The author of some forty novels, a number of plays, volumes of verse, historical, critical and autobiographical works, an editor and translator, Jack Lindsay is clearly an extraordinarily prolific writer—a fact which can easily obscure his very real distinction in some of the areas into which he bas ventured. His co editorship of Vision in Sydney in the early 1920"s, for example, is still felt to have introduced a significant period in Australian culture, while his study of Kickens written in 1950 is highly regarded. But of all his work it is probably the novel to which he has made his most significant contribution. Since 1936 when, to use his own words in Fanfrolico and after, he "reached bedrock", Lindsay bas maintained a consistent Marxist viewpoint—and it is this viewpoint which if nothing else has guaranteed his novels a minor but certainly not negligible place in modern British literature. Feeling that "the historical novel is a form that bas a limitless future as a fighting weapon and as a cultural instrument" (New Masses, January 1937), Lindsay first attempted to formulate his Marxist convictions in fiction mainly set in the past: particularly in his trilogy in English novels—1949 (dealing with the Digger and Leveller movements), Lost Birthright (the Wilkesite agitations), and Men of Forth-Eight (written in 1939, the Chartist and revolutionary uprisings in Europe). Basically these works set out, with most success in the first volume, to vivify the historical traditions behind English Socialism and attempted to demonstrate that it stood, in Lindsay"s words, for the "true completion of the national destiny". Although the war years saw the virtual disintegration of the left-wing writing movement of the 1930s, Lindsay himself carried on: delving into contemporary affairs in We Shall Return and Beyond Terror, novels in which the epithets formerly reserved for the evil capitalists or Franco"s soldiers have been transferred rather crudely to the German troops. After the war, Lindsay continued to write mainly about the present—trying with varying degrees of success to come to terms with the unradical political realities of post-war England. In the series of novels known collectively as The British Way, and beginning with Betrayed Spring in 1953, it seemed at first as if his solution was simply to resort to more and more obvious authorial manipulation and heavy-banded didacticism. Fortunately, however, from Revolt of the Sons, this process was reversed, as Lindsay began to show an increasing tendency to ignore party solutions, to fail indeed to give anything but the most elementary political consciousness to his characters, so that in his latest (and what appears to be his last) contemporary novel, Choice of Times, his hero, Colin, ends on a note of desperation: "Everything must be different, I can"t live this way any longer. But how can I change it, how" To his credit as an artist, Lindsay doesn"t give him any explicit answer.
A．utterly negative.B．obviously positive.C．limited but indivisible.D．obscure in net effect.
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关于焦虑症的临床表现,下列描述正确的是:A.其紧张恐惧的程度与现实情况相称B.伴有植物神经系统
关于焦虑症的临床表现,下列描述正确的是: A.其紧张恐惧的程度与现实情况相称 B.伴有植物神经系统症状 C.伴有运动不安,来回踱步、坐立不安、双手震颤 D.客观上并不存在某种威胁或危险和坏的结局,而患者总是担心、紧张和害怕
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