Satire jars us out of complacence into a pleasantly shocked realization that many of the values we unquestioningly accept are false. Don Quixote makes chivalry seem absurd, Brave New World ridicules the pretensions of science, A Modest proposal dramatizes starvation by advocating cannibalism. None of these ideas is original. Chivalry was suspect before Cervantes, humanists objected to the claims of pure science before Aldous Huxley and people were aware of famine before Swift. It was not the originality of the idea that made these satires popular. It was the manner of expression the satiric method that made them interesting and entertaining. Satires are read because they are aesthetically satisfying works of art, not because they are morally wholesome or ethically instructive. They are stimulating and refreshing because with commonsense briskness they brush away illusions and secondhand opinions. With spontaneous irreverence, satire rearranges perspectives, scrambles familiar objects into incongruous juxtaposition and speaks in a personal idiom instead of abstract platitude. 
