问题 单项选择题

软切换中,与某个移动台建立连接的所有小区的集合称为()。

A.监测集

B.激活集

C.检测集

D.分集

答案

参考答案:B

材料题

材料一2007年10月15日,中 * * 党第十七次全国代表大会召开。大会的主题是:高举中国特色社会主义伟大旗帜,以邓 * * 理论和“三个代表”重要思想为指导,深入贯彻落实科学发展观,继续解放思想,坚持改革开放,推动科学发展,促进社会和谐,为夺取全面建设小

康社会新胜利而奋斗。

材料二我们党已经成立八十六年,在全国执政五十八年,拥有七千多万党员,党的自身建设任务比过去任何时候都更为繁重。党领导的改革开放既给党注入巨大活力,也使党面临许多前所未有的新课题新考验。

材料三我们要永远铭记,改革开放伟大事业,是以邓 * * 同志为核心的党的第二代中央领导集体带领全党全国各族人民开创的。党的第二代中央领导集体坚持解放思想、实事求是,以巨大的政治勇气和理论勇气,作出把党和国家工作重心转移到经济建设上来、实行改革开放的历史性决策,确立社会主义初级阶段基本路线,吹响走自己的路、建设中国特色社会主义的时代号角,创立邓 * * 理论,指引全党全国各族人民在改革开放的伟大征程上阔步前进。──以上材料均摘自《十七大报告辅导读本》

请阅读材料后结合所学知识回答下列问题:

(1)1921年7月23日,中 * * 党第一次全国代表大会在上海召开,这次大会正式宣告了中 * * 党的成立,大会确定党的奋斗目标和当前任务分别是什么?

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(2)中 * * 党成立后,不断探索中国革命的道路。中 * * 党探索农村包围城市、武装夺取 * * 这一正确革命道路开始的事件是什么?

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(3)中 * * 党第七次全国代表大会是在民主革命时期召开的最重要的一次大会,这次大会确立的党的指导思想是什么?

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(4)材料三中提到的“作出把党和国家工作重心转移到经济建设上来、实行改革开放的历史性决策”,是在哪次会议上作出的?作为对外开放窗口的深圳等经济特区在社会主义现代化建设中有何作用?

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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.

49()