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Questions 26 and 27 are based on the following news. At the end of the news item, you will be given 10 seconds to answer the questions. Now, listen to the news. The mayor was accused of ______ .
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有以下程序： #include ＜iostream＞ #include ＜string＞ usxng namespace std； int main() char p[] = "abcdefgh"； cout＜＜strlen(strcpy(p，"12345"))＜＜end1； return 0； 执行后输出的结果是( )。
Questions 24 and 25 are based on the following news. At the end of the news item, you will be given 10 seconds to answer the questions. Now, listen to the news. What can we know about Anne Bancroft
2000年10月10日，某煤矿采煤区发生一起特别重大瓦斯煤尘爆炸事故，造成162人死亡，37人受伤(其中重伤14人)，直接经济损失达1498.87万元。 该矿的井田走向长8km，倾斜宽0.9～1.9km，面积约12.65km2。该矿的设计年生产能力90万t，矿井可采储量9946万t，服务年限为81年。井田采用平调开拓，单水平上、下山开采。水平标高为+1800m，沿走向划分为8个采区。 该矿通风方式为抽出式，备用2台TZK58N928型轴流式风机，一台运转工作，一台备用。该矿的总排风量为5078m3/min，负压1930Pa。该矿属于高瓦斯矿井，据矿务局有关文件规定，按瓦斯突出煤层管理。矿井绝对瓦斯涌出量29.93m3/min，相对涌出量16.63m3/min(根据1999年瓦斯鉴定结果)。煤尘爆炸指数为27%～36%，具有煤尘爆炸危险。煤层自然发火期8～12月。该矿采区走向长3km，倾斜宽1.4km。采区内沿11号煤层布置皮带、行人和轨道三条下山。皮带下山和行人下山进风，轨道下山回风。该采区开采的11号煤层厚2～3.2m，平均倾角9°，有41112综采和41114高档普采两个工作面生产，41114综采工作面正在安装；41116工作面回风巷、运输巷开切眼，41118工作面运输巷，采区进风行人下山和皮带运输下山6个掘进工作面在施工。 事故发生当年1～10月实际产量82.3万t。全矿有职工2000人，井下分为3个班生产。事故发生时，当班井下有234人作业。41116回风巷掘进工作面因更换局部通风机停电造成瓦斯超限，20点开始排放瓦斯。20点38分，该矿调度室接到电话汇报1740水平车场有股浓烟出来。矿调度立即通知井下作业人员立即撤出，同时向矿领导、矿务局调度汇报，通知救护队进行抢救。23点40分，矿务局有关领导到达该矿，成立了抢险指挥中心，矿务局局长和该矿矿长任总指挥。 事故调查领导小组认为这是一起因矿井生产布局不合理，通风、瓦斯、机电等管理混乱，违章排放瓦斯，现场人员违章拆开矿灯，产生火花引起瓦斯爆炸、煤尘参与爆炸的重大责任事故。 根据以上场景，回答下列问题： 如何处理该爆炸事件
Anniversaries are the opium of museums, publishers, theaters and opera houses. Fixing their eyes on some round-number birth or death date of a major creator, they start planning to cash in years before. For 2006, birthdays are the winning numbers: Rembrandt’s 400th; Mozart’s 250th; and the 100th for Samuel Beckett and Dmitri Shostakovich. The Dutch have organized a score of Rembrandt shows, starting appropriately with an exhibition based around his mother in the town of his birth, Leiden. Mozart’s music will be heard more than usual in churches, concert hails and opera houses around the world, with his birthplace, Salzburg, once again trying to compensate for the indifference it showed him during his lifetime. But do such anniversaries and accompanying celebrations serve much purpose Are they just marketing devices to sell tickets to museums and performances Or do they help draw the attention of younger generations to the giants of Western culture who at times seem crowded out by the pygmies of popular culture As it happens, the practice is not new. The birth of Bardolatry, or Shakespeare worship, is generally traced to the Shakespeare Jubilee, which was organized by the actor-manager David Garrick to celebrate the 200th anniversary of the playwright’s birth (the jubilee was actually held in 1769, five years after the anniversary, but presumably time was more flexible in those days). Until then, perhaps surprisingly, Shakespeare was not doing too well. The popularity of many of his plays did not survive the l8-year-long closure of London’s theaters during the Civil War and Cromwell’s rule. Then, after theaters reopened in 1660 with the Restoration of the monarchy, several of his major works -- "Richard Ⅲ" and "King Lear" among them -- were drastically revised by other playwrights. Today, Mozart, for one, is hardly in need of revival. No opera house plans a season these days without including at least one of his stage masterpieces: "Le Nozze di Figaro", "Don Giovanni", "Cosi fan tutte" and "Die Zauberflote". His "Requiem", "Coronation Mass" and other sacred works are regularly performed. His instrumental works -- he wrote hundreds -- keep soloists and orchestras busy throughout the year. A more interesting reflection for Jan. 27, the 250th anniversary of his birth, is: how would Western culture have fared without Mozart True, the same question might be asked of myriad great artists who have bequeathed beauty, emotion and understanding. Yet Mozart was unique, not only because he excelled in every kind of music (while, say, Verdi and Wagner were great composers only of opera), but also because, more even than Bach, he turned listening into a deeply personal experience. There is that perennial: who killed Mozart In Peter Schaffer’s 1979 play, "Amadeus", adapted as an Oscar-winning movie by Milos Forman in 1984, the finger of guilt was pointed at Mozart’s contemporary, Antonio Salieri. But even that charge was old hat: Pushkin first raised it in his 1830 play, "Mozart and Salieri", which Rimsky-Korsakov adapted as an opera in 1897. Still, the question is again being trotted out for the anniversary. No such mystery surrounds Rembrandt’s life or death. But if his greatness was only fully recognized in the 19th century, he certainly is in need of no anniversary "special offers" to be admired today. His more than 600 oils are in collections around the world and, whenever selected for exhibitions, they draw huge crowds. The organizers of Rembrandt 400, as the anniversary has been tagged, evidently again have crowds in mind, hoping that some 250,000 people will travel to the Netherlands for the occasion. Will Rembrandt’s fans cross paths with those of Mozart If they did, they might find that their idols have something in common. In his 75 or so self portraits, recording his passage from youth to old age, Rembrandt seems to offer a window into his soul. Cannot Mozart’s compositions also be considered as self-portraits Certainly, it is by displaying their intimacy that they share their genius with us. But of course only time will define their place in the pantheon. As happened to Rembrandt and many others, great artists are often forgotten before they are enshrined by posterity. After that, thankfully, anniversaries make little difference. What’s the author’s attitude towards anniversaries
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