A______B______C______ 1______2______3___

Passage Three

"A writer’s job is to tell the truth," said Hemingway in 1942. No other writer of our time had so fiercely asserted, so pugnaciously defended or so consistently exemplified the writer’s obligation to speak truly. His standard of truth—telling remained, moreover, so high and so rigorous that he was ordinarily unwilling to admit secondary evidence, whether literary evidence or evidence picked up from other sources than his own experience. "I only know what I have seen," was a statement which came often to his lips and pen. What he had personally done, or what he knew unforgettably by having gone through one version of it, was what he was interested in telling about. This is not to say that he refused to invent freely. But he always made it a sacrosanct point to invent in terms of what he actually knew from having been there.

The primary intent of his writing, from first to last, was to seize and project for the reader what he often called "the way it was." This is a characteristically simple phrase for a concept of extraordinary complexity, and Hemingway’s conception of its meaning subtly changed several times in the course of his career—always in the direction of greater complexity. At the core of the concept, however, one can invariably discern the operation of three aesthetic instruments ; the sense of place the sense of fact and the sense of scene.

The first of these, obviously a p passion with Hemingway, is the sense of place. "Unless you have geography, background," he once told George Anteil, "You have nothing. " You have, that is to say, a dramatic vacuum. Few writers have been more place-conscious. Few have so carefully charted out the geographical ground work of their novels while managing to keep background so conspicuously unobtrusive. Few, accordingly, have been able to record more economically and graphically the way it is when you walk through the streets of Paris in search of breakfast at corner caf or when, at around six O’s clock of a Spanish dawn, you watch the bulls running from the corrals at the Puerta Rochapea through the streets of Pamplona towards the bullring.

"When I woke it was the sound of the rocket exploding that announced the release of the bulls from the corrals at the edge of town. Down below the narrow street was empty. All the balconies were crowded with people. Suddenly a crowd came down the street. They were all running, packed close together. They passed along and up the street toward the bullring and behind them came more men running faster, and then some stragglers who were really running. Behind them was a little bare space, and then the bulls, galloping, tossing their heads up and down. It all went out of sight around the corner. One man fell, rolled to the gutter, and lay quiet. But the bulls went right on and did not notice him. They were all running together. "

This landscape is as morning-fresh as a design in India ink on clean white paper. First is the bare white street, seen from above, quiet and empty. Then one sees the first packed clot of runners. Behind these are the thinner ranks of those who move faster because they are closer to bulls. Then the almost comic stragglers, who are "really running. " brilliantly behind these shines the "little bare space," a desperate margin for error. Then the clot of running bulls—closing the design, except of course for the man in the gutter making himself, like the designer’s initials, as inconspicuous as possible.

From the author’s comments and the example of the bulls ( paragraph 4), what was the most likely reason for which Hemingway took care to include details of place ？（）

A．He felt that geography in some way illuminated other, more important events.

B．He thought readers generally did not have enough imagination to visualize the scenes for themselves.

C．He thought that landscapes were more important than characters to convey "the way it was.

D．He felt that without background information the readers would be unable to follow the story.

在平面几何中，有真命题“正三角形内任意一点到三边距离之和是一个定值”，那么在空间几何中类比的真命题是______．

Текст（8）　　(71. Первый взгляд) может показания, что чем ближе к Солнцу, тем должно быть теплее. Однако (72. все) известно, это не так. (73. Высокие горы) снег не тает и летом. Лётчики, (74. отправляться ) в высотные полёты, надевают меховые комбинсзоны(Ш^Й) и теплую обувь. В чём же здесь дело 　　Дело опять-таки я атмосфере, (75. который) обладает ещё одним выгодным (76. Земли) свойством. Она пропускает (77. Земля) свет и тепло солнечных лучей почти беспрепятственно. Но когда Земля нагревается, она, как всякое (78. нагреть) тело, сама становится источником излучения. Излучение это, одна ко, совсем иное, чем солнечное. Оно состоит (79. тепловые длинноволновые лучи). И вот этих-то тепловых лучей наша атмосфера почти совсем не пропускает. Их особенно сильно поглощают водяной пар и углекислота, а также уже знакомый (80. мы) слой озона. Поэтому тепло почти не уходит обратно от земной поверхности, и она, как печка, нагревает ближайшие слои воздуха. Вот отчего чем ближе к Земле, тем теплее.

贫血病人的护理评估，其伴随身心状况下列哪项除外：（）

A.消化系统症状

B.低热

C.呼吸困难

D.注意力不集中

E.单位时间内心排出量减少

属于数码摄像机的保养，需要注意的方面不包括（）。

A.数码摄像机不拍摄的时候盖好镜头防护罩

B.镜头上有灰，用眼镜或擦相机镜头的专用软布来擦

C.拆开数码相机，专用软布擦拭；放入摄影背包中存放

D.清洁完毕，放入防潮箱内存放