冬季出生一男婴，足月顺产，现已4个月，体重5.8kg，只中乳喂养，未添加辅食，近日来

关于显微镜的说法中正确的是（　　）

A．若把物体向物镜移近适当距离，此时不需要调节显微镜便可以继续进行观察

B．通过目镜看到的像同物体相比倒正情况相同

C．物镜和目镜对物体放大的倍数一定相同

D．物镜、目镜对物体都进行了放大

患者，男，30岁，自幼出现发作性呼吸困难，有时咳嗽，三天来喘息发作不止，伴咳嗽，咳小量黏液痰，查体：端坐呼吸，大汗，口唇发绀，两肺呼吸音弱，广泛哮鸣音，诊断最可能的是（）。

A.支气管哮喘

B.慢性支气管炎

C.急性左心衰

D.肺部感染

E.自发性气胸

分包商应立即执行的变更指令包括（）。

A.工程师直接送达的书面指令

B.承包商代表直接送达的书面指令

C.承包商直接送达的书面指令

D.经工程师代表确认承包商代表发出的书面指令

E.经承包商代表确认工程师代表发出的书面指令

女性，50岁。十年前因左肾透明细胞癌行根治性肾切除术。最近因 * * 流血，诊断为宫颈癌而入院。入院后各项指标检查无手术禁忌证，择期行子宫全切+盆腔淋巴结清扫术。术后第二天出现右侧腰部胀痛，24小时无尿。

提示：血钾5.8mmol／L，Scr300／L，BUNl5mmol／L。急诊重点检查哪些项目（）

A.血糖

B.血脂

C.肝功能

D.血气分析

E.血电解质+肾功能

The history of responses to the work of the artist Sandro Botticelli (1444 ～ 1510) suggests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticelli’s work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamed Botticelli in favor of his fellows Florentine, Michelangelo. Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors, Botticelli’s work remained outside of accepted taste, pleasing neither amateur observers nor connoisseurs. (Many of his best paintings, however, remained hidden away in obscure churches and private homes. )

The primary reason for Botticelli’s unpopularity is not difficult to understand: most observers, up until the midnineteenth century, did not consider him to be noteworthy, because his work, for the most part, did not seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art. For example, Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro.

Another reason for Botticelli’s unpopularity may have been that his attitude toward the style of classical art was very different from that of his contemporaries. Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style that was only slightly similar to that of classical art.

In any case, when viewers began to examine more closely the relationship of Botticelli’s work to the tradition of fifteenth-century Florentine art, his ’reputation began to grow. Analyses and assessments of Botticelli made between 1850 and 1870 by the artists of the Pre Raphaelite movement, as well as by the writer Pater (although he, unfortunately, based his assessment on an incorrect analysis of Botticelli’s personality), inspired a new appreciation of Botticelli throughout the English-speaking world. Yet Botticelli’s work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines features such as skillful representation of anatomical proportions, and of the human figure in motion. However, Home argued that Botticelli did not treat these qualities as ends in themselves--rather, that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualities less central. Because of Home’s emphasis crucial to any study of art, the twentieth century has come to appreciate Bottieelli’s achievements.

The word "connoisseurs" (Paragraph 1) most probably means（）

A. representatives in the Pre-Raphaelite Movement

B. people who are in favor of Florentine

C. critics who are likely to make assessments

D. conservatives clinging to classical art