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TEXT A Before the mid-1860’s, the impact of the railroads in the United States was limited, in the sense that the tracks ended at this Missouri River, approximately the center of the country. At the point the trains turned their freight, mail, and passengers over to steamboats, wagons, and stagecoaches. This meant that wagon freighting, stagecoaching, and steamboating did not come to an end when the first train appeared; rather they became supplements or feeders. Each new "end-of-track" became a center for animal-drawn or waterborne transportation. The major effect of the railroad was }o shorten the distance that had to be covered by the older, slower, and more costly means. Wagon freighters continued operating throughout the 1870’s and 1880’s and into the 1890’s. Although over constantly shrinking routes, and coaches and wagons continued to crisscross the West wherever the rails had not yet been laid. The beginning of a major change was foreshadowed in the later 1860’s, when the Union Pacific Railroad at last began to build westward from the Centre Plains city of Omaha to meet the Central Pacific Railroad advancing eastward from California through the formidable barrier of the Sierra Nevada. Although President Abraham Lincoln signed the original Pacific Railroad bill in 1862 and a revised, financially much more generous version in 1864, little construction was completed until 1865 on the Central Pacific and 1866 on the Union Pacific. The primary reason was skepticism that a Railroad built through so challenging and thinly settled a stretch of desert, mountain, and semiarid plain could pay a profit. In the words of an economist, this was a case of "premature enterprise", where not only the cost of construction but also the very high risk deterred private investment. In discussing the Pacific Railroad bill, the chair of the congressional committee bluntly stated that without government subsidy no one would undertake so unpromising a venture; yet it was a national necessity to link East and West together. Why does the author mention the Sierra Nevada in line 10
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【问题1】 结合图7-18所示的网络拓扑结构图，将以下路由器R1配置信息中(1)～(9)空缺处的内容填写完整，实现路由器R1的正确配置。 Router>en (进入特权模式) Router# config terminal (进入配置模式) Router (config)# (1) R1 (config) # no logging console R1 (config) # interface fastethernet0/1 R1 (config-if) # ip addtess 192.168.100.1 155.255.255.0 R1 (config-if) # (2) (3) R1 (config) # interface sellal 0 (进入端口S0配置子模式) R1 (config-if) # (4) (设置当前端口IP地址) R1 (config-if)# no shutdown R1 (config-if) # (5) R1 (eonfig-if) # ip address 192.168.65.2 255.255.255.0 R1 (config-if) # no shutdown R1 (config-if) # exit (退出当前端口配置子模式) R1 (config) # (6) R1 (config) # (7) R1 (config-router) # (8) R1 (conhg-router) # network 192.168.65.0 R1 (config-router) # network 192.168.67.0 R1 (config-router) # end (退出回到特权模式) R1# (9) (将配置信息保存到非易失性RAM中)
【问题4】 在最理想和保守的估计中加速开发进度要着重抓的共同环节是哪些请用50字以内的文字加以说明。
TEXT B Just over 10 years ago, Ingmar Bergman announced that the widely acclaimed Fanny and Alexander would mark hi, last hurrah as a filmmaker, Although ,some critics had written him off as earnest but ponderous, others were saddened by the departure of an artist who had explored cinematic mood, -- from high tragedy to low comedy = during his four-decade career. What nobody foresaw. that Bergman would find a variety of way, to circumvent his own retirement director television movies, tailing theater production, and writing screenplay, for other filmmakers to direct, Hi, latest enterprise as a screenwriter, Sunday’, Children, complete, a trilogy of family-oriented movie, that began with Fanny and Alexander and continued with The Best Intentions written by Batsman and directed by Danish filmmaker Bille August, Beside, dealing with member, of Bergman’s family in bygone times - it begins a few years after The Best Intentions leaves off- the new picture was directed by Daniel Batsman, his youngest son, Although it lacks the urgency and originality of the elder Bergman’s greatest achievements, such as The Silence and Potions, it has enough visual and emotional interest to make a worthy addition to his body of work, Set in rural Sweden during the late 1920s, the story centers on a young, boy named Pa, clearly modeled on Ingmar Bergman himself. Pu’s father is a country clergyman whose duties include traveling to the capital and ministering to the royal family, While this is an enviable position, it doesn’t assuage problems in the pastor’s marriage, Pu’s young enough to be fairly oblivious to such difficulties, but his awareness grows with the passage of time, So do the subtle tensions that mar Pu’s own relationship with his father, whose desire to show affection and compassion is hampered by a certain stiffness in his demeanor and chilliness in his emotions. The film’s most resonant passages take place when Pu learns to see his father with new clarity while accompanying him on a cross-country trip to another parish. In a remarkable change of tone, this portion of the story is punctuated with .flash-forwards to a time 40 years in the future, showing the relationship between parent and child to be dramatically re versed: The father is now cared for by the son, and desires a forgiveness for past shortcomings that the younger man resolutely refuses to gram. Brief and abrupt though they are, these scenes make a pungent contrast with the sunny landscapes and comic interludes in the early part of the movie. Sunday’s Children is a film of many levels, and all are skillfully handled by Daniel Batsman in his directional debut. Gentle scenes of domestic contentment are sensitively interwoven with intimations of underlying malaise. While the more nostalgic sequences are photographed with an eye-dazzling beauty that occasionally threatens to become cloying, any such result is foreclosed by the jagged interruptions of the flash-forward sequences--an intrusive device that few filmmakers are agile enough to handle successfully, but that is put to impressive use by the Bergman team. Henrik Linnros gives a smartly turned performance as young Pu, and Thommy Berggren - who starred in the popular Elvira Madison years ago - is steadily convincing as his father. Top honors go to the screenplay, though, which carries the crowded canvas of Fanny and Alexander and the emotional ambiguity of The Best Intentions into fresh and sometimes fascinating territory. The subject matter of Sunday’s Children ______.
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