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试述慢性肺源性心脏病的病因、发病机制及病理变化(肺、心)。
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简述大叶性肺炎的病因、发病机制及病变特点，基本病变解释临床症状
M: I hope there weren’t too many phone calls while I was away yesterday.W: There wasn’t a single one until after four in the after- noon when I finally got the company to repair our line. Why were there no phone calls before four（）
Directions: Read the following text. Choose the best word(s) for each numbered blank. Women often (1) that dating is like a cattle (2) , and a paper just published in Biology Letters by Thomas Pollet and Daniel Nettle of Newcastle University, in England, suggests they are (3) . They have little cause for complaint, however, because the paper also suggests that in this particular market, it is (4) who are the buyers. Mr. Pollet and Dr. Nettle were looking for (5) to support the contention that women choose men of (6) status and resources, as well as good looks. That may sound common sense, but it was often (7) by social scientists until a group of researchers who called themselves evolutionary psychologists started investigating the matter two decades ago. Since then, a series of experiments in laboratories have supported the contention. But as all zoologists know, (8) can only tell you so much. Eventually, you have to look at (9) populations. And that is what Mr. Pollet and Dr. Nettle have done. They have examined data from the 19t0 census of the United States of America and discovered that marriage is, indeed, a market. Moreover, as in any market, a (10) of buyers means the sellers have to have particularly attractive goods on (11) if they are to make the exchange. The advantage of picking 1910 was that America had not yet settled down, demographically speaking. Though the long-colonized eastern states had a sex (12) of one man to one woman, or thereabouts, in the rest of the country the old adage "go west, young man" had resulted in a (13) of males. Mr. Pollet and Dr Nettle were thus able to see just how picky women are, (14) the chance. (15) looking at the whole census, the two researchers relied on a sample of one person in 250. They then (16) the men in the sample a socioeconomic status score between zero and 96, on a scale drawn up in 1950 (which was as close to 1910 as they could get). They showed that in states where the sexes were equal in number, 56% of low status men were married by the age of 30, (17) 60% of high status men were. Even in this case, then, there are women who would prefer to remain (18) rather than marry a deadbeat. When there were 110 men for every 100 women (as, for example, in Arizona), the women got really (19) . In that case only 24% of low-status men were married by 30 compared with 46% of high-status men. As the men went west, then, so did their (20) opportunities.
Part CDirections: Read the following text carefully and then translate the underlined segments into Chinese. Vilhelm Hammershoi has been a well-kept secret since his death in 1916． All his best- known paintings are of household interiors that are drained of color and tell no stories. 46． His windows cannot be seen through, his doors cannot be opened and the figures produce no element of vitality into the rooms. Hammershoi is defiantly inscrutable; the mood is melancholic and enigmatic, but the paintings are oddly compelling. Quite why, no one seems sure. Of the 71 paintings in a new exhibition in London, 21 come from his native Copenhagen, 15 from other Scandinavian collections and 20 from private collections, principally Danish. Hammershoi’s focus was not as narrow as this show might suggest, but to see his nudes it is necessary to visit the Statens Museum for Kunst in Denmark. He did some fine, if bleak, landscapes too, but it was the interiors that sold in his lifetime, and he is best remembered for paintings of the sun shining through curtainless window-panes, casting shadows on carpetless floors. 47．Anxious to transform the prosaic into the romantic, his admirers speak of a poet of light and the poetry of silence. Hammershoi himself was guileless. 48．"What makes me choose a motif are the lines, what I like to call the architectural context of an image," he said in 1907. Light was also very important, but it was lines, he insisted, that had the greatest significance for him. His wife, Ida, makes appearances in the empty rooms, but she is usually painted from the back, with the emphasis on the bare nape of her neck. The heroic figures are white doors and windows, and tables, chairs, a piano and a sofa. No painter can have got so much pleasure from painting brown furniture. One work, titled "Interior with a Woman at a Sewing Table", is a symphony of three shades of shiny brown. Hammershoi was influenced by Vermeer and the 17th-century Dutch genre painters and by Caspar David Friedrich, a German, but there is no one like him. His work shows traces of an unexpected subversive sense of humor. 49．Felix Kramer, the show’s curator, identifies irregularities, for example, that create an almost surreal quality: a piano with two legs, table legs casting shadows in different directions, chests of drawers with no knobs or handles. Even some of Hammershoi’s admirers wonder what it all means. 50．Trying to pin Hammershoi down is as profitless as Waiting for Godot. However, the new exhibition at the Royal Academy of Arts might encourage some excitement in the marketplace. The highest price made by a Hammershoi interior is ￡ 520,000 ($1 million) in 2006 and the price boom in the auction houses is passing him by. Perhaps the secret of Hammershoi has been kept a bit too well.
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