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多选题
土工合成材料种类有：土工网、（ ）、玻纤网、土工垫等。
A
土工格栅
B
人工合成聚合物
C
土工模袋
D
土工织物
E
土工复合排水材料
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更多 “多选题土工合成材料种类有：土工网、（ ）、玻纤网、土工垫等。A土工格栅B人工合成聚合物C土工模袋D土工织物E土工复合排水材料” 相关考题
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单选题20世纪以来，以（）为代表的中国革命先行者，首次明确提出了“振兴中华”的口号，要求“诸君立志”，把中国建设成为“世界第一富强之国”，奋起为实现民族复兴而战斗。A
康有为B
梁启超C
孙中山D
毛泽东
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多选题对犯罪嫌疑人的讯问，说法正确的有（）。A犯罪嫌疑人有权要求修改或补充笔录B犯罪嫌疑人有权自行书写供词C必要时侦查人员可要求犯罪嫌疑人自行书写供词D犯罪嫌疑人、侦查人员都应当在《讯问笔录》上签名
考题
多选题下列选项中，可以认定为建筑物区分所有权的业主的有（）A基于租赁合同使用房屋的承租人B依法登记取得建筑物专有部分所有权的人C根据人民法院的生效判决取得建筑物专有部分所有权的人D基于与建设单位之间的房屋买卖合同已合法占有建筑物专有部分的人
考题
单选题阅读判断：下面的短文后列出了7个句子，请根据短文的内容对每个句子作出判断：如果该句提供的是正确信息，请选择A;如果该句提供的是错误信息，请选择B;如果该句的信息文中没有提及，请选择C。
When Our Words Collide
“Wanna buy a body?” That was the opening line of more than a few phone calls I got from freelance(自由职业 ) photographers when I was a photo editor at U.S. News. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in picture of bodies or chase celebrities, and “us”, the serious news people. But after 16 years in that role. I came to wonder whether the two worlds were easily distinguishable.
Working in the reputable world of journalism, I assigned photographers to cover other people’s nightmares. I justified invading moments of grief, under the guise(借口) of the reader's right to know. I didn’t ask photographers to trespass(冒犯) or to stalk(跟踪),but I didn’t have to: I worked with pros(同行) who did what others did: talking their way into situations or shooting from behind police lines to get pictures I was after. And I wasn’t alone.
In the aftermath of a car crash or some other hideous incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to capture the blood and gore(血雨腥风). But you are likely to see the local newspaper and television photographers on the scene - and fast.
How can we justify our behavior? Journalists are taught to separate doing the job from worrying about the consequence of publishing what they record. Repeatedly, they are reminded of a news-business dictum(格言): leave your conscience in the office. You get the picture of the footage: the decision whether to print or air it comes later. A victim may lie bleeding, unconscious, or dead: your job is to record the image. You put away your emotions and document the scene.
We act this way partly because we know that the pictures can have important meaning. Photographs can change deplorable(凄惨的) situations by mobilizing public outrage or increase public understanding.
However, disastrous events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. Often an agency buys a picture from a local newspaper or an amateur photographer and put it up for bid by major magazines. The most keenly sought “exclusives” command tens of thousands of dollars through bidding contests.
Many people believe that journalists need to change the way they do things, and it’s our pictures that annoy people the most. Readers may not believe, as we do, that there is a distinction between sober-minded “us” and sleazy(低级庸俗的) “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right.
Journalists aren’t supposed to think about whether they are doing the right thing.A
RightB
WrongC
Not mentioned
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