选择离子导入药物的原则，以下何者错误()A．必须选择用量较小即能生效的药物 B．药物

孔子，名____________，字____________，春秋末年____________国人。他是伟大的思想家，____________学派的创始人。

患者月经过多，色紫暗，有血块；经行腹痛，平时小腹胀痛；舌紫暗有瘀点，脉涩。其治法是（）

A.理气行滞调经

B.活血化瘀止血

C.疏肝理气调经

D.理气活血化瘀

E.疏肝活血止血

《银行业协会工作指引》中，（）是银行业协会的日常办事机构。

A、专业委员会

B、工作委员会

C、秘书处

D、常务理事会

At the tail end of the 19th century, Friedrich Nietzsche suggested that natural history— which he saw as a war against fear and superstition-ought to be narrated "in such a way that everyone who hears it is irresistibly inspired to strive after spiritual and bodily health and vigour," and he grumbled that artists had yet to discover the right language to do this. "None the less," Nietzsche admitted, "the English have taken admirable steps in the direction of that ideal... the reason is that they [natural history books] are written by their most distinguished scholars—whole, complete and fulfilling natures. "
The English language tradition of nature writing and narrating natural history is gloriously rich, and although it may not make any bold claims to improving health and wellbeing, it does a good job—for readers and the subjects of the writing. Where the insights of field naturalists meet the legacy of poets such as Clare, Wordsworth, Hughes and Heaney, there emerges a language as vivid as any cultural achievement.
That this language is still alive and kicking and read every day in a newspaper is astounding. So to hold a century’s worth of country diaries is, for an interloper like me, both an inspiring and humbling experience. But is this the best way of representing nature, or is it a cultural default Will the next century of writers want to shake loose from this tradition What happens next
Over the years, nature writers and country diarists have developed an increasingly sophisticated ecological literacy of the world around them through the naming of things and an understanding of the relationships between them. They find ways of linking simple observations to bigger issues by remaining in the present, the particular. For writers of my generation, a nostalgia for lost wildlife and habitats and the business of bearing witness to a war of attrition in the countryside colours what we’re about. The anxieties of future generations may not be the same.
Articulating the "wild" as a qualitative character of nature and context for the more quantitative notion of biodiversity will, I believe, become a more dynamic cultural project. The re-wilding of lands and seas, coupled with a re-wilding of experience and language, offers fertile ground for writers. A response to the anxieties springing from climate change, and a general fear of nature answering our continued environmental injustices with violence, will need a reassessment of our feelings for the nature we like—cultural landscapes, continuity, native species-as well as the nature we don’t like—rising seas, droughts, "invasive" species.
Whether future writers take their sensibilities for a walk and, like a pack of wayward dogs unleashed, let them loose in hills and woods to sniff out some fugitive truth hiding in the undergrowth, or choose to honestly recount the this-is-where-I-am, this-is-what-I-see approach, they will be hitched to the values implicit in the language they use. They should challenge these. Perhaps they will see our natural history as a contributor to the commodification of nature and the obsessive managerialism of our times. Perhaps they will see our romanticism as a blanket thrown over the traumatised victim of the countryside. But maybe they will follow threads we found in the writings of others and find their own way to wonder.

It can be concluded that the tone of the passage is basically ______.

A．assertive and radical

B．explicit and straightforward

C．neutral and impartial

D．implicit and explorative

二十世纪八九十年代，袁隆平做了两次梦（）。

A.他梦到世界上一半的稻田种上杂交水稻，以每公斤增产两吨计算，增产的粮食就可以多养活4亿到5亿人

B.一次是梦见杂交水稻亩产1000公斤

C.一次是梦见水稻长得像高粱一样高，稻穗有扫帚那么长，籽粒像花生米那么大，他和他的助手坐在稻穗底下乘凉，他称这为“禾下乘凉梦”

D.他梦到一棵树，树上结满了花生大小的蹈粒