影响学习迁移的因素有哪些？

乙型脑炎的预防措施有

A．注射丙种球蛋白

B．注射高效价免疫球蛋白

C．防蚊灭蚊

D．注射疫苗

E．服用磺胺类药物

桥涵大维修作业，山区遇山洪暴发、平原遇江河水位暴涨时，不得下水作业。

患者女性，37岁。于5天前行走时突发左侧腰部疼痛，并进行性加重入院。查体：体温36.9℃，心率90次／分，呼吸20次／分，血压100/70mmHg（1mmHg=0.133kPa）。全腹软，无压痛及反跳痛。左侧腰部肾区可触及包块，质地中等，有压痛，移动性浊音阴性。既往史：患者于3年前行宫颈癌根治性切除术，术后规律放化疗，随访未见复发。尿常规检查：白细胞8个／HP，红细胞2个/HP。血常规检查：血红蛋白90g/L，血细胞比容45%。

患者目前的治疗措施包括（）

A.输血

B.补液

C.监测血电解质

D.绝对卧床休息

E.手术探查，明确肾周血肿

F.应用止血药

G.留置尿管

H.血管介入栓塞止血

I.密切监测腰围变化

J.定期检测血、尿常规

K.复查腹部CT

L.应用广谱抗生素

一般资料：男，21岁，未婚，大学生。
下面是心理咨询师与求助者的会谈对话：
心理咨询师：您好，请坐。我很希望知道，我能为您提供什么帮助
求助者：我最近总是失眠，而且不想吃东西，也不想做事。我很烦恼，你能帮助我吗
心理咨询师：具体谈谈，是什么使你如此烦恼。
求助者：我很害怕与我们班的异性来往，学习中尽量避免与异性接触。不得不与异性说话时，我都感觉是个负担，感觉心慌、脸红，同时担心自己声音颤抖，引起别人的注意。
心理咨询师：那您是因为与同班的异性同学接触而烦恼
求助者：是的，希望您能帮帮我。
求助者：那您为什么与异性接触就会烦恼呢具体说说。
求助者：这个，可能跟我小时候有关吧!从小我性格就内向，在大人眼中是个乖孩子。父母对我的要求非常严格，很在意我与女孩交往。初中时，有次在路上碰到一位女同学，多聊了会，被父亲看到了，就批评我不应该与女同学交往，那是坏孩子做的，现在正是学习的时候，应努力学习。这件事令我感到很羞耻，后来主动避免和异性接触。一直到现在，见到异性就会紧张、恐惧，有异性参加的活动就尽量避免，或者不参加。
心理咨询师：哦，您这么一说，我能就明白了，您这样的情况，我也曾遇到过，所以我能理解您现在的心情。
求助者：那您能告诉我，该怎么办吗
心理咨询师：我还需要再进一步了解情况，然后我们共同讨论下一步怎么办，好吗

求助者的躯体化症状有( )。

A．不想做事

B．失眠

C．紧张

D．头痛

（46）"Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk, with poles being clear enough but the middle tending to blur. The Hollywood Western of the 1930’s, for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high art. The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music--folk themes--in works clearly intended as high art. The case of Verdi is a different one : he took a popular genre-- bourgeois melodrama set to music (an accurate definition of nineteenth-century opera)- and, without altering its fundamental nature, transmuted it into high art. (47) This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.

As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. (48) Generally in the plots of these operas, a hero or heroine--usually portrayed only as an individual, unrestrained by class--is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity of the leaders of the civilians. Verdi transforms this naive and unlike formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself.

Or consider Verdi’ s treatment of character. (49) Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional state. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’ s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi’ s characters, on the other hand, have genuine consistency and integrity, even if, in many cases, the consistency is that of pasteboard melodrama. The integrity of the character is achieved through the music: (50) once he had become established, Verdi did not rewrite his music for different singers or allow alterations or substitutions of somebody else’s arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness.

50（）