题目内容
Although interior design has existed since the beginning of architecture, its development into a specialized field is really quite recent. Interior designers have become important partly because of the many functions that might be (61) in a single large building. The importance of interior design becomes (62) when we realize how much time we (63) surrounded by four walls. Whenever we need to be indoors, we want our surroundings to be (64) attractive and comfortable as possible. We also expect (65) place to be appropriate to its use. You would be (66) if the inside of your bedroom were suddenly changed to look (67) the inside of a restaurant. And you wouldn’t feel (68) in a business office that has the appearance of a school. It soon becomes clear that the interior designer’s most important (69) is the function of the particular (70) . For example, a theater with poor sight lines, poor sound-shaping qualities, and (71) few entries and exits will not work for (72) purpose, no matter how beautifully it might be (73) . Nevertheless, it is not easy to make suitable (74) for different kinds of space, lighting and decoration of everything from ceiling to floor. (75) addition, the designer must usually select furniture or design built-in furniture according to the functions that need to be served.
查看答案
搜索结果不匹配？点我反馈
更多问题
据“国内个人捐款抽样问卷调查”表明：受过良好教育的人构成了个人捐款者群体的主体。其中大专占30.1%，本科以上占31.1%。每一万个大专以上学历的人中，有64.6人为希望工程捐过款，而每一万个小学以下学历的人，捐款不到0.05人。在接受调查的3158名捐赠者中，公、企事业单位干部占 40.2%，工人职员占21.1%。另一项调查显示：人均月收入介于300元和1200元之间的低中等收入的占全部捐款者的61.5%。 在接受调查者中，公务员、企事业干部比工人职工多多少人（）
Imagine a world in which there was suddenly no emotion—a world in which human beings could feel no love or happiness, no terror or hate. Try to imagine the consequences of such a transformation. People might not be able to stay alive: knowing neither joy nor pleasure, anxiety nor fear, they would be as likely to repeat acts that hurt them as acts that were beneficial. They could not learn: they could not benefit from experience because this emotional world would lack rewards and punishments. Society would soon disappear: people would be as likely to harm one another as to provide help and support. Human relationships would not exist: in a world without friends or enemies, there could be no marriage, affection among companions, or bonds among members of groups. Society’s economic underpinnings (支柱) would be destroyed: since earning $10 million would be no more pleasant than earning $10, there would be no incentive to work. In fact, there would be no incentives of any kind. For as we will see, incentives imply a capacity to enjoy them. In such a world, the chances that the human species would survive are next to zero, because emotions are the basic instrument of our survival and adaptation. Emotions structure the world for us in implant (嵌入、插入 ) ways. As individuals, we categorize objects on the basis of our emotions. True, we consider the length, shape, size, or texture, but an object’s physical aspects are less important than what it has done or can do to us—hurt us, surprise us, anger us or make us joyful. We also use categorizations colored by emotions in our families, communities, and overall society. Out of our emotional experiences with objects and events comes a social feeling of agreement that certain things and actions are "good" and others are "bad", and we apply these categories to every aspect of our social life—from what foods we eat and what clothes we wear to how we keep promises and which people our group will accept. In fact, society exploits our emotional reactions and attitudes, such as loyalty, morality, pride, shame, guilt, fear and greed, in order to maintain itself. It gives high rewards to individuals who perform important tasks such as surgery, makes heroes out of individuals for unusual or dangerous achievements such as flying fighter planes in a war, and uses the legal and penal (刑法的) system to make people afraid to engage in antisocial acts. The passage mainly discusses emotion in terms of______.
甲、乙、丙3人每人说了3句话。甲说：“我今年9岁，比乙小1岁，比丙大1岁”。乙说：“我不是年龄最小的，丙和我相差2岁，丙今年12岁”。丙说：“我比甲年龄小，甲10岁，乙比甲大3岁”。现在知道，他们每人说的3句话中，都有一句是错的。由此判断他们3人的年龄是( )
Many things make people think artists are weird—the odd hours, the nonconformity, the clove cigarettes. However, the weirdest may be this: artists’ only jobs are to explore emotions, and yet they choose to focus on the ones that feel lousy. This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th(上标) century, more artists began seeing happiness as insipid, phony or, worst of all, boring. In the 20th(上标) century, classical music became more atonal, visual art more unsettling. Sure, there have been exceptions, but it would not be a stretch to say that for the past century or so, serious art has been at war with happiness. In 1824, Beethoven completed his "Ode to Joy". In 1962, novelist Anthoy Burgess used it in A Clockwork Orange as the favorite music of his ultra-violent antihero. You could argue that art became more skeptical of happiness because modern times have seen such misery. But the reason may actually be just the opposite: there is too much damn happiness in the world today. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. Today the messages that the average Westerner is bombarded with are not religious but commercial, and relentlessly happy. Since these messages have an agenda—to prey our wallets from our pockets—they make the very idea of happiness seem bogus(假的). "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attack. What we forget—what our economy depends on us forgetting—is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us that it is OK not to be happy, that sadness makes happiness deeper. As the wine-connoisseur movie Sideways tells us, it is the kiss of decay and mortality that makes grape juice into Pinot Norway need art to tell us, as religion once did, that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It’s a message even more bitter than a clove cigarette, yet, somehow, is a breath of fresh air. How could the economy depend on our forgetting things
微信支付 
支付宝支付