考研习题练习
| 考研每日一练（2019/7/10） |
| 第1题：对军团菌肺炎，以下说法正确的是
A．发病多见于青年人 B．全身症状很轻 C．痰量多，多呈脓性 D．X线胸片表现为外周性斑片状肺泡内浸润，继而可实变 |
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第2题： 慢性粒细胞白血病急性变，最主要的诊断依据是
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| 第3题：朱砂安神丸的功用是()
A．镇心安神、泻火养阴 B．镇心安神、滋阴养血 C．镇心安神、潜阳明目 D．镇心安神、定志除痰 |
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| 第4题：大承气汤与大黄牡丹汤二方均含有的药物是
A．大黄、桃仁 B．大黄、芒硝 C．大黄、厚朴 D．大黄、枳实 |
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| 第5题：毛泽东提出“以苏联经验为鉴戒，走自己的路”重要思想的著作是
A．《新民主主义论》 B．《论人民民主专政》 C．《论十大关系》 D．《为建设一个伟大的社会主义国家而奋斗》 |
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| 第6题：Among the many other things it is, a portrait is always a record of the personal and artistic encounter that produced it. It is possible for artists to produce portraits of individuals who have not sat for them, but the portrait that finally emerges normally betrays the restrictions under which the artist has been forced to labor.Even when an artist’’s portrait is simply a copy of someone else’’s work-as in the many portraits of QueenElizabeth I that were produced during her lifetime-the never-changing features of a ruler who refused to sit for her court painters reflect not only the supposed powers of an ever-youthful queen but the remoteness of those attempting to depict her as well. Portraits are "occasional" not only in the sense that they are closely tied to particular events in the lives of their subjects but in the sense that there is usually an occasion-however brief, uncomfortable, artificial, or unsatisfactory it may prove to be-in which the artist and subject directly confront each other;and thus the encounter a portrait records is most really the sitting itself. The sitting may be brief or extended, collegial or confrontational.Cartier-Bresson has expressed his passion for portrait photography by characterizing it as "a duel without rules". WhileCartier-Bresson reveals himself as an interloper and opportunist, RichardAvedon confesses to a role as diagnostician and psychic healer: not as someone who necessarily transforms his subjects, but as someone who reveals their essential nature.Both photographers appear to agree on one basis, however, which is that the fundamental dynamic in this process lies squarely in the hands of the artist. A、quite-different example has its roots not in confrontation or consultation but in active collaboration between the artist and sitter. This very different kind of relationship was formulated most vividly by William Hazlitt in his essay entitled "On Sitting for One’’s Picture". To Hazlitt, the "bond of connection" between painter and sitter is most like the relationship between two lovers: "They are always thinking and talking of the same thing, in which their self love finds an equal counterpart." Hazlitt flashes out his thesis by recounting particular episodes from the career of Sir Joshua Reynolds.According to Hazlitt, Reynolds’’ sitters, accompanied by their friends, were meant to enjoy an atmosphere that was both comfortable for them and conductive to the enterprise of the portrait painter, who was simultaneously their host and their contractual employee. In the case of artists like Reynolds, no fundamental difference exists between the artist’’s studio and all those other rooms in which the sitters spin out the days of their lives. The act of entering Reynolds’’ studio did not necessarily transform those who sat for him.Collaboration in portraiture such as Reynolds’’ is based on the sitter’’s comfort and security as well as on his or her desire to experiment with something new, and it is in this "creation of another self", as Hazlitt put it, that the painter’’s subjects may properly see themselves for the first time. In referring to QueenElizabeth I as "ever-youthful", the author implies that A、she instructed court painters to portray her younger than she actually was. B、all her portraits available for copying were painted when she was young. C． she intended her portrait to be painted young to reflect her ruling powers. D．artists purposely made her portraits appear younger than her actual age. |
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| 第7题：成立犯罪不可缺少的要素是( )。
A．犯罪行为 B．犯罪结果 C．犯罪目的 D．犯罪动机 |
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| 第8题：陶片放逐法，魏玛宪法 |
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| 第9题：
单项选择 |
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第10题： |
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