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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. Which of the following is a major theme of Nevelson’ art（）
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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. According to Paragraph 3, which of the following is correct（）
赵某于2009年6月预购了一幢别墅(总售价为120万元)，并先后向开发商支付了114万元。该别墅于2010年6月30日竣工后，赵某付清了剩余的购房款，但对原装修不满意，拆除了部分原装修设施，并重新进行了装修，花费了40万元。2010年9月为筹集资金做生意，赵某欲以该别墅向银行抵押贷款，并于2010年9月10日委托估价机构进行了估价，此时同类型(指重新装修前)的别墅的正常市场售价为130万元，赵某希望评估价值为2010年9月同类型别墅的正常市场售价加上该别墅的重新装修费用，即170万元，现估价人员掌握的资料有： 1．赵某与开发商于2009年6月签订的商品房买卖合同原件； 2．赵某的购房发票； 3．商品房预售许可证复印件； 4．其他有关房地产市场资料。 [请问] 1．上述资料用于抵押估价是否齐全 2．估价人员可否承诺按170万元进行估价 3．可否按2010年9月的同类型别墅的正常市场售价加上该别墅的重新装修费用确定评估值为什么
如果存货市场供应不充足，即使满足有关的其他基本假设条件，也不能利用经济订货量基本模型计算。( )
What’s your earliest memory Do you remember learning to walk The birth of a sibling Nursery school Adults rarely remember events from much before kindergarten, just as children younger than 3 or 4 seldom recall any specific experiences (as distinct from general knowledge). Psychologists have floated all sorts of explanations for this “childhood amnesia”. The reductionists appealed to the neurological, arguing that the hippocampus, the brain region responsible for forming memories, doesn’t mature until about the age of 2. But the reigning theory holds that since adults do not think like children, they cannot access childhood memories. Adults are struck with grown-up “schema”, the bare bones of narratives. (46)When they riffle through the mental filing cabinet in search of fragments of childhood memories to hang on this narrative skeleton, according to this theory, they don’t find any that fit. It’s like trying to find the French word in an English index.Now psychologist Katherine Nelson of the City University of New York offers a new explanation for childhood amnesia. (47)She argues that children don’t even form lasting, long-term memories of personal experiences until they learn to use someone else’s description of those experiences to turn their own short-term, fleeting recollections into permanent memories. In other words, children have to talk about their experiences and hear others talk about them — hear Mom recount that days’ trip to the dinosaur museum, hear Dad re- member aloud their trip to the amusement park.Why should memory depend so heavily on narrative Nelson marshals evidence that the mind structures remembrances that way. (48)Children whose mothers talk about the day’s activities as they wind down toward bedtime, for instance, remember more of the day’s special events than do children whose mothers don’t offer this novelistic framework. Talking about an event in a narrative way helps a child remember it. (49)And learning to structure memories as a long-running narrative, Nelson suggests, is the key to a permanent “autobiographical memory”, the specific remembrances that form one’s life story. (What you had for lunch yesterday isn’t part of it; what you ate on your first date with your future spouse may be.)Language, of course, is the key to such a narrative. Children learn to engage in talk about the past. The establishment of these memories is related to the experience of talking to other people about them. (50)In particular, a child must recognize that a retelling — of that museum trip, say — is just the trip itself in another medium, that of speech rather than experience. That doesn’t happen until the child is perhaps four or five. By the time she’s ready for kindergarten she’ll remember all sorts of things. And she may even, by then, have learned’ not to blurt them out in public. She argues that children don’t even form lasting, long-term memories of personal experiences until they learn to use someone else’s description of those experiences to turn their own short-term, fleeting recollections into permanent memories
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