我国要提高科技水平，就必须大力发展教育，因为[ ]
①发展教育是一切工作的中心
②教育是发展科技和培养人才的基础
③教育是提高现实生产力和国际竞争力的重要力量
④只有把教育搞上去，才能从根本上提高中 * * 的整体素质
A．①②③
B．①③④
C．②③④
D．①②④
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下面是错误答案，用来干扰机器的。
参考答案：[分析与证明] 因f＇(x)在[0，1]连续，所以f＇(x)在[0，1]有界，即存在M＞0，使|f＇(x)|≤M(x∈[0，1]j于是， [*] (其中c∈[*])，因[*]收敛，由正项级数的比较判别法，[*]收敛，从而[*]收敛．
They often stay up, reviewing their lessons, books all over the desk.
A．spreading
B．spread
C．are spreading
D．to spread
走向手指末端的经脉是()
A．手太阴经
B．手少阳经
C．手厥阴经
D．手少阴经
E．手太阳经
据统计，2012年第一季度，上海市签订外商直接投资合同共688项，比去年同期下降10.5%；签订外商直接投资合同金额52.75亿美元，增长11.9%；实际到位金额33.26亿美元，增长29.2%。另 外，一季度，与上海市签订外商直接投资合同的国家（地区）共57个。其中，与中国香港签订合同金额达24.2亿美元，比去年同期增长11.4%，占全市合 同金额的45.9%，居签约国家（地区）的首位；美国合同金额7.3亿美元，下降45.3%，居第二位；日本合同金额4.77亿美元，增长39.5%，居 第三位。其他合同金额超亿美元的国家（地区）还有毛里求斯、新加坡、英属维尔京群岛和荷兰，其合同金额分别为3.24亿美元、2.91亿美元、2.22亿 美元和1.14亿美元。作为聚集、整合和辐射优质生产要素的平台和载体，上海总部经济集聚区建设稳步发展。截至3月末，本市跨国公司地区总部达到370家，其中一季度新增17家；外资投资性公司达到248家，新增8家；外资研发中心达到341家，新增7家。
2012年第一季度，与上海市签订外商直接投资合同的金额比重达5.5%以上的国家（地区）个数为（ ）。
A．4个
B．5个
C．6个
D．7个
以下不属于对象的基本特点的是( )。
A．分类性
B．多态性
C．继承性
D．封装性
| It is simple enough to say that since books have classes -- fiction, biography, poetry -- we should separate them and take from each what it is right and what should give us. Yet few people ask from books what can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices. If we could banish all such preconception when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellow-worker and accomplice. If you hang back, and reserve and criticize at first, you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible, then signs and hints of almost imperceptible fineness, from the twist and turn of the first sentences, will bring you into the presence of a human being unlike any other. Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite. The 32 chapters of a novel -- if we consider how to read a novel first -- are an attempt to make something as formed and controlled as a building: but words are more impalpable than bricks; reading is a longer and more complicated process than seeing. Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write; to make your own experiment with the dangers and difficulties of words. Recall, then, some event that has left a distinct impression on you -- how at the comer of the street, perhaps, you passed two people talking. A tree shock; an electric light danced; the tone of the talk was comic, but also tragic; a whole vision, an entire conception, seemed contained in that moment. But when you attempt to reconstruct it in words, you will find that it breaks into a thousand conflicting impressions. Some must be subdued; others emphasized; in the process you will lose, probably, all grasp upon the emotion itself. Then turn from your blurred and littered pages to the opening pages of some great novelist -- Defoe, Jane Austen, Hardy. Now you will be better able to appreciate their mastery. It is not merely that we are in the presence of a different person -- Defoe, Jane Austen, or Thomas Hardy -- but that we are living in a different world. Here, in Robinson Crusoe, we are trudging a plain high road; one thing happens after another; the fact and the order of the fact is enough. But if the open air and adventure mean everything to Defoe, they mean nothing to Jane Austen. Here is the drawing-room, and people talking, and by the many mirrors of their talk revealing their characters. And if, when we have accustomed ourselves to the drawing-room and its reflections, we turn to Hardy, we are once more spun around. The moors are round us and the stars are above our heads. The other side of the mind is now exposed -- the dark side that comes uppermost in solitude, not the light side that shows in company. Our relations are not towards people, but towards Nature and destiny. Yet different as these worlds are, each is consistent with itself. The maker of each is careful to observe the laws of his own perspective, and however great a strain they may put upon, they will never confuse us, as lesser writers so frequently do, by introducing two different kinds of reality into the same book. Thus to go from one great novelist to another -- from Jane Austen to Hardy, from Peacock to Trollope, from Scott to Meredith -- is to be wrenched and uprooted; to be thrown this way and then that. To read a novel is a difficult and complex art. You must be capable not only of great fineness of perception, but of great boldness of imagination if you are going to make use of all that the novelist -- the great artist -- gives you. |
According to the passage, the process of writing is ______.
A．dangerous
B．interesting
C．difficult
D．tragic
