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When two of the world’s richest and mighti

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When two of the world’s richest and mightiest men pledge to destroy an enemy, it is time to pay attention. Bill Gates, the former boss of Microsoft who now devotes all his time to his charitable foundation, travelled this week to New York, the city run by Michael Bloomberg, to join his fellow billionaire’s campaign to stamp out smoking.

Have the two potentates met their match Despite decades of work by health campaigners, more than one billion people still smoke today. Smoking kills up to half of those who fail to quit puffing, reducing their lives by an average of 10 to 15 years. The World Health Organisation (WHO) says more than 5 million people a year die early from the effects (direct or indirect) of tobacco. That exceeds the combined toll of HIV/AIDS, tuberculosis and malaria.

Despite that dismal situation, there are three reasons to give the latest pair of campaigners a slim chance of success: money, methods and motivation. Messrs Gates and Bloomberg vowed to spend a combined total of $ 500 million on discouraging the weed. Since Mr. Bloomberg’s charity had already announced an award of $125 million earlier, the new money pledged this week totalled a "mere" $ 375 million: $ 250 million from the mayor, and a fresh $ 125 million from the software magnate’s philanthropic outfit.

How will this cash be spent In quite innovative ways, and that is a second reason for optimism. Hitherto, most anti-smoking funds have been channelled through a few large bureaucracies. But Mr. Bloomberg’s charity wants to let a thousand flowers bloom: in other words, to lend a hand to many initiatives, both public and private, to see what works. There will be a competitive grant scheme for poor countries where the tobacco habit is spreading.

The very fact that two giants are teaming up is a landmark in American philanthropy- comparable to Warren Buffett’s decision, two years ago, to put his fortune at the disposal of Mr. Gates’ foundation. As part of their joint commitment, Mr. Gates is giving some of his $ 125 million directly to Mr. Bloomberg’s charity; the rest will go to carefully monitored projects in India, China and other places where the number of smokers is rising relentlessly.

Then there is motivation. There are other big players in this cause, and that should induce every new entrant to try bringing something fresh to the party. Earlier this year the WHO started a campaign against tobacco known as MPower. One of its selling points was that in contrast with many other projects, it had a fairly clear idea about what was needed. WHO experts have listed a series of tactics, ranging from aggressive public education to a rise in tobacco taxes, that deliver results. (Even if high taxes lead to some smuggling and diversion, studies done in Brazil, for example, show that fiscal measures do curb consumption. ) The World Bank, which funded that research, is also thought to be ready to join the anti-smoking scrum after years of paying little attention.

A crowded field, indeed. But having an extra $ 500 million from two hard-driven billionaires surely won’t hurt.

What is the unique significance of the MPower campaign()

A. It is backed by many powerful organizations and companies

B. It has a clear idea of what measures should be taken

C. It has top specialists of WHO being the counselors

D. It adopts fiscal, administrative and medical measures

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司马迁举了一系列“发愤”的著作,有的说理,有的记事,最后把《诗三百篇》笼统都归于“怨”,也作为一个例子。钟嵘单就诗歌而论,对这个意思加以具体发挥。《诗品·序》里有一节话:“嘉会寄诗以亲,离群托诗以怨。至于楚臣去境,汉妾辞宫。或骨横朔野,魂逐飞蓬;或负戈外戍,杀气雄边;塞客衣单,孀闺泪尽;或士有解佩出朝,一去忘返;女有扬蛾入宠,再盼倾国。凡斯种种,感荡心灵,非陈诗何以展其义非长歌何以骋其情故曰:‘诗可以群,可以怨。’使穷贱易安,幽居靡闷,莫尚于诗矣!”说也奇怪,这一节差不多是钟嵘同时人江淹那两篇名文——《别赋》和《恨赋》一一的提纲。《序》结尾又举了一连串的范作,除掉失传的篇章和泛指的题材,过半数都可以说是“怨”诗。至于《上品》里对李陵的评语:“生命不谐,声颓身丧,使陵不遭辛苦,其文亦何能至此!”更明白指出了刘勰所谓“蚌病成珠”,也就是后世常说的“诗必穷而后工”。

还有一点不容忽略。同一件东西,司马迁当作死人的防腐溶液,钟嵘却认为是活人的止痛药和安神剂。司马迁《报任安书》只说“舒愤”而著书作诗,目的是避免“姓名磨灭”、“文采不表于后也”,着眼于作品在作者身后起的功用,能使他死而不朽。钟嵘说:“使穷贱易安,幽居靡闷,莫尚于诗。”强调了作品在作者生时起的功用,能使他和艰辛冷落的生涯妥协相安;换句话说,一个人潦倒愁闷,全靠“诗可以怨”,获得了排遣、慰藉或补偿。随着后世文学体裁的孳生,这个对创作动机和效果的解释也从诗歌而蔓延到小说和戏剧。例如周楫《西湖二集》卷一《吴越王再世索江山》讲起瞿佑写《剪灯新话》和徐渭写《四声猿》:“真个哭不得,笑不得,叫不得,跳不得,你道可怜也不可怜!所以只得逢场作戏,没紧没要,做部小说……发抒生平之气,把胸中欲歌欲哭欲叫欲跳之意,尽数写将出来,满腹不平之气,郁郁无聊,借以消遣。”李渔《笠翁偶集》卷二《宾白》讲自己写剧本,说来更淋漓尽致:“予生忧患之中,处落魄之境,自幼至长,自长至老,总无一刻舒眉。惟于制曲填词之顷,非但郁藉以舒,愠为之解,且尝僭作两间最乐之人……”李渔承认他剧本里欢天喜地的“幻境”正是他生活里局天蹐地的“真境”的“反映”——剧本映照了生活的反面。大家熟知弗洛伊德的有名理论:在实际生活里不能满足欲望的人,死了心作退一步想,创造出文艺来,起一种替代品的功用,借幻想来过瘾。假如说,弗洛伊德这个理论早在钟嵘的三句话里稍露端倪,更在周楫和李渔的两段话里粗见眉目,那也许不是牵强拉拢,而只是请大家注意他们似曾相识罢了。

开头画横线的句子的意思是()。

A.司马迁认为作家应“发愤”著书,先说理后记事,再举《诗经》为例详加阐述。

B.司马迁认为没有“怨”就没有“发愤”之作,说理、叙事或抒情的作品,都不乏其例。

C.司马迁用说理、记事方式写愤激之情,而《诗三百篇》则用歌咏方式抒写哀怨。

D.司马迁列举了各种各样“发愤”著书的例子,《诗经》是他所举的最后一例。

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