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下列程序的输出结果是______。 union un int a[3]； long b； char c[6]； un1,*p； main() p=&un1； p-＞a[0]=0x37； p-＞a[1]=0x38； p-＞a[2]=0x39； printf("%c\n",p-＞c[4])；
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That Louise Nevelson is believed by many critics to be the greatest twentieth-century sculptor is all the more remarkable because the greatest resistance to women artists has been, until recently, in the field of sculpture. Since Neolithic times, sculpture has been considered the prerogative of men, partly, perhaps, for purely physical reasons: it was erroneously assumed that women were not suited for the hard manual labor required in sculpting stone, carving wood, or working in metal. It has been only during the twentieth century that women sculptors have been recognized as major artists, and it has been in the United States, especially since the decades of the fifties and sixties, that women sculptors have shown the greatest originality and creative power. Their rise to prominence parallels the development of sculpture itself in the United States: while there had been a few talented sculptors in the United States before the 1940’s, it was only after 1945 — when New York was rapidly becoming the art capital of the world — that major sculpture was produced in the United States. Some of the best was the work of women.By far the most outstanding of these women is Louise Nevelson, who in the eyes of many critics is the most original female artist alive today. One famous and influential critic, Hilton Kramer, said of her work, “For myself, I think Ms. Nevelson succeeds where the painters often fail.”Her works have been compared to the Cubist constructions of Picasso, the Surrealistic objects of Miro, and the Merzbau of Schwitters. Nevelson would be the first to admit that she has been influenced by all of these, as well as by African sculpture, and by Native American and pre-Columbian art, but she has absorbed all these influences and still created a distinctive art that expresses the urban landscape and the aesthetic sensibility of the twentieth century. Nevelson says, “I have always wanted to show the world that art is everywhere, except that it has to pass through a creative mind.”Using mostly discarded wooden objects like packing crates, broken pieces of furniture, and abandoned architectural ornaments, all of which she has hoarded for years, she assembles architectural constructions of great beauty and power. Creating very freely with no sketches, she glues and nails objects together, paints them black, or more rarely white or gold, and places them in boxes. These assemblages, walls, even entire environments create a mysterious, almost awe-inspiring atmosphere. Although she has denied any symbolic or religious intent in her works, their three-dimensional grandeur and even their titles, such as Sky Cathedral and Night Cathedral, suggest such connotations. In some ways, her most ambitious works are closer to architecture than to traditional sculpture, but then neither Louise Nevelson nor her art fits into any neat category. The author quotes Hilton Kramer in the second paragraph most probably to illustrate（）
That Louise Nevelson is believed by many critics to be the greatest twentieth-century sculptor is all the more remarkable because the greatest resistance to women artists has been, until recently, in the field of sculpture. Since Neolithic times, sculpture has been considered the prerogative of men, partly, perhaps, for purely physical reasons: it was erroneously assumed that women were not suited for the hard manual labor required in sculpting stone, carving wood, or working in metal. It has been only during the twentieth century that women sculptors have been recognized as major artists, and it has been in the United States, especially since the decades of the fifties and sixties, that women sculptors have shown the greatest originality and creative power. Their rise to prominence parallels the development of sculpture itself in the United States: while there had been a few talented sculptors in the United States before the 1940’s, it was only after 1945 — when New York was rapidly becoming the art capital of the world — that major sculpture was produced in the United States. Some of the best was the work of women.By far the most outstanding of these women is Louise Nevelson, who in the eyes of many critics is the most original female artist alive today. One famous and influential critic, Hilton Kramer, said of her work, “For myself, I think Ms. Nevelson succeeds where the painters often fail.”Her works have been compared to the Cubist constructions of Picasso, the Surrealistic objects of Miro, and the Merzbau of Schwitters. Nevelson would be the first to admit that she has been influenced by all of these, as well as by African sculpture, and by Native American and pre-Columbian art, but she has absorbed all these influences and still created a distinctive art that expresses the urban landscape and the aesthetic sensibility of the twentieth century. Nevelson says, “I have always wanted to show the world that art is everywhere, except that it has to pass through a creative mind.”Using mostly discarded wooden objects like packing crates, broken pieces of furniture, and abandoned architectural ornaments, all of which she has hoarded for years, she assembles architectural constructions of great beauty and power. Creating very freely with no sketches, she glues and nails objects together, paints them black, or more rarely white or gold, and places them in boxes. These assemblages, walls, even entire environments create a mysterious, almost awe-inspiring atmosphere. Although she has denied any symbolic or religious intent in her works, their three-dimensional grandeur and even their titles, such as Sky Cathedral and Night Cathedral, suggest such connotations. In some ways, her most ambitious works are closer to architecture than to traditional sculpture, but then neither Louise Nevelson nor her art fits into any neat category. Which of the following statement about Nevelson’ sculpture can be inferred from the passage（）
With 22 years on the job, Jackie Bracey could be considered a career employee of the Internal Revenue Service. But she defies any stereotype of an over-eager agent running down a reluctant taxpayer. Instead, she spends her time defending people who owe the government money. Ms. Bracey, based in Greensboro N. C., is a taxpayer advocate, a created by Congress in 1998 as part of the kinder, gentler theme adopted by the tax collection agency. Bracey and advocates at 73 Other offices nationwide, backed by 2,100 field workers and staff, go to bat for taxpayers who are in financial straits because of something the agency has done or is about to do.Though it may seem contrary to the IRS, the advocate service not only helps taxpayers, but identifies procedural problems. The main goal, though, is for the ombudsman to step into a dispute a taxpayer is having with the IRS when it appears that something the IRS is doing, or planning, would create an undue hardship on the taxpayer. This can range from speeding up resolution of a dispute that has dragged on too long, to demanding that the IRS halt a collection action that the taxpayer can show he or she “is suffering or is about to suffer a significant hardship.”Taxpayer ombudsmen have been around in one form or another since 1979, says Nina Olson, the national taxpayer advocate. But they were given much more power in 1998 when Congress decided that the workers would no longer report to regional directors but to her office. While this gave them a great deal more authority, outside watchdogs say more can be done. “There is a long way to go to get an agency that feels independent and emboldened to work for taxpayers”, says Joe Seep, a vice president of the Washington-based tax-advocacy group.The taxpayers union also has complained that Congress and the Bush administration don’t seem to be taking the advocates seriously enough. Each year, the IRS group reports to Congress on the top problems that advocates see. Many of these are systemic problems that can gum up the works for both taxpayer and collector, such as a December notice from Ms. Olson that the IRS should have just one definition of a dependent child, rather than the three definitions currently used. While taxpayer advocates can help smooth things out in many cases, they cannot ignore laws.If taxpayers haven’t made legitimate claims for credits, there’s nothing the advocate can do to reverse that course. And Olson says that while taxpayers are free to use her service, they should keep in mind that it does not replace the normal appeals process and should be the last place a citizen calls upon for help, not the first. “We’re really there for .when the processes fall down,” she says. Every state has at least one taxpayer-advocate service office. The advocate service “may seem contrary to the IRS” (Line 1, Para. 2) because（）
施工单位在建设工程安全生产中处于核心地位，施工单位的负责人依法对本单位的安全生产工作负责。
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