问题 单项选择题

国内商业银行通常以()为基础确定外汇贷款利率。

A.央行确定基准利率

B.国内市场利率

C.国际金融市场利率

D.法定利率

答案

参考答案:C

填空题

(11) 某校化学兴趣小组的同学对硝酸盐的受热分解进行探究。他们设计了如下装置分别加热了Ca(NO32、Cu(NO3)2、AgNO3三种固体。(加热及夹持装置未画出)

(1)甲同学加热的是Ca(NO32。加热过程发现:装置②中产生 气泡,部分石蕊试液被压至装置③中;用带火星的木条检验②中的气体,木条复燃;分析装置①中剩余的固体得知,剩余固体中含有N元素,且显+3价。请写出Ca(NO32受热分解后生成产物的化学式:                                    

(2)乙同学加热的是Cu(NO3)2。加热过程发现:装置②中也有气泡产生,但在上升的过程中消失。石蕊试液逐渐变为红色,液体几乎不被压至装置③中。装置①中的固体逐渐变为黑色。请写出Cu(NO3)2受热分解的化学方程式:                        

(3)丙同学加热的是AgNO3。加热过程发现:装置②中也有气泡产生,但在上升的过程中气泡部分消失,剩余的气体也能使带火星的木条复燃。石蕊试液也逐渐变为红色,有少量液体被压至装置③中。装置①中的固体逐渐变为黑色。丙同学据此写出了AgNO3受热分解可能的两种化学方程式:

(Ⅰ)4AgNO3 2Ag2O+4NO2↑+O2↑   (Ⅱ)2AgNO32Ag+2NO2↑+O2↑。

Ⅰ、Ⅱ中正确的是      ,并说明理由:                                   

请你设计一个简单的实验证明你的结论是正确的:                           

(4)由上述3个实验的结果,请你推测硝酸盐受热分解的规律:                      

(5)标况下如丙同学操作,称量ag硝酸银,受热完全分解后,读取量筒体积为bml,求硝酸银的分解率:____________(化简成整数比例关系,可不用化成小数)

单项选择题

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 writer says, "To read a novel is a difficult and complex art," which of the following arts does the author want to stress here

A.The art of observation.

B.The art of imagination.

C.The art of association.

D.All of A, B and C.