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(由单选和多选组成。)（一）资料 小明今年高中毕业，他想继续上大学，他爸爸则认为上大学费用高，而且将来工作不好找，还不如早点出去打工挣钱。 如小明选择上大学，他上大学的非货币收益包括( )。
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(四)资料 某市是一个以纺织工业为中心的城市，专家在对其劳动力市场状况进行研究之后，发现了以下几个方面的情况：第一，由于我国和西方国家之间的贸易纠纷得到解决，该市纺织企业所生产的产品在国际市场上的需求大增；第二，失业者成为非劳动力、非劳动力成为就业者流量加大，其他几种流动方向的流量基本保持不变；第三，该市不同家庭之间的收入差距正在扩大。 该市收入差距扩大的情况可以( )。
How can America encourage study for foreign students
The culture industry did away with yesterday’s rubbish by its own perfection, and by forbidding and domesticating the amateurish, although it constantly allows gross blunders without which the standard of the exalted style cannot be perceived. 66. ______. Nevertheless the culture industry remains the entertainment business. Its influence over the consumers is established by entertainment; that will ultimately be broken not by an outright decree, but by the hostility inherent in the principle of entertainment to what is greater than itself. Since all the trends of the culture industry are profoundly embedded in the public by the whole social process, they are encouraged by the survival of the market in this area. Demand has not yet been replaced by simple obedience. As is well known, the major reorganization of the film industry shortly before World War I, the material prerequisite of its expansion, was precisely its deliberate acceptance of the public’s needs as recorded at the box-office, a procedure which was hardly thought necessary in the pioneering days of the screen. 67. ______. Amusement under late capitalism is the prolongation of work. It is sought after as an escape from the mechanized work process, and to recruit strength in order to be able to cope with it again. But at the same time mechanization has such power over a man’s leisure and happiness, and so profoundly determines the manufacture of amusement goods, that his experiences are inevitably after-images of the work process itself. The ostensible content is merely a faded foreground; what sinks in is the automatic succession of standardized operations. What happens at work, in the factory, or in the office can only be escaped from by approximation to it in one’s leisure time. 68. ______. The tendency mischievously to fall back on pare nonsense, which was a legitimate part of popular art, farce and clowning, right up to Chaplin and the Marx Brothers, is most obvious in the unpretentious kinds. 69. ______. The idea itself, together with the objects of comedy and terror, is massacred and fragmented. Novelty songs have always existed on a contempt for meaning which, as predecessors and successors of psychoanalysis, they reduce to the monotony of sexual symbolism. 70. ______. Cartoons were once exponents of fantasy as opposed to rationalism. They ensured that justice was done to the creatures and objects they electrified, by giving the maimed specimens a second life. A. All amusement suffers from this incurable malady. Pleasure hardens into boredom because, if it is to remain pleasure, it must not demand any effort and therefore moves rigorously in the worn grooves of association’. No independent thinking must be expected from the audience: the product prescribes every reaction: not by its natural structure (which collapses under reflection), but by signals. Any logical connection calling for mental effort is painstakingly avoided. As far as possible, developments must follow from the immediately preceding situation and never from the idea of the whole. For the attentive movie-goer any individual scene will give him the whole thing. Even the set pattern itself still seems dangerous, offering some meaning, wretched as it might he, where only meaninglessness is acceptable. B. But what is new is that the irreconcilable elements of culture, art and distraction, are subordinated to one end and subsumed under one false formula: the totality of the culture industry. It consists of repetition. That its characteristic innovations are never anything more than improvements of mass reproduction is not external to the system. It is with good mason that the interest of innumerable consumers is directed to the technique, and not to the contents which are stubbornly repeated, outworn, and by now half-discredited. The social power which the spectators worship shows itself more effectively in the omnipresence of the stereotype imposed by technical skill than in the stale ideologies for which the ephemeral contents stand in. C. The same opinion is held today by the captains of the film industry, who take as their criterion the more or less phenomenal song hits but wisely never have recourse to the judgment of truth, the opposite criterion. Business is their ideology. It is quite correct that the power of the culture industry resides in its identification with a manufactured need, and not in simple contrast to it, even if this contrast were one of complete power and complete powerlessness. D. Today, detective and adventure films no longer give the audience the opportunity to experience the resolution. In the non-ironic varieties of the genre, it has also to rest content with the simple horror of situations which have almost ceased to be linked in any way. E. This tendency has completely asserted itself in the text of the novelty song, in the thriller movie, and in cartoons, although in films starring Greer Garson and Bette Davis the unity of the socio- psychological case study provides something approximating a claim to a consistent plot. F. Often the plot is maliciously deprived of the development demanded by characters and matter according to the old pattern. Instead, the next step is what the script writer takes to be the most striking effect in the particular situation. Banal though elaborate surprise interrupts the story- line.
在事故原因分析时通常要明确哪些内容 2．针对该事故提出整改措施。
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