阅读材料，结合所学知识回答问题。材料西汉农民家庭年收入_爱下问搜题

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问题材料题

阅读材料，结合所学知识回答问题。

材料

西汉农民家庭年收入（粮食）与支出情况表单位：钱

资料来源：《汉书·食货志》；《〈居延汉简甲乙编〉释文》注：秦汉史料中典型的农民家庭是五口之家。

问题：

（1）计算材料中西汉农民家庭年收入（粮食）与支出的差额。

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（2）据《汉书·食货志》记载，冬天农闲时，农妇常聚集在一起夜织。结合问题（1）的计算结果，简要分析材料中的西汉农民为什么会采用这种耕织结合的经济形式。

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（3）西汉在耕织经济体系下出现了引人注目的商业繁荣现象。根据材料和问题（2）中的信息，简要分析西汉赋役政策和耕织经济形式如何促进商业繁荣。

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（4）有人认为，西汉商业繁荣说明当时已经出现资本主义萌芽。根据问题（3）中的信息和所学知识，判断这一观点是否成立，并说明理由。

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答案

（1）纳钱代役的情况：8500-（283+406+2300+4918+2732+300）=-2439（钱），即亏2439钱；亲身服役的情况：8500-（283+406+4918+2732+300）=-139（钱），即亏139钱。

（2）农民收入不敷支出；衣着消费比重较高；为增加收入，减少支出，农闲纺织。

（3）部分赋役项目征收货币，农民只有将产品投放市场才能换取货币去纳税；农民的剩余产品投放市场，也是商业繁荣的可能原因。

（4）不成立。西汉的商业繁荣部分由赋役政策和耕织经济所推动；西汉的商业与催生资本主义萌芽的商业有本质差别；材料中看不出雇佣关系。

问答题简答题

什么是单位委托贷款？单位委托贷款业务有哪些种类？

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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