With inspiration from other food cultures, American food culture can take a ______ for the better.

A:share B:chance C:turn D:lead

Text 1
With Robert Laurent and William Zorach, direct carving enters into the story of modem sculpture in the United States. Direct carving -- in which the sculptors themselves carve stone or wood with mallet and chisel -- just be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter. The technique of direct ,carving was a break with the nineteenth - century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble. Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn - of - the - century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figure and masks, there arose a new urge for hands - on, personal execution of art and an interaction with the medium. Even as early as the 1880’ s and 1890’ s, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans -- Laurent and Zorach most notably -- had adopted it as their primary means of working. Born in France, Robert Laurent (1890 -1970) was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learn ed the techniques of woodcarving from a frame maker. Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre - Columbian, and South Pacifican. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of. the earliest examples of direct carving in American sculpture. The plank’ s form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long - standing tradition that required a sculptor to work within a perfect rectangle or square.

How does direct carving differ from the nineteenth - century tradition of sculpture（）

A:Sculptors are personally involved in the carving of a piece. B:Sculptors find their inspiration in neoclassical sources. C:Sculptors have replaced the mallet and chisel with other tools. D:Sculptors receive more formal training.

My inspiration is my grandmother, who’s still alive at 96. She raised me from the time I was 8 on a dairy farm in Wisconsin. In another era she could have done what I do, although I didn’t know what a CEO was then. I’m a real go-getter and don’t know any other way. I tell my 12-year-old daughter, if you have a test, why not try for an A I don’t believe in half doing something.
In my career, the biggest shock came in my 20’s. I loved my job as a field systems analyst at 3M, and wanted my first manager’s job at headquarters. They even told me I was the best candidate, totally qualified. Then they told me, "It’s not possible because you’re a woman." I was so shocked that I quit. I had this feeling of being totally blown away as I crawled back to Atlanta.
I preach to people: there are no bad bosses. You learn how not to treat people. My worst boss was full of himself and wanted to micromanage. The man didn’t have a complimentary bone in his body. I still have my performance review he wrote in small anal print. It was winter in Minnesota. I didn’t want to drive. I was out the door at 5 p.m. because the bus left the front door at 5: 06. He put that down in my review how fast I was out the door. It didn’t matter the rest of the year I was there until 6 or 7.
Later, when I switched companies. I attended an off-site strategy meeting in Florida. There was a barbecue and the meeting continued on into the evening. My boss’ boss threw a towel across the room and said, "Clean up, Carol." I caught the towel, went over and scrubbed his face. Everybody in the room went "Ohhhh."
The luckiest thing in my career is that I have a computer science degree. Doors opened wide at a time when it wasn’t necessarily great for women. If I could wave a magic wand, I’d have every girl pass college freshman calculus.
What is the biggest shock in the writer’s career

A:She lost her job as a field systems analyst in 1920s. B:She lost her grandmother who was her inspiration. C:She was denied the post of first manager on account of sexual discrimination. D:She quit after being totally blown away and crawled back hom

Text 1 With Robert Laurent and William Zorach, direct carving enters into the story of modem sculpture in the United States. Direct carving -- in which the sculptors themselves carve stone or wood with mallet and chisel -- just be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter. The technique of direct ,carving was a break with the nineteenth - century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble. Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn - of - the - century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figure and masks, there arose a new urge for hands - on, personal execution of art and an interaction with the medium. Even as early as the 1880’ s and 1890’ s, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans -- Laurent and Zorach most notably -- had adopted it as their primary means of working. Born in France, Robert Laurent (1890 -1970) was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learn ed the techniques of woodcarving from a frame maker. Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre - Columbian, and South Pacifican. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of. the earliest examples of direct carving in American sculpture. The plank’ s form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long - standing tradition that required a sculptor to work within a perfect rectangle or square.

How does direct carving differ from the nineteenth - century tradition of sculpture（）

A:Sculptors are personally involved in the carving of a piece. B:Sculptors find their inspiration in neoclassical sources. C:Sculptors have replaced the mallet and chisel with other tools. D:Sculptors receive more formal training.

Text 3

What is the biggest shock in the writer’s career

A:She lost her job as a field systems analyst in 1920s. B:She lost her grandmother who was her inspiration. C:She was denied the post of first manager on account of sexual discrimination. D:She quit after being totally blown away and crawled back home.

What is the biggest shock in the writer’s career

A:She lost her job as a field systems analyst in 1920s. B:She lost her grandmother who was her inspiration. C:She was denied the post of first manager on account of sexual discrimination. D:She quit after being totally blown away and crawled back home.

My inspiration is my grandmother, who’s still alive at 96. She raised me from the time I was 8 on a dairy farm in Wisconsin. In another era she could have done what I do, although I didn’t know what a CEO was then. I’m a real go-getter and don’t know any other way. I tell my 12-year-old daughter, if you have a test, why not try for an A I don’t believe in half doing something.
In my career, the biggest shock came in my 20’s. I loved my job as a field systems analyst at 3M, and wanted my first manager’s job at headquarters. They even told me I was the best candidate, totally qualified. Then they told me, "It’s not possible because you’re a woman." I was so shocked that I quit. I had this feeling of being totally blown away as I crawled back to Atlanta.
I preach to people: there are no bad bosses. You learn how not to treat people. My worst boss was full of himself and wanted to micromanage. The man didn’t have a complimentary bone in his body. I still have my performance review he wrote in small anal print. It was winter in Minnesota. I didn’t want to drive. I was out the door at 5 p.m. because the bus left the front door at 5: 06. He put that down in my review how fast I was out the door. It didn’t matter the rest of the year I was there until 6 or 7.
Later, when I switched companies. I attended an off-site strategy meeting in Florida. There was a barbecue and the meeting continued on into the evening. My boss’ boss threw a towel across the room and said, "Clean up, Carol." I caught the towel, went over and scrubbed his face. Everybody in the room went "Ohhhh."
The luckiest thing in my career is that I have a computer science degree. Doors opened wide at a time when it wasn’t necessarily great for women. If I could wave a magic wand, I’d have every girl pass college freshman calculus.

What is the biggest shock in the writer’s career（）

A:She lost her job as a field systems analyst in 1920s B:She lost her grandmother who was her inspiration C:She was denied the post of first manager on account of sexual discrimination D:She quit after being totally blown away and crawled back home

Text 1
With Robert Laurent and William Zorach, direct carving enters into the story of modem sculpture in the United States. Direct carving -- in which the sculptors themselves carve stone or wood with mallet and chisel -- just be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.
The technique of direct ,carving was a break with the nineteenth - century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble. Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble.
With the turn - of - the - century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figure and masks, there arose a new urge for hands - on, personal execution of art and an interaction with the medium. Even as early as the 1880’ s and 1890’ s, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans -- Laurent and Zorach most notably -- had adopted it as their primary means of working.
Born in France, Robert Laurent (1890 -1970) was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learn ed the techniques of woodcarving from a frame maker.
Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre - Columbian, and South Pacifican. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of. the earliest examples of direct carving in American sculpture. The plank’ s form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long - standing tradition that required a sculptor to work within a perfect rectangle or square.

How does direct carving differ from the nineteenth - century tradition of sculpture（）

A:Sculptors are personally involved in the carving of a piece. B:Sculptors find their inspiration in neoclassical sources. C:Sculptors have replaced the mallet and chisel with other tools. D:Sculptors receive more formal training.