问答题What is the good life? Aristotle acknowledges that luck has a role to play in the good life, but to what extent does luck effect the good life? If the good life is dependent on external factors, then it would appear that it could not be considered self-sufficient. However, Aristotle argues that the good life is self-sufficient, but communally self-sufficient. Why does Aristotle argue for what appears to be a contradiction in terms? (46)It is contended that luck's effect on the good life was much greater than Aristotle was prepared to acknowledge and that as a result of the good life being dependent on luck, the good life cannot be considered self sufficient. Aristotle believed that the good for humans would be the maximum realization of the function that was unique to humans. Since reason was understood by Aristotle to be the unique quality that humans possessed, it followed that the good for humans was to reason well. (47)Since part of the task of reason was to teach human beings how to act virtuously, the good for humans was the exercise of their faculties in accordance with virtue. The good life, then, was defined by Aristotle as the activity of the soul in accordance with virtue. (48)The circumstances that make it likely or unlikely that a person will lead the good life are external and not of one's own choosing, and are, therefore, dependent on luck. Why not, it might be postulated, limit luck's effects, specifically narrowing the scope of what constitutes the elements of the good life so as to limit, while not eliminating luck's role? (49) Aristotle held that even if one could be viewed as leading the good life, should one experience any adverse circumstances such as illness, bereavement or isolation, then one could no longer be considered to be leading the good life. "For many reversals and all sorts of luck come about in the course of a life; and it is possible for the person who was most especially doing well to encounter great calamities in old age, as in the stories told about Priam in the Trojan war. But when a person has such misfortunes and ends in a wretched condition, nobody says that he is living well. " Aristotle had argued that limiting the scope of luck's effect on the good life would render life meaningless, yet is this not what is happening here? (50)Knowing that as one ages the probability of experiencing misfortune is heightened, and still maintaining that this is a yardstick by which to measure whether one can be considered to be leading the good life, severely limits the chances of anyone attaining the good life. Limiting the scope of the external factors that affected the good life would render the good life too limiting, according to Aristotle; yet Aristotle has placed such severe limitations on the criteria that needs to be met in order to lead the good life that the probability of anyone ever leading the good life are practically non-existent.

问答题请用欧拉图表示直言三段论的公理。

问答题结合以下实例，对假说发展的三个阶段进行逻辑分析。 1968年冬，解放军某部驻地发生流行性感冒，卫生科用乳酸消毒，制止了疾病的蔓延，但费用太大，于是想找一个既省钱又简便的消毒方法。他们开始走访当地群众和中医。一位老工人说：“醋酸味挺浓，是不是可以防治感冒?”他们由此联想到，乳酸和醋酸都是弱酸，有一定的共性。又想到，为什么蛆能在酱油里生长，而不能在醋里生长?为什么蛔虫钻进胆道后，喝了醋就能退回去?为什

问答题已知以下命题为真，请根据对当关系，说明与其素材相同的其他三个命题的真假。 人的正确思想不是从天上掉下来的。

问答题下列语句是否表达命题?为什么? 1墨迹岂能掩盖血迹? 2啊，新星！

问答题指出以下模态命题的逻辑错误，并加以改正。 此人神态紧张，一定是作案人。

问答题为什么三段论第一格的结论可能是A、E、I、O四种命题?

问答题写出第四格三段论的一般形式结构，并试用三段论的一般规则证明三段论第四格的大前提不能是O命题，小前提也不能是O命题。

问答题在“中国是世界上人口最多的国家”中，对“中国”这一概念能否进行限制?为什么?

问答题"Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk, with poles being clear enough but the middle tending to blur. The Hollywood Western of the 1930's, for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high art. The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music--folk themes--in works clearly intended as high art. The case of Verdi is a different one : he took a popular genre-- bourgeois melodrama set to music (an accurate definition of nineteenth-century opera)- and, without altering its fundamental nature, transmuted it into high art. (47) This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. (48) Generally in the plots of these operas, a hero or heroine--usually portrayed only as an individual, unrestrained by class--is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity of the leaders of the civilians. Verdi transforms this naive and unlike formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi' s treatment of character. (49) Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional state. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer' s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi' s characters, on the other hand, have genuine consistency and integrity, even if, in many cases, the consistency is that of pasteboard melodrama. The integrity of the character is achieved through the music: (50) once he had become established, Verdi did not rewrite his music for different singers or allow alterations or substitutions of somebody else's arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness.

问答题“辩证法作为一种世界观和方法论，有唯物主义辩证法和唯心主义辩证法；而从另一个角度看，又可分为古代的辩证法和近代及现代的辩证法。”这段话作为划分是否正确?为什么?

问答题一个三段论，其大前提是I命题，那么其结论能是否定命题吗?为什么?

问答题构造适当的模态命题反驳下列错误的模态命题。 忽“左”忽右可能不犯错误。

问答题试用真值表分析，甲、乙二人谁的推理正确。 甲：如果多劳动，所得就多；如果所得多，生活水平就高；所以，谁生活水平高证明谁多劳动。 乙：如果多劳动，所得就多；如果所得多，生活水平就高；所以，谁多劳动谁就生活水平高。

问答题请分析下列两段话各运用了什么推理?并写出推理公式。 1某营参加抗洪抢险，一连指战员英勇顽强，从水中营救出大批群众，二连指战员发扬两不怕的精神，保住了水库大坝，三连指战员克服重重困难，完成了运输粮食任务。因此，全营指战员圆满完成抗洪抢险任务。 2我们可以见到张三、李四等溺水而死，内脏都有硅藻反应。这是因为人在溺水时呼吸，水中的浮游生物同水一起经血液循环大量进入内脏。所以，凡是溺水而死的人，内脏肺、肝

问答题The finding is contrary to the common belief that all people are motivated to alleviate negative moods, according to Jonathon Brown, a University of Washington psychologist. (46) “Many people with low self-esteem believe sadness is part of life and that you shouldn’t try to get rid of it, while people with high self-esteem believe in doing something to feel better if they have a negative experience or get in a bad mood, ”said Brown. The researchers conducted five studies involving nearly 900 people. (47)In the key experiment, the researchers created a sad mood by having subjects listen to music and found that people with low self-esteem were significantly less likely than people with high self-esteem to select a comedy video from among six tapes to break their mood. “People with lowself-esteem feel resignation because they question whether anything will help and say ‘ I’m not good at breaking or changing a mood, ” Brown said. “They also believe sadness is not something you get rid of and that you learn and grow from sadness. They feel it is not appropriate to try to change a mood. These are not people who would necessarily go to the movies or shopping to feel better. ” There are things that people with low self-esteem can do to snap a negative mood, according to Brown. (48) “If you have low self-esteem, you should actively try to rise above the sadness and learn that you will feel better if you do not passively accept sadness. You can get better if you remind yourself to do something. You may have to kick yourself in the butt to go to a movie because it will require a conscious effort rather than something that comes automatically, ” he said. The other four studies reinforced the idea that low self-esteem people are less motivated to change a negative mood. The initial study asked students to record in a diary a positive or negative experience that happened to them in the next 7 to 10 days and what they did afterwards. (49)The second study found that people with low self-esteem are equally knowledgeable as those with high self-esteem about strategies to repair negative moods. The final two studies asked people about their experiences when they were in a negative mood. (50) Those with high self-esteem were more likely to express the need to do something to change the mood and less likely to recall instances when they didn’t find a way to improve their mood. Those with low self-esteem, however, were more likely to say such moods are acceptable and that they couldn’t change a mood even if they tried. They also were more likely to say that negative moods sapped their energy.

问答题Directions: You have just learned that your friend Joe had his ankles injured and was in hospital now. Write a letter to him and your letter should include the following details: 1) your concern about his injury, 2) and your best wishes for his recovery. Write your letter in no less than 100 words. Write it neatly on ANSWER SHEET 2. Do not sign your own name at the end of the letter, use "Li Ming" instead. Do not write the address.

问答题“我国要建设有中国特色的社会主义。如果我国要走资本主义道路，则帝国主义不允许，中国人民不答应。因此，我国不能走资本主义道路，必须走社会主义道路。” 这段论证违反什么规则?为什么?

问答题James Shapiro follows his award-winning book on William Shakespeare, 1599, which came out in 2005, with an unlikely subject: an investigation into the old chestnut that Shakespeare wasn't the man who wrote the works. Most mainstream Shakespeareans stand aloof from it. But apparently the claims of Francis Bacon, Edward de Vere and Christopher Marlowe, among others, are on the rise. (46) An appetite for conspiracy theories, combined with a call for "balance" from some sectors of academe and the rise of the Internet has given the thing new life. Respectable audiences turn up to listen to lectures on it. The controversy is even taught at university level. "What difference does it make who wrote the plays?" someone asked the author wearily. Mr. Shapiro (for whom Shakespeare was definitely the man) thinks it matters a lot, and by the end of this book, his readers will think so too. The authorship controversy turns on two things., snobbery and the assumption that, in a literal way, you are what you write. How could an untutored, untravelled glover's son from hickville, the argument goes, understand kings and courtiers, affairs of state, philosophy, law, music-let alone the noble art of falconry? (47) Worse still, how could the business-minded, property-owning, moneylending materialist that emerges from the documentary scraps, be the same man as the poet of the plays? Mr. Shapiro teases out the cuhural prejudices, the historical blind spots, and above all the anachronism inherent in these questions. No one before the late 18th century had ever asked them, or thought to read the plays or sonnets for biographical insights. No one had even bothered to work out a chronology for them. (48) The idea that works of literature hold personal clues, or that--more grandly--writing is an expression and exploration of the self, is a relatively recent phenomenon. Contested Will is dense with lives and stories and argument. It is also entertaining. The quest for the true claimant drove people mad. (49) Here are secrets and codes, an elaborate cipher-breaking machine, an obsession with graves and crazy adventures to find lost manuscripts. One man spent months dredging the River Severn. Mr. Shapiro himself turns sleuth, exposing as fraudulent a piece of evidence long thought to be genuine-one more hoax in the long history of Shakespearean wild goose chases. (50) The Shakespeare that emerges is both simple and mysterious: a man of the theatre, who read, observed, listened and remembered. Beyond that is imagination, In essence, that's what the book is about.

问答题American and Japanese researchers are developing a smart car that will help drivers avoid accidents by predicting when they are about to make a dangerous move. The smart car of the future will be able to tell if drivers are going to turn, change lanes, speed up, slow down or pass another car. If the driver's intended action could lead to an accident，the car will activate a warning system or override the move． (46) " BY shifting the emphasis of car safety away from design of the vehicle itself and looking more toward the driver's behavior, the developers believe that they can start to build cars that adapt to suit people's needs , " New Scientist magazine said. Alex Pentland of the Massachusetts Institute of Technology collaborated on the project with Andrew Liu who works for the Japanese carmaker Nissan. (47)Tests of their smart car using a driving simulator have shown that it is 95 percent accurate in predicting a driver's 12 seconds in advance. (48)The system is based on driving behavior which the researchers say can be divided into chains of sub-actions which include preparatory moves. It monitors the driver's behavior patterns to predict the next move. " To make its predictions, Nissan's smart car uses a computer and sensors on the steering wheel, accelerator and brake to monitor a person's driving patterns. (49)A brief training session, in which the driver is asked to perform certain maneuvers, allows the system to calculate the probability of particular actions occurring in two-second time segments, " the magazine said. Liu has also done work on tracking eye movement to predict driving behavior. (50)He said the smart car could be adapted to monitor eye movement which could give even earlier predictions of when a driver is about to make a wrong move.