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问题 单项选择题

高压钢管焊接时，当其管壁厚度在20～60mm之间，其坡口形式应为（）。

A．X形坡口无钝边

B．J形坡口无钝边

C．V形坡口，坡口根部有2mm左右厚钝边

D．U形坡口，坡口根部有2 mm左右厚钝边

答案

参考答案：D

解析：

第二章安装工程施工技术第一节切割与焊接：焊接接头、坡口及组对。

[思路] U型坡口适用于高压钢管焊接，管壁厚度在20～60 mm之间，坡口根部有钝边，其厚度为2mm左右。

[易错] 管材的坡口有三种形状：I型坡口、V型坡口和U型坡口。I型坡口适用于管壁厚度在3.5 mm以下的管口焊接。这种坡口管壁不需要倒角，实际上是不需要加工的坡口，只要管材切口的垂直度能够保证对口的间隙要求，就可以对口焊接。V型坡口适用于中低压钢管焊接，坡口的角度为60°～70°，坡口根部有钝边，其厚度为2 mm左右。

[拓展] 教材介绍的管材坡口的形状和坡口的加工方法(低压碳素钢管，中压碳素钢管、中低压不锈耐酸钢管和低合金钢管以及各种高压钢管，有色金属管)考生要熟悉。

问答题

小刚在做探究串、并联电路电压规律的实验时，画出了如图所示的电路图：

记录实验数据如上表1、表2所示．

（1）分析可知，表1所示的实验记录与上图______（填“甲”或“乙”）相符；表2所示的实验记录与上图______（填“甲”或“乙”）相符．

（2）由表1所示实验数据分析可知：______．

（3）由表2所示实验数据分析可知：______．
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单项选择题

Questions 58 to 62 are based on the following passage:In the past century Irish painting has changes from a British-influenced lyrical tradition to an art that evokes the ruggedness （朴实） and roots of an Irish Celtic past. At the turn of the twentieth century Irish painters, including notables Walter Frederick Osborne and Sir William Orpen, looked elsewhere for influence. Osborne’s exposure to ’plain air’ painting deeply impacted his stylistic development; and Orpen allied himself with a group of English artists, while at the same time participated in the French avant-garde experiment, both as painter and teacher.However, nationalist energies were beginning to coalesce （接合 ）， reviving interest in Irish culture-including Irish visual arts. Beatrice Elvery’s （1907）， a landmark achievement, merged the devotional simplicity of fifteenth-century Italian painting with the iconography （图像学） of Ireland’s Celtic past, linking the history of Irish Catholicism with the still-nascent （初生的 ）Irish republic. And, although also captivated by the French plain air school. Sir John Lavery invoked the mythology of his native land for a 1928 commission to paint the central figure for the bank note of the new Irish Free State. Lavery chose as this figure, with her arm on a Celtic harp （竖琴）， the national symbol of independent Ireland.In Irish painting from about 1910, memories of Edwardian romanticism coexisted with a new sense of realism, exemplified by the paintings of Paul Henry and Se Keating, a student of Orpen’s. Realism also crept into the work of Edwardians Lavery and Orpen, both of whom made paintings depicting World War I, Lavery with a distanced Victorian nobility, Orpen closer to the front, revealing a more sinister and realistic vision. Meanwhile, counterpoint （ 对照 ） to the Edwardians and realists came Jack B. Yeats, whose travels throughout the rugged and more authentically Irish West led him to depict subjects ranging from street scenes in Dublin to boxing matches and funerals. Fusing close observations of Irish life and icons with an Irish identity in a new way, Yeats changed the face of Irish painting and became the most important Irish artist of his century.

Which of the following art most probably exerted the greatest influence on Irish painting in the 19th century

A．British lyrical tradition

B．French avant-garde experiment

C．nationalist energies

D．Italian painting
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