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In 1999, the price of oil hovered around $16 a barrel. By 2008, it had (1) the $100 a barrel mark. The reasons for the surge (2) from the dramatic growth of the economies of China and India to widespread (3) in oil-producing regions, including Iraq and Nigeria’s delta region. Triple-digit oil prices have (4) the economic and political map of the world, (5) some old notions of power. Oil-rich nations are enjoying historic gains and opportunities, (6) major importers — including China and India, home to a third of the world’s population — (7) rising economic and social costs.Managing this new order is fast becoming a central (8) of global politics. Countries that need oil are clawing at each other to (9) scarce supplies, and are willing to deal with any government, (10) how unpleasant, to do it.In many poor nations with oil, the profits are being, lost to corruption, (11) these countries of their best hope for development. And oil is fueling enormous investment funds run by foreign governments, (12) some in the west see as a new threat.Countries like Russia, Venezuela and Iran are well supplied with rising oil (13) , a change reflected in newly aggressive foreign policies. But some unexpected countries are reaping benefits, (14) costs, from higher prices. Consider Germany. (15) it imports virtually all its oil, it has prospered from extensive trade with a booming Russia and the Middle East. German exports to Russia (16) 128 percent from 2001 to 2006.In the United States, as already high gas prices rose (17) higher in the spring of 2008, the issue cropped up in the presidential campaign, with Senators McCain and Obama (18) for a federal gas tax holiday during the peak summer driving months. And driving habits began to (19) , as sales of small cars jumped and mass transport systems (20) the country reported a sharp increase in riders. Read the following text. Choose the best word (s) for each numbered blank and mark A, B, C or D on ANSWER SHEET 1.2（）
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Passage OneQuestions 26 to 28 are based on the passage you have just heard.
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 word “assemblages” (Line 4, Para, 4) is closest in meaning to（）
成本变动额＝实际责任成本-预算责任成本，其中，预算责任成本按照预算产量计算。( )
业务授权与执行职务相分离是不相容职务分离，记录总账与明细账职务相分离不是不相容职务分离。( )
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