题目内容
Painter Frida Kahlo (1910-1954) often used harrowing images derived from her Mexican heritage to express suffering caused by a disabling accident and a stormy marriage. Suggesting much personal and emotional content, her works—many of them self-portraits—have been exhaustively psychoanalyzed, while their political content has been less studied. Yet Kahlo was an ardent political activist who in her art sought not only to explore her own roots, but also to champion Mexico"s struggle for an independent political and cultural identity.Kahlo was influenced by Marxism, which appealed to many intellectuals in the 1920s and 1930s, and by Mexican nationalism. Interest in Mexico"s culture and history had revived in the nineteenth century, and by the early 1900s, Mexican indigenista tendencies ranged from a violently anti-Spanish idealization of Aztec Mexico to an emphasis on contemporary Mexican Indians as the key to authentic Mexican culture. Mexican nationalism, reacting against contemporary United States political intervention in labor disputes as well as against past domination by Spain, identified the Aztecs as the last independent rulers of an indigenous political unit. Kahlo"s form of Mexicanidad, a romantic nationalism that focused upon traditional art uniting all indigenistas, revered the Aztecs as a powerful pre-Columbian society that had united a large area of the Middle Americas and that was thought to have been based on communal labor, the Marxist ideal.In her paintings, Kahlo repeatedly employed Aztec symbols, such as skeletons or bleeding hearts that were traditionally related to the emanation of life from death and light from darkness. These images of destruction coupled with creation speak not only to Kahlo"s personal battle for life, but also to the Mexican struggle to emerge as a nation—by implication, to emerge with the political and cultural strength admired in the Aztec civilization. Self-portrait on the Border between Mexico and the United States 1932. , for example, shows Kahlo wearing a bone necklace, holding a Mexican flag, and standing between a highly industrialized United States and an agricultural, preindustrial Mexico. On the United States side are mechanistic and modem images such as smokestacks, light bulbs, and robots. In contrast, the organic and ancient symbols on the Mexican side—a blood-drenched Sun, lush vegetation, an Aztec sculpture, a pre-Columbian temple, and a skull alluding to those that lined the walls of Aztec temples—emphasize the interrelation of life, death, the earth, and the cosmos.Kahlo portrayed Aztec images in the folkloric style of traditional Mexican paintings, thereby heightening the clash between modem materialism and indigenous tradition; similarly, she favored planned economic development, but not at the expense of cultural identity. Her use of familiar symbols in a readily accessible style also served her goal of being popularly understood; in turn, Kahlo is viewed by some Mexicans as a mythic figure representative of nationalism itself. The passage implies that Kahlo"s attitude toward the economic development of Mexico was ______.
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There is widespread belief that the emergence of giant industries has been accompanied by an equivalent surge in industrial research. A recent study of important inventions made since the turn of the century reveals that more than half were the product of individual inventors working alone, independent of organized industrial research. While industrial laboratories contributed such important products as nylon and transistors, independent inventors developed air conditioning, the automatic transmission, the jet engine, the helicopter, insulin, and streptomycin. Still other inventions, such as stainless steel, television, silicones, and Plexiglas were developed through the combined efforts of individuals and laboratory teams.Despite these finding, we are urged to support monopolistic power on the grounds that such power creates an environment supportive of innovation. We are told that the independent inventor, along with the small firm, cannot afford to undertake the important research needed to improve our standard of living while protecting our diminishing resources; that only the giant corporation or conglomerate, with its prodigious assets, can afford the kind of expenditures that produce the technological advances vital to economic progress. But when we examine expenditures for research, we find that of the more than $35 billion spent each year in this country, almost two-thirds is spent by the federal government. More than half of this government expenditure is funneled into military research and product development, accounting for the enormous increase in spending in such industries as nuclear energy, aircraft, missiles, and electronics. There are those who consider it questionable that these defense-linked researchprojects will either improve our standard of living or do much to protect our diminishing resources.Recent history has demonstrated that we may have to alter our longstanding conception of the process actuated by competition. The price variable, once perceived as the dominant aspect of the process, is now subordinate to the competition of the new product, the new business structure, and the new technology. While it can be assumed that in a highly competitive industry not dominated by single corporation, investment in innovation—a risky and expensive budget item—might meet resistance from management and stockholders concerned about cost-cutting, efficient organization, and large advertising budgets, it would be an egregious error to equate the monopolistic producer with bountiful expenditures on research. Large-scale enterprises tend to operate more comfortably in stable and secure circumstances, and their managerial bureaucracies tend to promote the status quo and resist the threat implicit in change. Moreover, in some cases, industrial giants faced with little or no competition seek to avoid thecapital loss resulting from obsolescence by deliberately obstructing technological progress. By contrast, small firms undeterred by large investments in plant and capital equipment often aggressively pursue new techniques and new products, investing in innovation in order to expand their market shares.The conglomerates are not, however, completely except from strong competitive pressures. There are instances in which they too must compete with another industrial Goliath, and then their weapons may include large expenditures for innovation. Which of the following best describes the organization of the second paragraph of the passage
Painter Frida Kahlo (1910-1954) often used harrowing images derived from her Mexican heritage to express suffering caused by a disabling accident and a stormy marriage. Suggesting much personal and emotional content, her works—many of them self-portraits—have been exhaustively psychoanalyzed, while their political content has been less studied. Yet Kahlo was an ardent political activist who in her art sought not only to explore her own roots, but also to champion Mexico"s struggle for an independent political and cultural identity.Kahlo was influenced by Marxism, which appealed to many intellectuals in the 1920s and 1930s, and by Mexican nationalism. Interest in Mexico"s culture and history had revived in the nineteenth century, and by the early 1900s, Mexican indigenista tendencies ranged from a violently anti-Spanish idealization of Aztec Mexico to an emphasis on contemporary Mexican Indians as the key to authentic Mexican culture. Mexican nationalism, reacting against contemporary United States political intervention in labor disputes as well as against past domination by Spain, identified the Aztecs as the last independent rulers of an indigenous political unit. Kahlo"s form of Mexicanidad, a romantic nationalism that focused upon traditional art uniting all indigenistas, revered the Aztecs as a powerful pre-Columbian society that had united a large area of the Middle Americas and that was thought to have been based on communal labor, the Marxist ideal.In her paintings, Kahlo repeatedly employed Aztec symbols, such as skeletons or bleeding hearts that were traditionally related to the emanation of life from death and light from darkness. These images of destruction coupled with creation speak not only to Kahlo"s personal battle for life, but also to the Mexican struggle to emerge as a nation—by implication, to emerge with the political and cultural strength admired in the Aztec civilization. Self-portrait on the Border between Mexico and the United States 1932. , for example, shows Kahlo wearing a bone necklace, holding a Mexican flag, and standing between a highly industrialized United States and an agricultural, preindustrial Mexico. On the United States side are mechanistic and modem images such as smokestacks, light bulbs, and robots. In contrast, the organic and ancient symbols on the Mexican side—a blood-drenched Sun, lush vegetation, an Aztec sculpture, a pre-Columbian temple, and a skull alluding to those that lined the walls of Aztec temples—emphasize the interrelation of life, death, the earth, and the cosmos.Kahlo portrayed Aztec images in the folkloric style of traditional Mexican paintings, thereby heightening the clash between modem materialism and indigenous tradition; similarly, she favored planned economic development, but not at the expense of cultural identity. Her use of familiar symbols in a readily accessible style also served her goal of being popularly understood; in turn, Kahlo is viewed by some Mexicans as a mythic figure representative of nationalism itself. Which one of the following stances toward the United States does the passage mention as characterizing Mexican nationalists in the early twentieth century
关于IgM抗体，下述错误的是
1. 科学家认为，出生在夏天将赋予你开朗的性情，而出生在冬天则可能给你的快乐蒙上永久的阴影。实验表明，出生的季节会极大地影响人体生物钟运转的速度。冬天出生的人体内的生物钟运转得太慢，从而可能对健康和性格产生影响。这一离奇有趣的理论来自一项对老鼠的研究，该研究把刚出生的老鼠暴露在不等量的光线下长达数月。 2. 有些老鼠被放置在夏天的光照条件下，每天有16小时的“白天”和8个小时的“黑夜”。其他老鼠则只有8个小时的“白天”，和冬天昼短夜长的光照条件类似。在这些老鼠断奶后，他们被放置在相同的光照周期中长达数周，或转换到相反的光照环境。最后，科学家把它们都放置到黑暗中，观察它们的反应。 3. 根据《自然神经科学》杂志的报道，那些在夏天的光照条件下成长起来的老鼠像往常一样作息，而那些在缺少光线的环境中成长起来的老鼠在应对这一变化时却显得吃力。研究者道格拉斯·麦克马洪教授说：“在冬天的光照周期中成长起来的老鼠对于季节的变化表现出夸大的反应，这和得了季节性情感抑郁症的人类病患的反应极其相似。”
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