首页
试卷库
试题库
当前位置：
X题卡
>
所有题目
>
题目详情
Part B Directions: You are going to read a list of headings and a text about cross border marriag...
查看本题答案
包含此试题的试卷
国家统考科目《填空》真题及答案
点击查看
你可能感兴趣的试题
Directions:Inthispartyouaretowriteanessayof160—200
PartB Directions: Youarerequiredtowriteanessayont
Directions:Forthispartyouarerequiredtowriteacompos
PartA Directions: NowyouareworkingasaneditorinaTV
PartA Directions: SupposeyouareLiMing.Duringthewe
PartA Directions:Youareplanningtoaskyourfriendtoj
Directions:Forthispartyouhavetowriteacompositionon
PartA Directions: Youareanactivememberofthestuden
--Howdidyoudointhetest?--Notsowell.I_____muchbette
could do
could have done
must have done
should do
PartA Directions: Youaretheorganizerofatourandyou
PartA Directions: Supposeyouareaneyewitnessofatra
PartA Directions:YouaresupposedtoinviteDr.Kingtom
热门试题
更多
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.6
在讨论法律规则法律条文与规范性法律文件时甲乙丙三同学各抒己见甲法律规则一般情况下由三要素组成但在很多情况下只能见到其中的两个甚至是一个要素因此法律规则可以是二要素或一要素乙尽管法律条文是表现法律规则的载体但法律规则不一定必须要法律条文来表达法律条文也不一定只表述法津规则丙由于法律条文表达的内容是法律规则一个规范性法律文件由若干条文组成因此一个规范性法律文件由若干个法律规则构成有多少个法律条文就有多少个法律规则 运用法理学的有关知识分析上述观点
ThomasHardy’simpulsesasawriterallofwhichindulgedinhisnovelswerenumerousanddivergentandtheydidnotalwaysworktogetherinharmony.Hardywastosomedegreeinterestedinexploringhischaracters’psychologiesthoughimpelledlessbycuriositythanbysympathy.Occasionallyhefelttheimpulsetocomedyinallitsdetachedcoldnessaswellastheimpulsetofarcebuthewasmoreofteninclinedtoseetragedyandrecordit.Hewasalsoinclinedtoliteraryrealismintheseveralsensesofthatphrase;Hewantedtodescribeordinaryhumanbeings.Hewantedtospeculateontheirdilemmasrationallyandunfortunatelyevenschematically;andhewantedtorecordpreciselythematerialuniverse.Finallyhewantedtobemorethanarealist.Hewantedtotranscendwhatheconsideredtobethebanalityofsolelyrecordingthingsexactlyandtoexpressaswellhisawarenessoftheoccultandthestrange. InhisnovelsthesevariousimpulsesweresacrificedtoeachotherinevitablyandofteninevitablybecauseHardydidnotcareinthewaythatnovelistssuchasFlaubertorJameslearnedandthereforetookpathsofleastresistance.Thusoneimpulseoftensurrenderedtoafresheroneandunfortunatelyinsteadofexactingacompromisesimplydisappeared.Adesiretothrowoverrealityalightthatneverwasmightgivewayabruptlytothedesireonthepartofwhatwemightconsideranovelistscientisttorecordexactlyandconcretelythestructureandtextureofaflower. Inthisinstancethenewimpulsewasatleastanenergeticone.Andthusitsindulgencedidnotresultinarelaxedstyle.ButonotheroccasionsHardyabandonedaperilousriskyandhighlyenergizingimpulseinfavorofwhatwasforhimthefatallyrelaxingimpulsetoclassifyandschematizeabstractly.Whenarelaxingimpulsewasindulgedthestyle--thatsureindexofanauthor’sliteraryworth--wascertaintobecomeverbose. Hardy’sweaknessderivedfromhisapparentinabilitytocontrolthecomingsandgoingsofthesedivergentimpulsesandfromhisunwillingnesstocultivateandsustaintheenergeticandriskyones.Hesubmittedoffirstoneandthenanotherandthespiritblewwhereitlisted;hencetheunevennessofanyoneofhisnovels.HismostcontrollednovelUndertheGreenwoodTreeprominentlyexhibitstwodifferentbutreconcilableimpulses--adesiretobearealist-historianandadesiretobeapsychologistoflovebuttheslightinterlockingsofplotarenotenoughtobindthetwocompletelytogether.Thuseventhisbooksplitsintotwodistinctparts. WhichofthefollowingwordscouldbestbesubstitutedforrelaxedParagraph3withoutsubstantiallychangingtheauthor’smeaning
ThomasHardy’simpulsesasawriterallofwhichindulgedinhisnovelswerenumerousanddivergentandtheydidnotalwaysworktogetherinharmony.Hardywastosomedegreeinterestedinexploringhischaracters’psychologiesthoughimpelledlessbycuriositythanbysympathy.Occasionallyhefelttheimpulsetocomedyinallitsdetachedcoldnessaswellastheimpulsetofarcebuthewasmoreofteninclinedtoseetragedyandrecordit.Hewasalsoinclinedtoliteraryrealismintheseveralsensesofthatphrase;Hewantedtodescribeordinaryhumanbeings.Hewantedtospeculateontheirdilemmasrationallyandunfortunatelyevenschematically;andhewantedtorecordpreciselythematerialuniverse.Finallyhewantedtobemorethanarealist.Hewantedtotranscendwhatheconsideredtobethebanalityofsolelyrecordingthingsexactlyandtoexpressaswellhisawarenessoftheoccultandthestrange. InhisnovelsthesevariousimpulsesweresacrificedtoeachotherinevitablyandofteninevitablybecauseHardydidnotcareinthewaythatnovelistssuchasFlaubertorJameslearnedandthereforetookpathsofleastresistance.Thusoneimpulseoftensurrenderedtoafresheroneandunfortunatelyinsteadofexactingacompromisesimplydisappeared.Adesiretothrowoverrealityalightthatneverwasmightgivewayabruptlytothedesireonthepartofwhatwemightconsideranovelistscientisttorecordexactlyandconcretelythestructureandtextureofaflower. Inthisinstancethenewimpulsewasatleastanenergeticone.Andthusitsindulgencedidnotresultinarelaxedstyle.ButonotheroccasionsHardyabandonedaperilousriskyandhighlyenergizingimpulseinfavorofwhatwasforhimthefatallyrelaxingimpulsetoclassifyandschematizeabstractly.Whenarelaxingimpulsewasindulgedthestyle--thatsureindexofanauthor’sliteraryworth--wascertaintobecomeverbose. Hardy’sweaknessderivedfromhisapparentinabilitytocontrolthecomingsandgoingsofthesedivergentimpulsesandfromhisunwillingnesstocultivateandsustaintheenergeticandriskyones.Hesubmittedoffirstoneandthenanotherandthespiritblewwhereitlisted;hencetheunevennessofanyoneofhisnovels.HismostcontrollednovelUndertheGreenwoodTreeprominentlyexhibitstwodifferentbutreconcilableimpulses--adesiretobearealist-historianandadesiretobeapsychologistoflovebuttheslightinterlockingsofplotarenotenoughtobindthetwocompletelytogether.Thuseventhisbooksplitsintotwodistinctparts. Concerningliteraryrealismasmentionedinthepassagewhichofthefollowingwouldtheauthorbemostlikelytoagreewith
比较直接选举与间接选举的区别
Neverhasastraitjacketseemedsoill-fittingorsoinsecure.TheEuroarea’s"StabilityandGrowthPact"wassupposedtostopirresponsiblememberstatesrunningexcessivebudgetdeficitsdefinedas3%ofGDPormore.Chiefamongtherestraintswasthethreatoflargefinesifmembergovernmentsbreachedthelimitforthreeyearsinarow.Forsometimenownoonehasseriouslybelievedthoserestraintswouldhold.IntheearlyhoursofTuesdayNovember25ththeEuro’sfiscalstraitjacketfinallycameapartattheseams. Thepact’sfatewassealedoveranextendeddinnermeetingoftheeuroarea’s12financeministers.TheychewedoverthesorryfiscalrecordoftheEuro’stwolargestmembersFranceandGermany.Bothgovernmentsrandeficitsofmorethan3%ofGDPlastyearandwilldosoagainthisyear.Bothexpecttobreachthelimitforthethirdtimein2004.EarlierthisyeartheEuropeanCommissionwhichpolicesthepactagreedtogivebothcountriesanextrayearuntil2005tobringtheirdeficitsbackintoline.Butitalsoinstructedthemtorevisittheirbudgetplansfor2004andmakeextracuts.Francewasaskedtocutitsunderlyingcyclicallyadjusteddeficitbyafull1%ofGDPGermanyby0.8%.Bothresisted. Underthepact’shalesthecommission’sprescriptionshavenoforceuntilformallyendorsedinavotebytheEuroarea’sfinanceministers’knownasthe"Eurogroup."Andthevotesweresimplynotthere.InsteadtheEuro-groupagreedonasetofproposalsofitsowndrawnupbytheItalianfinanceministerGiulioTremonti.Francewillcutitsstructuraldeficitby0.8%ofGDPnextyearGermanyby0.6%.In2005bothwillbringtheirdeficitsbelow3%economicgrowthpermitting.NothingwillenforceorguaranteethisagreementexceptFranceandGermany’sword.TheEuropeanCentralBankECBwasalarmedatthisoutcomethecommissionwasdismayedandthesmallerEuro-areacountrieswhoopposedthedealwereapoplectic:treatylawwasgivingwaytothe"Franco-Germansteamroller"asLeFigaroaFrenchnewspaperputit. ThisseethingangerwillsourEuropeanpoliticsandmayspilloverintonegotiationsonaproposedEUconstitution.HavingthrowntheirweightaroundthisweekFranceandGermanymayfindothersmallermembersmorereluctantthanevertogivegroundinthenegotiationsonthedocument.Spainopposesthedraftconstitutionbecauseitwillgiveitsubstantiallylessvotingweightthanitcurrentlyenjoys.ItsidedagainstFranceandGermanyonTuesdayandwillpointtotheirfiscaltransgressionstoshowthattheEU’sbigcountriesdonotdeservetheextrapowertheproposedconstitutionwillgivethem. ThephraseFranco-GermansteamrollerPara3asusedinthetextdenotes
Eversincethisgovernment’stermbegantheattitudetoteachershasbeenovershadowedbythemantrathatgoodteacherscannotberewardedifitmeansbadteachersarerewardedtoo.That’swhydespitetheobviousneedforthembigpayriseshavenotbeenawardedtoteachersacrosstheboard.Thelatestpayrisewas3.6percent--madinthepresentsituation.That’swhyaswellthelongbattleoverperformance-relatedpaywasfoughtasteachernumbersslid. Theideaisthatsomekindofyearzerocaneventuallybeachievedwherebyallthebadteachersaregoneandonlythegoodteachersremain.ThatiswhytheGovernment’sattemptstorelievetheteachershortagehavebeensofocusedonofferingincentivestogetanewgenerationofteachersintotraining.Theassumptionisthatsomanyoftheteacherswehavealreadyarebadthatonlybystartingagaincanstandardsberaised. Buttheteachershortageisnotcausedonlybecauseofalackofnewteacherscomingintotheprofession.Itisalsobecauseteachinghasaretentionproblemwithmanyleavingtheprofession.Thesepeoplehavetheirreasonsfordoingsowhichcannotbepurelyaboutwantingirresponsiblyto"abandon"pupilsmorepermanently.Suchanexodussuggeststhatevenbeyondthehateduniongrandstandingteachersarenothappy. Unionsandgovernmentappeartobeinbroadagreementthattheshortageofteachersisaparlousstateofaffairs.Oddlythoughtheydon’tseementirelytoagreethatthereasonsforthismaylieinfeaturesoftheprofessionitselfandthewayitisrun.InsteadtheGovernmentissosuspiciousoftheideathatteachersmaybeabletorepresentthemselvesthattheyhavesetuptheGeneralTeachingCouncilabodythatwillrepresentteacherswhethertheywantittoornotandtowhichtheyhavetopay￡25ayearwhethertheywanttoornot. Theattitudesofbothsidespromisetoexacerbateratherthansolvetheproblem.Teachersarecertainlyexacerbatingtheproblembystressingjusthowbadthingsare.Quiteafewpotentialteachersmustbeputoff.AndwhiletheGovernmenthasmadequiteasuccessofconvincingthepublicthatbadeducationisalmostexclusivelylinkedtobadteachersrepresentedbydestructiveunionsitalsoseemsappallingthatinasurveylastyearworkinghoursforprimaryteachersaveraged53hoursperweekwhilesecondaryteachersclockedup51hours. Attheirspringconferencesthefourmajorteachingunionsintendtoballottheirmembersondemandingfromgovernmentanindependentinquiryintoworkingconditions.ThisfollowstheMcCronereportinScotlandwhichproducedanagreementtolimithoursto35perweekwithamaximumclasscontact-timeof22andahalfhours.Thatsoundsmostattractive Accordingtothetexttheteachershortageissomething
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.8
我国古代的封建成文法典体系中相当于刑法典总则称谓的有
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.18
Neverhasastraitjacketseemedsoill-fittingorsoinsecure.TheEuroarea’s"StabilityandGrowthPact"wassupposedtostopirresponsiblememberstatesrunningexcessivebudgetdeficitsdefinedas3%ofGDPormore.Chiefamongtherestraintswasthethreatoflargefinesifmembergovernmentsbreachedthelimitforthreeyearsinarow.Forsometimenownoonehasseriouslybelievedthoserestraintswouldhold.IntheearlyhoursofTuesdayNovember25ththeEuro’sfiscalstraitjacketfinallycameapartattheseams. Thepact’sfatewassealedoveranextendeddinnermeetingoftheeuroarea’s12financeministers.TheychewedoverthesorryfiscalrecordoftheEuro’stwolargestmembersFranceandGermany.Bothgovernmentsrandeficitsofmorethan3%ofGDPlastyearandwilldosoagainthisyear.Bothexpecttobreachthelimitforthethirdtimein2004.EarlierthisyeartheEuropeanCommissionwhichpolicesthepactagreedtogivebothcountriesanextrayearuntil2005tobringtheirdeficitsbackintoline.Butitalsoinstructedthemtorevisittheirbudgetplansfor2004andmakeextracuts.Francewasaskedtocutitsunderlyingcyclicallyadjusteddeficitbyafull1%ofGDPGermanyby0.8%.Bothresisted. Underthepact’shalesthecommission’sprescriptionshavenoforceuntilformallyendorsedinavotebytheEuroarea’sfinanceministers’knownasthe"Eurogroup."Andthevotesweresimplynotthere.InsteadtheEuro-groupagreedonasetofproposalsofitsowndrawnupbytheItalianfinanceministerGiulioTremonti.Francewillcutitsstructuraldeficitby0.8%ofGDPnextyearGermanyby0.6%.In2005bothwillbringtheirdeficitsbelow3%economicgrowthpermitting.NothingwillenforceorguaranteethisagreementexceptFranceandGermany’sword.TheEuropeanCentralBankECBwasalarmedatthisoutcomethecommissionwasdismayedandthesmallerEuro-areacountrieswhoopposedthedealwereapoplectic:treatylawwasgivingwaytothe"Franco-Germansteamroller"asLeFigaroaFrenchnewspaperputit. ThisseethingangerwillsourEuropeanpoliticsandmayspilloverintonegotiationsonaproposedEUconstitution.HavingthrowntheirweightaroundthisweekFranceandGermanymayfindothersmallermembersmorereluctantthanevertogivegroundinthenegotiationsonthedocument.Spainopposesthedraftconstitutionbecauseitwillgiveitsubstantiallylessvotingweightthanitcurrentlyenjoys.ItsidedagainstFranceandGermanyonTuesdayandwillpointtotheirfiscaltransgressionstoshowthattheEU’sbigcountriesdonotdeservetheextrapowertheproposedconstitutionwillgivethem. WhichofthefollowingcanbestdescribetheEuroarea’sfinanceministers
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.4
请运用中国法制史的理论和知识对下列材料进行分析并回答问题 唐律疏议名例律规定诸共犯罪者以造意为首随从者减一等若家人共犯止坐尊长侵损于人者以凡人首从论即共监临主守为犯虽造意者仍以监守为首凡人以常从论即共犯谋反谋大逆谋叛强盗强奸亦无首从 问题 1这段文字反映了唐律的什么原则 2这段文字的基本含义是什么 3适用这一法律原则有何例外为什么 4唐律这一规定的立法宗旨是什么
FewpeoplewoulddefendtheVictorianattitudetochildrenbutifyouwereaparentinthosedaysatleastyouknewwhereyoustood:childrenweretobeseenandnotheard.Freudandhiscompanydidawaywithallthatandparentshavebeenbewilderedeversince.Thechild’shappinessisall-importantthepsychologistssaybutwhatabouttheparents’happinessParentssuffercontinuallyfromfearandguiltwhiletheirchildrengailyrompaboutpullingtheplaceapart.Agood"old-fashioned"spankingisoutofthequestion:nomodernchild-rearingmanualwouldpermitsuchbarbarity.Thetroubleisyouarenotallowedeventoshout.WhoknowswhatdeeppsychologicalwoundsyoumightinflictThepoorchildmayneverrecoverfromthedreadfultraumaticexperience.Soitisthatparentsbendoverbackwardstoavoidgivingtheirchildrencomplexeswhichahundredyearsagohadn’tevenbeenheardof.Certainlyachildneedsloveandalotofit.Buttheexcessivepermissivenessofmodernparentsissurelydoingmoreharmthangood. Psychologistshavesucceededinunderminingparents’confidenceintheirownauthority.Andithasn’ttakenchildrenlongtogetwindofthefact.Inadditiontothegreatmodernclassicsonchild-caretherearecountlessarticlesinmagazinesandnewspapers.Withsomuchunsolicitedadviceflyingaboutmumanddadjustdon’tknowwhattodoanymore.Intheendtheydonothingatall.Sofromearlychildhoodthekidsareinchargeandparents’livesareregulatedaccordingtotheneedsoftheiroffspring.Whenthelittledearsdevelopintoteenagerstheytakecompletecontrol.Laxauthorityovertheyearsmakesadolescentrebellionagainstparentsallthemoreviolent.Iftheyoungpeoplearegoingtohaveapartyforinstanceparentsareaskedtoleavethehouse.Theirpresencemerelyspoilsthefun.Whatelsecanthepoorparentsdobutobey Childrenarehardycreaturesfarhardierthanthepsychologistswouldhaveusbelieveandmostofthemsurvivetheharmfulinfluenceofextremepermissivenesswhichisthenormalconditioninthemodernhousehold.Butagreatmanydonot.Thespreadofjuveniledelinquencyinourownageislargelyduetoparentallaxity.MotherbelievingthatlittleJohnnycanlookafterhimselfisnotathomewhenhereturnsfromschoolsolittleJohnnyroamsthestreets.Thedividing-linebetweenpermissivenessandsheernegligenceisveryfineindeed. Thepsychologistshavemuchtoanswerfor.Theyshouldkeeptheirmouthsshutandletparentsgetonwiththejob.Andifchildrenareknockedaboutalittlebitintheprocessitmaynotreallymattertoomuch.Atleastthiswillhelpthemtodevelopvigorousviewsoftheirownandgivethemsomethingpositivetoreactagainst.Perhapsthere’ssometruthintheideathatchildrenwhohavehadasurfeitofhappinessin.theirchildhoodappearlikestodgypuddingsandfail.tomakeasuccessoflife. Theauthorassertsthatinthefaceofexcessiveamountsofchild-careliteratureparentsare
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.12
ThomasHardy’simpulsesasawriterallofwhichindulgedinhisnovelswerenumerousanddivergentandtheydidnotalwaysworktogetherinharmony.Hardywastosomedegreeinterestedinexploringhischaracters’psychologiesthoughimpelledlessbycuriositythanbysympathy.Occasionallyhefelttheimpulsetocomedyinallitsdetachedcoldnessaswellastheimpulsetofarcebuthewasmoreofteninclinedtoseetragedyandrecordit.Hewasalsoinclinedtoliteraryrealismintheseveralsensesofthatphrase;Hewantedtodescribeordinaryhumanbeings.Hewantedtospeculateontheirdilemmasrationallyandunfortunatelyevenschematically;andhewantedtorecordpreciselythematerialuniverse.Finallyhewantedtobemorethanarealist.Hewantedtotranscendwhatheconsideredtobethebanalityofsolelyrecordingthingsexactlyandtoexpressaswellhisawarenessoftheoccultandthestrange. InhisnovelsthesevariousimpulsesweresacrificedtoeachotherinevitablyandofteninevitablybecauseHardydidnotcareinthewaythatnovelistssuchasFlaubertorJameslearnedandthereforetookpathsofleastresistance.Thusoneimpulseoftensurrenderedtoafresheroneandunfortunatelyinsteadofexactingacompromisesimplydisappeared.Adesiretothrowoverrealityalightthatneverwasmightgivewayabruptlytothedesireonthepartofwhatwemightconsideranovelistscientisttorecordexactlyandconcretelythestructureandtextureofaflower. Inthisinstancethenewimpulsewasatleastanenergeticone.Andthusitsindulgencedidnotresultinarelaxedstyle.ButonotheroccasionsHardyabandonedaperilousriskyandhighlyenergizingimpulseinfavorofwhatwasforhimthefatallyrelaxingimpulsetoclassifyandschematizeabstractly.Whenarelaxingimpulsewasindulgedthestyle--thatsureindexofanauthor’sliteraryworth--wascertaintobecomeverbose. Hardy’sweaknessderivedfromhisapparentinabilitytocontrolthecomingsandgoingsofthesedivergentimpulsesandfromhisunwillingnesstocultivateandsustaintheenergeticandriskyones.Hesubmittedoffirstoneandthenanotherandthespiritblewwhereitlisted;hencetheunevennessofanyoneofhisnovels.HismostcontrollednovelUndertheGreenwoodTreeprominentlyexhibitstwodifferentbutreconcilableimpulses--adesiretobearealist-historianandadesiretobeapsychologistoflovebuttheslightinterlockingsofplotarenotenoughtobindthetwocompletelytogether.Thuseventhisbooksplitsintotwodistinctparts. Whichofthefollowingisthemostappropriatetitleforthepassagebasedonitscontent
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.16
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.20
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.10
FewpeoplewoulddefendtheVictorianattitudetochildrenbutifyouwereaparentinthosedaysatleastyouknewwhereyoustood:childrenweretobeseenandnotheard.Freudandhiscompanydidawaywithallthatandparentshavebeenbewilderedeversince.Thechild’shappinessisall-importantthepsychologistssaybutwhatabouttheparents’happinessParentssuffercontinuallyfromfearandguiltwhiletheirchildrengailyrompaboutpullingtheplaceapart.Agood"old-fashioned"spankingisoutofthequestion:nomodernchild-rearingmanualwouldpermitsuchbarbarity.Thetroubleisyouarenotallowedeventoshout.WhoknowswhatdeeppsychologicalwoundsyoumightinflictThepoorchildmayneverrecoverfromthedreadfultraumaticexperience.Soitisthatparentsbendoverbackwardstoavoidgivingtheirchildrencomplexeswhichahundredyearsagohadn’tevenbeenheardof.Certainlyachildneedsloveandalotofit.Buttheexcessivepermissivenessofmodernparentsissurelydoingmoreharmthangood. Psychologistshavesucceededinunderminingparents’confidenceintheirownauthority.Andithasn’ttakenchildrenlongtogetwindofthefact.Inadditiontothegreatmodernclassicsonchild-caretherearecountlessarticlesinmagazinesandnewspapers.Withsomuchunsolicitedadviceflyingaboutmumanddadjustdon’tknowwhattodoanymore.Intheendtheydonothingatall.Sofromearlychildhoodthekidsareinchargeandparents’livesareregulatedaccordingtotheneedsoftheiroffspring.Whenthelittledearsdevelopintoteenagerstheytakecompletecontrol.Laxauthorityovertheyearsmakesadolescentrebellionagainstparentsallthemoreviolent.Iftheyoungpeoplearegoingtohaveapartyforinstanceparentsareaskedtoleavethehouse.Theirpresencemerelyspoilsthefun.Whatelsecanthepoorparentsdobutobey Childrenarehardycreaturesfarhardierthanthepsychologistswouldhaveusbelieveandmostofthemsurvivetheharmfulinfluenceofextremepermissivenesswhichisthenormalconditioninthemodernhousehold.Butagreatmanydonot.Thespreadofjuveniledelinquencyinourownageislargelyduetoparentallaxity.MotherbelievingthatlittleJohnnycanlookafterhimselfisnotathomewhenhereturnsfromschoolsolittleJohnnyroamsthestreets.Thedividing-linebetweenpermissivenessandsheernegligenceisveryfineindeed. Thepsychologistshavemuchtoanswerfor.Theyshouldkeeptheirmouthsshutandletparentsgetonwiththejob.Andifchildrenareknockedaboutalittlebitintheprocessitmaynotreallymattertoomuch.Atleastthiswillhelpthemtodevelopvigorousviewsoftheirownandgivethemsomethingpositivetoreactagainst.Perhapsthere’ssometruthintheideathatchildrenwhohavehadasurfeitofhappinessin.theirchildhoodappearlikestodgypuddingsandfail.tomakeasuccessoflife. Fromthelastparagraphtheconclusioncanbedrawnthatchildrenwhoenjoyall-importanthappinesswill
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.2
Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotographer’sfidelitytoappearancesanddependenceonamachineallowedittobeafineart1distinctivefrommerelyapracticalart.Throughoutthenineteenthcenturythedefenseofphotographywasidenticalwiththe2toestablishitasafineart.3thechargethatphotographerswasasoullessmechanicalduplicationof4photographers5thatitwasinsteadaprivileged6ofseeingarevoltagainstcommonplacevisionand7worthyanartthanpainting. Ironically8photographyissecurelyestablishedasafineartmanyphotographersfinditpretentiousor9tolabelitassuch.Seriousphotographersarenolongerwillingto10whetherphotographyisnotinvolvedwithart11toproclaimthattheirownworkisnotinvolvedwithit.Thisshowstheextent12whichtheysimplytakeforgrantedtheconceptofartimposedbythe13ofModernism:thebettertheartthemoresubversiveitisofthetraditionalaimsofart. Photographers’disclaimersofanyinterestinmakingarttellusmoreaboutthetroubledstatusofthecontemporary14ofart15aboutwhetherphotographyisorisnotart.Photography16Poppaintingreassuresviewersthatartisnothard;photographyseemstobemoreaboutitssubjectsthanaboutart. Photography17hasdevelopedallthe18andself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthe19ofphotographyasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographyisadistinctiveandexaltedactivity--20anart. Readthefollowingtext.ChoosethebestwordsforeachnumberedblankandmarkABCorDonANSWERSHEET1.14
热门题库
更多
高考政治
高考历史
国家统考科目
香港法概论
反间谍法
__学
合同法
证据学
民事诉讼法学
民法学
刑法学
消费者权益保护法
法理学
竞争法
国际公法
国际经济法
湘公网安备 43130202000226号