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( )是指政府或社会机构在法律和政策范围内，在居民住宅、公共卫生、环境、基础教育领域，向全体公民普遍提供资金帮助和优价服务的社会性制度。
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It is generally recognized in the world that the second Gulf War in Iraq is a crucial test of high-speed Web. For decades, Americans have anxiously (1) each war through a new communications (2) , from the early silent film of World War I to the 24-hour cable news (3) of the first Persian Gulf War.Now, (4) bombs exploding in Baghdad, a sudden increase in wartime (5) for online news has become a central test of the (6) of high-speed Internet connections. It is also a good (7) both to attract users to online media (8) and to persuade them to pay for the material they find there, (9) the value of the Cable News Network persuaded millions to (10) to cable during the last war in Iraq.(11) by a steady rise over the last 18 months in the number of people with high-speed Internet (12) , now at more than 70 million in the United States, the Web sites of many of the major news organizations have (13) assembled a novel collage (拼贴 of (14) video, audio reports, photography collections, animated weaponry (15) , interactive maps and other new digital rep6rtage.These Internet services are (16) on the remarkable abundance of sounds and images (17) from video cameras (18) on Baghdad and journalists traveling with troops. And they have found a (19) audience of American office workers (20) their computers during the early combat. 7（）
能够综合反映生产、流通、消费各个环节价格总水平的价格指数是( )。
Text 3Shopping has always been something of an impulse activity, in which objects that catch our fancy while strolling are immediately bought on a whim. Advertisers and sellers have taken advantage of this fact, carefully positioning inexpensive but attractive items on paths that we are most likely to cross, hoping that our human nature will lead to a greater profit for them. With the dawn of the Internet and its exploding use across the world, the same tactics apply.Advertisers now place "banners", links to commercial web sites decorated with attractive pictures designed to catch our eyes while browsing the webs, on key web sites with heavy traffic. They pay top dollar for the right, thus creating profits for the hosting web sites as well. These actions are performed in the hopes that during the course of our casual and leisurely web surfing, we’ll click on that banner that sparks our interest and thus, in theory, buy the products advertised.Initial results have been positive. Web sites report a huge inflow of cash, both from the advertisers who tempt customers in with the banners and the hosting web sites, which are paid for allowing the banners to be put in place. As trust and confidence in Internet buying increases and information security is heightened with new technology, the volume of buying is increasing, leading to even greater profits.The current situation, however, is not quite as optimistic. Just as magazine readers tend to unconsciously ignore advertisements in their favorite periodicals, web browsers are beginning to allow banners to slip their notice as well. Internet users respond to the flood of banners by viewing them as annoyances, a negative image that is hurting sales, since users are now less reluctant to click on those banners, preferring not to support the system that puts them in place. If Internet advertising is to continue to be a viable and profitable business practice, new methods will need to be considered to reinvigorate the industry.With the recent depression in the technology sector and slowing economy, even new practices may not do the trick. As consumers are saving more and frequenting traditional real estate businesses over their Internet counterparts, the fate of Internet business is called into question. The coming years will be the only reliable indication of whether shopping on the World Wide Web is the wave of the future or simply an impulse activity whose whim has passed.Notes: on a whim 心血来潮；surf v. 冲浪；in theory 在理论上,顺理成章；hosting 访问率高的；call ... into question质疑,对...... 提出疑问. The second and third paragraphs are written in order to illustrate（）
Text 4Picture-taking is a technique both for reflecting 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 directly opposite 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 fearlessness, questing subjectivity and the photographer is all.These conflicting ideals arise from 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 observer is attracting because it implicitly denies that picturetaking 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 are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power 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 limit imposed by pre-modern 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 modern 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 modern 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 longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.Notes: crop vt.播种,修剪(树木)收割。 count for little 无关紧要。predatory 掠夺成性的。champion n.军；vt.支持。benevolent好心肠的，ambivalence矛盾心理。make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡。cult 狂热崇拜。daguerreotypes (初期的)银板照相法。 The author is primarily concerned with（）
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