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Tu Youyou, a  (commit ) and patient scientist,was born in Ningbo, China, on 30 December 1930, and graduated from Peking University Medical School in 1955. After her  (graduate), she worked at the China Academy of traditional Chinese Medicine in Beijng. In 1967, the Chinese government (form) a team of scientists with the objective of (discover)a new treatment for malaria, and Tu Youyou was  the first researchers chosen. In the beginning, Tu Youyou went to Hainan,  malaria was more common, to study malaria patients. In 1969, she became the head of the project in Beijing, and decided to review ancient Chinese medical texts  (find) traditional botanical treatments for the disease. Her team examined over 2000 old  (medicine) texts, and evaluated 280,000 plants for their medical (property). From their research, they discovered and tested 380 distinct ancient Chinese medical treatments that showed promise in the flight  malaria.

While high school does not generally encourage students to explore new aspects of life, college sets the stage for that exploration. I myself went through this 1  process and found something that has changed my 2  at college for the better: I discovered ASL-American Sign Language.

I never felt an urge to 3  any sign language before. My entire family is hearing, and so are all my friends. The 4  language were enough in all my interactions(交往). Little did I know that I would discover my 5  for ASL.

The 6  began during my first week at college. I watched as the ASL Club 7  their translation of a song. Both the hand movements and the very 8  of communicating without speaking 9  me. What I saw was completely unlike anything I had experienced in the 10 . This newness just left me 11  more.

After that, feeling the need to 12 further, I decided to drop in on one of ASL club's meetings. I only learned how to 13 the alphabet that day. Yet instead of being discouraged by my 14 progress, I was excited. I then made it a point to 15 those meetings and learn all I could.

The following term, I 16  an ASL class. The professor was deaf and any talking was 17 . I soon realized that the silence was not unpleasant. 18 , if there had been any talking, it would have 19  us to learn less. Now, I appreciate the silence and the 20  way of communication it opens.

In its early history, Chicago had floods frequently, especially in the spring, making the streets so muddy that people, horses, and carts got stuck. An old joke that was popular at the time went something like this: A man is stuck up to his waist in a muddy Chicago street. Asked if he needs help, he replies, "No, thanks. I've got a good horse under me."

The city planner decided to build an underground drainage(排水) system, but there simply wasn't enough difference between the height of the ground level and the water level. The only two options were to lower the Chicago River or raise the city.

An engineer named Ellis Chesbrough convinced me the city that it had no choice but to build the pipes above ground and then cover them with dirt. This raised the level of the city's streets by as much as 12 feet.

This of course created a new problem: dirt practically buried the first floors of every building in Chicago. Building owners were faced with a choice: either change the first floors of their buildings into basements, and the second stories into main floors, or hoist the entire buildings to meet the new street level. Small wood-frame buildings could be lifted fairly easily. But what about large, heavy structures like Tremont Hotel, which was a six-story brick building?

That's where George Pullman came in. He had developed some house-moving skills successfully. To lift a big structure like the Tremont Hotel, Pullman would place thousands of jackscrews(螺旋千斤顶) beneath the building's foundation. One man was assigned to operate each section of roughly 10 jackscrews. At Pullman's signal each man turned his jackscrew the same amount at the same time, thereby raising the building slowly and evenly. Astonishingly the Tremont Hotel stay open during the entire operation, and many of its guests didn't even notice anything was happening. Some people like to say that every problem has a solution. But in Chicago's early history, every engineering solution seemed to create a new problem. Now that Chicago's waste water was draining efficiently into the Chicago River, the city's next step was to clean the polluted river.

Your house may have an effect on your figure. Experts say the way you design your home could play a role in whether you pack on the pounds or keep them off. You can make your environment work for you instead of against you. Here are some ways to turn your home into part of your diet plan.

Open the curtains and turn up the lights. Dark environments are more likely to encourage overeating, for people are often less self-conscious (难为情) when they're in poorly lit places — and so more likely to eat lots of food. If your home doesn't have enough window light, get more lamps and flood the place with brightness.

Mind the colors. Research suggests warm colors fuel our appetites. In one study, people who ate meals in a blue room consumed 33 percent less than those in a yellow or red room. Warm colors like yellow make food appear more appetizing, while cold colors make us feel less hungry. So when it's time to repaint, go blue.

Don't forget the clock — or the radio. People who eat slowly tend to consume about 70 fewer calories (卡路里) per meal than those who rush through their meals. Begin keeping track of the time, and try to make dinner last at least 30 minutes. And while you're at it, actually sit down to eat. If you need some help slowing down, turn on relaxing music. It makes you less likely to rush through a meal.

Downsize the dishes. Big serving bowls and plates can easily make us fat. We eat about 22 percent more when using a 12-inch plate instead of a 10-inch plate. When we choose a large spoon over a smaller one, total intake (摄入) jumps by 14 percent. And we'll pour about 30 percent more liquid into a short, wide glass than a tall, skinny glass.

I first met Paul Newman in 1968, when George Roy Hill, the director of Butch Cassidy and the Sundance Kid, introduced us in New York City. When the studio didn't want me for the film - it wanted somebody as well known as Paul — he stood up for me. I don't know how many people would have done that; they would have listened to their agents or the studio powers.

The friendship that grew out of the experience of making that film and The Sting four years later had its root in the fact that although there was an age difference, we both came from a tradition of theater and live TV. We were respectful of craft(技艺) and focused on digging into the characters we were going to play. Both of us had the qualities and virtues that are typical of American actors: humorous, aggressive, and making fun of each other — but always with an underlying affection. Those were also at the core(核心) of our relationship off the screen.

We shared the belief that if you're fortunate enough to have success, you should put something back — he with his Newman's Own food and his Hole in the Wall camps for kids who are seriously ill, and me with Sundance and the institute and the festival. Paul and I didn't see each other all that regularly, but sharing that brought us together. We supported each other financially and by showing up at events.

I last saw him a few months ago. He'd been in and out of the hospital. He and I both knew what the deal was, and we didn't talk about it. Ours was a relationship that didn't need a lot of words.