Until the very latest moment of his existence, man has been bound to the planet on which he originated and developed. Now he had the capability to leave that planet (S1)
and move out into the universe to those worlds which he has known previously only directly. Men have explored parts of (S2) the moon, put spaceships in orbit around another planet and possibly within the decade will land into another planet and (S3) explore it. Can we be too bold as to suggest that we may be (S4) able to colonize other planet within the not—too—distant (S5) future? Some have advocated such a procedure as a solution to the population problem. ship the excess people off to the moon. But we must keep in head the billions of dollars we (S6) might spend in carrying out the project. To maintain the earth's population at its present level. we would have to blast off into space 7,500 people every hour of every day of the year.
Why are we spending so little money on space (S7) exploration? Consider the great need for improving many (S8) aspects of the global environment, one is surely justified in his concern for the money and resources that they are poured (S9) into the space exploration efforts. But perhaps we should look at both sides of the coin before arriving hasty (S10) conclusions.
下列各式，不正确的是.
如图，是的直径， ，．
求证：是的切线；
连接交于点，连接，求．
In the 2006 film version of The Devil Wears Prada, Miranda Priestly, played by Meryl Streep, scolds her unattractive assistant for imagining that high fashion doesn’t affect her. Priestly explains how the deep blue color of the assistant’s sweater descended over the years from fashion shows to department stores and to the bargain bin in which the poor girl doubtless found her garment.
This top-down conception of the fashion business couldn’t be more out of date or at odds with the feverish world described in Overdressed, Elizabeth Cline’s three-year indictment of “fast fashion”. In the last decade or so, advances in technology have allowed mass-market labels such as Zara, H&M, and Uniqlo to react to trends more quickly and anticipate demand more precisely. Quicker turnarounds mean less wasted inventory, more frequent releases, and more profit. These labels encourage style-conscious consumers to see clothes as disposable—meant to last only a wash or two, although they don’t advertise that, and to renew their wardrobe every few weeks. By offering on-trend items at dirt-cheap prices, Cline argues, these brands have hijacked fashion cycles, shaking an industry long accustomed to a seasonal pace.
The victims of this revolution, of course, are not limited to designers. For H&M to offer a $5.95 knit miniskirt in all its 2,300-plus stores around the world, it must rely on low-wage overseas labor, order in volumes that strain natural resources, and use massive amounts of harmful chemicals.
Overdressed is the fashion world’s answer to consumer-activist bestsellers like Michael Pollan’s The Omnivore’s Dilemma. “Mass-produced clothing, like fast food, fills a hunger and need, yet is non-durable wasteful,” Cline argues. Americans, she finds, buy roughly 20 billion garments a year—about 64 items per person—and no matter how much they give away, this excess leads to waste.
Towards the end of Overdressed, Cline introduced her ideal, a Brooklyn woman named Sarah Kate Beaumont, who since 2008 has made all of her own clothes—and beautifully. But as Cline is the to note, it took Beaumont decades to perfect her craft; her example can’t be knocked off.
Though several fast-fashion companies have made efforts to curb their impact on labor and the environment—including H&M, with its green Conscious Collection line—Cline believes lasting change can only be effected by the customer. She exhibits the idealism common to many advocates of sustainability, be it in food or in energy. Vanity is a constant; people will only start shopping more sustainably when they can’t afford not to.
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