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【说明】 以下程序的功能是：从键盘上输入一个字符串，把该字符串中的小写字母转换为大写字母，输出到文件test.txt中，然后从该文件读出字符串并显示出来。 【程序】 #include ＜ stdio. h ＞ main( ) FILE * fp; char str[100]; int i=0; if((fp=fopen("text.txt" (1) )) ==NULL) printf("can’t open this file. \n") ;exit(0) ; printf(" input astring: \n" ); gest(str); while( str[i] ) if(str[i] ＞=’a’ && str[i] ＜=’z’) str[i]= (2) ; fputc(str[i], (3) ); i++; fclose(fp); fp=fopen(" test.txt", (4) ); fgets(str, 100, fp); printf("%s\n" ,str); (5) ;
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Here amid the steel and concrete canyons, green grass grows. A hawthorn tree (山楂树) stands in new soil, and freshly dug plants bend in the wind. But Chicago City Hall here seems an unlikely spot for a garden of any variety-especially 20,000 square feet of gardens-on its roof. As one of a handful of similar projects around the country, the garden is part of a $1.5 million demonstration projected by the city to reduce its "urban heat islands", said William Abolt, the commissioner of the Department of Environment. Heat islands-dark surfaces in the city, like rooftops-soak up heat. The retention can bake a building, making it stubborn to cooling. The roof of City Hall, a 90-year-old gray stone landmark on LaSalle Street in the heart of downtown, has been known to reach temperature substantially hotter than the actual temperature on the street below. The garden will provide greenery and shade. "And that," said the city officials, "will save the city dollars on those blistering summer days." The project savings from cooling is about $4,000 a year on a new roof whose life span is about 50 percent longer than that of a traditional roof. The sprawling open-air rooftop garden is being carefully, built on a multi-tiered bed of special soil, polystyrene, egg-carton, shaped cones and "waterproof membrane" mall to keep the roof from leaking, or caving under the normal combined weight of soil, rain and plant life. The design calls for soil depths of 4 inches to 18 inches. When the last plants and seedlings are buried and the last bit of compost is laid, the garden will have circular brick stepping-stones winding up to hills. "The primary focus of what we want to do was to establish this laboratory on the top of City Hall to get people involved and understanding their impact on the environment and how the little things can make an impact on the quality of life", Mr. Abolt said, adding that the plants also help to clear the air. Rooftop gardens, in places where concrete jungles have erased plants and trees, are not new, not even in Chicago. Arms of greenery dangling over terraces or sprouting from rooftops, common in Europe, are becoming more so in the United States as people become increasingly conscious about the environment. Richard M. Daley, who urged the environmental department to look into the project after noticing rooftop gardens in Hamburg, Germany a few years ago, has praised the garden as the first of its kind on a public building in the country. It will hold thousands of plants in more than 150 species-wild onion and butterfly weed, sky-blue aster and buffalo grass-to provide data on what species adapt best. Small plants requiring shallow soil depths were chiefly selected. The rooftop garden project ______.
For about three centuries we have been doing science, trying science out, using science for the construction of what we call modern civilization, Every dispensable item of contemporary technology, from canal locks to dial telephones to penicillin, was pieced together from the analysis of data provided by one or another series of scientific experiments. Three hundred years seems a long time for testing a new approach to human inter-living, long enough to set back for critical appraisal of the scientific method, maybe even long enough to vote on whether to go on with it or not. There is an argument. Voices have been raised in protest since the beginning, rising in pitch and violence in the nineteenth century during the early stages of the industrial revolution, summoning urgent crowds into the streets on the issue of nuclear energy. "Give it back," say some of the voices, "It doesn’t really work, we’ve tried it and it doesn’t work. Go back three hundred years and start again on something else less chancy for the race of man." The principle discoveries in this century, taking all in all, are the glimpses of the depth of our ignorance of nature. Things that used to seem clear and rational, and matters of absolute certainty-Newtonian mechanics, for example-have slipped through our fingers; and we are left with a new set of gigantic puzzles, cosmic uncertainties, and ambiguities. Some of the laws of physics are amended every few years; some are canceled outright; some undergo revised versions of legislative intent as if they were acts of Congress. Just thirty years ago we call it a biological revolution when the fantastic geometry of the DNA molecule was exposed to public view and the linear language of genetics was decoded. For a while, things seemed simple and clear: the cell was a neat little machine, a mechanical device ready for taking to pieces and reassembling, like a tiny watch. But just in the last few years it has become almost unbelievably complex, filled with strange parts whose functions are beyond today’s imagining. It is not just that there is more to do, there is everything to do. What lies ahead, or what can lie ahead if the efforts in basic research are continued, is much more than the conquest of human disease or the improvement of agricultural technology or the cultivation of nutrients in the sea. As we learn more about fundamental processes of living things in general we will learn more about ourselves. Now scientists have found in the past few years ______.
Questions 11 to 18 are based on the conversation you have just heard.
That Louise Johannes is believed by many critics to be the greatest twentieth-century sculptor is all the more remarkable because the greatest resistance to women artists has been, until recently, in the field of sculpture. Since Neolithic times, sculpture has been considered the prerogative of men, partly, perhaps, for purely physical reasons it was erroneously assumed that women were not suited for the hard manual labor required in sculpting stone, carving wood, or working in metal. It has been only during the twentieth century that women sculptors have been recognized as major artists, and it has been in the United States, especially since the decades of the fifties and sixties, that women sculptors have shown the greatest originality and creative power. Their rise to prominence parallels the development of sculpture itself in the United States, while there had been a few talented sculptors in the United States before the 1940’s. It was only after 1945 when New York was rapidly becoming the art capital of the world--that major sculpture was produced in the United States. Some of the best was the work of women. By far the most outstanding of these women is Louise Johannes, who in the eyes of many critics is the most original female artist alive today. One famous and influential critic Hilton Kramer, said of her work, "For myself, I think Ms Johannes succeeds where the painters often fail." Her works have been compared to the Cubist constructions of Picasso, the Surrealistic objects of Miro and the Merzbau of Schwitters. Johannes would be the first to admit that she has been influenced by all of these, as well as by African sculpture, and by Native American and pre-Columbian art, but she has absorbed all these influences and still created a distinctive art that expresses the urban landscape and the aesthetic sensibility of the twentieth century. Johannes says, "I have always wanted to show the world that art is everywhere, except that it has to pass through a creative mind." Using mostly discarded wooden objects like packing crates, broken pieces of furniture, and abandoned architectural ornaments, all of which she has hoarded for years, she assembles architectural constructions, of great beauty and power. Creating very freely with no sketches, she glues and nails objects together, paints them black, or more rarely white or gold, and places them in boxes. These assemblages, walls, even entire environments create a mysterious, almost awe-inspiring atmosphere. Although she has denied any symbolic or religious intent in her works, their three-dimensional grandeur and even their titles, such as Sky Cathedral and Night Cathedral, suggest such connotation. In some ways, her most ambitious works are closer to architecture than to traditional sculpture, but then neither Louise Johannes nor her art fits into any neat category. The author quotes Hilton Kramer in Paragraph 2 most probably in order to illustrate
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