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问题 选择题

2011年8月9日，国家统计局公布数据显示，7月我国CPI同比上涨6.5%，创37个月新高，环比上涨0.5%。政府调控物价采取可行的财政政策是

①提高银行存款利率                   ②减少财政总支出

③抑制社会总供给                     ④增加涉农补贴，加大农产品有效供给

A．①②

B．①④

C．②④

D．③④

答案

答案：C

题目分析：该题考查财政政策，题干说的是物价持续上涨，所以应该采取从紧的财政政策，①不符合题意，提高银行存款利率是货币政策，②④ 属于从紧的财政政策，有利于抑制物价，③不符合题意，抑制社会总供给，会导致总供给小于总需求，价格上涨，故答案应选C。

点评：经济平稳运行要求社会总供给与社会总需求保持基本平衡，避免大起大落。在经济增长滞缓、经济运行主要受需求不足制约时政府可以采取扩张性财政政策，通过增加经济建设支出，减少税收，刺激总需求增长，降低失业率，拉动经济增长。反之，在经济过热，物价上涨、经济运行主要受供给能力制约时，政府可以采取紧缩性财政政策，通过减少财政支出，增加税收，抑制总需求，稳定物价，给经济“降温”。难度适中。

单项选择题

有下列函数定义：int fun(double a，double b) {return a*b；} 若下列选项中所用变量都己正确定义并赋值，错误的函数调用是( )。

A．if(fun(x，){……}

B．z=fun(fun(x，，fun(x，)；

C．z=fun(fun(x，x，；

D．fun(x，；
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问答题

(46) "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk, with poles being clear enough but the middle tending to blur. The Hollywood Western of the 1930’s, for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high art. The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music—folk themes—in works clearly intended as high art. The case of Verdi is a different one: he took a popular genre—bourgeois melodrama set to music (an accurate definition of nineteenth-century opera)—and, without altering its fundamental nature, transmuted it into high art. (47) This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.
As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. (48)Generally in the plots of these operas, a hero or heroine—usually portrayed only as an individual, unrestrained by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity of the leaders of the civilians. Verdi transforms this naive and unlike formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself.
Or consider Verdi’s treatment of character. (49) Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional state. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi’s characters, on the other hand, have genuine consistency and integrity, even if, in many cases, the consistency is that of pasteboard melodrama. The integrity of the character is achieved through the music: (50) once he had become established, Verdi did not rewrite his music for different singers or allow alterations or substitutions of somebody else’s arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness.
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