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女性，18岁。心悸、多汗，多食、消瘦4月余。体检：甲状腺Ⅱ度肿大，右上极可闻及血管杂音。 为明确诊断，行下列哪项检查
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1 The next time the men were taken up onto the deck, Kunta made a point of looking at the man behind him in Mine, the one who May beside him to the left when they were be low. He was a Serer tribesman much older than Kunta, and his body, front and back, was creased with whip cuts, some of them so deep and festering that Kunta, felt badly for having wished sometimes that he might strike the man in the darkness for moaning so steadily in his pain. Staring hack at Kunta, the Serer’s dark eyes were full of fury and defi ance. A whip lashed out even as they stood looking at each other this time at Kunta, spurring him to move ahead. Trying to roll away, Kunta was kicked heavily in his ribs. But somehow he and the gasping Wolof managed to stagger back up among the other men from their shelf who were shambling toward their dousing with bucked of seawater. A moment later, the stinging saltiness of it was burning in Kunta’s wounds, and his screams joined those of others over the sound of the drum and the wheezing thing that had again begun marking time for the chained men to jump and dance for the toubob. Kunta and the WoMof were so weak from their new beating that twice they stumbled, but whip blows and kicks sent them hopping clumsily up and down in their chains. So great was his fury that Kunta was barely aware of the women singing "Toubob fa!" And when he had finally been chained back down in his place in the dark hold, his heart throbbed with a lust to murder toubob. Every few days the eight naked toubob would again come into the stinking darkness and scrape their tubs full of the excrement that had accumulated on the shelves where the chained men May. Kunta would lie still with his eyes staring balefully in hatred, foMlowing the bobbing orange lights, listening to the toubob cursing and sometimes slipping and tail ing into the slickness underfoot—so plentiful now, because of the increasing looseness of the men’s bowels, that the filth had begun to drop off the edges of the shelves down into the aisMeway. The last time they were on deck, Kunta had noticed a man limping on a badly infected leg. This time the man was kept up on deck when the rest were taken back beMow. A few days later, the women told the other prisoners in their singing that the man’s leg had been cut off and that one of the women had been brought to tend him, but that the man had died that night and been thrown over the side. Starting then, when the toubob came to clean the shelves, they also dropped red-hot pieces of metal into pails of strong vine gar. The clouds of acrid steam left the hold smelling better, but soon it would again be overwhelmed by the choking stink. It was a smell that Kunta felt would never leave his lungs and skin. The steady murmuring that went on in the hold whenever the toubob were gone kept growing in volume and intensity as the men began to communicate better and better with one another. Words not understood were whispered from mouth to ear along the shelves until someone who knew more than one tongue would send back their meanings. In the process, all of the men along each shelf learned new words in tongues they had not spoken before. Sometimes men jerked upward, bumping their heads, in the double excitement of communicating with each other and the fact that it was being done without the toubob’s knowledge. Muttering among themselves for hours, the men developed a deepening sense of intrigue and of brotherhood. Though they were of different villages and tribes, the feel ing grew that they were not from different peoples or places. Despite their intense pain and suffering, the Black men found a small measure of comfort in______.
4 The crucial years of the Depression, as they are brought into historical focus, in creasingly emerge as the decisive decade for American art, if not for American culture in general. For it was during this decade that many of the conflicts which had blocked the pro gress of American art in the past came to a head and sometimes boiled over. Janus-faced, the thirties look backward, sometimes as far as the Renaissance; and at the same time for ward, as far as the present and beyond. It was the moment when artists, like Thomas Hart Benton, who wished to turn back the clock to regain the virtues of simpler times came into direct conflict with others, like Stuart Davis and Frank Lloyd Wright, who were ready to come to terms with the Machine Age and to deal with its consequences. America in the thirties was changing rapidly. In many areas the past was giving way to the present, although not without a struggle. A Predominantly rural and small town society was be ing replaced by the giant complexes of the big cities; power was becoming increasingly centralized in the federal government and in large corporations. Many Americans, deeply attached to the old way of life, felt disinherited. At the same time, as immigration decreased and the population became more homogeneous, the need arose in art and literature to commemorate the ethnic and regional differences that were fast disappearing. Thus, paradoxically, the conviction that art, at least, should serve some purpose or carry some message of moral uplift grew stronger as the Puritan ethos lost its contemporary reality. Often this elevating message was a sermon in favor of just those traditional American virtues, which were now threat ened with obsolescence in a changed social and political context. In this new context, the appeal of the paintings by the regionalists and the American Scene painters often lay in their ability to recreate an atmosphere that glorified the traditional American values—self-reliance tempered with good-neighborliness, independence modified by a sense of community, hard work rewarded by a sense of order and purpose. Given the actual temper of the times, these themes were strangely anachronistic, just as the rhetoric supporting political isola tionism was equally inappropriate in an international situation soon to involve America in a second world war. Such themes gained popularity because they filled a genome need for a comfortable collective fantasy of a God-fearing, white-picketfence America, which in retrospect took on the nostalgic appeal of a lost Golden Age. In this light, an autonomous art-for-art’s sake was viewed as a foreign invader liable to subvert the native American desire for a purposeful art. Abstract art was assigned the role of the villainous alien; realism was to personify the genuine American means of ex pression. The arguments drew favor in many camps: among the artists, because most were realists; among the politically oriented intellectuals, because abstract art was apoliti cal; and among museum officials, because they were surfeited with mediocre imitations of European modernism and were convinced that American art must develop its own distinct identity. To help along this road to self-definition, the museums were prepared to set up an artificial double standard, one for American art, and another for European art. In 1934, Ralph Flint wrote in Art News, "We have today in our midst a greater array of what may be called second-, third-, and fourth-string artists than any other country. Our big annuals are marvelous outpourings of intelligence and skill~ they have all the diversity and anima tion of a fine-ring circus. \ According to the passage, in the 1930s, abstract art was seen as______.
2007年10月16日15时20分，C市地铁1号线B站工段施工工地(露天开挖作业)发生地面塌陷事故，造成长约100m、宽约50m的正在施工区域塌陷，施工现场西侧路基下陷达6m左右，将施工挡士墙全部推垮，自来水管、排污管断裂，大量污水涌出，同时东侧河水及淤泥向施工塌陷地点溃泻，导致施工塌陷区域逐渐被泥水淹没。事故造成在此处行驶的11辆汽车下沉陷落(车上员2人轻伤，其余人员安全脱险)，施工人员17人死亡、4人失踪。经抢险人员全力搜救，未发现生还人员。据初步调查，C市地铁1号线B站工段建设单位为A地铁集团有公司，设计单位为C城建设计研究总院，施工单位为中国中铁股份有限公司中铁某分局，监理单位为D工程项目监理咨询有限公司。 根据以上场景，回答下列问题： 生产经营单位的生产经营场所和员工宿舍未设有符合紧急疏散需要、标志明显、保持畅通的出口，或者封闭、堵塞生产经营场所或者员工宿舍出口的，( )。
阅读《报刘一丈书》中的这段文字，然后回答下列问题。 幸主者出，南面召见，则惊走匍匐阶下．主者曰：“进!”则再拜，故迟不起，起则五六揖，始出。出，揖门者曰：“官人幸顾我，他日来，幸亡阻我也!”门者答揖。大喜，奔走，马上遇所交识，即扬鞭语曰：“适自相公家来，相公厚我!厚我!”且虚言状。即所交识，亦心畏相公厚之矣。相公又稍稍语人曰：“某也贤!某也贤!”闻者亦心计交赞之。 从本段的言行，分析干谒者的性格特征
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