问题 单项选择题

2008年6月20日,甲、乙公司签订100万元的买卖合同。2008年7月1日,人民法院受理了甲公司的破产申请,同时指定丙会计师事务所担任管理人。该买卖合同甲、乙公司均未履行完毕。
要求:根据破产法律制度的规定,分别回答下列问题:

如果管理人决定继续履行合同,乙公司按照合同约定发货后,100万元的货款( )。

A.属于破产费用

B.属于共益债务

C.乙公司可以申报破产债权

D.不予赔偿

E.乙公司可以申报部分破产债权

答案

参考答案:B

解析: 本题考核共益债务。根据规定,因管理人请求对方当事人履行双方均未履行完毕的合同所产生的债务,属于共益债务。100万元的货款属于共益债务,由债务人财产随时清偿。

阅读理解与欣赏

阅读下文,完成第下面问题。

中国诗歌自身的调节功能

  中国诗歌之所以能历久而不衰,一个重要的原因是它本身有一种调节功能,其语言形式处在不断变化的过程之中。从四言到五言到七言,随着汉语的发展变化而不断形成新的节奏。二二节奏的四言诗是诗歌的早期形式,随着《诗经》时代的结束而趋于僵化。此后的四言诗,如曹操《短歌行》那样的佳作实在不多。中国诗歌主要的形式是二三节奏的五言和四三节奏的七言。四言诗一句分成均等的两半,节奏呆板。五七言前后相差一个音节,寓变化于整齐之中,节奏活泼。所以五七言取代了四言而成为中国诗歌的主要形式。为什么七言没有继续加长,发展为九言呢?我想这是因为一句诗七个音节已经达到读起来不至于呼吸急促的最大限度,加长到九言读起来呼吸急促。这样的诗行不容易建立起来。

  在音节变化的同时,格律也在逐渐严密化。中国诗歌是从自由体(古诗)走向格律体(近体诗),但格律体确立之后自由体仍不衰退,而是和格律体并存着,各有其特长。就一个诗人来说固然有的擅长自由体,有的擅长格律体,但两方面的训练都是具备的。在自由体与格律体之间始终没有分成派别。它们互相补充各擅其能,共同促使中国诗歌的繁荣发展。

  从深层考察,诗歌的发展乃是性情与声色两种因素的交互作用。从重性情到重声色,是中国诗歌史的第一个转变,这个转变发生在晋和宋(南北朝时期的宋)之际,具体地说是在陶谢之间。这恰好也正是近体诗的各种技巧被自觉加以运用的时候。明代的陆时雍说:“诗至于宋,古之终而律之始也。体制一变,便觉声色俱开。谢灵运鬼斧默运,其梓庆之鑢乎。”具体地说,这个转变主要表现在两个方面,即从重写意转到重摹象,从启示性的语言转向写实性的语言。《文心雕龙·明诗篇》说:“俪采百字之偶,争价一句之奇;情必极貌以写物,辞必穷力而追新。”指出了转变后的状况。从陶到谢的转变,反映了两代诗风的嬗递。正如沈德潜所说:“诗至于宋,性情渐隐,声色大开,诗运转关也。”(《说诗晬语》)重声色的阶段从南朝的宋延续到初唐,一方面丰富了表现技巧,另一方面也建立起严密的格律,到盛唐,性情与声色完美地统一起来,遂达到了诗歌的高潮。

  但是性情与声色的统一毕竟不能维持多久。盛唐半个世纪一过,二者便又开始分离。重性情的,声色不足;求声色的,性情不完。此后二者统一的诗作虽然不少,但能以二者的统一维持一个时代的再也没有了。中国诗歌史总的看来是辉煌灿烂的,但其顶峰也不过只有这么一个盛唐,半个世纪而已。

1.下列对中国诗歌自身“调节功能”的理解,不正确的一项是[ ]

A.“调节功能”是指历久不衰的中国诗歌在其发展过程中不断求变的一种特性。

B.其语言形式的调节功能体现在不断形成新的诗句节奏:五七言取代了四言。

C.语言形式的调节功能还体现在格律的逐渐严密化:格律体取代了自由体。

D.调节功能还体现在性情与声色的交互作用,从而使中国诗歌呈现出不同的风貌。

2.下列表述完全符合原文意思的一项是[ ]

A.随着人们对《诗经》兴趣的降低,《诗经》的时代结束了,人们由此感觉到二二节奏的四言诗越来越僵化。

B.中国诗歌没有从五言七言发展成九言,是因为五言七言寓变化于整齐之中,节奏更为活泼的缘故。

C.明代陆时雍和《文心雕龙·明诗篇》都指出了两代诗风的嬗递发生在陶渊明和谢灵运之间。

D.晋宋之间,诗歌转变主要表现在从重写意到重摹象,从启示性语言转向写实性语言两个方面。

3.根据原文提供的信息,下列推断不正确的一项是[ ]

A.中国诗歌能历久不衰,是因为人们在诗歌创作中总是保持探索求新的自身调节的状态。

B.中国诗歌的发展是从自由体走向格律体,后来出现各种技巧被自觉运用的重声色也就不足为奇了。

C.古诗与近体诗的长期并存,说明在中国诗歌史上对诗歌语言形式层面的追求意义不大。

D.从诗歌的发展来看,性情与声色两者只有完美统一起来,才能真正成就诗歌的灿烂辉煌。

阅读理解

阅读理解。

     It took me more than 10 years to realize that the world has no shortage of fashion (时尚) designers

who have the ability to make trendy and elegant garments, but that it is badly in need of, simply, clothes

designers. My own definitions would set fashion and clothing greatly apart. It is a fact that, in the shopping malls, there are plenty of beautiful garments whose unpredictability makes our life colorful and interesting. You are almost convinced: You can buy whatever you dare to think.

      There is no doubt that fashion designers are usually with high qualifications. They study fashion trends, select colors, and make sure the final production of their designs is done properly. However, as

experience grew with age, my attraction to arts became ever stronger. I have a strong desire for clothing

to stand as does paint to the painter, as does stone to the sculptor, as a simple and particular language of

an individual creation, which draws the audience from an appreciation of the surface to deeper thoughts

with the world of the soul. I believe that the most meaningful creative motives should arise through caring

for other people, the great care of humanity-a concern for human feeling and spirituality. This includes

love, but it is bigger than love, and it is unconditional. I believe the greatest works of art can touch the

deepest and strongest parts of human feelings and the world of the spirit, and only these works can be

the memories of history, preserving the most valuable feelings that have ever existed, and inspiring a

greater awareness of ourselves.

     I am not satisfied if people only appreciate clothing if it merely satisfies their desire. I believe clothing

could be a specific creative language for communicating ideas and thoughts, for inspiring you and shaping

your behavior. Those clothes fashioned out of necessity possess a power that can continue to exist across

the ages. This is what I have tried to achieve, the clothing to return to its original simplicity, the clothing to

help people regain the natural sense. The true fashion today should not follow the trends. It should instead uncover the extraordinary in the ordinary, for I believe the pleasure you get from the clothing is not its

price, but its spirit.

1. According to the writer, most fashion designers are ______.  

A. lack of imagination    

B. deep in thought

C. unproductive      

D. trendy

2. By saying "This includes love" in Paragraph 2, the writer regards "love" as ______. 

A. a very important part of the spiritual world

B. what can be achieved through the works of hand

C. one of the most meaningful creative motivations

D. a form of concern for human feeling and spirituality

3. The writer indicates that the primitive clothes are made as a result of ______. 

A. respect for nature      

B. spiritual value

C. necessity        

D. simplicity

4. What is the main idea of the passage? 

A. Humanity is fundamental in fashion design.

B. The growing fashion trends present human interest.

C. Designers must concern for the desire of consumers.

D. Fashion clothes have close relations with earth predictions.