题目内容
This year has turned out to be a surprisingly good one for the world economy. Global output has probably risen by close to 5%, well above its trend rate and a lot faster than forecasters were expecting 12 months ago. Most of the dangers that frightened financial markets during the year have failed to materialize. China’s economy has not suffered a hard landing. America’s mid-year slowdown did not become a double-dip recession. Granted, the troubles of the euro area’s peripheral economies have proved all too real. Yet the euro zone as a whole has grown at a decent rate for an ageing continent, thanks to oomph from Germany, the fastest-growing big rich economy in 2010. The question now is whether 2011 will follow the same pattern. Many people seem to think so. Consumer and business confidence is rising in most parts of the world; global manufacturing is accelerating; and financial markets are buoyant. The MSCI index of global share prices has climbed by 20% since early July. Investors today are shrugging off news far more ominous than that which rattled them earlier this year, from the soaring debt yields in the euro zone’s periphery to news of rising inflation in China. Earlier this year investors were too pessimistic. Now their breezy confidence seems misplaced. To oversimplify a little, the performance of the world economy in 2011 depends on what happens in three places: the big emerging markets, the euro area and America. These big three are heading in very different directions, with very different growth prospects and contradictory policy choices. Some of this divergence is inevitable: even to the casual observer, India’s economy has always been rather different from America’s. But new splits are opening up, especially in the rich world, and with them come ever more chances for friction. Begin with the big emerging markets, by far the biggest contributors to global growth this year. Where it can, foreign capital is pouring in. Isolated worries about asset bubbles have been replaced by a fear of broader overheating. With Brazilian shops packed with shoppers, inflation there has surged above 5% and imports in November were 44% higher than the previous year. Cheap money is often the problem. Though the slump of 2009 is a distant memory, monetary conditions are still extraordinarily loose, thanks, in many places, to efforts to hold down currencies. This combination is unsustainable. To stop prices accelerating, most emerging economies will need tighter policies next year. If they do too much, their growth could slow sharply. If they do too little, they invite higher inflation and a bigger tightening later. Either way, the chances of a macroeconomic shock coming from the emerging world are rising steeply. (449 words) According to Para. 4 and Para. 5, which of the following is true of the emerging markets
查看答案
搜索结果不匹配？点我反馈
更多问题
患者男性，38岁，既往无结核病史，6个月来出现腹胀，左下腹痛，进食后加重，排便后略有减轻。查体：消瘦，腹部高度膨隆，质韧，左下腹可以触及一3.5cm×5.5cm．大小的包块，表面凸凹不平，有结节感，活动度差，无压痛，肝脾肋下未触及，移动性浊音阳性。检查胸部X线片正常，结核菌素试验(-)，腹水化验：细胞数350×106/L，比重1.012，白蛋白30g/L，ADA 15U/L，CEA 470U/L，该患者最可能的诊断为
When will Mr. Li meet Mr. White
The film-awards season, which reaches its tearful climax with the Oscars next week, has long been only loosely related to the film business. Hollywood is dedicated to the art of funneling teenagers past popcorn stands, not art itself. But this year’s awards are less relevant than ever. The true worth of a film is no longer decided by the crowd that assembles in the Kodak Theatre—or, indeed, by any American. It is decided by youngsters in countries such as Russia, China and Brazil. Hollywood has always been an international business, but it is becoming dramatically more so. In the past decade total box-office spending has risen by about one-third in North America while more than doubling elsewhere. Thanks to Harry Potter, Sherlock Holmes and "Inception", Warner Bros made $2.93 billion outside North America last year, smashing the studio’s previous record of $2.24 billion. Falling DVD sales in America, by far the world’s biggest home-entertainment market, mean Hollywood is even more dependent on foreign punters. The rising foreign tide has lifted films that were virtually written off in America, such as "Prince of Persia" and "The Chronicles of Narnia: the Voyage of the Dawn Treader". Despite starring the popular Jack Black, "Gulliver’s Travels" had a disappointing run in North America, taking $42m at the box office so far. But strong turnout in Russia and South Korea helped it reach almost $150m in sales elsewhere. As a result, it should turn a profit, says John Davis, the film’s producer. The growth of the international box office is partly a result of the dollar’s weakness. It was also helped by "Avatar", and eco-fantasy that made a startling $2 billion outside North America. But three things are particularly important: a cinema boom in the emerging world, a concerted effort by the major studios to make films that might play well outside America and a global marketing push to make sure they do. Russia, with its shrinking teenage population, is an unlikely spot for a box-office boom. Yet cinema- building is proceeding apace, and supply has created demand. Last year 160m cinema tickets were sold in Russia—the first time in recent years that sales have exceeded the country’s population. Ticket prices have risen, in part because the new cinemas are superior, with digital projectors that can show 3D films. The big Hollywood studios are muscling domestic film-makers aside. In 2007 American films made almost twice as much at the Russian box office as domestic films—8.3 billion roubles ($325m) compared with 4.5 billion. Last year the imported stuff made some 16.4 billion roubles: more than five times as much as the home-grown product, estimates Movie Research, a Moscow outfit. Earlier this month Vladimir Putin, Russia’s Prime Minister, said the government would spend less money supporting Russian film-makers and more on expanding the number of screens. (471 words) What is the main idea of Paragraph 5
The film-awards season, which reaches its tearful climax with the Oscars next week, has long been only loosely related to the film business. Hollywood is dedicated to the art of funneling teenagers past popcorn stands, not art itself. But this year’s awards are less relevant than ever. The true worth of a film is no longer decided by the crowd that assembles in the Kodak Theatre—or, indeed, by any American. It is decided by youngsters in countries such as Russia, China and Brazil. Hollywood has always been an international business, but it is becoming dramatically more so. In the past decade total box-office spending has risen by about one-third in North America while more than doubling elsewhere. Thanks to Harry Potter, Sherlock Holmes and "Inception", Warner Bros made $2.93 billion outside North America last year, smashing the studio’s previous record of $2.24 billion. Falling DVD sales in America, by far the world’s biggest home-entertainment market, mean Hollywood is even more dependent on foreign punters. The rising foreign tide has lifted films that were virtually written off in America, such as "Prince of Persia" and "The Chronicles of Narnia: the Voyage of the Dawn Treader". Despite starring the popular Jack Black, "Gulliver’s Travels" had a disappointing run in North America, taking $42m at the box office so far. But strong turnout in Russia and South Korea helped it reach almost $150m in sales elsewhere. As a result, it should turn a profit, says John Davis, the film’s producer. The growth of the international box office is partly a result of the dollar’s weakness. It was also helped by "Avatar", and eco-fantasy that made a startling $2 billion outside North America. But three things are particularly important: a cinema boom in the emerging world, a concerted effort by the major studios to make films that might play well outside America and a global marketing push to make sure they do. Russia, with its shrinking teenage population, is an unlikely spot for a box-office boom. Yet cinema- building is proceeding apace, and supply has created demand. Last year 160m cinema tickets were sold in Russia—the first time in recent years that sales have exceeded the country’s population. Ticket prices have risen, in part because the new cinemas are superior, with digital projectors that can show 3D films. The big Hollywood studios are muscling domestic film-makers aside. In 2007 American films made almost twice as much at the Russian box office as domestic films—8.3 billion roubles ($325m) compared with 4.5 billion. Last year the imported stuff made some 16.4 billion roubles: more than five times as much as the home-grown product, estimates Movie Research, a Moscow outfit. Earlier this month Vladimir Putin, Russia’s Prime Minister, said the government would spend less money supporting Russian film-makers and more on expanding the number of screens. (471 words) We can learn from Paragraph 1 that ______.
微信支付 
支付宝支付