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Unit 18


Fanny Kemble£¨1809-93£©was the niece of two Shakespearean tragedians, Sarah Siddons and Siddons’s brother, John Philip Kemble. Her father and her French mother were also actors. In fact her whole extended family constituted the foremost theatrical dynasty of the late 18th and early 19th centuries. Handsome and gifted, they crop up in letters and diaries throughout the period, and were generally regarded as a kind of royalty: a race apart.

The real competition for any biographer of Kemble is Kemble herself. As her friend Henry James noted: “in two hemispheres, she had seen everyone, had known everyone”. What’s more, she recorded it all in many volumes of vividly written memoirs, all swarming with people, criticism, social commentary, anecdote, scenery, political opinion and superb set-pieces: the digging of Brunel’s Thames tunnel, for instance.

Kemble’s memoirs, especially her “Journal of a Residence on a Georgian Plantation”, are as important historically as they are engrossing. But what fascinates us now is the way that Fanny, clever and reckless as she was, broke the rules—or the way she appropriated and revised the role prescribed to her by gender politics. She never cared about such prescriptions. She spoke her mind and thought nothing of walking into a stream fully clothed if it was hot. It wasn’t until her marriage that her gender collided with the realities of power and money. Though she was never intended for the stage, the looming bankruptcy of her father obliged her to try her chances. Overnight, she became the toast of London. Money flowed, and yet more on a tour of America, where she met a seductive young man, Pierce Butler, heir to huge rice and cotton slave-plantations in Georgia. Hoping to escape the shallow emotionalism of the theatre, assuming a companionship of equals and somehow managing to forget the slaves, she married him.

At a stroke she lost everything. Butler, deeply illiberal, exerted his rights. He appropriated her earnings, censored her writing and when she woke to the horrors of slavery, forbade her public opposition to it. She wept, she ran away, she returned. The birth of children, in whom she had no legal rights, further enchained her.

The rest of Kemble’s life was sheer indomitability. The Butlers did divorce. She did lose the children. But on their majority, she recovered them. She made her own money again. Criss-crossing the Atlantic, she gave Shakespeare readings to packed audiences. Every summer, she climbed the Alps, startling the guides by singing loudly as she went. She met James in 1872 and he fell under her spell, fascinated by her proud idealism, her eccentric honesty and above all by her talk of “old London”. “She reanimated the old drawing rooms,” he wrote, “relighted the old lamps, retuned the old pianos.” When at last she died, he felt it, he said, “like the end of some reign or the fall of some empire”.

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1. What is implied in the first paragraph?

A) The Kemble family kept a huge amount of diaries and letters.

B) Fanny Kemble was a renowned actress of Shakespearean plays.

C) This passage mainly focuses on the life of Fanny Kemble.

D) The Kemble family was once a royal family separated from common people.

2. The author mentions Fanny’s memoirs in the second paragraph to show that _______.

A) Fanny was a prolific autobiographer of herself who can compete with all her biographers

B) Fanny wrote biographers for her family members and historical events

C) Fanny’s writings are both entertaining and of historical importance

D) Fanny was a better biographer than an actress

3. The author’s attitude towards Fanny Kemble is probably one of _______.

A) strong hatred

B) enthusiastic support

C) mild satire

D) objective

4. Fanny decided to marry Pierce Butler for the following reasons EXCEPT _______.

A) she did not enjoy her career as an actress

B) she longed for an ordinary life with an equal company

C) she was attracted by the handsome Pierce Butler

D) she forgot the existence of slavery in American plantations

5. The text intends to express the idea that _______.

A) Fanny Kemble had a life that is full of adversities and misfortunes

B) Fanny Kemble seldom enjoyed her life because of continuous financial restraints

C) Fanny Kemble held an optimistic attitude towards the ups and downs of her life

D) Fanny Kemble went through a dramatic life in which she remained in the dominant position





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memoir /ˈmemw¨»ː/ n. »ØÒä¼

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collide /kəˈlaɪd/ vi. Åöײ£¬µÖ´¥

loom /luːm/ v. ÒþÏÖ£¬ÆȽü

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illiberal /ɪˈlɪbərəl/ adj. ÏÁ°¯µÄ£¬Æ«Ö´µÄ

indomitability /ˌɪndɒmɪtəˈbɪlɪti/ n. ²»Çü²»ÄÓ

startle /ˈst¨»ːtl/ v. Õð¾ª

eccentric /ɪkˈsentrɪk/ adj. ¹Å¹ÖµÄ





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Unit 19


Lately DreamWorks SKG has been a wandering tribe. The would-be studio, which made films such as “American Beauty” and “War of the Worlds”, sold itself to Paramount in 2005. When that arrangement fell apart it found new partners in Reliance Big Entertainment, a Bollywood outfit, and Universal Studios. Then it fell out with Universal. So it was rather a surprise when, on February 9th, DreamWorks abruptly found itself in the promised land. Disney, the world’s foremost purveyor of wholesome entertainment, lent it money and agreed to market and distribute its films.

It is a good illustration of how the economic downturn is affecting Hollywood. Until recently executives were boasting that the film business was resistant, perhaps even immune, to recession. The number of cinema tickets sold actually increased during three out of the past four recessions. Box-office receipts so far this year are higher than last year. Admittedly, the share prices of media companies have tumbled—but that is because of the collapse in television and print advertising, and has little to do with Tinseltown.

Yet the downturn has profoundly affected the art of dealmaking. Although the breakdown of negotiations between DreamWorks and Universal has been followed by a storm of recriminations, the heart of the problem was that DreamWorks was finding it unexpectedly hard to raise debt. It is hardly alone in that. Two years ago investors were lubricating all sorts of strange alliances and start-ups—Tom Cruise wants to resurrect United Artists? Why not? But now the outside money has all but disappeared. The big studios, the primacy of which was never exactly threatened during the boom years, are now almost the only game in town.

The alliance with DreamWorks is something of an about-turn for Disney. Under Bob Iger, who took over as chief executive in 2005, Disney has culled films that are a less than perfect fit for its family-friendly brand and has concentrated on turning those that are into amusement-park rides, lunch boxes and other spin-offs. This week’s deal will add as many as six films a year to Disney’s pipeline, swelling it by about half. The surge will not happen at once, however: DreamWorks will have to raise more money before it is capable of producing that many.

These days DreamWorks is largely Steven Spielberg’s outfit. Jeffrey Katzenberg £¨the “K” in SKG£© runs DreamWorks Animation, a separate, publicly owned company. David Geffen £¨the “G”£© has retired from the studio. The remaining founder spoke warmly of Disney this week, calling it the “birthplace of imagination”. He is said to be looking forward to making more family films. Perhaps, but he still looks a little out of place in the magic kingdom.

Mr. Spielberg became America’s best-known, and perhaps best, film director by fusing blockbuster spectacle with an unflinching take on family life. The households even in his PG-rated films are almost uniformly dysfunctional. Think of Richard Dreyfuss flinging plants through the window in “Close Encounters of the Third Kind”, Frances O’Connor abandoning her adopted robot son by the roadside in “A.I.” or the defeated, self-deluding Christopher Walken in “Catch Me If You Can”. It is hard to imagine any of them donning Mickey Mouse ears.

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1. Why is DreamWorks SKG described at the beginning of the article as a wandering tribe?

A) Because it has recently made some movies about different ancient tribes.

B) Because it has recently moved from Hollywood to Bollywood for development.

C) Because it lately has seen many ups and downs when cooperating with peer companies.

D) Because it eventually reached its promised land of partnership with Disneyland.

2. According to the text, which is the influence of economic downturn on Hollywood’s entertainment business?

A) Companies’ operation and other business activities are profoundly affected.

B) Hollywood provides the services that are resistant to economic crisis.

C) The recession has promoted the movie industry as more people watch movies.

D) Most movie companies are sunk in debt crisis because of the economic recession.

3. Bob Iger’s strategy for Disneyland centers on ______.

A) adding more movies to the company’s pipeline

B) switching from movie-making to amusement park

C) raising more money to expand the size of the company

D) further clarifying the company’s brand

4. Steven Spielberg, according to the text, is said to be ______.

A) the founder of DreamWorks

B) good at combing grand scenes with details in reality

C) the best director in American movie history

D) a major advocator of family movies

5. What does the author think of the partnership between Disneyland and DreamWorks?

A) It will result in Spielberg’s concentration shift onto more family movies.

B) They will add cartoon characters like Mickey Mouse to real-life movies.

C) The combination looks somewhat weird and the prospect is not cheerful.

D) The two companies will definitely find themselves incompatible with each others.





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