题干

将基因型为Aa的高茎豌豆幼苗(品系甲)用秋水仙素处理后,得到四倍体植株幼苗(品系乙),将品系甲、品系乙混合种植,在自然状态下生长、得到它们的子一代.下列有关叙述正确的是(  )

A:品系甲植株与品系乙植株杂交可得到三倍体的后代,所以它们为同一品种

B:取品系乙的花药进行离体培养再经秋水仙素处理获得的植株都为纯合子

C:将品系乙植株上所结种子单独种植,矮茎植株占 136

D:品系甲、品系乙混合种植后,产生的子代中有二倍体、三倍体和四倍体

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答案(点此获取答案解析)

C

同类题1

阅读理解

    Why read, and sometimes even write poetry? That question is not difficult to answer if we change the word poetry to songs.

    I sing when I feel good. When I sing my favorite songs, I feel even better. Sometimes when I am listening to music and to the song words, I feel that it was written for me. A good song always makes me feel something. There are songs that I sing in my head between classes and songs that I want to sing when the school bell rings by the end of the day. They help me get through the day.

    They are like bright and warm colors in the middle of grays and shades. I like songs about love and friendship. The extraordinary thing is that my feelings are more special when I sing my favorite songs in English.

    I also like reading. I used to avoid poetry until an e-friend told me I should recite poems and not look up the meaning of the words. Poetry uses many difficult words and idioms, but the best thing is to just forget about them. In the beginning I felt quite strange. Now I always lock the door. Reading aloud gives you a strange feeling, but when you have some practice and fall into the rhythm, and the sounds of the words, it is really a special experience.

    I started with small poems, but now I think I most like long poems. I have different feelings with different poems. When I have had a bad day at school, I read Keats and forget everything. When I am sad I read Wordsworth by the light of a candle. When the poem is finished, I close the book and my sadness is gone.

同类题2

阅读下面的文字,完成文后题目。

    中国绘画发展到了相对成熟的北宋以后,除了民间画家、宫廷画家等创作群体外,还出现了诗人、士大夫等各类文化人参与创作的现象。他们以自身文化人的气质,崇尚和追求唐代诗人兼画家王维作品中所蕴含的“诗中有画,画中有诗”的艺术境界。在绘画创作中,他们以诗人的思考方式,把表现对象提升到诗的艺术境界,创作了很多为后人惯称的“文人画”。

    诗人的思考方式,实际上就是中国文人画家基于中国传统画论中东晋大画家顾恺之所言的“迁想妙得”,及后来唐代画家张璪所言“外师造化,中得心源”的绘画理论,将表现的对象在心中“迁想”成诗的艺术形象的思维过程。中国文人画家的这种诗人的思考方式,是大文化学养背景下成就的结果。诗人和音乐家一样,在感情世界里是最敏感的人群,他们所创作的文人画相较西方画家以科学家的思考方式所表现的科学的艺术形象而言,更接近感情的本质,也更显得纯洁与透明。

    中国的文人画家在具体创作中,以顾恺之提出的“传神”的艺术理念为要求,以追求作品的出神入化为最终目的。如宋代画家梁楷所画的《布袋和尚图》和《泼墨仙人图》,以两种粗细不同的艺术手段,表现诙谐而玩世不恭的人物形象。另外,中国文人画家又以诗人的拟人化手段将表现的对象人格化。如明代画家徐渭在《墨葡萄图》中所表现的“笔底明珠无卖处,闲抛闲掷野藤中。”

    基于大文化学养背景的文人画家创作的文人画,在具体的画面处理中,比单纯追求形象与色彩变化的西方绘画艺术显得更有广度和深度。他们不仅追求表现对象的“实”处,还以太极中“阴阳”的理念追求其相对“虚”的空间;进而提出了“计白当黑”的画论,将表现的形象延伸到一个更大的审美空间,达到了“此时无声胜有声”的诗意境界。如八大山人的《鱼鸭图卷》、齐白石的《雏鸡》等作品。

    中国的文人画家以大文化学养背景铸就了“心旷神怡、超然物外”的冲淡平和的心态,所以在作品中容易叙述心灵的情怀。如宋代米友仁的《潇湘奇观图》表现的“山色空蒙雨亦奇”的境界,元代画家吴镇的《渔父图卷》表现的“斜风细雨不须归”的超然境界。

    中国的文人画家在诗、文、书法等各方面的学养上往往都有很高的造诣。中国文人画,那种集诗、书、画于一体的绘画形式,在世界绘画史上是绝无仅有的。文人画不但是中国古代文明在绘画中的综合体现,而且是世界绘画史皇冠上的明珠。这些传世优秀的文人画作品,足以与晋唐的书法及唐诗宋词,共同构成中国文化史上三大具有代表性的板块。

(摘编自了庐《文人画是用诗人的思考方式去绘画,源于“迁想妙得”》)