题目内容
There is no question that the old style of air pollution could kill people. In one week following the infamous "peasouper" fog in December 1952,4,700 people died in London. Most of these people were elderly and already had heart or lung diseases. A series of these killer fogs eventually led to the British Parliament passing the Clean Air Act which restricted the burning of coal. Fortunately the effect of smog on the lungs is not so dramatic. Scientists have now conducted a number of laboratory experiments in which volunteers are exposed to ozone inside a steel chamber for a few hours. Even at quite low concentrations there is a reversible fall in lung function, an increase in the irritability of the lungs and evidence of airway inflammation. Although irritable and inflamed lungs are particularly seen in people with asthma (哮喘) and other lung diseases, these effects of ozone also occur in healthy subjects. Similar changes are also seen after exposure to nitrogen dioxide, although there is some disagreement about the concentration at which they occur. Other studies have found that people living in areas with high levels of pollution have more symptoms and worse lung function than those living in areas with clean air. Groups of children attending school camps show falls in lung function even at quite low concentrations of ozone. There is also a relationship between ozone levels and hospital admissions for asthma, both in North America and Australia. It is suspected that long-term exposure to smog may result in chronic bronchitis (支气管炎) and emphysema (肺气肿), but this has yet to be proven. Recently an association has been found between the levels of particles in the air and death rates in North American cities. The reason for this association is not understood and as yet there is no evidence this occurs in Australia. However, we do know that hazy days are associated with more asthma attacks in children. In the last sentence of the third paragraph, the word "suspected" can be best replaced by______.
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Many things make people think artists are weird—the odd hours, the nonconformity, the clove cigarettes. However, the weirdest may be this: artists’ only jobs are to explore emotions, and yet they choose to focus on the ones that feel lousy. This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th(上标) century, more artists began seeing happiness as insipid, phony or, worst of all, boring. In the 20th(上标) century, classical music became more atonal, visual art more unsettling. Sure, there have been exceptions, but it would not be a stretch to say that for the past century or so, serious art has been at war with happiness. In 1824, Beethoven completed his "Ode to Joy". In 1962, novelist Anthoy Burgess used it in A Clockwork Orange as the favorite music of his ultra-violent antihero. You could argue that art became more skeptical of happiness because modern times have seen such misery. But the reason may actually be just the opposite: there is too much damn happiness in the world today. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. Today the messages that the average Westerner is bombarded with are not religious but commercial, and relentlessly happy. Since these messages have an agenda—to prey our wallets from our pockets—they make the very idea of happiness seem bogus(假的). "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attack. What we forget—what our economy depends on us forgetting—is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us that it is OK not to be happy, that sadness makes happiness deeper. As the wine-connoisseur movie Sideways tells us, it is the kiss of decay and mortality that makes grape juice into Pinot Norway need art to tell us, as religion once did, that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It’s a message even more bitter than a clove cigarette, yet, somehow, is a breath of fresh air. The word "Celebrex" in the advertisement______.
认真阅读“给定资料”，简要回答下面两题。 根据“给定资料”，概括我国现阶段干群关系的基本情况。 要求：内容全面，观点明确，思路清楚，语言准确，不超过300字。
电影赏析：《偷自行车的人》
Many things make people think artists are weird—the odd hours, the nonconformity, the clove cigarettes. However, the weirdest may be this: artists’ only jobs are to explore emotions, and yet they choose to focus on the ones that feel lousy. This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th(上标) century, more artists began seeing happiness as insipid, phony or, worst of all, boring. In the 20th(上标) century, classical music became more atonal, visual art more unsettling. Sure, there have been exceptions, but it would not be a stretch to say that for the past century or so, serious art has been at war with happiness. In 1824, Beethoven completed his "Ode to Joy". In 1962, novelist Anthoy Burgess used it in A Clockwork Orange as the favorite music of his ultra-violent antihero. You could argue that art became more skeptical of happiness because modern times have seen such misery. But the reason may actually be just the opposite: there is too much damn happiness in the world today. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. Today the messages that the average Westerner is bombarded with are not religious but commercial, and relentlessly happy. Since these messages have an agenda—to prey our wallets from our pockets—they make the very idea of happiness seem bogus(假的). "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attack. What we forget—what our economy depends on us forgetting—is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us that it is OK not to be happy, that sadness makes happiness deeper. As the wine-connoisseur movie Sideways tells us, it is the kiss of decay and mortality that makes grape juice into Pinot Norway need art to tell us, as religion once did, that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It’s a message even more bitter than a clove cigarette, yet, somehow, is a breath of fresh air. What is most strange about artists
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