动态输入主要有三部分组成，下列选项中错误的是（）。 A.指针输入 B.标注输入 C.

There is _____________ old man at home. [ ]

A. a

B. an

C. the

（12分）如图，在光滑水平面上并排放置的木块A、B，已知，。A木块长为。现有质量的小物块C以初速度在A表面沿水平方向向右滑动，由于C与A、B均有摩擦，且动摩擦因素为。C最终停在B上，B、C最后的共同速度。求：

（1）A木块的最终速度的大小。

（2）C木块滑离A木块时的速度大小。

（3）试求B木块的长度至少多长。

兽药广告的有关管理规定包括（）。

A.按照《国家工商行政管理局、农业部令第29号》文件执行

B.提供农牧行政管理机构审查批准的《兽药广告证明》文件

C.广告内容中须标明广告批准文号

D.提供农业行政主管部门审查批准的《兽药广告证明》文件

简述模具中工艺定位的适用范围。

Many will know that the word "muscle" comes from the Latin for "mouse" (rippling under the skin, so to speak ). But what about "chagrin", derived from the Turkish for roughened leather, or scaly sharkskin. Or "lens" which comes from the Latin "lentil" or "window" meaning "eye of wind" in old Norse Looked at closely, the language comes apart in images, like those strange paintings by Giuseppe Arcimboldo where heads are made of fruit and vegetables.

Not that Henry Hitchings’s book is about verbal surrealism. That is an extra pleasure in a book which is really about the way the English language has roamed the world helping itself liberally to words, absorbing them, forgetting where they came from, and moving on with an ever-growing load of exotics, crossbreeds and subtly shaded near-synonyms. It is also about migrations within the language’s own borders, about upward and downward mobility, about words losing their roots, turning up in new surroundings, or lying in wait, like "duvet" which was mentioned by Samuel Johnson, for their moment.

All this is another way of writing history. The Arab etymologies of " saffron ", "crimson" and "sugar" speak of England’s medieval trade with the Arab world. We have "cheque" and "tariff" from this source too, plus "arithmetic" and "algorithm"-just as we have "etch" and "sketch" from the Dutch, musical terms from the Italians and philosophical ones from the Germans. French nuance and finesse are everywhere. At every stage, the book is about people and ideas on the move, about invasion, refugees, immigrants, traders, colonists and explorers.

This is a huge subject and one that is almost bound to provoke question-marks and explosions in the margins-soon forgotten in the book’s sheer sweep and scale. A balance between straight history and word history is sometimes difficult to strike, though. There is a feeling, occasionally, of being bundled too fast through complex linguistic developments and usages, or of being given interesting slices of history for the sake, after all, of not much more than a "gong" or a "moccasin". But it is churlish to carp. The author’s zest and grasp are wonderful. He makes you want to check out everything-" carp" and "zest" included. Whatever is hybrid, fluid and unpoliced about English delights him.

English has never had its Acad mie Francaise, but over the centuries it has not lacked furious defenders against foreign "corruption". There have been rearguard actions to preserve its "manly" pre-Norman origins, even to reconstruct it along Anglo-Saxon lines: "wheel- saddle" for bicycle, "painlore" for pathology. But the omnivorous beast is rampant still. More people speak it as their second language than as their first. Forget the language of Shakespeare. It’s "Globish" now, the language of aspiration. No one owns it, a cause for despair to some. Mr. Hitchings admits to wincing occasionally, but almost on principle he is more cheerful than not.

Why does the author quote the paintings by Giuseppe Arcimboldo ？（）

A.Language is like vegetables and fruits.

B.Language is composed of various colourful elements.

C.Language can be seen as various pictures.

D.Most words in languages have their origins in vegetables or fruits.