读图21，完成下列问题。（12分） (1)图中哪些区域会出现极昼_爱下问搜题

搜题请搜索小程序“爱下问搜题”

问题综合

读图21，完成下列问题。（12分）

(1)图中哪些区域会出现极昼极夜现象？为什么？（4分）

(2)分析海陆分布与地形对甲、乙两地气候形成的影响。（4分）

(3)简述该区域第四纪主要外力作用及对地表形态的塑造。（4分）

答案

(1)66.5°N及其以北地区。原因：黄赤交角为23.5°，地球公转导致昼夜交替消失。

(2)甲地：温带海洋性气候（降水丰富，季节分配均匀，气温年较差小）。西临大西洋，盛行西风，山脉走向与海岸平行，迎风坡，暖流经过。乙地：温带大陆性气候（降水相对较少，集中在夏季，气温年较差较大）。背风坡，海域面积小，海洋水汽较少。

(3)冰川作用、流水作用。

西部海岸线曲折，多峡湾；湖泊广布，东部形成冰湖群；河流平行状排列，湖泊多位于河流中上游。

本题考查世界区域地理综合分析。（1）极昼极夜只出现在极圈以内，原因主要从黄赤交角的度数分析。（2）根据图示的经纬度位置判断该地区位于斯堪的纳维亚半岛，甲地位于西部沿海，受盛行西风和北大西洋暖流的影响，形成温带海洋性气候，终年温和湿润，而乙地位于斯堪的纳维亚山脉的东侧，为盛行西风的背风坡，故终年受大陆气体影响，而形成温带大陆性气候，终年降水少，冬寒夏热。（3）该地区主要的外力作用为冰川作用塑造的半岛西部沿海的峡湾地貌和众多的湖泊；和长期以来的流水作用。

单项选择题

孕32～34周时血容量增加至（）

A．10%

B．20%

C．30%～45%

D．15%

E．30%

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.