题目详情

遏制官员“权力期权”打击变相腐败,公共行政人员在位时通过职权与人“方便”,但并不谋求即时回报,等到退休或者离职下海后再享受“储存”恩惠带来的报答——权力就好像期货交易,“权力期权”已是客观存在。“权力期权”腐败因其长期性、隐蔽性和复杂性,造成的危害更大。“权力期权”的特点就在于“期权”,没有即时回报,见不到赤裸裸的现金交易,也没有任何“把柄”捏在人家手里,其安全系数之高,让交易者大可放心,也无怪乎一些官员对此“趋之若鹜”:案例一:浙东南某县级市的房管办负责人在位时,通过各种关系精心策划将市区黄金地段大片地块出让给某民营企业,该企业借此开发的小商品市场建成后,日进斗金,成了“亿元户”。房管办负责人退休后,该企业老板把他聘为本公司干部,年薪三十万,高级住房一套,以及每年几万元的请客送礼签批权。案例二:浙西某县级市城建局局长,在位时为某建筑企业在几次重大项目的“公开招投标”过程中施加权力影响,并亲自出面替该企业弄到了银行贷款,使原本实力不强的企业一年内窜升至当地建筑企业中的“龙头老大”地位。该局长退休后,企业将其派往江西“负责”业务,实则坐在家里收钱。权力期权腐败的现象越来越多,而且在某些地方,于官于商都已“深入人心”。“投桃在先,报李在后”,“权力期权”已到了心照不宣、代代相承的地步针对此类现象,2005年4月27日通过的《中华人民共和国公务员法》规定:公务员辞去公职或退休的,原系领导成员离职三年内,其他公务员离职两年内,不得到与原工作业务直接相关的企业任职,不得从事与原工作业务直接相关的营利性活动。阅读案例,回答下列问题:

在上述案例中,相关公共行政人员将原本以公共利益为首要目标的政府决策蜕变成以私人利益为目的的腐败决策,公共资源从而流向( )。

  • A.公共组织
  • B.政府部门
  • C.私人或特殊利益集团
  • D.全社会

正确答案及解析

正确答案
C
解析
暂无解析

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单选题

In its modern form the concept of “literature” did not emerge earlier than the eighteenth century and was not fully developed until the nineteenth century. Yet the conditions for its emergence had been developing since the Renaissance. The word itself came into English use in the fourteenth century, following French and Latin precedents; its root was Latin?littera, a letter of the alphabet.?Litterature, in the common early spelling, was then in effect a condition of reading: of being able to read and of having read. It was often close to the sense of modern?literacy, which was not in the language until the late nineteenth century, its introduction in part made necessary by the movement of?literature?to a different sense. The normal adjective associated with literature was?literate. Literary appeared in the sense of reading ability and experience in the seventeenth century, and did not acquire its specialized modern meaning until the eighteenth century.

  Literature?as a new category was then a specialization of the area formerly categorized as?rhetoric?and?grammar: a specialization to reading and, in the material context of the development of printing, to the printed word and especially the book. It was eventually to become a more general category than?poetry?or the earlier?poesy, which had been general terms for imaginative composition, but which in relation to the development of?literaturebecame predominantly specialized, from the seventeenth century, to metrical composition and especially written and printed metrical composition. But literature was never primarily the active composition─the “making”─which poetry had described. As reading rather than writing, it was a category of a different kind. The characteristic use can be seen in Bacon “learned in all literature and erudition, divine and humane”─and as late as Johnson “he had probably more than common literature, as his son addresses him in one of his most elaborate Latin poems.”?Literature, that is to say, was a category of use and condition rather than of production. It was a particular specialization of what had hitherto been seen as an activity or practice, and a specialization, in the circumstances, which was inevitably made in terms of social class. In its first extended sense, beyond the bare sense of “literacy,” it was a definition of “polite” or “humane” learning, and thus specified a particular social distinction. New political concepts of the “nation” and new valuations of the “vernacular” interacted with a persistent emphasis on “literature” as reading in the “classical” languages. But still, in this first stage, into the eighteenth century,?literature?was primarily a generalized social concept, expressing a certain (minority) level of educational achievement. This carded with it a potential and eventually realized alternative definition of?literature?as “printed books:” the objects in and through which this achievement was demonstrated.

  It is important that, within the terms of this development, literature normally included all printed books. There was not necessary specialization to “imaginative” works. Literature was still primarily reading ability and experience, and this included philosophy, history, and essays as well as poems. Were the new eighteenth century novels literature? That question was first approached, not by definition of their mode or content, but by reference to the standards of “polite” or “humane” learning. Was drama literature? This question was to exercise successive generations, not because of any substantial difficulty but because of the practical limits of the category. If literature was reading, could a mode written for spoken performance be said to be literature, and if not, where was Shakespeare?

  At one level the definition indicated by this development has persisted. Literature lost its earliest sense of reading ability and reading experience, and became an apparently objective category of printed works of a certain quality. The concerns of a “literary editor” or a “literary supplement” would still be defined in this way. But three complicating tendencies can then be distinguished: first, a shift from “learning” to “taste” or “sensibility” as a criterion defining literary quality; second, an increasing specialization of literature to “creative” or “imaginative” works; third, a development of the concept of “tradition” within national terms, resulting in the more effective definition of “a national literature.” The source of each of these tendencies can be discerned from the Renaissance, but it was in the eighteenth and nineteenth centuries that they came through most powerfully, until they became, in the twentieth century, in effect received assumptions.

Which of the following can best serve as the title of this passage?

  • A.The Development of the Concept of Literature
  • B.The Development of the Modern Concept of Literature
  • C.The Development of Literature,
  • D.The Development of Literacy
查看答案
单选题

In its modern form the concept of “literature” did not emerge earlier than the eighteenth century and was not fully developed until the nineteenth century. Yet the conditions for its emergence had been developing since the Renaissance. The word itself came into English use in the fourteenth century, following French and Latin precedents; its root was Latin?littera, a letter of the alphabet.?Litterature, in the common early spelling, was then in effect a condition of reading: of being able to read and of having read. It was often close to the sense of modern?literacy, which was not in the language until the late nineteenth century, its introduction in part made necessary by the movement of?literature?to a different sense. The normal adjective associated with literature was?literate. Literary appeared in the sense of reading ability and experience in the seventeenth century, and did not acquire its specialized modern meaning until the eighteenth century.

  Literature?as a new category was then a specialization of the area formerly categorized as?rhetoric?and?grammar: a specialization to reading and, in the material context of the development of printing, to the printed word and especially the book. It was eventually to become a more general category than?poetry?or the earlier?poesy, which had been general terms for imaginative composition, but which in relation to the development of?literaturebecame predominantly specialized, from the seventeenth century, to metrical composition and especially written and printed metrical composition. But literature was never primarily the active composition─the “making”─which poetry had described. As reading rather than writing, it was a category of a different kind. The characteristic use can be seen in Bacon “learned in all literature and erudition, divine and humane”─and as late as Johnson “he had probably more than common literature, as his son addresses him in one of his most elaborate Latin poems.”?Literature, that is to say, was a category of use and condition rather than of production. It was a particular specialization of what had hitherto been seen as an activity or practice, and a specialization, in the circumstances, which was inevitably made in terms of social class. In its first extended sense, beyond the bare sense of “literacy,” it was a definition of “polite” or “humane” learning, and thus specified a particular social distinction. New political concepts of the “nation” and new valuations of the “vernacular” interacted with a persistent emphasis on “literature” as reading in the “classical” languages. But still, in this first stage, into the eighteenth century,?literature?was primarily a generalized social concept, expressing a certain (minority) level of educational achievement. This carded with it a potential and eventually realized alternative definition of?literature?as “printed books:” the objects in and through which this achievement was demonstrated.

  It is important that, within the terms of this development, literature normally included all printed books. There was not necessary specialization to “imaginative” works. Literature was still primarily reading ability and experience, and this included philosophy, history, and essays as well as poems. Were the new eighteenth century novels literature? That question was first approached, not by definition of their mode or content, but by reference to the standards of “polite” or “humane” learning. Was drama literature? This question was to exercise successive generations, not because of any substantial difficulty but because of the practical limits of the category. If literature was reading, could a mode written for spoken performance be said to be literature, and if not, where was Shakespeare?

  At one level the definition indicated by this development has persisted. Literature lost its earliest sense of reading ability and reading experience, and became an apparently objective category of printed works of a certain quality. The concerns of a “literary editor” or a “literary supplement” would still be defined in this way. But three complicating tendencies can then be distinguished: first, a shift from “learning” to “taste” or “sensibility” as a criterion defining literary quality; second, an increasing specialization of literature to “creative” or “imaginative” works; third, a development of the concept of “tradition” within national terms, resulting in the more effective definition of “a national literature.” The source of each of these tendencies can be discerned from the Renaissance, but it was in the eighteenth and nineteenth centuries that they came through most powerfully, until they became, in the twentieth century, in effect received assumptions.

When did the modern concept of “literature” emerge?

  • A.In the seventeenth century
  • B.In the eighteenth century
  • C.In the nineteenth century
  • D.In the twentieth century
查看答案
单选题

In its modern form the concept of “literature” did not emerge earlier than the eighteenth century and was not fully developed until the nineteenth century. Yet the conditions for its emergence had been developing since the Renaissance. The word itself came into English use in the fourteenth century, following French and Latin precedents; its root was Latin?littera, a letter of the alphabet.?Litterature, in the common early spelling, was then in effect a condition of reading: of being able to read and of having read. It was often close to the sense of modern?literacy, which was not in the language until the late nineteenth century, its introduction in part made necessary by the movement of?literature?to a different sense. The normal adjective associated with literature was?literate. Literary appeared in the sense of reading ability and experience in the seventeenth century, and did not acquire its specialized modern meaning until the eighteenth century.

  Literature?as a new category was then a specialization of the area formerly categorized as?rhetoric?and?grammar: a specialization to reading and, in the material context of the development of printing, to the printed word and especially the book. It was eventually to become a more general category than?poetry?or the earlier?poesy, which had been general terms for imaginative composition, but which in relation to the development of?literaturebecame predominantly specialized, from the seventeenth century, to metrical composition and especially written and printed metrical composition. But literature was never primarily the active composition─the “making”─which poetry had described. As reading rather than writing, it was a category of a different kind. The characteristic use can be seen in Bacon “learned in all literature and erudition, divine and humane”─and as late as Johnson “he had probably more than common literature, as his son addresses him in one of his most elaborate Latin poems.”?Literature, that is to say, was a category of use and condition rather than of production. It was a particular specialization of what had hitherto been seen as an activity or practice, and a specialization, in the circumstances, which was inevitably made in terms of social class. In its first extended sense, beyond the bare sense of “literacy,” it was a definition of “polite” or “humane” learning, and thus specified a particular social distinction. New political concepts of the “nation” and new valuations of the “vernacular” interacted with a persistent emphasis on “literature” as reading in the “classical” languages. But still, in this first stage, into the eighteenth century,?literature?was primarily a generalized social concept, expressing a certain (minority) level of educational achievement. This carded with it a potential and eventually realized alternative definition of?literature?as “printed books:” the objects in and through which this achievement was demonstrated.

  It is important that, within the terms of this development, literature normally included all printed books. There was not necessary specialization to “imaginative” works. Literature was still primarily reading ability and experience, and this included philosophy, history, and essays as well as poems. Were the new eighteenth century novels literature? That question was first approached, not by definition of their mode or content, but by reference to the standards of “polite” or “humane” learning. Was drama literature? This question was to exercise successive generations, not because of any substantial difficulty but because of the practical limits of the category. If literature was reading, could a mode written for spoken performance be said to be literature, and if not, where was Shakespeare?

  At one level the definition indicated by this development has persisted. Literature lost its earliest sense of reading ability and reading experience, and became an apparently objective category of printed works of a certain quality. The concerns of a “literary editor” or a “literary supplement” would still be defined in this way. But three complicating tendencies can then be distinguished: first, a shift from “learning” to “taste” or “sensibility” as a criterion defining literary quality; second, an increasing specialization of literature to “creative” or “imaginative” works; third, a development of the concept of “tradition” within national terms, resulting in the more effective definition of “a national literature.” The source of each of these tendencies can be discerned from the Renaissance, but it was in the eighteenth and nineteenth centuries that they came through most powerfully, until they became, in the twentieth century, in effect received assumptions.

What is the earliest adjective associated with literature?

  • A.Literary
  • B.Literate
  • C.Literacy
  • D.Literal
查看答案
单选题

In its modern form the concept of “literature” did not emerge earlier than the eighteenth century and was not fully developed until the nineteenth century. Yet the conditions for its emergence had been developing since the Renaissance. The word itself came into English use in the fourteenth century, following French and Latin precedents; its root was Latin?littera, a letter of the alphabet.?Litterature, in the common early spelling, was then in effect a condition of reading: of being able to read and of having read. It was often close to the sense of modern?literacy, which was not in the language until the late nineteenth century, its introduction in part made necessary by the movement of?literature?to a different sense. The normal adjective associated with literature was?literate. Literary appeared in the sense of reading ability and experience in the seventeenth century, and did not acquire its specialized modern meaning until the eighteenth century.

  Literature?as a new category was then a specialization of the area formerly categorized as?rhetoric?and?grammar: a specialization to reading and, in the material context of the development of printing, to the printed word and especially the book. It was eventually to become a more general category than?poetry?or the earlier?poesy, which had been general terms for imaginative composition, but which in relation to the development of?literaturebecame predominantly specialized, from the seventeenth century, to metrical composition and especially written and printed metrical composition. But literature was never primarily the active composition─the “making”─which poetry had described. As reading rather than writing, it was a category of a different kind. The characteristic use can be seen in Bacon “learned in all literature and erudition, divine and humane”─and as late as Johnson “he had probably more than common literature, as his son addresses him in one of his most elaborate Latin poems.”?Literature, that is to say, was a category of use and condition rather than of production. It was a particular specialization of what had hitherto been seen as an activity or practice, and a specialization, in the circumstances, which was inevitably made in terms of social class. In its first extended sense, beyond the bare sense of “literacy,” it was a definition of “polite” or “humane” learning, and thus specified a particular social distinction. New political concepts of the “nation” and new valuations of the “vernacular” interacted with a persistent emphasis on “literature” as reading in the “classical” languages. But still, in this first stage, into the eighteenth century,?literature?was primarily a generalized social concept, expressing a certain (minority) level of educational achievement. This carded with it a potential and eventually realized alternative definition of?literature?as “printed books:” the objects in and through which this achievement was demonstrated.

  It is important that, within the terms of this development, literature normally included all printed books. There was not necessary specialization to “imaginative” works. Literature was still primarily reading ability and experience, and this included philosophy, history, and essays as well as poems. Were the new eighteenth century novels literature? That question was first approached, not by definition of their mode or content, but by reference to the standards of “polite” or “humane” learning. Was drama literature? This question was to exercise successive generations, not because of any substantial difficulty but because of the practical limits of the category. If literature was reading, could a mode written for spoken performance be said to be literature, and if not, where was Shakespeare?

  At one level the definition indicated by this development has persisted. Literature lost its earliest sense of reading ability and reading experience, and became an apparently objective category of printed works of a certain quality. The concerns of a “literary editor” or a “literary supplement” would still be defined in this way. But three complicating tendencies can then be distinguished: first, a shift from “learning” to “taste” or “sensibility” as a criterion defining literary quality; second, an increasing specialization of literature to “creative” or “imaginative” works; third, a development of the concept of “tradition” within national terms, resulting in the more effective definition of “a national literature.” The source of each of these tendencies can be discerned from the Renaissance, but it was in the eighteenth and nineteenth centuries that they came through most powerfully, until they became, in the twentieth century, in effect received assumptions.

What challenged the definition of literature as reading in the eighteenth century?

  • A.The emergence of novels
  • B.The emergence of dramas
  • C.The emergence of poems
  • D.The emergence of essays
查看答案
单选题

In its modern form the concept of “literature” did not emerge earlier than the eighteenth century and was not fully developed until the nineteenth century. Yet the conditions for its emergence had been developing since the Renaissance. The word itself came into English use in the fourteenth century, following French and Latin precedents; its root was Latin?littera, a letter of the alphabet.?Litterature, in the common early spelling, was then in effect a condition of reading: of being able to read and of having read. It was often close to the sense of modern?literacy, which was not in the language until the late nineteenth century, its introduction in part made necessary by the movement of?literature?to a different sense. The normal adjective associated with literature was?literate. Literary appeared in the sense of reading ability and experience in the seventeenth century, and did not acquire its specialized modern meaning until the eighteenth century.

  Literature?as a new category was then a specialization of the area formerly categorized as?rhetoric?and?grammar: a specialization to reading and, in the material context of the development of printing, to the printed word and especially the book. It was eventually to become a more general category than?poetry?or the earlier?poesy, which had been general terms for imaginative composition, but which in relation to the development of?literaturebecame predominantly specialized, from the seventeenth century, to metrical composition and especially written and printed metrical composition. But literature was never primarily the active composition─the “making”─which poetry had described. As reading rather than writing, it was a category of a different kind. The characteristic use can be seen in Bacon “learned in all literature and erudition, divine and humane”─and as late as Johnson “he had probably more than common literature, as his son addresses him in one of his most elaborate Latin poems.”?Literature, that is to say, was a category of use and condition rather than of production. It was a particular specialization of what had hitherto been seen as an activity or practice, and a specialization, in the circumstances, which was inevitably made in terms of social class. In its first extended sense, beyond the bare sense of “literacy,” it was a definition of “polite” or “humane” learning, and thus specified a particular social distinction. New political concepts of the “nation” and new valuations of the “vernacular” interacted with a persistent emphasis on “literature” as reading in the “classical” languages. But still, in this first stage, into the eighteenth century,?literature?was primarily a generalized social concept, expressing a certain (minority) level of educational achievement. This carded with it a potential and eventually realized alternative definition of?literature?as “printed books:” the objects in and through which this achievement was demonstrated.

  It is important that, within the terms of this development, literature normally included all printed books. There was not necessary specialization to “imaginative” works. Literature was still primarily reading ability and experience, and this included philosophy, history, and essays as well as poems. Were the new eighteenth century novels literature? That question was first approached, not by definition of their mode or content, but by reference to the standards of “polite” or “humane” learning. Was drama literature? This question was to exercise successive generations, not because of any substantial difficulty but because of the practical limits of the category. If literature was reading, could a mode written for spoken performance be said to be literature, and if not, where was Shakespeare?

  At one level the definition indicated by this development has persisted. Literature lost its earliest sense of reading ability and reading experience, and became an apparently objective category of printed works of a certain quality. The concerns of a “literary editor” or a “literary supplement” would still be defined in this way. But three complicating tendencies can then be distinguished: first, a shift from “learning” to “taste” or “sensibility” as a criterion defining literary quality; second, an increasing specialization of literature to “creative” or “imaginative” works; third, a development of the concept of “tradition” within national terms, resulting in the more effective definition of “a national literature.” The source of each of these tendencies can be discerned from the Renaissance, but it was in the eighteenth and nineteenth centuries that they came through most powerfully, until they became, in the twentieth century, in effect received assumptions.

What did literature mean in its earliest sense?

  • A.Reading ability
  • B.Reading ability and experience
  • C.Writing ability
  • D.Reading and writing
查看答案

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