20世纪初，约翰·肯尼迪第一次将广告明确定义为“印在纸上的推销术”，第一次对广告的（

下图是化学实验室中常用的装置示意图，请按要求回答有关问题．

（1）写出图中带标号仪器的名称：a______，b______，

（2）欲制取并收集氢气，所选用的装置是______；欲制取并收集二氧化碳气体，所选用的装置是______．

（3）将A与C相连，用加热高锰酸钾固体欲制取并收集氧气，涉及到的主要实验操作有：

a．检查装置气密性

b．装药品并在试管口放一团棉花，固定试管；用集气瓶装满水，倒立在盛水的水槽中

c．将导管从水槽中取出

d．加热，收集氧气

e．停止加热．则正确的操作顺序是______．

患儿，3个月男婴，因吃奶差5天，嗜睡1天入院。体检：嗜睡状，面色略苍灰，深大呼吸，前囟稍凹陷，瞳孔等大等圆，对光反射迟钝。心肺未见异常，腹部软，未触及包块。四肢肌张力低。

根据以上信息，为明确诊断需要做的进一步检查包括（）

A.血氨

B.腰椎穿刺

C.血遗传代谢病筛查

D.尿遗传代谢病筛查

E.患儿及父母染色体检查

三氧化二砷临床用于急性早幼粒细胞性白血病是利用了以下哪一特点

A．该品为致癌物质

B．该品可致细胞内某些重要的酶失活

C．该品对肿瘤细胞具有诱导凋亡效应

D．该品可干扰细胞代谢

E．该品可致染色质畸变

The history of responses to the work of the artist Sandro Botticelli (1444 ～ 1510) suggests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticelli’s work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamed Botticelli in favor of his fellows Florentine, Michelangelo. Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors, Botticelli’s work remained outside of accepted taste, pleasing neither amateur observers nor connoisseurs. (Many of his best paintings, however, remained hidden away in obscure churches and private homes. )

The primary reason for Botticelli’s unpopularity is not difficult to understand: most observers, up until the midnineteenth century, did not consider him to be noteworthy, because his work, for the most part, did not seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art. For example, Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro.

Another reason for Botticelli’s unpopularity may have been that his attitude toward the style of classical art was very different from that of his contemporaries. Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style that was only slightly similar to that of classical art.

In any case, when viewers began to examine more closely the relationship of Botticelli’s work to the tradition of fifteenth-century Florentine art, his ’reputation began to grow. Analyses and assessments of Botticelli made between 1850 and 1870 by the artists of the Pre Raphaelite movement, as well as by the writer Pater (although he, unfortunately, based his assessment on an incorrect analysis of Botticelli’s personality), inspired a new appreciation of Botticelli throughout the English-speaking world. Yet Botticelli’s work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines features such as skillful representation of anatomical proportions, and of the human figure in motion. However, Home argued that Botticelli did not treat these qualities as ends in themselves--rather, that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualities less central. Because of Home’s emphasis crucial to any study of art, the twentieth century has come to appreciate Bottieelli’s achievements.

Which of the following would be the best title for the text（）

A. The Role of Standard Art Analyses and Appraisals

B. Sandro Botticelli: From Rejection to Appreciation

C. Causes for Botticelli’s Rejection in Earlier Times

D. Botticelli and Florentine: A Comparative Study

面对美国加大重返亚太的“攻势”、日本在钓鱼岛以及越南在南海的“取闹”，我国要（）

①坚定地维护我国的核心利益②把处理好周边关系作为我国对外活动的出发点

③坚持独立自主的和平外交政策④服从相关国家的国家利益

A.①②

B.③④

C.①③

D.②④