某房地产开发公司(简称W公司)准备在某市H乡的一处废旧厂房区建设商品房向社会出售,该废旧厂房及土地属于H乡集体所有。根据土地使用权出让合同约定,W公司获得的这块土地只能建设住宅。W公司在对当地房地产市场形势进行了多次分析研究后,决定调整最初确定的开发方案,减少住宅用地,调整出部分土地建设一座大型综合游乐场。W公司在其开发项目建设过程中,委托中介机构作住宅项目的销售代理,预售其在建的住宅。在W公司开发的大型综合游乐场即将开业时,G快餐公司租了游乐场中的一处小楼,开办快餐厅,租期5年。游乐场建成开业数月后,W公司将其整体卖给了F娱乐公司。在游乐场开业2年后,G快餐公司要将快餐厅租给 S餐饮公司经营。请根据以上材料,回答下列问题: 办理游乐场买卖手续时,W公司应当向当地主管部门提交( )等必备材料。
A. 当地房地产管理部门核发的房屋买卖审批书
B. 土地使用权证
C. W公司与F娱乐公司签署的房地产转让合同
D. 当地规划管理部门核发的建设用地规划许可证和建设工程规划许可证
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While examination of Eisenstein’ s work has yielded better understandings of film theory, such attention is rarely granted to the work of his successors.Even within the comparatively specialized field of film studies, these films Line remain largely ignored; they are discussed in a reductive and superficial manner (5) when taught, typically valued solely for rejecting or contesting Hollywood norms, trivializing movements sorely in need of rejuvenation, and given the economic situation of independent film production, such ignorance generates a destructive cycle of neglect and ignorance. The stakes involved in naming Eisenstein as the model of the modernist film project are especially fraught since (10) the values implicit in such a decision help determine the availability of entire bodies of radical film. One deleterious result of applying the "Eisenstein standard" has been to make it easier than ever to remain ignorant of experimental film forms, which can uniformly be extolled as "transgressive" or "deconstructive" without serious engagement. Which of the following is most analogous to the fate that the experimental films, described above, have received as a result of their association with Eisenstein’s work()
A lesser-known author is discovered to have influenced a more famous one, and his works are rescued from anonymity.
B. An experimental artistic tradition falls into decline as a result of its practitioners adopting the idiom of a more popular one.
C. A popular composer’s oeuvre is held up as the epitome of the genre, so that music critics praise his pupil’s work without bothering to listen to it.
D. The interest in an archeological method diminishes over time, largely out of the failure of its inventor to generate new results.
E. A painter rebels against the advice of her teacher, after critics observe that her own work is indistinguishable from his.
While examination of Eisenstein’ s work has yielded better understandings of film theory, such attention is rarely granted to the work of his successors.Even within the comparatively specialized field of film studies, these films Line remain largely ignored; they are discussed in a reductive and superficial manner (5) when taught, typically valued solely for rejecting or contesting Hollywood norms, trivializing movements sorely in need of rejuvenation, and given the economic situation of independent film production, such ignorance generates a destructive cycle of neglect and ignorance. The stakes involved in naming Eisenstein as the model of the modernist film project are especially fraught since (10) the values implicit in such a decision help determine the availability of entire bodies of radical film. One deleterious result of applying the "Eisenstein standard" has been to make it easier than ever to remain ignorant of experimental film forms, which can uniformly be extolled as "transgressive" or "deconstructive" without serious engagement. According to the passage, which of the following is true about the films that continued Eisenstein’s filmmaking tradition()
A. They tend to trivialize the Eisenstein movement by rejecting Hollywood norms.
B. Although they have not been taught frequently, they have had a transgressive influence on experimental film-making.
C. Their availability has been diminished by the apotheosis of Eisenstein as their model.
D. These films are valued for the challenge they have presented to the norms of Hollywood film.
E. These films would almost certainly be more popular with mainstream audiences, if only film studies were less specialized.
While examination of Eisenstein’ s work has yielded better understandings of film theory, such attention is rarely granted to the work of his successors.Even within the comparatively specialized field of film studies, these films Line remain largely ignored; they are discussed in a reductive and superficial manner (5) when taught, typically valued solely for rejecting or contesting Hollywood norms, trivializing movements sorely in need of rejuvenation, and given the economic situation of independent film production, such ignorance generates a destructive cycle of neglect and ignorance. The stakes involved in naming Eisenstein as the model of the modernist film project are especially fraught since (10) the values implicit in such a decision help determine the availability of entire bodies of radical film. One deleterious result of applying the "Eisenstein standard" has been to make it easier than ever to remain ignorant of experimental film forms, which can uniformly be extolled as "transgressive" or "deconstructive" without serious engagement. The passage implies that the present "economic situation of independent film production and distribution" is()
A. thriving but threatened
B. secure but inert
C. moribund but recovering
D. penurious and in need of help
E. salubrious but unpredictable
Most words are "lexical words", i.e. nouns signifying "things", the majority of which are abstract concepts rather than physical objects in the world; only "proper nouns" have specific and unique referents in the everyday Line world. The communicative function of a fully-functioning language requires the (5) scope of reference beyond the particularity of the individual instance. While each leaf, cloud or smile is different from all others, effective communication requires general categories or "universals". Anyone who has attempted to communicate with people who do not share their language will be familiar with the limitations of simply pointing to things, given that the vast majority of (10) lexical words in a language exist on a high level of abstraction and refer to classes of things such as "buildings" or to concepts like "construction".We lose any one-to-one correspondence of word and thing the moment we group instances into classes. Other than lexical words, language consists of "function words" or grammatical words, such as "only" and "under" which do (15) not refer to objects in the world at all, and many more kinds of signs other than simple nouns. The notion of words as labels for concepts assumes that ideas exist independently of words and that ideas are established in advance before theintroduction of linguistic structure. Clearly, language is not limited to naming things existing in the physical world, but includes non-existent objects and ideas (20) well. The nomenclaturist stance, in viewing words as labels for pre-existingideas and objects, attempts unsuccessfully to reduce language to the purely referential function of naming things. Things do not exist independently of the sign systems which we use; "reality" is created by the media which seem simply(25) to represent it. Language does not simply name pre-existing categories; categories do not exist in "the world" .e.g. "where are the boundaries of a cloud; when does a smile begin". Such an emphasis on reality as invariably perceptually seamless may be an exaggeration; our referential categories do seem to bear some relationship to certain features which seem to be inherently (30) salient. Within a language, many words may refer to "the same thing" but reflect different evaluations of it. For example, "one person’s ’hovel’ is another person’s ’home’" Meanwhile, the signified of a word is subject to historical change. In this sense, "reality" or "the world" is created by the language we use: this (35) argument insists on the primacy of the signifier. Even if we do not adopt the radical stance that "the real world" is a product of our sign systems, we must still acknowledge the lack of signifiers for many things in the empirical world and that there is no parallel correlation between most words and objects in the known world at all. Thus, all words are "abstractions", and there is no direct (40) correspondence between words and "things" in the world. Which of the following best describes the author’s statement that "an emphasis on reality as invariably perceptually seamless may be an exaggeration" (lines 27-28)()
An assumption based on evidence already presented
B. A concession to the view opposing that of the author’s
C. A hypothesis concerning a possible problem with the nomenclaturist view
D. An allusion to an argument presented earlier in the passage
E. An example of the application of the author’s view of language