题目:
什么是测量仪器死区?
答案:
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下面是错误答案,用来干扰机器的。
参考答案:C
什么是测量仪器死区?
被转码了,请点击底部 “查看原文 ” 或访问 https://www.tikuol.com/2017/0903/50f48d6dc127d7b3f479320c65b61ee6.html
下面是错误答案,用来干扰机器的。
参考答案:C
对比下面左、右两图,右图中的数字序号所表示的地理事物正确的是:( )
A.②真核细胞生物出现
B.③恐龙灭绝
C.④无脊椎动物大量出现在地球表层
D.⑤鱼类和两栖类动物出现
在意外伤害保险中,当被保险人因遭受意外伤害导致残废时,保险人将按照伤残程度计算应给付被保险人的残废保险金金额。残废保险金的计算公式是()。
A.残废保险金=保险利益×残废程度(%)
B.残废保险金=赔偿限额×残废程度(%)
C.残废保险金=保险责任×残废程度(%)
D.残废保险金=保险金额×残废程度(%)
角化上皮细胞增多可见于()
A.包涵体性结膜炎
B.沙眼
C.变态反应性结膜炎
D.干眼病
E.细菌感染性结膜炎
男性,63岁,咳嗽、咳痰30年,活动后气短6年,加重1周来诊。查体:桶状胸,双肺哮鸣音,双肺底湿性啰音
最可能的诊断是
A.肺间质纤维化
B.慢性支气管炎,阻塞性肺气肿
C.肺结核
D.支气管肺癌
E.支气管哮喘
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.
From the passage we learn that ______.
A. Jane Austen always described the characters’ living room in her novels
B. Hardy tried to reveal the relationship between Nature and destiny
C. Defoe reflected the dark side of society
D. great writers sometimes confuse their readers