单项选择题：货币制度最基本的内容是规定( )。A．货币材料 B．货币单位 C．货币名称 D．价

题型：判断题

统计学的研究对象是客观事物的数量特征和数量关系。

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题型：判断题

沥青防水卷材物不允许有孔洞、硌伤。( )

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题型：单项选择题

SDH同步网定时基准传输链上，在两个转接局SSU之间的SDH设备时钟数目不宜超过（）个。

A、10

B、20

C、60

D、99

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题型：单项选择题

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.

When you read a novel, you need to have all the following qualities EXCEPT ______.

A．fine perception

B．bold imagination

C．critical attitude

D．open mind

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题型：问答题案例分析题

一幢地上6层、地下1层的砌体结构住宅，总建筑面积为3200㎡。在现浇顶层一间屋面的混凝土施工过程中出现坍塌事故，坍塌物将与之垂直对应的下面各层预应力空心板砸穿，10名施工人员与4辆手推车、模板及支架、混凝土一起落入地下室，造成2人死亡、3人重伤、经济损失26万元人民币的事故。从施工事故现场调查得知，屋面现浇混凝土模板采用300mm×1200mm×55mm和300mm×1500mm×55mm定型钢模，分三段支撑在平放的50mm×100mm方木龙骨上，龙骨下为间距800mm均匀支撑的4根直径100mm圆木立杆，这4根圆木立杆顺向支撑在作为第6层楼面的3块独立的预应力空心板上，并且这些预应力空心板的板缝混凝土浇筑仅4日，其下面也没有任何支撑措施，从而造成这些预应力空心板超载。施工单位未对模板支撑系统进行过计算也无施工方案，监理方也未提出异议，便允许施工单位进行施工。出事故时监理人员未在场。

监理单位在这起事故中是否应该承担责任？为什么？

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货币制度最基本的内容是规定( )。A．货币材料 B．货币单位 C．货币名称 D．价

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