We utilized______films, semi-formal interviews and participant observation to explore the relationship between urban livelihoods and art creation.

(b) (i) Discuss the relationship between the concepts of ‘business risk’ and ‘financial statement risk’; and

(4 marks)

We are pleased to note that you wish to expand our relationship ,()suggest that we consider the matter of agency later .

A. and

B. but

C. however

D. nevertheless

After the experiment, we will talk about our observation. (对画线部分提问)

_____will you____ after the experiment?

In looking at the class structure of an entire system, we may find that its inheritance (1) is either wide and shallow, narrow and deep, or balanced. Class structures that are wide and shallow usually represent forests of (2) classes that can be mixed and matched. Class structures that are narrow and deep represent trees of classes that are related by a common ancestor. There are advantages and disadvantages to each approach. Forests of classes are more loosely (3) , but they may not exploit all the commonality that exists. Trees of classes exploit this commonality, so that individual classes are smaller than in forests. However, to understand a particular class, it is usually necessary to understand the meaning of all the classes it inherits from or uses. The proper shape of a class structure is highly problem-dependent. We must make similar trade-offs among inheritance, aggregation, and using relation- ships. For example, should the class Car inherit, contain, or use the classes named Engine and Wheel? In this case, we suggest that an (4) relationship is more appropriate than inheritance relationship. Meyer states that between the class A and B," (5) is appropriate if every instance of B may also be viewed as an instance of A. The client relationship is appropriate when every instance of B simply possesses one or more attributes of A". From another perspective, if the behavior. of an object is more than the sum of its individual parts, then creating an aggregation relationship rather than an inheritance relationship between the appropriate classes is probably superior.

A．distinction

B．level

C．grade

D．hierarchy

We have an Art Festival each year.（就划线部分提问）

_______ _______ _______ _______each year?

A、friendly

B、good

C、bad

D、worse

.

［A］ Thus a joke is laughed at for its own sake, even though there is an independent value in laughter, which lightens our lives by taking us momentarily outside ourselves. Why should not something similar be said of works of art, many of which aspire to be amusing in just the way that good jokes are?

［B］ All discussion of the value of art tends, therefore, to turn from the outset in the direction of criticism: Can there be genuine critical evaluation of art, a genuine distinction between that which deserves our attention and that which does not? (And, once again, the question may be extended to objects of natural beauty.)

［C］ Art is held to be a form. of education, perhaps an education of the emotions. In this case, it becomes an open question whether there might not be some more effective means to the same result. Alternatively, one may attribute a negative value to art, as Plato did in his Republic, arguing that art has a corrupting or diseducative effect on those exposed to it.

［D］ Artistic appreciation, a purely personal matter, calls for appropriate means of expression. Yet, it is before anything a process of “cultivation”, during which a certain part of one’s “inner self” is “dug out” and some knowledeg of the outside world becomes its match.

［E］ If I am amused it is for a reason, and this reason lies in the object of my amusement. We thus begin to think in terms of a distinction between good and bad reasons for laughter. Amusement at the wrong things may seem to us to show corruption of mind, cruelty, or bad taste; and when it does so, we speak of the object as not truly amusing, and feel that we have reason on our side.

［F］ Such thinkers and writers believe that art is not only an end in itself but also a sufficient justification of itself. They also hold that in order to understand art as it should be understood, it is necessary to put aside all interests other than an interest in the work itself.