When we consider great painters of the past, the study of art and the study of illusion cannot always be separated. By illusion I mean those contrivances of color, line, shape, and forth that lead us to see marks on a flat surface as depicting three-dimensional objects in space. I must emphasize that I am not making a plea, disguised or otherwise, for the exercise of illusionist tricks in painting today, although I am, in fact rather critical of certain theories of non-representational art. But to argue over these theories would be to miss the point. That the discoveries and effects of representation that were the pride of earlier artists have become trivial today I would not deny for a moment. Yet I believe that we are in real danger of losing contact with past masters if we accept the fashionable doctrine that such matters never had anything to do with art. The very reason why the representation of nature can now be considered something commonplace should be of the greatest interest to art historians. Never before has there been an age when the visual image was so cheap in every sense of the word. We are surrounded and assailed by posters and advertisements, comics and magazine illustrations. We see aspects of reality represented on television, postage stamps, and food packages. Painting is taught in school and practiced as a pastime, and many modest amateurs have mastered tricks that would have looked like sheer magic to the 14th?century painter Giotto. Even the crude colored renderings on a cereal box might have made Giotto’s contemporaries gasp. Perhaps there are people who concluded from this that the cereal box is superior to a Giotto; I do not. But I think that the victory and vulgarization of representational skills create a problem for both art historians and critics. In this connection it is instructive to remember the Greek saying that to marvel is the beginning of knowledge and if we cease to marvel we may be in danger of ceasing to know. I believe we must restore our sense of wonder at the capacity to conjure up by forms, lines, shades, or colors those mysterious phantoms of visual reality we call “pictures.” Even comics and advertisements, rightly viewed, provide food for thought. Just as the study of poetry remains incomplete without an awareness of the language of prose, so, I believe, the study of art will be increasingly supplemented by inquiry into the “linguistics” of the visual image. The way the language of art refers to the visible world is both so obvious and so mysterious that it is still largely unknown except to artists who use it as we use all language—without needing to know its grammar and semantics.
Which of the following can be inferred from the passage, about the adherents of “certain theories of nonrepresentational art”?
题目提到“certain theories of nonrepresentational art”，可将范围定位于文章前三句。文中第一句表明作者观点，即认为艺术和幻觉的研究是不可分割的。第三句后半部分“although”，可知这里是强调的重点。作者表明尽管他对非具象艺术持批评态度，但是并不是针对他们进行批评。由此推知，现代的非具象理论认为错觉在现代艺术中已经不再有用。答案为A。
关于红细胞平均值的叙述，下列哪项正确
血红蛋白测定的临床意义，下列哪项概念是错误的
目前目视法计算红细胞的最佳稀释液是
卡波环认为可能是
下列有关血红蛋白结构的概念哪项是错误的
患者，女，34岁。查体：消瘦，贫血貌，易患感冒。外周血检查结果：MCV75fl，MCH26pg．MCHC332g／L，RDW17．5％，WBC及DC正常。该患者贫血属
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患者，女，25岁。15岁时开始乏力，头晕，月经量过多，曾服用铁剂治疗，症状无明显改善。体检：皮肤黏膜苍白，贫血貌，余无异常。外周血检查结果：Hb82g／L，RBC3．2×10
／L，HCT0．29，RDW18．5％。该患者最可能的诊断是
患儿，男，5岁，贫血貌。外周血检查结果；RBC3．5×10
／L，Hb75g／L，HCT0．26，该患者贫血可能是
患者，男，38岁，农民，头晕乏力近一年。体检：贫血貌，余无异常。外周血检查结果：外周血涂片示红细胞以小细胞为主，中央淡染区扩大。RBC：3．83×10
／L，Hb92g／L，HCT0．29，MCV76fl，MCH24pg，MCHC315g／L，RDW19．5％，粪便检查有钩虫卵。其初步诊断为
