题目内容
桔豆()
查看答案
搜索结果不匹配？点我反馈
更多问题
A Many business books assume that potential leaders are a blank canvas onto which must be hurled a particular set of habits and characteristics in order to form. the perfect chief executive of the future. Others assume that to become a better boss executives need do no more than ape other corporate high-flyers or draw inspiration from leaders in other walks of life. In this vein, for example, there is the Jack Welch model and the Richard Branson model.
B Military commanders are a favourite—military metaphors still abound in the corporate world—and Napoleon and:Alexander feature frequently. Alexander's record on globalisation, however, is the more appealing in the current business climate. Failure to make it in Moscow and being off shored on St Helena are not to be found on the CVs of potential business leaders of today.
C Rob Goffee and Gareth Jones, two British academics, eschew the notion that effective bosses can be constructed piecemeal. Their implicit message is that bosses are born, or at least made before they delve into books on management. Rather than suggesting that high-quality leaders can be constructed from what they dismiss as an "amalgam of traits", they stress that there are "no universal leadership characteristics". The talent that the pair thinks most Vital is "authenticity".
D After 25 years spent observing well-regarded chief executives and good managers further down the ladder, the authors conclude that authors who are true to characteristics they already possess make the best bosses. Their message to the aspiring high-flyer is "be yourself", have a lot of self-knowledge and be comfortable with who you are. Identikit executives hiding behind the latest management fad, ambitious role players, time-servers and office politicians may manage to creep to the top. However, Messrs Jones and Goffee insist that those they seek to lead will soon find them out. Authenticity cannot be faked, they say, and a little eccentricity won't hurt either. The authors approvingly cite Mr Branson's casual style. and endearing difference from the norm that his followers appreciate.
E Displaying other differences, foibles or even shortcomings, they say, adds to the authenticity, and they give examples of the kinds of differences that bosses should exude. When CEO of Unilever, Niall FitzGerald gave free vent to his Irishness; Franz Humer's passion was on display for all to see at Roche; and the BBC revelled in Greg Dyke's "blokeishness". The authors do concede that there are techniques which can improve leadership. Some characteristics work better than others, so play these up. However, they warn against phoney sincerity, and (perhaps surprisingly) they advocate displays of weakness. Mr Dyke had a notoriously bad temper; Alain Levy of PolyGram could be blunt and emotional. Appear human and your leadership will seem more attractive.
F The authors go on to make some fairly obvious points that the truly authentic and self-aware could probably work out for themselves: be conscious of how well you read situations (and try to get better); conform. (but not too much); get close to your underlings (but not too close); and communicate authentically too. Are you better on e-mail or face-to-face？ They cite Mr Welch's use of experiences from his boyhood in his communiqués as a way of conveying authenticity. They suggest trying a little humour—which is surely not a good idea if you are not authentically funny.
G It is a shame that the British authors offer many more examples from Europe than they do from America. The reader is left wondering whether revealing eccentricities in a land where conformity is more highly prized (and weaknesses where capitalism is reddest in tooth and claw) would meet with less success. Wal-Mart, Microsoft and other hugely successful American companies have been led by rather unexceptional people with little sense of humour.
H&nbs
using namespace std;
template
T Max(T a,T b)
{return a＞b？ a:b;}
T Mix(T a,T b)
{return a＞b？ b:a;}
void main()
{
cout$amp;cout$amp;}
inculde
main()
{ int i,ja[][]={1,2,3,4,5,6,7,8,9};
For(i=0;1＜3;i ++)
For(j=1;j＜3;j ++) printF(“%d”,a[i][j]);
printF(“\n”);
}
程序运行后的输出结果是【 】
Passage 2
Among China"s greatest art treasures are the Buddhist caves near Dunhuang. Their ancient frescoes and sculptures have survived wars， environmental damage， antiquities hunters， and the chaotic Cultural Revolution.
Today domestic tourism is the biggest threat: the UNESCO World Heritage site has an optimal capacity of 3，000 per day， but peak times can see twice that many visitors.
The Mogao Grottoes are especially vulnerable to mass tourism. Their ecosystems are fragile. A buildup of humidity and carbon dioxide from visitors" breath can lead to flaking and discoloration of wall paintings.
To preserve the caves， the Dunhuang Academy is pioneering a project to digitize the site.
Recently， the Arthur M. Sackler Gallery in Washington， D.C.， offered a tantalizing glimpse at the undertaking. Donning 3-D glasses， visitors were transported into a breathtaking "virtual" Dunhuang grotto， known as Cave 220. The 3-D， interactive experience is flooded with vivid color， close-up details， moving images of flying bodhisattvas， even sound， "Dunhuang ranks as the single most important repository of early Chinese art. Here the great cultures of the World——Greek and Roman，Persian and Middle Eastern， Indian and Chinese——constantly interacted for over a millennium，"said Mimi Gates， who formed the Dunhuang Foundation. "High-resolution digitization will provide a lasting record of this artistic treasure for all mankind and can make it accessible beyond China."
A dozen years ago， the Dunhuang Academy began cooperating with foregoing institutions to conserve the treasures. Among the projects， one used a camera to create a digital archive of the caves. The results will be used in the academy which planned ＄40 million state-of-the-art visitor center which will present virtual tour of the caves to save the real site wear and tear. The scope of the project is daunting. It requires 20 minutes or so to record a 9-square-meter fresco， and there are 492 caves with murals inside. But the Sackler exhibit proved how enthralling the single virtual cave CaB be.
Real caves provide no lightbulbs. Once they reach critical levels of moisture and temperature，they are shut to the public. Only a few dozen caves are accessible at any given time. But the Sackler"s virtual tour was different. One of the most popular features was the "magnifying glass"，which can zoom in on， say， a zither depicted in a mural. The instrument appears to pop out of the wall， enlarge， and then rotate in space. Visitors can also "flip" back and forth between the intricate Tang-dynasty mural and a later， cruder Sung-dynasty fresco.
To help Cave 220"s Tang dancer paintings magically come to life， two Chinese performers were flown to the Applied Laboratory for Interactive Visualization and Embodiment （ALIVE） in a Hong Kong university. For three days the dancers were filmed performing intricate steps， fluid movements， and careful manipulation of long， sinuous ribbons. They appeared in the Sackler tour，dancing as if in midair， clad in brightly colored Tang costume. ALIVE"s project manager said while he"s become intimately familiar with the images Cave 220， he hasn"t been there yet. "I can"t wait to visit the real thing."
Which of the following factors mentioned in the article may cause a severe damage to the Buddhist caves today？ 查看材料
微信支付 
支付宝支付