题目内容
长期以来，科学同艺术之间的双边关系一直是剃头担子一头热：科学热恋着艺术，艺术却拒科学于千里之外。 许多大科学家一生钟爱艺术，且懂艺术，从中汲取养料，善养浩然之气，或得到人生的极大安慰。相反，文学艺术家则绝少有热爱、理解自然科学和工程技术世界的。 我们的艺术家对自然科学家望而生畏，敬而远之，原因之一是里面有一大堆高深的数学公式。其实，撇开数学，绕过那一大堆深奥的东西，一门学科的基本思想还是可以被我们理解、欣赏的，这恰如我们虽然看不懂莫扎特乐曲的总谱，却照样能同它的主旋律发生共鸣，击节称赞。
查看答案
搜索结果不匹配？点我反馈
更多问题
Unlike the carefully weighed and planned compositions of Dante, Goethe’s writings have always the sense of immediacy and enthusiasm. He was a constant experimenter with life, with ideas, and with forms of writing. For the same reason, his works seldom have the qualities of finish or formal beauty which distinguish the masterpieces of Dante and Virgil. He came to love the beauties of classicism, but these were never an essential part of his makeup. Instead, the urgency of the moment, the spirit of the thing, guided his pen. As a result, nearly all his works have serious flaws of structure, of inconsistencies, of excesses and redundancies and extraneities. In the large sense, Goethe represents the fullest development of the romanticist. It has been argued that he should not be so designated because he so clearly matured and outgrew the kind of romanticism exhibited by Wordsworth, Shelley, and Keats. Shelley and Keats died young; Wordsworth lived narrowly and abandoned his early attitudes. In contrast, Goethe lived abundantly anti developed his faith in the spirit, his understanding of nature and human nature, and his reliance on feelings as man’s essential motivating force. The result was all-encompassing vision of reality and a philosophy of life broader and deeper than the partial visions and attitudes of other romanticists. Yet the spirit of youthfulness, the impatience with close reasoning or "logic-chopping," and the continued faith in nature remained his to tile end, together with an occasional waywardness and impulsiveness and a disregard of artistic or logical propriety which savor strongly of romantic individualism. Since so many twentieth century thoughts and attitudes are similarly based on the stimulus of the Romantic Movement, Goethe stands as particularly the poet of the modern man as Dante stood for medieval man and as Shakespeare for the man of the Renaissance. The title that best expresses the main idea of this passage is ______.
A little more than a century ago, Michael Faraday, a noted British physicist, managed to gain audience with a group of high government officials, to demonstrate an electrochemical principle, in the hope of gaining support for his work. After observing the demonstration closely, one of the officials remarked bluntly, "It’s a fascinating demonstration, young man, but just what practical application will come of this" "I don’t know," replied Faraday, "but I do know that 100 years from now you’ll be taxing them." From the demonstration of a principle to the marketing of products derived from that principle is often a long, involved series of steps. The speed and effectiveness with which these steps are taken are closely related to the history of management, the art of getting things done. Just as management applies to the wonders that have evolved from Faraday and other inventors, so it applied some 4,000 years ago to the workings of the great Egyptian and Mesopotamian import and export firms...to Hannibal’s remarkable feat of crossing the Alps in 218 B.C. with 90,000 foot soldiers, 12,000 horsemen and a "conveyor belt" of 40 elephants...or to the early Christian Church, with its world-shaking concepts of individual freedom and equality. These ancient innovators were deeply involved in the problems of authority, division of labor, discipline, unity of command, clarity of direction and the other basic factors that are so meaningful to management today. But the real impetus to management as an emerging profession was the Industrial Revolution. Originating in 18th-century England, it was triggered by a series of classic inventions and new processes, among them John Kay’s Flying Shuttle in 1733, James Hargreaves’ Spinning Jenny in 1770, Samuel Crompton’s Mule Spinner in 1779 and Edmund Cartwright’s Power Loom in 1785. Management came into its own ______.
A little more than a century ago, Michael Faraday, a noted British physicist, managed to gain audience with a group of high government officials, to demonstrate an electrochemical principle, in the hope of gaining support for his work. After observing the demonstration closely, one of the officials remarked bluntly, "It’s a fascinating demonstration, young man, but just what practical application will come of this" "I don’t know," replied Faraday, "but I do know that 100 years from now you’ll be taxing them." From the demonstration of a principle to the marketing of products derived from that principle is often a long, involved series of steps. The speed and effectiveness with which these steps are taken are closely related to the history of management, the art of getting things done. Just as management applies to the wonders that have evolved from Faraday and other inventors, so it applied some 4,000 years ago to the workings of the great Egyptian and Mesopotamian import and export firms...to Hannibal’s remarkable feat of crossing the Alps in 218 B.C. with 90,000 foot soldiers, 12,000 horsemen and a "conveyor belt" of 40 elephants...or to the early Christian Church, with its world-shaking concepts of individual freedom and equality. These ancient innovators were deeply involved in the problems of authority, division of labor, discipline, unity of command, clarity of direction and the other basic factors that are so meaningful to management today. But the real impetus to management as an emerging profession was the Industrial Revolution. Originating in 18th-century England, it was triggered by a series of classic inventions and new processes, among them John Kay’s Flying Shuttle in 1733, James Hargreaves’ Spinning Jenny in 1770, Samuel Crompton’s Mule Spinner in 1779 and Edmund Cartwright’s Power Loom in 1785. A problem of management not mentioned in this passage is ______.
Thanks to the protection of the tombs, so secure against the ravages of time if not against the hand of man, we possess a more complete sampling of Etruscan art in all its forms than we do of any other ancient European culture. Except for the frescoes of Pompeii and Herculaneum, the Etruscan frescoes supply the only insight we have into the techniques of painting in classical civilization. It is in southern Etruria, where the tombs were cut in the rock, that these frescoes are preserved. They are intact at least until the tomb is opened, whereupon deterioration begins. Fortunately it is now possible to remove the paintings from the walls and take them to the safety of the museum. The Etruscan painter used pleasantly simple mineral colors that be laid on a fresh layer of plaster applied to the rock wall. With large, uninterrupted surfaces to work on, he was prompted to make complex pictorial compositions. But his purpose is always clear. Enclosed forever in the tomb, his pictures were to evoke for the deceased the joys of life. The dead man’s occupation, which he intended to resume in the afterlife, is often depicted. Scenes of banquets and feasts are frequent. These guaranteed eternal satisfaction and pleasure to the departed; in the happy phrase of tile Belgian scholar Franz Cumont, "the ghost of a diner could be nourished by the appearance of food." The frescoes also perpetuated the pleasant hours of sports, games and dances. When Etruria came on difficult times, the funerary frescoes took on a more somber tone: the features of the departed, which were formerly peaceful, were expressions of anxiety and even of anguish. Etruscan sculptors preferred to work in clay or bronze rather than in stone. They were particularly fond of the bas-relief, in which they produced delightfully animated figures framed in elegant arabesques. Their forte, however, was the portrait. The art of portraiture had deep funerary significance: it furnished a faithful image of the deceased to aid his survival in the other life. Frequently, in the seventh century B. C. , the portrait of the deceased formed the lid of the crematory urn. Portraiture reached its peak in the last centuries of Etruscan civilization, when the characteristic Etruscan flair for detail, for the unusual, found its fullest expression. One kind of subject matter not found in the frescoes in the Etrurian tombs is ______.
微信支付 
支付宝支付