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经济特区某生产性外商投资企业，为增值税一般纳税人，1999年8月开业，经营期15年。1999年～2005年企业的应纳税所得额情况如下： (单位：万元) 年度 1999 2000 2001 2002 2003 2004 2005 应纳税所得额 50 320 150 400 430 520 480 2003年企业购置国产设备，取得的增值税专用发票上注明价款60万元，增值税税额10.2万元，支付运输费和安装费5.8万元。2005年初外国投资者将2004年从企业分得的税后利润120万元再投资于本企业，增加注册资本。2006年企业有关生产、经营资料如下：(1)取得产品销售收入2300万元、股票发行溢价收入150万元、购买国库券利息收入50万元、从境内投资公司分回税后利润180万元(被投资方适用企业所得税税率15%，地方所得税免征)、为境外客户提供咨询服务的咨询费收入120万元。(2)发生产品销售成本1100万元，发生销售费用380万元，发生产品销售税金及附加50万元。(3)发生财务费用220万元，其中：1月1日以集资方式筹集生产性资金300万元，期限10年，支付利息费用30万元(同期银行贷款年利率6%)，支付外方投入资本的境外借款利息90万元。(4)发生管理费用260万元，其中含交际应酬费130万元、总机构特许权使用费50万元、关联企业管理费10万元。(5)全年计入成本费用的实发工资总额300万元、职工福利费48万元。(6)“营业外支出”账户记载金额44万元。其中：合同违约金4万元；通过民政局对灾区捐赠自产产品一批，账面成本40万元(当期同类货物不含税销售价格为56万元)。(其他相关资料：①经税务机关认可企业选择从2000年起计算减免企业所得税的期限；②不考虑地方所得税；③购买的国产设备符合国家相关退免税政策。)要求：根据上述资料，按下列序号回答问题，每问需计算出合计数。 计算2006年企业所得税前准予扣除的营业外支出。
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Over the years, as the musical "Rent" has reached milestone after milestone—playing around the world in more than 200 productions from Boise to Little Rock to Reykjavik—the thousands of people who have been affected by this vibrant, gritty and compassionate work may well wonder what its creator, Jonathan Larson, would have thought of it all. Another milestone came on Monday night. The original Broadway production of "Rent" opened at the Nederlander Theater l0 years ago this Saturday. That production, directed by Michael Greif, was an almost-intact transfer of the initial production at the New York Theater Workshop, which had opened three months earlier. To celebrate the anniversary the original cast members reassembled, rehearsed for two days and performed the show in a semi-staged version at the Nederlander on Monday. The event was a benefit for the New York Theater Workshop, for Friends in Deed (a support organization that gave comfort to several of Mr. Larson"s friends dealing with H.I.V. infections), and for the Jonathan Larson Performing Arts Foundation, which was set up by his family after the enormous success of "Rent". Before the performance, the co-chairmen of the benefit told the star-studded audience that more than $2 million" had been raised. Also addressing the crowd were Senator Charles E. Schumer and Mayor Michael R. Bloomberg, who praised "Rent" as a timeless work exemplifying "culture, community and creativity", in the mayor"s words, and saluted the show"s vast contributions to New York"s theatrical life. Once again you could only think, "Would Jonathan ever have imagined all this" Mr. Larson, who wrote the music, lyrics and books for his stage works, struggled for more than 10 years to get a producer to take a shot at one of his shows. Now he was being posthumously thanked for giving Broadway a creative and economic boost. "Rent" is the seventh longest running show in Broadway history. I count myself among those who were personally affected by Mr. Larson"s work. Because of the inadvertent role I played in the last hours of his life. In 1996 an editor at The Times tipped me off to the opening of a rock musical, inspired by. "La Boehme", which transplanted Puccini"s struggling bohemians from Paris in the 1830"s to the "East Village in 1990"s. So on Jan. 24 I went to the New York Theater Workshop m see the dress rehearsal of "Rent", which was scheduled to open in February. That performance was pretty ragged, with technical glitches and a misbehaving sound system. But I was swept away by the sophistication and exuberance of Mr. Larson"s music and the mix of tenderness and cleverness in his lyrics. After the show Mr. Larson and I sat down for an interview in the tiny ticket booth of the theater, the only quiet space we could find amid the post-rehearsal confusion. For almost an hour, this sad-eyed and boyish, creator talked about his approach to songwriting, his determination to bring the American musical tradition to the MTV generation, and about friends snuggling with H.I.V. infection who had inspired the show. Another milestone in the first paragraph refers to______.
"I was a lover, before this war". Those are the fast words sung on TV on the Radio"s "Return to Cookie Mountain", one of the most widely praised albums of 2006. Whatever the line means within the band"s cryptic lyrics, it could also apply to the past year"s popular music. Thoughts of romance, vice and comfort still dominated the charts and the airwaves. But amid the entertainment, songwriters—including some aiming for the Top 10—were also grappling with a war that wouldn"t go away. Pop"s political consciousness rises in every election year, and much as it became clear in November that voters are tired of war, music in 2006 also reflected battle fatigue. Beyond typical wartime attitudes of belligerence, protest and yearning for peace, in 2006 pop moved toward something different: a mood somewhere between resignation and a siege mentality. Songs that touched on the war in 2006 were suffused with the mournful and resentful knowledge that—s Nell Young titled the album he made and rush-released in the spring—we are "Living With War", and will be for some time. Awareness of the war throbs like a chronic headache behind more pleasant distractions. The cultural response to war in Iraq and the war on terrorism—one protracted, the other possibly endless—doesn"t have an exact historical parallel. Unlike World War Ⅱ, the current situation has brought little national unity; unlike the Vietnam era, ours has no appreciable domestic support for America"s opponents. Iraq may be mining into a quagmire and civil war like Vietnam, but the current war has not inspired talk of generation wide rebellion (,perhaps because there"s no draft m pit young against old) or any colorful, psychedelically defiant counterculture. The war songs of the 21st century have been sober and earnest, pragmatic rather than fanciful. Immediate responses to 9/11 and to the invasion of Iraq arrived along familiar lines. There was anger and saber-rattling at first, particularly in country music: the Dixie Chicks" career was upended in 2003 when Natalie Maines disparaged the president on the eve of the Iraq invasion. There were folky protest songs about weapons and oil profiteering, like "The Price of Oil" by Billy Bragg; in a 21st-century touch, there were denunciations of news media complicity from songwriters as varied as Merle Haggard, Nellie McKay and the punk-rock band Anti-Flag. Rappers, who were already slinging war metaphors for everything from rhyme battles to tales of drag-dealing crime soldiers, soon exploited the multitude of rhymes for Iraq. While some, like Eminem and OutKast, also bluntly attacked the president and the war. In 2006 songwriters who usually stick to love songs found themselves paying attention to the war as well. "A new year, a new enemy/another soldier gone to war", John Legend sings in "Coming Home", the song that ends his 2006 album, "Once Again". It"s a soldier"s letter home, wondering if his girlfriend still cares. "It seems the wars will never end, but we"ll make it home again", Mr. Legend croons, more wishful than confident. According to the first paragraph, the most popular songs of 2006 are about EXCEPT______.
At the end of last year, a town called Friendship Heights, in Maryland"s Montgomery County, approved America"s (and thus the world"s) strictest tobacco policy. Town officers courageously banned smoking on all public property, including streets, pavements and public squares. "It"s a public health issue", said the mayor, Alfred Muller, who is also a doctor. "We don"t have the right to outlaw tobacco, but we"re doing what we can within our rights". This newspaper has expressed disgruntlement with the element of intolerance that is increasingly manifesting itself within America"s anti-tobacco movement. It must be said, however, that brave Friendship Heights has discovered an approach that liberals can embrace. Private property is its owners" sanctuary, but the public rules in public spaces. Undeniably, the streets belong to the government; what happens in them, therefore, is the government"s business. On this worthy principle, smoking should be merely the beginning. For example, it is clear that the consumption of fatty foods contributes to heart disease, strokes and other deadly disease. Besides, eating junk makes you fat and ugly. What people do at home is their own affair, but why allows them to abuse the public streets for this gluttony America"s pavements and boardwalks are overridden with persons, many of them overweight, who amble along licking ice cream or gobbling chips. In many cities, hot dogs are spread, quite openly, on the pavement itself. All this should be stopped. Not just in Friendship Heights but in other enlightened districts, it should be illegal to eat anything but low-fat foods in public zones. Because Americans consume too little by way of fruits and vegetables, in time (it is best to move slowly, because people"s rights must be respected) streets should become strictly vegetarian. More can be done. Shrieking newspaper headlines create stress for those who may not wish to view them. People who want to buy and read papers should therefore be required to do so in private. America has long and justly sought to prevent the entanglement of religion with public life. What people do in church or at home is their business. However, praying, sermonizing or wearing religious garb in the streets surely compromises the requirement that the public will not be dragooned into supporting religion. There is the environment to consider, as well. That people exhale carbon dioxide in public places, thus contributing to global warming, is probably inevitable, and America"s politicians would be wise to permit it. But methane, too, is a greenhouse gas, and an odiferous one. Its emission in public places, where it can neither be avoided nor filtered, seems an imposition on both planetary hygiene and human comfort. Breakers of wind, surely, can be required to wait until they can answer their needs in private; and prosecuted when they fail. Fame, then, to Friendship Heights. Other towns should take note. If they intend to fulfill their responsibilities to the health and welfare of citizens, to public order, and above all to the public streets and parks whose rights the authorities are sworn to uphold, then the way ahead is clear. Alfred Muller"s words imply______.
Over the years, as the musical "Rent" has reached milestone after milestone—playing around the world in more than 200 productions from Boise to Little Rock to Reykjavik—the thousands of people who have been affected by this vibrant, gritty and compassionate work may well wonder what its creator, Jonathan Larson, would have thought of it all. Another milestone came on Monday night. The original Broadway production of "Rent" opened at the Nederlander Theater l0 years ago this Saturday. That production, directed by Michael Greif, was an almost-intact transfer of the initial production at the New York Theater Workshop, which had opened three months earlier. To celebrate the anniversary the original cast members reassembled, rehearsed for two days and performed the show in a semi-staged version at the Nederlander on Monday. The event was a benefit for the New York Theater Workshop, for Friends in Deed (a support organization that gave comfort to several of Mr. Larson"s friends dealing with H.I.V. infections), and for the Jonathan Larson Performing Arts Foundation, which was set up by his family after the enormous success of "Rent". Before the performance, the co-chairmen of the benefit told the star-studded audience that more than $2 million" had been raised. Also addressing the crowd were Senator Charles E. Schumer and Mayor Michael R. Bloomberg, who praised "Rent" as a timeless work exemplifying "culture, community and creativity", in the mayor"s words, and saluted the show"s vast contributions to New York"s theatrical life. Once again you could only think, "Would Jonathan ever have imagined all this" Mr. Larson, who wrote the music, lyrics and books for his stage works, struggled for more than 10 years to get a producer to take a shot at one of his shows. Now he was being posthumously thanked for giving Broadway a creative and economic boost. "Rent" is the seventh longest running show in Broadway history. I count myself among those who were personally affected by Mr. Larson"s work. Because of the inadvertent role I played in the last hours of his life. In 1996 an editor at The Times tipped me off to the opening of a rock musical, inspired by. "La Boehme", which transplanted Puccini"s struggling bohemians from Paris in the 1830"s to the "East Village in 1990"s. So on Jan. 24 I went to the New York Theater Workshop m see the dress rehearsal of "Rent", which was scheduled to open in February. That performance was pretty ragged, with technical glitches and a misbehaving sound system. But I was swept away by the sophistication and exuberance of Mr. Larson"s music and the mix of tenderness and cleverness in his lyrics. After the show Mr. Larson and I sat down for an interview in the tiny ticket booth of the theater, the only quiet space we could find amid the post-rehearsal confusion. For almost an hour, this sad-eyed and boyish, creator talked about his approach to songwriting, his determination to bring the American musical tradition to the MTV generation, and about friends snuggling with H.I.V. infection who had inspired the show. The fact that the original production was an almost-intact transfer of the initial production at the New York Theater Workshop implies that______.
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