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简答题 简述耶克斯—多德森原理。
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If the weather is bad, which sport will be cancelled（）
汉字和西文字符在计算机存储器都占1个字节的存储空间。( )
People are indulging in an illusion whenever they find themselves explaining at a cocktail(鸡尾酒)party，say, that the are “in computers，”or“ in telecommunications，”or “in electronic funds transfer”. The implication is that they are part of the high-tech world. Just between us，they usually aren’t. The researchers who made fundamental breakthroughs in those areas are in a high-tech business. The rest of us are （71）of their work. We use computers and other new technology components to develop our products or to organize our affairs. Because we go about this work in teams and projects and other tightly knit working group（紧密联系在一起的工作小组），we are mostly in the human communication business. Our successes stem from good human interactions by all participants in the effort，and our failures stem from poor human interactions.The main reason we tend to focus on the（72）rather than the human side of work is not because it’s more (73)，but because it’s easier to do. Getting the new disk drive installed is positively trivial compared to figurine out why Horace is in a blue funk(恐惧）or why Susan is dissatisfied with the company aver only a few months. Human interactions are complicated and never very crisp（干脆的，干净利落的）and clean in their effects, but they matter more than any other aspect of the work. If you find yourself concentrating on the（74）rather than the（75）．you’re like the vaudeville character （杂耍人物）who loses his Keys on a dark street and looks for them on the adjacent street because，as he explains，“The light is better there!” （71）处填（）。
Questions 58 to 62 are based on the following passage: In the past century Irish painting has changes from a British-influenced lyrical tradition to an art that evokes the ruggedness （朴实） and roots of an Irish Celtic past. At the turn of the twentieth century Irish painters, including notables Walter Frederick Osborne and Sir William Orpen, looked elsewhere for influence. Osborne’s exposure to ’plain air’ painting deeply impacted his stylistic development; and Orpen allied himself with a group of English artists, while at the same time participated in the French avant-garde experiment, both as painter and teacher. However, nationalist energies were beginning to coalesce （接合 ）， reviving interest in Irish culture-including Irish visual arts. Beatrice Elvery’s （1907）， a landmark achievement, merged the devotional simplicity of fifteenth-century Italian painting with the iconography （图像学） of Ireland’s Celtic past, linking the history of Irish Catholicism with the still-nascent （初生的 ）Irish republic. And, although also captivated by the French plain air school. Sir John Lavery invoked the mythology of his native land for a 1928 commission to paint the central figure for the bank note of the new Irish Free State. Lavery chose as this figure, with her arm on a Celtic harp （竖琴）， the national symbol of independent Ireland. In Irish painting from about 1910, memories of Edwardian romanticism coexisted with a new sense of realism, exemplified by the paintings of Paul Henry and Se Keating, a student of Orpen’s. Realism also crept into the work of Edwardians Lavery and Orpen, both of whom made paintings depicting World War I, Lavery with a distanced Victorian nobility, Orpen closer to the front, revealing a more sinister and realistic vision. Meanwhile, counterpoint （ 对照 ） to the Edwardians and realists came Jack B. Yeats, whose travels throughout the rugged and more authentically Irish West led him to depict subjects ranging from street scenes in Dublin to boxing matches and funerals. Fusing close observations of Irish life and icons with an Irish identity in a new way, Yeats changed the face of Irish painting and became the most important Irish artist of his century. Which of the following best explains the author’s use of the word ’counterpoint’ in referring to Yeats（）
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