The more hours that young children spend in child care, the more likely they are to turn out aggressive and disobedient by the time they are in kindergarten, according to the largest study of child care and development ever conducted. Researchers said this correlation (相关性) held true regardless of whether the children came from rich or poor homes, were looked after by a relative or at a center, and whether they were girls or boys.

    What is uncertain, however, is whether the child care actually causes the problem or whether children likely to turn out aggressive happen to be those who spend more hours in child care. It also remains unclear whether reducing the amount of time in child care will reduce the risk that a child will turn into a mean person. What's more, quality child care is associated with increased skills in intellectual ability such as language and memory, leading some academics to suggest that child care turns out children who are “smart and naughty”.

    The government-sponsored research, which has tracked more than 1,300 children at 10 sites across the country since 1991, is bound to cause the debate over child care again: How should people balance work and family? And how should parents, especially mothers. Resolve the demands that are placed on them to be both breadwinners and supermoms?

    That debate was already on display at a news briefing yesterday, where researchers themselves had different opinions about the data and its implications (含义). “There is a constant relationship between time in care and problem behavior, especially those involving aggression and behavior,” said Jay Belsky of Birkbeck College in London, one of the lead investigators of the study who has previously annoyed women's groups because of his criticisms of child care. “On behalf of fathers or mothers?” interrupted Sarah Friedman, a developmental psychologist at the National Institute of Child Health and Human Development (NICHD) and one of the other lead scientists on the study. “On behalf of parents and families,” responded Belsky.

    “NICHD is not willing to get into policy recommendations.” said Friedman, contradicting her colleague. “There are other possibilities that can be entertained. Yes it is a quick solution—more hours in child care is associated with more problems. The easy solution is to cut the number of hours but that may have implications for the family that may not be beneficial for the development of the children in terms of economics.” In an interview after the briefing, Friedman said that asking parents to work fewer hours and spend more time with their children usually meant a loss of family income, which adversely(不利地) affects children.

    Scientists said that the study was highly reliable. But the researchers said they had no idea whether the behavioral difficulties persisted as the children moved to higher grades.

    Chinese writers seldom win a big prize in the world. One of those prizes is the Hans Christian Andersen Prize, the highest honor in the world that can be given to an author and an illustrator of children's books. No Chinese writer had ever won it, until April 4, 2016, when 62-year-old Cao Wenxuan received the prize. Cao received the honor at the Bologna Children's Book Fair in Italy.

    Patricia Aldana praised Cao's “deeply humanistic” books. These novels admit that life can be sad for children.

    Instilling children with good virtues for the sake of humankind is something that Cao stresses. He said, “It's time for us to alter our understanding of reading. Books should bring not only joy to young readers, but also have their ideas about life.”

    That feature of his works has touched many adults too. “The common choice of the judges, Cao writes beautifully about the lives of children facing great challenges,” said Aldana.

    After his success, Cao praised good translation for bringing attention to his work. Chinese children's literature could get high honor in the world if it were correctly translated in a style that could be easily understood, he said.

    Other writers, including Jin Bo, have also blamed poor translation as the reason why Chinese literature fails to get honor in the world. Jin was named for the Hans Christian Andersen Prize in 1992, but at that time, he had to translate, in a hurry, several paragraphs from his book to give to the judges. "On one hand, the jury has little knowledge of Chinese authors. On the other hand, it is we ourselves who didn't introduce our work and promote (促进) ourselves enough," he said in a class in 2013.

    We don't know how different our life will be in the future. We can only try to imagine it.

    At first we think about human relationship. In the year 2050, we will use computers almost everyday. We will make new friends through the Internet—even our husbands or wives will be met in this way. It will be much faster and easier for us. On the other hand, our relationships with people won't be as important as they are today—we will feel a little lonely.

    Computers will also help us in many other activities in 2050.For example, they will be used by the children at school to make their learning easier. In addition, there will be much more other machines which will play a similar role as computers, like robots which will do the housework for us.

    Spending holidays will also be completely different. Traveling to other planets or to the moon will be available for everyone. Means of transport will, of course, change, too. We will use solar-powered cars, which will be much cleaner.

    We could expect that the faster technological progress would lead to a more polluted environment. But it isn't true. We will pay more attention to protecting the environment. And, scientists will probably find cures for many dangerous diseases, like cancer or AIDS. Therefore, our surroundings as well as health will be in better condition.

    Although we can't predict the exact changes which will be made in the world, we often think about them. We worry about our and our children's future; we have expectations, hopes as well as fears. But I think we should be rather hope about our future. We should be happy and believe good things will happen.

    It was a Saturday morning, a day I believed would end in victory. For weeks, I had been preparing for the match at the county fairgrounds, sponsored(赞助) by our local riding club. My horse, Tonka, and I could run faster than any kid in the county, and I hoped to bring home a blue ribbon.

    My mother usually drove me to the riding events, but on this day, my father planned to drop us off at the fairgrounds with the horse trailer(马车) .

    Although we never discussed it, my father's struggle with alcoholism had become the silent center of our family life. My mother was paralyzed with fear and indecision. Her salary as a part-time nurse couldn't possibly support four children. No one talked about alcoholism in those days, and it was my family secret.

    We climbed on the trailer and my father pulled out of our driveway and headed toward the fairgrounds, picking up speed once we hit the main road. It wasn't until we felt a big bump that I realized the trailer was out of control. The dream of my riding winner disappeared. Tonka lay on the floor, completely still. No words were possible. I knew he was dead.

    Suddenly a man appeared. "Are you all right?" he asked. "Yes." I answered, although I knew that nothing was all right. "Sit here on the grass," he said. He bent down to look into the trailer. Tonka remained still. He touched Tonka and then turned to face me. "He is going to be OK. He has just been knocked unconscious." He rubbed Tonka's cheeks and gently pulling his ears. Tonka rose to his feet.

    Our father was talking to a police officer. He was upset and in pain and took little notice of me. I looked back; the man was gone.

    I never forgot him. He gave me strength and a sense of hope in a dark and frightening moment.

    The Lumière Brothers had their film shows, taken over 100 years ago, to 100 paying customers on December 8, 1985. One of their earliest films was a 30-second piece which showed a section of a railway platform. As the train approached, panic started in the theatre: people jumped and ran away. In their confusion, the audiences feared that a real train was about to crush them. That was the moment when cinema was born.

    Early cinema audiences often experienced the same confusion. In time, the idea of films became familiar, the magic was accepted — but it never stopped being magic. Film has never lost its unique power to embrace its audience and transport them to a different world.

    One effect of this realism was to educate the world about itself. Cinema makes the world smaller. Long before people travelled to America or anywhere else, they knew what other places looked like and how other people worked and lived. Undoubtedly, in the lives recorded in film people knew more about American life. Hollywood has dominated the world film market. American imagery — the cars, the cities, the cowboys became the primary imagery of film. Film carried American life and values around the globe.

    And, thanks to film, future generations will know the 20th century more familiarly than any other period. We can only imagine what life was like in the 14th century or in classical Rome. But the life of the modern world has been recorded on films. We shall be known better than any preceding generations.

    The “star” was another natural consequence of cinema. The cinema star was effectively born in 1910. Because everybody in the world seems to know who they are, they appear more real to us than we do ourselves. The star as magnified human self is one of cinema's most strange and enduring legacies(遗产).

    Cinema films originally were planned as short stories, because early producers doubted the ability of audiences to concentrate for more than the length of a reel. Then, in 1912, an Italian 2-hour film was hugely successful, and Hollywood settled upon the novel-length narrative that remains the dominant cinematic convention of today.

    And it has all happened so quickly. Almost unbelievably, it is only 100 years since that train arrived and the audience screamed and fled, perhaps, suddenly aware that the world could never be the same again — that, maybe, it could be better, brighter, more astonishing and more real than reality.

    If you walk through the doors of one of the Smithsonian Institution's museums in Washington, D.C., you may be greeted by an unusual guide. A Japanese tech company recently sent 25 humanoid robots to the Smithsonian. All of them are named Pepper.

    Each Pepper stands 4 feet tall and has a computer screen attached to its body. Built by SoftBank Robotics, the robots are programmed to share information about the museum in which they are based.

    "Pepper is basically an experiment," Goslins, director of the Smithsonian's Arts and Industries Museum, said. "The idea is to explore and see how a robot performs in this kind of environment."

    Museum visitors communicating with Pepper. The robot can tell stories and answer basic questions. People even take pictures and dance with it.

    "The robot draws big crowds," said Allison Peck, director of marketing at the Hirshhorn. "People just love Pepper."

    According to the Smithsonian Institution's website: "Pepper gives our museum workers a new way to reach and serve visitors." For example, Pepper teaches Swahili words to visitors of the "World on the Horizon" exhibit at the Smithsonian's National Museum of African Art.

    Pepper also has the special ability to draw guests to less-visited areas of the Smithsonian's museum. When Pepper is placed in a spot, crowds are attracted to that place.

    When not educating museum visitors, Pepper stays in the Smithsonian offices, getting charged and programmed. After being charged, Pepper can run for about 8 hours at a time.

    Pepper plays an important role, but the robot "is not meant to take away human jobs at the museum," Goslins explained. "It is meant to give our visitors a more enjoyable experience while they are here with us."