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Heart surgery causes the costs of general hospital care to _____ .
A.raise
B.arise
C.rise
D.arouse
答案
更多“Heart surgery causes the costs of general hospital care to _____ .A.raiseB.ariseC.rise”相关的问题
第1题
d on bones and /or muscles).
A.includes
B.including
C.include
D.inclusive
第2题
According to a report by the American Heart Association, doctors should consider prescribing【5】aspirin for middle-aged people with a family history of, or【6】for, heart disease. (Risk factors include smoking, being more than 20 percent overweight, high blood pressure and lack of exercise. )
Aspirin is also a lifesaver during heart attacks. Paramedics now give it routinely, and experts urge anyone with chest pain,【7】if it spreads to the neck, shoulder or an arm, or is accompanied by sweating, nausea (恶心), lightheadedness and breathing difficulty to chew and【8】an aspirin tablet immediately.
When taking aspirin for heart attack,【9】the plain, uncoated variety. For even faster absorption, crush and mix with a little water. Speed of absorption is critical because most heart attack deaths occur【10】the first few hours after chest pain strikes.
(1)
A．expected
B．demanded
C．assigned
D．advised
第3题
But the Americans are in a mess. The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out. These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America's new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor's surgery is as likely to be about the doctor's latest financial deal, as about whether the minor operation he is recommending at several thousand dollars is entirely necessary.
The rising cost of medicine in the U.S.A. is among the most worrying problem facing the country. In 1981 the country's health cost climbed 15.9 percent—about twice as fast as prices in general.
In the U.S. patients can expect, in medical treatment, ______.
A．occasional mistakes by careless doctors
B．a great deal of personal attention
C．low charge by doctors and hospitals
D．stacking nurses and bad services
第4题
It was inevitable that this primacy should have narrowed as other countries grew richer. Just as inevitably, the retreat from predominance proved painful. By the mid-1980s Americans had found themselves at a loss over their fading industrial competitiveness. Some huge American industries, such as consumer electronics, had shrunk or vanished in the face of foreign competition. By 1987 there was only one American television maker left, Zenith. (Now there is none: Zenith was bought by South Korea's LG Electronics. ) Foreign-made cars and textiles were sweeping into the domestic market. America's machine-tool industry was on the ropes. For a while it looked as though the making of semiconductors, which America had sat at the heart of the new computer age, was going to be the next casualty.
All of this caused a crisis of confidence. Americans stopped taking prosperity for granted. They began to believe that their way of doing business was failing, and that their incomes would therefore shortly begin to fail as well. The mid-1980s brought one inquiry after another into the causes of America's industrial decline. Their sometimes sensational findings were filled with warnings about the growing competition from overseas.
How things have changed! In 1995 the United States can look back on five years of solid growth while Japan has been straggling. Few Americans attribute this solely to such obvious causes as a devalued dollar or the turning of the business cycle. Self-doubt has yielded to blind pride. "American industry has changed its structure, has gone on a diet, has learnt to be more quick-witted," according to Richard Cavanagh, executive dean of Harvard's Kennedy School of Government. "It makes me proud to be an American just to see how our businesses are improving their productivity," says Stephen Moore of the Cato Institute, a think-tank in Washington, D. C. And William Sahlman of the Harvard Business School believes, that people will look back on this period as "a golden age of business management in the United States".
Which of the following statements is TRUE about US economic predominance after World War Ⅱ？
A．The unparalleled size of its workforce had given an impetus to its economy.
B．The war had destroyed the economies of most potential competitors.
C．Its domestic market was eight times larger than before.
D．It had made painstaking efforts towards this goal.
第5题
But that is precisely the trouble; for as far as I can see, Mozart's can. Mozart makes me begin to see ghosts, or at the very least ouija-boards. If you read Beethoven's letters, you feel that you are at the heart of a tempest, a whirlwind, a furnace; and so you should, because you are. If you read Wagner's, you feel that you have been run over by a tank, and that, too, is an appropriate response.
But if you read Mozart's—and he was a hugely prolific letter-writer—you have no clue at all to the power that drove him and the music it squeezed out of him in such profusion that death alone could stop it; they reveal nothing—nothing that explains it. Of course it is absurd(though the mistake is frequently made)to seek external causes for particular works of music; but with Mozart it is also absurd, or at any rate useless, to seek for internal ones either. Mozart was an instrument. But who was playing it？
That is what I mean by the Mozart Problem and the anxiety it causes me. In all art, in anything, there is nothing like the perfection of Mozart, nothing to compare with the range of feeling he explores, nothing to equal the contrast between the simplicity of the materials and the complexity and effect of his use of them. The piano concertos themselves exhibit these truths at their most intense; he was a greater master of this form. than of the symphony itself, and to hear every one of them, in the astounding abundance of genius they provide, played as I have so recently heard them played, is to be brought face to face with a mystery which, if we could solve it, would solve the mystery of life itself.
We can see Mozart, from infant prodigy to unmarked grave. We know what he did, what he wrote, what he felt, whom he loved, where he went, what he died of. We pile up such knowledge as a child does bricks; and then we hear the little tripping rondo tune of the last concerto—and the bricks collapse; all our knowledge is useless to explain a single bar of it. It is almost enough to make me believe in — but I have run out of space, and don't have to say it. Put K. 595 on the gramophone and say it for me.
According to Paragraph 1, Cardus observed that ______ .
A．a composer can separate his language and harmonies from his own mind and sensibility
B．a composer can separate his language and harmonies from the mind and sensibility of an artist
C．some people can separate the language and harmonies of a composer from his mind and sensibility
D．the language, harmonies, rhythms, melodies, colors and texture of a composer cannot be separated from each other
第6题
But that is precisely the trouble; for as far as I can see, Mozart's can. Mozart makes me begin to see ghosts, or at the very least ouija-boards. If you read Beethoven's letters, you feel that you are at the heart of a tempest, a whirlwind, a furnace; and so you should, because you are. If you read Wagner's, you feel that you have been run over by a tank, and that, too, is an appropriate response.
But if you read Mozart's—and he was a hugely prolific letter-writer—you have no clue at all to the power that drove him and the music it squeezed out of him in such profusion that death alone could stop it; they reveal nothing—nothing that explains it. Of course it is absurd(though the mistake is frequently made)to seek external causes for particular works of music; but with Mozart it is also absurd, or at any rate useless, to seek for internal ones either. Mozart was an instrument. But who was playing it？
That is what I mean by the Mozart Problem and the anxiety it causes me. In all art, in anything, there is nothing like the perfection of Mozart, nothing to compare with the range of feeling he explores, nothing to equal the contrast between the simplicity of the materials and the complexity and effect of his use of them. The piano concertos themselves exhibit these truths at their most intense; he was a greater master of this form. than of the symphony itself, and to hear every one of them, in the astounding abundance of genius they provide, played as I have so recently heard them played, is to be brought face to face with a mystery which, if we could solve it, would solve the mystery of life itself.
We can see Mozart, from infant prodigy to unmarked grave. We know what he did, what he wrote, what he felt, whom he loved, where he went, what he died of. We pile up such knowledge as a child does bricks; and then we hear the little tripping rondo tune of the last concerto—and the bricks collapse; all our knowledge is useless to explain a single bar of it. It is almost enough to make me believe in — but I have run out of space, and don't have to say it. Put K. 595 on the gramophone and say it for me.
According to Paragraph 1, Cardus observed that ______ .
A．a composer can separate his language and harmonies from his own mind and sensibility
B．a composer can separate his language and harmonies from the mind and sensibility of an artist
C．some people can separate the language and harmonies of a composer from his mind and sensibility
D．the language, harmonies, rhythms, melodies, colors and texture of a composer cannot be separated from each other
第7题
A.routine
B.surgery
C.rifle
D.sake
第8题
A.Current surgical Therapy
B.Sabiston textbook of surgery
C.Schwartz's Principles of surgery
D.Krik's Basic Surgical Techniques
E.Fischer's Mastery of Surgery
第10题
A.surgery
B.check
C.injection
D.sleep
