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M: Do you think Mary will get there in timeW: Impossible ! What does the woman mean（）
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Text 2 The making of classifications by literary historians can be a somewhat risky enterprise. When Black poets are discussed separately as a group, for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literary history may result. This caution is particularly relevant in an assessment of the differences between Black poets at the turn of the century (1900—1909) and those of the generation of the 1920’s. These differences include the bolder and more forthright speech of the later generation and its technical inventiveness. It should be remembered, though, that comparable differences also existed for similar generations of White poets. When poets of the 1910’s and 1920’s are considered together, however, the distinctions that literary historians might make between "conservative" and "experimental" would be of little significance in a discussion of Black poets, although these remain helpful classifications for White poets of these decades. Certainly differences can be noted between "conservative" Black poets such as Countee Cullen and Cluade Mckay and "expert mental" ones such as Jean Toomer and Langston Hughes. But Black poets were not battling over old or new styles, rather, one accomplished Black poet was ready to welcome another, whatever his or her style, for what mattered was racial pride. However, in the 1920’s Black poets did debate whether they should deal with specifically racial subjects. They asked whether they should only write about Black experience for a Black audience or whether such de ands were restrictive. It may be said, though, that virtually all these poets wrote their best poems when they spoke out of racial feeling, race being, as James Weldon Johnson rightly put it, "perform the thing the Negro poet knows best". At the turn of the century, by contrast, most Black poets generally wrote in the conventional manner of the age and expressed noble, if vague emotions in their poetry. These poets were not unusually gifted, though Roscoe Jamison and G. M. McClellen may be mentioned as exceptions. They chose not to write in dialect, which, as Sterling Brown has suggested, "meant a rejection of stereotypes of Negro life", and they refused to write only about racial subjects. This refusal had both a positive and a negative consequence. As Brown observes, "Valuably insisting that Negro poets should not be confined to issues of race, these poets committed an error... they refused to look into their hearts and write." These are important insights, but one must stress that this refusal to look within was also typical of most White poets of the United States at the time. They, too, often turned from their own experience and consequently produced not very memorable poems about vague topics, such as the peace of nature. According to the passage, an issue facing Black poets in the 1920’s was whether they should ______.
Text 2 The making of classifications by literary historians can be a somewhat risky enterprise. When Black poets are discussed separately as a group, for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literary history may result. This caution is particularly relevant in an assessment of the differences between Black poets at the turn of the century (1900—1909) and those of the generation of the 1920’s. These differences include the bolder and more forthright speech of the later generation and its technical inventiveness. It should be remembered, though, that comparable differences also existed for similar generations of White poets. When poets of the 1910’s and 1920’s are considered together, however, the distinctions that literary historians might make between "conservative" and "experimental" would be of little significance in a discussion of Black poets, although these remain helpful classifications for White poets of these decades. Certainly differences can be noted between "conservative" Black poets such as Countee Cullen and Cluade Mckay and "expert mental" ones such as Jean Toomer and Langston Hughes. But Black poets were not battling over old or new styles, rather, one accomplished Black poet was ready to welcome another, whatever his or her style, for what mattered was racial pride. However, in the 1920’s Black poets did debate whether they should deal with specifically racial subjects. They asked whether they should only write about Black experience for a Black audience or whether such de ands were restrictive. It may be said, though, that virtually all these poets wrote their best poems when they spoke out of racial feeling, race being, as James Weldon Johnson rightly put it, "perform the thing the Negro poet knows best". At the turn of the century, by contrast, most Black poets generally wrote in the conventional manner of the age and expressed noble, if vague emotions in their poetry. These poets were not unusually gifted, though Roscoe Jamison and G. M. McClellen may be mentioned as exceptions. They chose not to write in dialect, which, as Sterling Brown has suggested, "meant a rejection of stereotypes of Negro life", and they refused to write only about racial subjects. This refusal had both a positive and a negative consequence. As Brown observes, "Valuably insisting that Negro poets should not be confined to issues of race, these poets committed an error... they refused to look into their hearts and write." These are important insights, but one must stress that this refusal to look within was also typical of most White poets of the United States at the time. They, too, often turned from their own experience and consequently produced not very memorable poems about vague topics, such as the peace of nature. The author quotes Sterling Brown in the fourth paragraph in order to ______.
Tony Woods is talking now and considers it ______ to prevent other young Australians from taking the same dangerous path taken by his brother.
由于正常原因造成的单项工程或单位工程报废或毁损，减去残料价值和过失人或保险公司等赔款后的净收益，如果工程项目尚未达到预定可使用状态的，冲减继续施工的工程成本；如果工程项目已经达到预定可使用状态的，属于筹建期间的，冲减管理费用；不属于筹建期间的，直接计入当期营业外收入。 ( )
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