(Subjunctive Mood) , , . . , , should, would, may, might ( ). .
, , , , ; , , ( as if as though) ( so that may (might) ).
| ( ) | If the money were distributed among people evenly | our planet would be a much nicer place to live. |
| ( ) | If Franklin D. Roosevelt had not been elected president of the United States in 1932 | he would not have carried out economic reforms known as the New Deal. |
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to be - were . :
If I were you... - ... I wish I were... - , ...
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| If I didn't speak English fluently { ) | I wouldn't have applied for this position. { ) |
| If the Soviet Union had not collapsed in 1991 { ) | the bipolar system would still exist now. { ) |
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should ( ) - (it) is required that, to recommend, to suggest, to demand, to insist, to decide, to propose, to insist, to arrange, to order, , , recommendation, suggestion, demand, - .
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The first thing the board of directors can do is to recommend that the Committee should begin again with renewed energy. - ,
- , . should.
The secretary of finance suggested that the government adopt a new tax. - , .
wish , ; ; . could.
I wish World War II had never begun. - .
I wish I could find the company. - .
should
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Should the committee return to the problem, the results could be favourable for many countries. - , .
were , .
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If the decision were taken, the problem would be solved. - , .
If the decision had been taken two years ago, the problem would have been solved. - , .
would ,
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It would be risky to return to the problem now. - .
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.
Had the problem been solved, the course of events might have been quite different. - , .
, .
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Had the election campaign been still in progress the issue might have become of primary importance. - , .
, , , if
, given, provided ,
but for .
But for import restrictions the trade with other countries would be larger than today. - , , .
UNIT 11.
Mass Culture
1. .
The twenty-first century is beginning as the century of culture, with the differences, interactions, and conflicts among cultures taking centre stage. This has become manifest, among other ways, in the extent to which scholars, politicians, economic development officials, soldiers, and strategists are all turning to culture as a central factor in explaining human social, political, and economic behaviour. In short, culture counts, with consequences for both good and evil. If culture counts, what is it? Culture is one of the most ambiguous, most debated words or concepts in the social science lexicon. There is little agreement on what it means or implies. The concept of culture arouses passion. People - ordinary people, extraordinary people, and politicians - often discuss the concept of culture with ferocity. Scholars warned against getting bogged down in debating definitions.
It is known far and wide that culture has many meanings. Just three are mentioned here. First, culture refers to the products of a society. People speak of a society's high culture - the art, literature, music - and its popular or folk culture. Second, anthropologists speak of culture in a much broader sense to mean the entire way of life of a society, its institutions, social structure, family structure, and the meanings people attribute to these. Finally, other scholars, perhaps particularly political scientists, see culture as something subjective, meaning the beliefs, values, attitudes, orientations, assumptions, philosophy.
However it is defined, civilisations are the broadest cultural entities with innumerable subcultures. Two central elements of culture are language and religion, and these obviously differ greatly among societies. Scholars have also measured societies along a number of other cultural dimensions and
classified them in terms of individualism and collectivism, egalitarianism and hierarchy, pluralism and monism, activism and fatalism, tolerance and intolerance, trust and suspicion, shame and guilt, instrumental and consum-matory, and a variety of other ways. In recent years, however, many people have argued that we are seeing the emergence of a universal world-wide culture. They may have various things in mind.
2. 1 .
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3. , , . , .
a) culture, interaction, consequence, emergence, tolerance, fatalism, stage,
variety, factor, ferocity;
b) to attribute, to define, to imply, to count, to measure;
c) universal, subjective, ambiguous, extraordinary, social.
4. 2 3, 1 -, -.
5. , , ( ). .
Andy Warhol was American artist and filmmaker, an initiator and leading exponent of the Pop Art movement of the 1960s whose mass-
produced art apotheosised the supposed banality of the commercial culture of the United States. An adroit self-publicist, he projected a concept of the artist as an impersonal figure who is nevertheless a successful celebrity, businessman, and social climber.
Warhol graduated from the Carnegie Institute of Technology, Pittsburgh, with a degree in pictorial design in 1949. He painting in the late 1950s and received sudden notoriety in 1962, when he exhibited paintings of Campbell's soup cans, Coca-Cola bottles, and wooden replicas of Brillo soap pad boxes.
By 1963 Warhol was mass-producing these purposely banal images of consumer goods by means of photographic silk screen prints, and he then began printing endless variations of portraits of celebrities in garish colours. The silk screen technique was ideally suited to the artist.
As the 1960s progressed, Warhol devoted more of his energy to filmmaking. Usually classed as underground films, such motion pictures of his as "The Chelsea Girls," "My Hustler," and "Blue Movie," are known for their plotless boredom, and inordinate length.
In 1968 Warhol was shot and nearly killed by one of his would-be followers, a membei of his assemblage of underground film and rock music stars, assorted hangers-on, and social curiosities. Warhol had by this time become a well-known fixture on the fashion and avant-garde art scene and was an influential celebrity in his own right.
Throughout the 1970s Andy Warhol continued to produce prints depicting political and Hollywood celebrities, and he involved himself in a wide range of advertising illustrations and other commercial art projects.
6. . , . , .
7. . .
Culture, as spiritual and material achievements of humanity, can be classified into elite culture, folk culture and popular culture. These cul-
tures are closely connected with one another and one culture is part of the others. Elite culture is a highly developed sphere, it comprises painting, sculpture, architecture, literature, music. Folk culture is the culture of everyday life and routine relations of social life. Folk culture consists of traditional knowledge and practice. It is like a habit of people, and this culture does not change very quickly. Popular culture is mass culture. It is a professionally organised sphere that works for a large mass of people. Popular culture gives people, especially young, standards to be what they like. Today the life of many young people in Russia as well as in other countries of the world is influenced by popular culture. The youth follow certain stereotypes that are imposed on them through TV, movies, and music. In their lifestyles they try to imitate the images of their idols. Other young people are sport's and music fans. They frequent stadiums and huge concert halls. They follow their idols in their tours throughout the country and support them. Unfortunately they are intolerant to those who do not share their views. But it is a specific aspect of the youth sub-culture that cannot be ignored.
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8. . , .
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, , . , , , , . , . , . , . , . , , , , - , .
9, , .
A chief characteristic of twentieth-century art was the of an inde
pendent, individualistic, and self-determined... Yet...... interests in
public.... also distinguished twentieth-century art. Ironically, many
twentieth-century artists embraced and yet often challenged various of
public taste and...... These contradictory impulses were consistent with
...... and living in modern times. Twentieth-century. encompassed a va
riety of often paradoxical.. aimed at fusing art and life,.... and experi
ence. Much of twentieth-century art was repeatedly focused on re-creating
and redefining..... The....... critics were fearful of the enormous power of
mass.... to trivialise and adulterate modern art, defined solely in the
terms of the...... Instead, they opted to isolate modern art from main
stream...., and to revive distinctions between "high" and "low"..., or
"fine" art and everything else. This view that artists should pursue a par
ticular path of.... non-objective art that largely denied politics,.. and
the public, was a monolithic account of..... Nevertheless, many artists
shrugged off purely.... views of modern art, and continued to explore
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notions of.... and liberation.
{abiding, acceptance, aesthetics, avant-garde, culture, efforts, formalist, history, integration, modernism, progressive, standards, unfolding)
10. , .
Hollywood is going to explore the question: Why innovate when you can replicate? Sequels like "Rush Hour 2" and "American Pie 2" propelled the motion picture industry to record box-office takings in 2001. Of course, sequels can further inflate studio budgets through high talent and production costs. The studios learned in 2001 that limited shelf life was now a fact of life. Movies like "Jurassic Park 3" produced first week totals ranging up to $70 million in the United States only to plummet by over 50 percent by the second weekend. Studios have to burn millions of dollars on their film launches, circulating as many as 5,000 prints to the nation's multiplexes, because by week two another wannabe blockbuster will push them aside. As a result, the once-cosy relationship between distributor and exhibitor will be put into further disarray in 2005. Cinema owners, their balance sheets already troubled because of over-building, depend for their profit on longer-running films. Their piece of the pie maybe as little as 10 to 20 percent of the box-office takings during the first weekend, but that share grows to as much as 60 percent if the movie "holds." Now Hollywood focuses on creating broad-based "audience blockbuster" that appeal to a wide demographic spectrum. Distributors target movies for specific sections of American society. The screening of "American Pie 3" is aimed at teens and the young date crowd, while "Rush Hour 3" looks towards urbanites who like action and special effects. In the nearest future global entertainment companies will set the pace of change. The overlap between film and the burgeoning universe of video games is becoming a stronger temptation to the film companies. But not without risks.
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13, . . .
1. Once Sir Hugh Walpole wrote that a deep tragedy lay behind a book.
Walpole asked not to believe that novelists were pleased with their ef
forts, adding that they only brazened their faces before the world.
2. Lord Baden-Powell said that all the English history that he knew had
been learned from the cinema.
3. Jacob Epstein remarked that he was not interested in being regarded as a
benefactor of mankind. He concluded that he was an artist.
4. John Masefield pronounced that too often poets were not regarded until
they had been fifty years in their graves. Masefield said that the poets
brought their gifts of joy and asked bread from the world and the world,
too late, gave them a memorial stone.
5. Desmond MacCarthy stated that judging from American plays and
films, the virile American, whether taxi driver, political agent, or pho
tographer, felt that to remove his hat indoors would be to doff his man
hood.
6. Augustus John voiced that it wasn't enough to have the eyes of a
gazelle; one also needed the claws of a cat in order to capture one's bird
alive and play with it before one ate it and joined its life to his. John ex
plained that that was the mystery of painting.
7. Marshal Petain declared that to write one's memoirs was to speak ill of
everybody except oneself.
8. Reverend Don Cupitt uttered that from Hollywood as well as Peking
they had learned that power came down the barrel of a gun.
9. Sir Thomas Beecham mentioned that all the arts in America were a gi
gantic racket run by unscrupulous men for unhealthy women.
10. Michael Joseph summed up that authors were easy enough to get on with - if one was fond of children.
11. Sam Goldwyn wondered why people should go out to see bad films
when they could stay at home and see bad television.
12. E.M. Forster confessed that a timid BBC was an appalling prospect be
cause, though timid, it would always be influential, and it would confirm
thousands of people in their congenial habit of avoiding unwelcome
truth.
14. , , . .
1. Elvis Presley, an American singer and guitar player, made rock'n'roll
popular in the 1950s. Between 1956 and 1963 he was the most success
ful and influential person in popular music. His many successful records
included Heartbreak Hotel and Don't be Cruel.
The article said...
2. The Beatles was a popular music group who made their first record in
1962 and became probably the most famous and successful group ever.
When they separated in 1970, each member of the group continued to
work in popular music.
It was written in the dictionary...
3. Were the Marx Brothers, the famous American actors, known for their
special kind of humour and jokes?
