If Confucius (孔子) were still alive today and could celebrate his September 28 birthday with a big cake, there would be a lot of candles. He'd need a fan or a strong wind to help him put them out.

    While many people in China will remember Confucius on his special day, few people in the United States will give him a passing thought. It's nothing personal. Most Americans don't even remember the birthdays of their own national heroes.

    But this doesn't mean that Americans don't care about Confucius. In many ways he has become a bridge that foreigners must cross if they want to reach a deeper understanding of China.

    In the past two decades, the Chinese studies programs have gained huge popularity in Western universities. More recently, the Chinese government has set up Confucius Institutes in more than 80 countries. These schools teach both Chinese language and culture. The main courses of Chinese culture usually included Chinese art, history and philosophy (哲学). Some social scientists suggest that Westerners should take advantage of the ancient Chinese wisdom to make up for the drawbacks of Westerners philosophy. Students in the United States, at the same time, are racing to learn Chinese. So they will be ready for life in a world where China is an equal power with the United States. Businessmen who hope to make money in China are reading books about Confucius to understand their Chinese customers.

    So the old thinker's ideas are still alive and well.

    Today China attracts the West more than ever, and it will need more teachers to introduce Confucius and Chinese culture to the West.

    As for the old thinker, he will not soon be forgotten by people in the West, even if his birthday is.

    The popular smartphone application Instagram(照片分享)has changed the way we look at photography, even our world. The photo-worthy moments we share serve as an important function in cultivating the photographic artistic eye.

    Instagram has got people to start noticing the art in their everyday life. It has also allowed us to share the artful moments in our lives with others. Clearly, making people focus on beautiful moments in their lives and how to share them is a positive takeaway from Instagram.

    Not only has Instagram changed the way we look at things around us, but it has also changed the way people view professional photography. Instagram has turned everyone with a smartphone into an artist. Opening up art to the general community is a groundbreaking(创新的) aspect of this application. Making artistic attempts accessible for everyone to discover their artistic talents and explore creatively is something that has made people find the beauty in the everyday. However, this accessibility has also created questioning around art and respect deserved by professional photography.

    The art in a professional photograph versus an Instagram can sometimes be hard to notice at a quick glance. But photographs taken by true professional photographers hold something that Instagram's cannot match in terms of photographic quality, or advanced compositional knowledge.

    This is not to say Instagram is a lesser art. Aesthetic qualities of art are a personal matter and how good an artwork is depends on personal preferences. Good is a very arbitrary term in the art world. For example, I may find one photo more pleasing than another, but not everyone has to agree with me.

    The point I am trying to make is that professional photography should not be lost, but instead approached with a new, enhanced level of respect and admiration — despite how accessible, common and fun Instagram now makes the taking and sharing of photos.

    Professional athletes in most sports start to slow down after the age of 35. Some retire (退役). Jamaican Olympic runner Usain Bolt has talked about retiring, for example. He is only 30 years old. But on Thursday, Serena Williams earned a spot in the Australian Open finals. She will face her older sister, Venus, who won her semifinal (半决赛) match a day earlier. It is the first time that the Williams sisters will play in a Grand Slam final since 2009. Venus is 36. Serena is 35. One of them will win the championship (冠军) at last.

    One older champion will play in the men's final, too. Roger Federer qualified for the final by defeating Stan Wawrinka. Federer, like Serena Williams, is 35 years old It will be one of the sport's oldest finals in a long time.

    Ken Rosewall of Australia is the oldest winner of a Grand Slam. He was 37 when he won the Australian Open in 1972.

    Serena Williams is already the oldest winner of a women's Grand Slam match. She won Wimbledon last year at the age of 34.

    Many people are impressed that three of the finalists are 35 or older. All of the players have recently had injuries (受伤). Federer missed six months due to back and knee injuries.

    He told the crowd that he did not think he would be able to make it back to a Grand Slam final.

    The Williams sisters have had difficulties, too. Earlier this month, Venus won a match in New Zealand but withdrew (退出) from the final after hurting her arm. She also learned in 2011 she had the immune system disorder. The disorder kept her from practicing and staying in good physical condition for a number of years.

    Serena took time off to recover from knee and shoulder injuries after losing in the semifinals of the U. S. Open last September. It is the ninth time that the sisters will face each other in a major final. Serena has defeated her sister six of those times. If she wins, Serena will beat Steffi Graff's record for the most Grand Slam titles ever in women's tennis.

    The summer before my dad died, we moved house. Up until that point, our family had our own space to spread out. Money was tight, so there was no television set, but we owned a turntable on which my dad's records played constantly. Mostly, it played Bob Dylan. Tracks from The Basement Tapes and Desire became an important part of our new life. My brother and I, aged 8 and 10, climbed trees, built hideaways and learned the words of Clothes Line Saga. We would chant over the, lost in our own joy.

    It was January when my dad left us forever because of the cancer. He was 36 going on 37 then, the same age as Dylan. Afterwards, our laughter disappeared, but we kept on playing the records, which became our only ritual of remembrance. The two men became so intertwined in my head, I struggled to tell them apart.

    Dylan was my dad's gift to me. What child wouldn't be fascinated by songs full of pirates and seasick sailors? How did it feel to have No direction home? Farewell, Angelina became my party-piece. I would sing this at church cheese and wines to the assembled audience. A lot of donations were made.

    Growing up, I remained a fan of the music, but I wasn't obsessed with Dylan until one day in early 1995, my brother bought us both tickets to see him play at Brixton Academy. London felt like a long way to go. But finally seeing Dylan step out onto the stage brought a sudden rush of excitement.

    I have seen Dylan a couple of times since. My brother is not around so much these days. But he was up for a visit recently. We passed a happy evening laughing and drinking, while his son, aged nine, performed his party—piece Subterranean Homesick Blues for us. He sang it word-perfect. And so it goes on: Dylan's music as a gift, passed down the generations.

    The Great Fire of London started in the very early hours of 2 September 1666. In four days it destroyed more than three-quarters of the old city, where most of the houses were wooden and close together. One hundred thousand people became homeless, but only a few lost their lives.

    The fire started on Sunday morning in the house of the King's baker(面包师)in Pudding Lane. The baker, with his wife and family, was able to get out through a window in the roof. A strong wind blew the fire from the bakery(面包房)into a small hotel next door. Then it spread quickly into Thames Street. That was the beginning.

    By eight o'clock three hundred houses were on fire. On Monday nearly a kilometer of the city was burning along the River Thames. Tuesday was the worst day. The fire destroyed many well-known buildings, old St Paul's and the Guildhall among them.

    Samuel Pepys, the famous writer, wrote about the fire. People threw their things into the river. Many poor people stayed in their houses until the last moment. Birds fell out of the air because of the heat.

    The fire stopped only when the King finally ordered people to destroy hundreds of buildings in the path of the fire. With nothing left to burn, the fire became weak and finally died out.

    After the fire, Christopher Wren, the architect(建筑师), wanted a city with wider streets and fine new houses of stone. In fact, the streets are still narrow; but he did build more than fifty churches, among them new St Paul's.

    The fire caused great pain and loss, but after it London was a better place: a city for the future and not just of the past.

    Tens of thousands of ancient pictures carved into the rocks at one of France's most important tourist sites are being gradually destroyed. Scientists and researchers fear that the 36,000 drawings on rocks in Mont Bego in the French Alps are being damaged so rapidly that they will not survive for future generations.

    The mountain, believed to have once been a site for prayer, is scattered (散布) with 4,000-year-old drawings cut into bare rock. They include pictures of cows with horns, cultivated fields and various gods and goddesses. But as the popularity of the site increases, the pictures are being ruined by thoughtless graffiti (涂鸦).

    Jean Clottes is the chairman of the International Committee on Rock Art. He says, "People think that because the pictures have been there so long they will always continue to be there. But if the damage continues at this rate there will be nothing left in 50 years."

    He describes seeing tourists stamping on the drawings, wearing away the rock and definition (清晰) of the artwork as they do so. Some visitors, he says, even cut off parts to take home as souvenirs. "When people think they can't take a good enough photograph, they rub the drawings to get a clearer picture," he said. "The drawings are polished by the weather, and if the sun is shining and the visitors can't see them properly they simply rub them to make them look fresher." Other researchers describe how people arrive carrying long sticks with sharp ends to scratch (刮) their own drawings, or even their names, in the rocks.

    But experts are divided over the best way to preserve the drawings. Henry de Lumley, director of the Museum of Natural History in Paris, believes that the only way to save the site is to turn the whole mountain into a "no-go" area, preventing the public from going there except on guided tours. Otherwise, he says, not only will the site be completely destroyed but important research work will be reduced.

    Clottes disagrees, "The measure suggested by Henry de Lumley is the most severe, and while it is the most effective, it is also certain to bring about protests from people who live there," he said. "The site was classified as a historic monument years ago by the Ministry of Culture, and we must do as much as possible to save what is there."

    David Lavergne, the regional architect, also wants to avoid closing the site. "Henry de Lumley's idea isn't ideal," he said. "Our department feels that the best solution is to let people look at the site, but because the area is very big it is difficult to prevent visitors from damaging it. I would prefer that everyone was able to look at it, but the main problem is money. We do not have the funds to employ the necessary number of guards. We may have to consider charging a fee. It doesn't seem to be possible to get the government support."