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Questions 53 to 57 are based on the following passage: The Internet can make the news more democratic, giving the public a chance to ask questions and seek out facts behind stories and candidates, according to the head of the largest US on-line service. ’But the greatest potential for public participation is still in the future,’ Steven Case, chairman of America On-line, told a recent meeting on Journalism and the Internet sponsored by The Freedom Forum, though some other speakers say the new technology of computers is changing the face of journalism, giving reporters access to more information and their readers a chance to ask questions and turn to different sources. ’You don’t have to buy a newspaper and be confined to the four comers of that paper anymore.’ Sam Meddis, on-line technology editor at USA Today, observed about the variety of information available to computer users. But the speakers noted the easy access to the internet also means anyone can post information for others to see.’Anyone can say anything they want, whether it’s right or wrong.’ said Case. Readers have to determine for themselves who to trust. ’In a world of almost infinite voices, respected journalists and respected brand names will probably become more important, not less,’ Case said. ’The internet today is about where radio was 80 years ago, or television 50 years ago or cable 25 years ago, ’he said. But it is growing rapidly because it provides people fast access to news and a chance to comment on it. The correct order for the appearance of the four technologies is （） .
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开-闭原则（Open-Closed Principle, OCP）是面向对象的可复用设计的基石。开-闭原则是指一个软件实体应当对 （37） 开放，对 （38） 关闭；里氏代换原则（Liskov Substitution Principle, LSP）是指任何 （39） 可以出现的地方， （40） 一定可以出现。依赖倒转原则（Dependence Inversion Principle, DIP）就是要依赖于 （41） ，而不依赖于（42） ，或者说要针对接口编程，不要针对实现编程。 （37）处填（）。
设有学生实体Students（学号，姓名，性别，年龄，家庭住址，家庭成员，关系，联系电话），其中“家庭住址”记录了邮编、省、市、街道信息；“家庭成员，关系，联系，电话”分别记录了学生亲属的姓名、与学生的关系以及联系电话。学生实体Students中的“家庭住址”是一个（52）属性；为使数据库模式设计更合理，对于关系模式Students（53）。 （53）处填（）。
Questions 63 t0 67 are based on the following passage: The Last Supper is a late 15th-century mural painting by Leonardo da Vinci in the refectory of the Convent of Santa Maria della Grazie, Milan. The work is presumed to have been commenced around 1495 and was commissioned as part of a scheme of renovations to the church and its convent buildings by Leonardo’s patron Ludovico Sforza, Duke of Milan. The painting represents the scene of The Last Supper of Jesus with his disciples, as it is told in the Gospel of John. Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. The Last Supper measures 460cm x880cm and covers an end wall of the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy. The theme was a traditional one for refectories, although the room was not a refectory at the time that Leonardo painted it. The main church building had only recently been completed （in 1498）， but was remodeled by Bramante, hired by Ludovico Sforza to build a Sforza family mausoleum. The painting was commissioned by Sforza to be the centerpiece of the mausoleum. The lunettes above the main painting, formed by the triple arched ceiling of the refectory, are painted with Sforza coats-of-arms. The opposite wall of the refectory is covered by the Crucifixionfresco by Giovanni Donato da Montorfano, to which Leonardo added figures of the Sforza family in tempera. Leonardo began work on The Last Supper in 1495 and completed it in 1498-he did not work on the painting continuously. The beginning date is not certain; as the archives of the convent for the period have been destroyed and a document dated 1497 indicates that the painting was nearly completed at that date. One story goes that a prior from the monastery complained to Leonardo about the delay, enraging him. He wrote to the head of the monastery, explaining he had been struggling to find the perfect villainous face for Judas, and that if he could not find a face corresponding with what he had in mind, he would use the features of the prior who complained. In common with other depictions of The Last Supper from this period. Leonardo seats the diners on one side of the table, so that none of them have their backs to the viewer. Most previous depictions excluded Judas by placing him alone on the opposite side of the table from the other eleven disciples and Jesus or placing halos around all the disciples except Judas. Leonardo instead has Judas lean back into shadow. Jesus is predicting that his betrayer will take the bread at the same time he does to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread not noticing Jesus too stretching out with his right hand towards it. The angles and lighting draw attention to Jesus, whose head is located at the vanishing point for all perspective lines. The painting contains several references to the number 3, which represents the Christian belief in the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus’ figure resembles a triangle. There may have been other references that have since been lost as the painting deteriorated. Leonardo began work on The Last Supper in 1495 and completed it in（）.
Questions 58 to 62 are based on the following passage: In the past century Irish painting has changes from a British-influenced lyrical tradition to an art that evokes the ruggedness （朴实） and roots of an Irish Celtic past. At the turn of the twentieth century Irish painters, including notables Walter Frederick Osborne and Sir William Orpen, looked elsewhere for influence. Osborne’s exposure to ’plain air’ painting deeply impacted his stylistic development; and Orpen allied himself with a group of English artists, while at the same time participated in the French avant-garde experiment, both as painter and teacher. However, nationalist energies were beginning to coalesce （接合 ）， reviving interest in Irish culture-including Irish visual arts. Beatrice Elvery’s （1907）， a landmark achievement, merged the devotional simplicity of fifteenth-century Italian painting with the iconography （图像学） of Ireland’s Celtic past, linking the history of Irish Catholicism with the still-nascent （初生的 ）Irish republic. And, although also captivated by the French plain air school. Sir John Lavery invoked the mythology of his native land for a 1928 commission to paint the central figure for the bank note of the new Irish Free State. Lavery chose as this figure, with her arm on a Celtic harp （竖琴）， the national symbol of independent Ireland. In Irish painting from about 1910, memories of Edwardian romanticism coexisted with a new sense of realism, exemplified by the paintings of Paul Henry and Se Keating, a student of Orpen’s. Realism also crept into the work of Edwardians Lavery and Orpen, both of whom made paintings depicting World War I, Lavery with a distanced Victorian nobility, Orpen closer to the front, revealing a more sinister and realistic vision. Meanwhile, counterpoint （ 对照 ） to the Edwardians and realists came Jack B. Yeats, whose travels throughout the rugged and more authentically Irish West led him to depict subjects ranging from street scenes in Dublin to boxing matches and funerals. Fusing close observations of Irish life and icons with an Irish identity in a new way, Yeats changed the face of Irish painting and became the most important Irish artist of his century. Which of the following art most probably exerted the greatest influence on Irish painting in the 19th century（）
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