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图书的必备结构部件包括（ ）等。
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期刊的内容定位应遵循需求原则、优势原则 和（ ）。
编辑处理期刊页面余缺的做法有（ ）等。
Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer"s temperament, discovering itself through the camera"s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in "taking" a picture. Accordingly, the ideal of a photographer as an observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography"s means. Whatever the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton"s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modem equipment. These photographers have come to doubt the value of the camera as an instrument of "fast seeing." Cartier-Bresson, in fact, claims that the modem camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past—when images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. Which of the following statements would be most likely to begin the paragraph immediately following the passage
写作题： 根据所给材料撰写约稿信。（出版社的具体地址、邮政编码、网址和有关电话号码、电子信箱地址等一律用×××代替。）（本题20分）棱镜出版社医学编辑室编辑赵辉提出一个中东呼吸综合征方面的选题，经选题论证，列入了选题计划。请代其起草一封向某传染病研究所所长、某医科大学兼职教授王诚研究员约稿的信件。
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