问题
单项选择题
执业药师的责任之一是( )
A．对工作极端负责，对技术精益求精
B．树立正确的经营道德观
C．为病患者提供质量保证的药品和安全、有效、经济、合理的药学服务
D．互相关心，维护集体荣誉
E．开展用药调查及药品利用评价
答案
参考答案：E
搜题请搜索小程序“爱下问搜题”
执业药师的责任之一是( )
A．对工作极端负责，对技术精益求精
B．树立正确的经营道德观
C．为病患者提供质量保证的药品和安全、有效、经济、合理的药学服务
D．互相关心，维护集体荣誉
E．开展用药调查及药品利用评价
参考答案：E
小明同学所在的学习小组对实验室用过氧化氢溶液制O2的知识做了全方位的探究，下面是他们的学习实录：
（1）发生装置的探究：
根据反应物的状态和反应条件，小明从下列装置中选择了C作为发生装置，你认为他应该选择的收集装置是 或 。
实验过程中小明发现，锥形瓶中产生了大量气泡，致使反应难以控制。该小组同学认为产生大量气泡是因为 。小聪建议将发生装置改成了B，其理由是
。
（2）催化剂选择的探究：
通过课堂上的学习， * * 了解到：MnO2、土豆块都可以做为H2O2分解的催化剂，于是萌生了寻找适合催化剂的想法。通过查阅资料， * * 还了解到CuCl2、CuSO4等盐溶液也能对过氧化氢的分解起催化作用。对此她做了以下的探究。
①请你帮助她完成实验报告：
| 实验过程 | 实验现象 | 实验结论 |
| 在一支试管中加入4mL6%H2O2溶液，然后滴入适量CuCl2溶液，把带火星的木条伸入试管。 | CuCl2溶液可以催化分解H2O2 | |
| 在另一支试管中加入4mL6%H2O2溶液，然后滴入适量CuSO4溶液，把带火星的木条伸入试管。 | 带火星的 木条复燃 |
（3）溶质质量分数计算的探究：
他们取了3g MnO2加入到锥形瓶中，向分液漏斗中加入50g过氧化氢溶液，待过氧化氢溶液全部滴加完，并经充分反应后，锥形瓶中剩余物质51.4g，请计算产生氧气的质量是多少？所用过氧化氢溶液溶质的质量分数为多少？
| It is simple enough to say that since books have classes -- fiction, biography, poetry -- we should separate them and take from each what it is right and what should give us. Yet few people ask from books what can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices. If we could banish all such preconception when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellow-worker and accomplice. If you hang back, and reserve and criticize at first, you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible, then signs and hints of almost imperceptible fineness, from the twist and turn of the first sentences, will bring you into the presence of a human being unlike any other. Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite. The 32 chapters of a novel -- if we consider how to read a novel first -- are an attempt to make something as formed and controlled as a building: but words are more impalpable than bricks; reading is a longer and more complicated process than seeing. Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write; to make your own experiment with the dangers and difficulties of words. Recall, then, some event that has left a distinct impression on you -- how at the comer of the street, perhaps, you passed two people talking. A tree shock; an electric light danced; the tone of the talk was comic, but also tragic; a whole vision, an entire conception, seemed contained in that moment. But when you attempt to reconstruct it in words, you will find that it breaks into a thousand conflicting impressions. Some must be subdued; others emphasized; in the process you will lose, probably, all grasp upon the emotion itself. Then turn from your blurred and littered pages to the opening pages of some great novelist -- Defoe, Jane Austen, Hardy. Now you will be better able to appreciate their mastery. It is not merely that we are in the presence of a different person -- Defoe, Jane Austen, or Thomas Hardy -- but that we are living in a different world. Here, in Robinson Crusoe, we are trudging a plain high road; one thing happens after another; the fact and the order of the fact is enough. But if the open air and adventure mean everything to Defoe, they mean nothing to Jane Austen. Here is the drawing-room, and people talking, and by the many mirrors of their talk revealing their characters. And if, when we have accustomed ourselves to the drawing-room and its reflections, we turn to Hardy, we are once more spun around. The moors are round us and the stars are above our heads. The other side of the mind is now exposed -- the dark side that comes uppermost in solitude, not the light side that shows in company. Our relations are not towards people, but towards Nature and destiny. Yet different as these worlds are, each is consistent with itself. The maker of each is careful to observe the laws of his own perspective, and however great a strain they may put upon, they will never confuse us, as lesser writers so frequently do, by introducing two different kinds of reality into the same book. Thus to go from one great novelist to another -- from Jane Austen to Hardy, from Peacock to Trollope, from Scott to Meredith -- is to be wrenched and uprooted; to be thrown this way and then that. To read a novel is a difficult and complex art. You must be capable not only of great fineness of perception, but of great boldness of imagination if you are going to make use of all that the novelist -- the great artist -- gives you. |
The word "impalpable" (in Paragraph 1 ) means ______.
A．imperceptible
B．unlearnable
C．untouchable
D．discernable