Swing的顶层容器有：JApplet、JWindow、JDialog和______

阅读下面的文字，完成1～3题。

　　这世界是多么幽秀，多么美丽。

　　夜，她在我回忆里留下难忘的倩影。

　　月是她的脸，一抹轻云是她的笑靥，几颗星星是她的眼睛，晚风吹过垂柳，这上面散布着她的风韵。

　　我在她的膝上跳舞。我在她的怀里熟睡。

　　我笑着跳着，我的青春是一盆火，融融的是热烈，旺旺的是光明。

　　在童年的宝座上我跨着长虹，遨游于大漠似的天空，我撷着轻云，摘着星星。

　　童年，梦一般的童年。

1. “这世界是多么幽秀，多么美丽。”文段是从哪些方面写世界的幽秀、秀丽的？

答：____________________________________。

2.文中画线的句子运用了什么修辞手法？

答：___________________________________。

3.最后一句话说“童年，梦一般的童年”。请你用简练的语言描述你童年的梦。

答：____________________________________。

根据材料反映的主要问题，自选角度，自拟题目，写一篇1000字以上的议论文。

传播的类型效果有哪几种？

In order to understand, however imperfectly, what is meant by "face", we must take (1) of the fact that, as a race, the Chinese have a ply (2) instinct. The theatre may almost be said to be the only national amusement, and the Chinese have for theatricals a (3) like that of the Englishman (4) athletics, or the Spaniard for bull-fights. Upon very slight provocation, any Chinese regards himself in the (5) of an actor in a drama. He throws himself into theatrical attitudes, performs the salaam, falls upon his knees, prostrates himself and strikes his head upon the earth, (6) circumstances which to an Occidental seem to make such actions superfluous, (7) to say ridiculous. A Chinese thinks in theatrical terms. When roused in self-defense he addresses two or three persons as if they were a multitude. He exclaims: "I say this in the presence of You, and You, and You, who are all here present. " If his troubles are adjusted he (8) of himself as having "got off the stage" with credit, and if they are not adjusted he finds no way to "retire from the stage". All this, (9) it clearly understood, has nothing to do with realities. The question is never of facts, but always of (10) . If a fine speech has been (11) at the proper time and in the proper way, the requirement of the play is met. We are not to go behind the scenes, for that would (12) all the plays in the world. Properly to execute acts like these in all the complex relations of life, is to have "face". To fail them, to ignore them, to be thwarted in the performance of them, this is to " (13) face". Once rightly apprehended, "face" will be found to be in itself a (14) to the combination lock of many of the most important characteristics of the Chinese.

It should be added that the principles which regulate "face" and its attainment are often wholly (15) the intellectual apprehension of the Occidental, who is constantly forgetting the theatrical element, and wandering (16) into the irrelevant regions of fact. To him it often seems that Chinese "face" is not unlike the South Sea Island taboo, a force of undeniable potency, but capricious, and not reducible to rule, deserving only to be abolished and replaced by common sense. At this point Chinese and Occidentals must agree to (17) , for they can never be brought to view the same things in the same light. In the adjustment of the incessant quarrels which distract every hamlet, it is necessary for the "peace-talkers" to take a careful account of the (18) of "face" as European statesmen once did of the balance of power. The object in such cases is not the execution of even-handed justice, which, even if theoretically desirable, seldom (19) to an Oriental as a possibility, but such an arrangement as will distribute to all concerned "face" in due proportions. The same principle often applies in the settlement of lawsuits, a very large percentage of which end in what may be called a (20) game.

（3）（）

A.passion

B.hatred

C.nonchalance

D.perception