【導(dǎo)讀】Art(20thcenturytotoday)Atthetimetheywerec

　　

【正文】 The Whi tney hol ds an excel ent col ecti on of contem porary Am eri can pai nti ng and scul pture. There are no perm anent di spl ays i n thi s m useum and exhi bi ti ons change al l the tim e. Every two years, the Whitney hol ds a speci al exhi bi ti on of new art by li vi ng arti sts. The m useum al so shows vi deos and film s by contemporary vi deo artists. Unit 2 A FEW SIMPLE FORMS OF ENGLISH POEMS There are vari ous reasons why peopl e write poetry. Som e poems tel a story or descri be som ethi ng i n a way that wil l gi ve the reader a strong im presi on. O thers try to convey certai n em oti ons. Poets use m any di fferent form s of poetry to express them sel ves. In thi s text, however, we wi l l ook at a few of the sim pl er forms. Som e of the fi rst poetry a young chil d l earns i n Engli sh i s nursery rhym es. These rhym es li ke the one on the right (A) are stil l a mon type of chil dren’s poetry. The l anguage i s concrete but imagi nati ve, and they del ight sm al l chil dren because they rhyme, have strong rhythm and a l ot of repetition. The poems may not m ake sense and even sem contradi ctory, but they are easy to l earn and reci te. By playing with the words in nursery rhymes, chi ldren l earn about language. Hush, 大連星海高爾夫項(xiàng)目 可行性研究報(bào)告 目 錄 第一章 總 論 ....................................................................................... 4 第一節(jié) 項(xiàng)目概述 ................................................................................................ 4 第二節(jié) 項(xiàng)目主要技術(shù)經(jīng)濟(jì)指標(biāo) ........................................................................ 5 第三節(jié) 編制依據(jù) ................................................................................................ 8 第二章 市場(chǎng)分析與預(yù)測(cè) ...................................................................... 9 第一節(jié) 大連市宏觀情況分析 ............................................................................ 9 第二節(jié) 大連市房地產(chǎn)發(fā)展特征 ...................................................................... 12 第三節(jié) 大連市高新園區(qū)區(qū)域總體分析 .......................................................... 21 第三章 市場(chǎng)調(diào)查及項(xiàng)目分析 ............................................................ 35 第一節(jié) 高新園區(qū)房地產(chǎn)市場(chǎng)調(diào)查 .................................................................. 35 第二節(jié) 項(xiàng)目 SWOT 分析 ................................................................................ 39 第三節(jié) 項(xiàng)目定位及目標(biāo)消費(fèi)群體分析 .......................................................... 41 第四章 項(xiàng)目戶型產(chǎn)品定位 ................................................................ 43 第五章 建設(shè)規(guī)模及方案 .................................................................... 46 第六章 相關(guān)單位簡(jiǎn)介 ........................................................................ 53 第七章 銷售價(jià)格與銷售收入估算 .................................................. 54 第八章 投資估算 ............................................................................... 56 第九章 投資計(jì)劃與資金籌措 ............................................................ 61 Young Li fesaver Schem e at hi s hi gh schol. When congratul ati ng John, Mr Al an Southerton, Di rector of the Young Li fesaver Schem e sai d, “There i s no doubt that John’s qui ck thi nki ng and the fi rst ai d skil ls he l earned at school saved Ms Sl ade’s l ife. It shows that a knowl edge of fi rst ai d can m ake a real di fference.” Before recei vi ng thei r awards l ast ni ght, John and the ni ne other Li fe Savers attended a speci al recepti on yesterday hosted by the Prim e Mi ni ster. 選修六 Unit 1 A SHO RT H ISTO RY O F WESTERN PAIN TIN G Art i s i nfl uenced by the custom s and faith of a peopl e. Styles i n Western art have changed m any ti m es. As there are so m any di ferent styl es of Western art, i t woul d be im posi bl e to descri be al l of them in such a short text. Consequently, this text wi l descri be onl y the m ost im portant ones, starti ng from the si xth century AD. The Mi ddl e Ages (5th to the 15th century AD) Duri ng the Mi ddl e Ages, the mai n aim of pai nters was to represent rel i gi ous them es. A conventi onal arti st of thi s peri od was not i nterested i n showi ng nature and peopl e as they real l y were. A typical picture at this ti me was ful l of reli gious sym bol s, whi ch created a feeli ng of respect and l ove for God. But i t was evi dent that i deas were changi ng i n the 13th century when pai nters l ike Gi otto di Bondone began to paint reli gi ous scenes i n a m ore reali sti c way. The Renai ssance (15th to 16th century) Duri ng the Renai sance, new i deas and val ues gradual y repl aced those hel d i n the Mi ddl e Ages. Peopl e began to concentrate l es on rel i gi ous them es and adopt a m ore hum ani sti c atti tude to l i fe. At the sam e tim e pai nters returned to cl assi cal Rom an and Greek i deas about art. They tri ed to paint peopl e and nature as they real ly were. Ri ch peopl e wanted to posess their own painti ngs. so they coul d decorate their superb pal aces and great houses. They pai d fam ous arti sts to pai nt pictures of them selves, thei r houses and possessi ons as wel l as thei r acti vi ties and achi evem ents. One of the most im portant di scoveri es duri ng thi s peri od was how to draw things i n perspecti ve. Thi s techni que was fi rst used by Masacci o i n 1428. When peopl e fi rst saw hi s pai nti ngs, they were convi nced that they were l ooki ng through a hol e i n a wal l at a real scene. If the rul es of perspecti ve had not been di scovered, on one woul d have been abl e to pai nt such reali sti c pi ctures. By coinci dence, oil pai nts were al so developed at thi s tim e, whi ch m ade the colors used i n pai nti ngs l ook ri cher and deeper. Without the new pai nts and the new techni que, we woul d not be abl e to see the many great masterpi eces for whi ch thi s peri od i s fam ous. Im pressi oni sm (l ate 19th to earl y 20th century) In the l ate 19th century, Europe changed a great deal, from a mostl y agri cul t