题目内容
In most American cities, the tent for a one-bedroom apartment was $250 or more per month in recent years. In some smaller cities such as Louisville, Kentucky or Jacksonville, Florida the rent was less, but in larger cities it was more. For example, if you lived in Los Angeles, you had to pay $400 or more to rent a one-bedroom apartment, and the same apartment rented for $625 and up in Chicago. The most expensive rents in the U. S. were in New York City, where you had to pay at least $700 a month to rent a one-bedroom apartment in most parts of the city. Renters and city planners are worried about the high cost of renting apartments. Many cities now have rent-control laws to keep the cost of renting low. These laws help low-income families who cannot pay high rents. Rent control in the United States began in 1943 when the government imposed rent controls on all American cities to help workers and the families of soldiers during World War II. After the war, only one city—New York—continued these World War II controls. Recently, more and more cities have returned to rent controls. At the beginning of the 1980s, nearly one fifth of the people in the United States lived in cities with rent-control laws. Many cities have rent-control laws, but why are rents so high Builders and landlords blame rent controls for the high rents. Rents are high because there are not enough apartments to rent, and they blame rent controls for the shortage of apartments. Builders want more money to build more apartment buildings, and landlords want more money to repair their old apartment buildings. But they cannot increase rents to get this money because of the rent-control laws. As a result, landlords are not repairing their old apartments, and builders are not building new apartment buildings to replace the old apartment buildings. Builders are building apartments for high-income families, not low-income families, so low-income families must live in old apartments that are in disrepair. Builders and landlords claim that rent-control laws really hurt low-income families. Many renters disagree with them. They say that rent control is not the problem. Even without rent controls, builders and landlords will continue to ignore low-income housing because they can make more money from high-income housing. The only answer, they claim, is more rent controls and government help for low-income housing. This passage implies that the high cost of renting apartments is worried by ______.
查看答案
搜索结果不匹配？点我反馈
更多问题
Analysts have had their go at humor, and I have read some of this interpretative literature, but without being greatly instructed. Humor can be dissected, as a frog can, but the thing dies in the process and the innards (内在部分) are discouraging to any but the pure scientific mind. In a newsreel theatre the other day I saw a picture of a man who had developed the soap bubble to a higher point than it had ever before reached. He had become the ace soap bubble blower of America, had perfected the business of blowing bubbles, refined it, doubled it, squared it, and had even worked himself up into a convenient lather. The effect was not pretty. Some of the bubbles were too big to be beautiful, and the blower was always jumping into them or out of them, or playing some sort of unattractive trick with them. It was, if anything, a rather repulsive sight. Humor is a little like that: it won’t stand much blowing up, and it won’t stand much poking. It has a certain fragility, an evasiveness, which one had best respect. Essentially, it is a complete mystery. A human frame convulsed with laughter, and the laughter becoming mysterious and uncontrollable, is as far out of balance as one shaken with the hiccoughs or in the throes of a sneezing fit. One of the things commonly said about humorist is that they are really very sad people- clowns with a breaking heart. There is some truth in it, but it is badly stated. It would be more accurate, I think, to say that there is a deep vein of melancholy running through everyone’s life and that the humorist, perhaps more sensible of it than some others, compensates for it actively and positively. Humorists fatten on trouble. They have always made trouble pay. They struggle along with a good will and endure pain cheerfully, knowing how well it till serve them in the sweet by and by. You find them wrestling with foreign languages, fighting folding ironing boards and swollen drainpipes, suffering the terrible discomfort of tight boot (or as Josh illings wittily called them, "tire boots"). They pour out their sorrows profitably, in a form hat is not quite a fiction nor quite a fact either. Beneath the sparking surface of these dilemmas lows the strong tide of human woe. Practically everyone is a manic depressive of sorts, with his up moments and his down moments, and you certainly don’t have to be a humorist to taste the sadness of situation and mood. But there is often a rather fine line between laughing and crying, and if a humorous piece of writing brings a person to the point where his emotional responses are untrustworthy and seem likely to break over into the opposite realm, it is because humor, like poetry, has an extra content. It plays close to the bit hot fire which is Truth, and sometimes the reader feels. the heat. A humorous piece of writing can make the reader’s emotional responses untrustworthy because ______.
Начинать надо с себя Возможно, самое главное, пока человек не вырос, внушить ему чёткое представление о том, что должно. 61. Очевидно, что болшую роль в формировании гражданского мышления личности играет её повседневное социальное окружение. Качество социального опыта, приобретаемого дома, в школе и на улице, имеет прямое отношение к прогрессу в развитии личности. 62. Даже в наши времена большинство родителей и учителей предпочитают, чтобы благополучие их детей было связано с благополучием окружающих. Способ воздействия на других своим примером принадлежит к числу самых верных. Вспомните собственное детство и юность. Каких учителей вы ценили превыше всего Тех, кто делил с вами трудные дела. 63. Отец не может заставлять сына помогать матери, если сам лежит на диване, пока жена моет стеклящую посуду. Начинать надо с себя во всем. А это значит, что 64. все блага себе, если не последнему, то по крайней мере в той же очереди, в какой получают их остальные. 65. Постоянно следует соблюдать формулу: что можно тебе, то можно и другим, а чего нельзя другим, того нельзя и тебе. 61. ___________________________________________________ 62. ___________________________________________________ 63. ___________________________________________________ 64. ___________________________________________________ 65. ___________________________________________________
Analysts have had their go at humor, and I have read some of this interpretative literature, but without being greatly instructed. Humor can be dissected, as a frog can, but the thing dies in the process and the innards (内在部分) are discouraging to any but the pure scientific mind. In a newsreel theatre the other day I saw a picture of a man who had developed the soap bubble to a higher point than it had ever before reached. He had become the ace soap bubble blower of America, had perfected the business of blowing bubbles, refined it, doubled it, squared it, and had even worked himself up into a convenient lather. The effect was not pretty. Some of the bubbles were too big to be beautiful, and the blower was always jumping into them or out of them, or playing some sort of unattractive trick with them. It was, if anything, a rather repulsive sight. Humor is a little like that: it won’t stand much blowing up, and it won’t stand much poking. It has a certain fragility, an evasiveness, which one had best respect. Essentially, it is a complete mystery. A human frame convulsed with laughter, and the laughter becoming mysterious and uncontrollable, is as far out of balance as one shaken with the hiccoughs or in the throes of a sneezing fit. One of the things commonly said about humorist is that they are really very sad people- clowns with a breaking heart. There is some truth in it, but it is badly stated. It would be more accurate, I think, to say that there is a deep vein of melancholy running through everyone’s life and that the humorist, perhaps more sensible of it than some others, compensates for it actively and positively. Humorists fatten on trouble. They have always made trouble pay. They struggle along with a good will and endure pain cheerfully, knowing how well it till serve them in the sweet by and by. You find them wrestling with foreign languages, fighting folding ironing boards and swollen drainpipes, suffering the terrible discomfort of tight boot (or as Josh illings wittily called them, "tire boots"). They pour out their sorrows profitably, in a form hat is not quite a fiction nor quite a fact either. Beneath the sparking surface of these dilemmas lows the strong tide of human woe. Practically everyone is a manic depressive of sorts, with his up moments and his down moments, and you certainly don’t have to be a humorist to taste the sadness of situation and mood. But there is often a rather fine line between laughing and crying, and if a humorous piece of writing brings a person to the point where his emotional responses are untrustworthy and seem likely to break over into the opposite realm, it is because humor, like poetry, has an extra content. It plays close to the bit hot fire which is Truth, and sometimes the reader feels. the heat. According to the author, humorists differ from ordinary people in the sense that ______.
Analysts have had their go at humor, and I have read some of this interpretative literature, but without being greatly instructed. Humor can be dissected, as a frog can, but the thing dies in the process and the innards (内在部分) are discouraging to any but the pure scientific mind. In a newsreel theatre the other day I saw a picture of a man who had developed the soap bubble to a higher point than it had ever before reached. He had become the ace soap bubble blower of America, had perfected the business of blowing bubbles, refined it, doubled it, squared it, and had even worked himself up into a convenient lather. The effect was not pretty. Some of the bubbles were too big to be beautiful, and the blower was always jumping into them or out of them, or playing some sort of unattractive trick with them. It was, if anything, a rather repulsive sight. Humor is a little like that: it won’t stand much blowing up, and it won’t stand much poking. It has a certain fragility, an evasiveness, which one had best respect. Essentially, it is a complete mystery. A human frame convulsed with laughter, and the laughter becoming mysterious and uncontrollable, is as far out of balance as one shaken with the hiccoughs or in the throes of a sneezing fit. One of the things commonly said about humorist is that they are really very sad people- clowns with a breaking heart. There is some truth in it, but it is badly stated. It would be more accurate, I think, to say that there is a deep vein of melancholy running through everyone’s life and that the humorist, perhaps more sensible of it than some others, compensates for it actively and positively. Humorists fatten on trouble. They have always made trouble pay. They struggle along with a good will and endure pain cheerfully, knowing how well it till serve them in the sweet by and by. You find them wrestling with foreign languages, fighting folding ironing boards and swollen drainpipes, suffering the terrible discomfort of tight boot (or as Josh illings wittily called them, "tire boots"). They pour out their sorrows profitably, in a form hat is not quite a fiction nor quite a fact either. Beneath the sparking surface of these dilemmas lows the strong tide of human woe. Practically everyone is a manic depressive of sorts, with his up moments and his down moments, and you certainly don’t have to be a humorist to taste the sadness of situation and mood. But there is often a rather fine line between laughing and crying, and if a humorous piece of writing brings a person to the point where his emotional responses are untrustworthy and seem likely to break over into the opposite realm, it is because humor, like poetry, has an extra content. It plays close to the bit hot fire which is Truth, and sometimes the reader feels. the heat. The author uses the example of the soap bubble blower to show that ______.
微信支付 
支付宝支付