赤道横穿的大洲是（　　）

中央经济工作会议提出，“要稳妥推进财税和金融体制改革”，其中个人所得税改革的推进或将成为2017年我国税收制度改革的重大看点。回答小题。

    I was wandering around the Albuquerque International Sunport Airport. My flight had been delayed and I heard an announcement: “If anyone near Gate A – 4 understands Arabic(阿拉伯语)，please come to the gate immediately. ” Gate A – 4 was my own gate. I went there.

    An older woman was crumpled (蜷缩成一团的) on the floor, she reminded me of my grandmother.

    “Talk to her,” urged the flight agent. “We told her the flight was going to be late, and she did this.”

    I bent over to put my arm around the woman and spoke uncertainly. “Shu-dow-a, shu-bid-uck, habibti? She stopped crying. She thought the flight had been canceled. She needed to be in El Paso for a medical treatment the next day. I said, “You'll get there, just late. Who is picking you up? Let's call him.”

    We called her son. In English, I told him that I would stay with his mother until we got on the plane. She talked with him. Then we called her other sons just for fun. Then we called my dad, and they spoke for a while in Arabic and found out that they had several shared friends. After that, I called some Palestinian poets I know and let them chat with her.

    She was laughing a lot by then, patting my knee and answering questions. She pulled a bag of home-made cookies filled with nuts and topped with sugar from her bag and offered them to the women at the gate. To my amazement, no one refused. It was like a sacrament (圣餐). The traveler from Argentina, the mom from California, the lovely woman from Laredo —we were all smiling, covered with the same sugar.

    I looked around that gate and thought: This is the world I want to live in, one with no anxiety. This can still happen anywhere, I thought. Not everything is lost.

阅读下面的文字，完成下列小题。

    谈到绘画，首先应打破传统的书、画同源，或书出于画的似是而非之说。从我国龙山期、仰韶期的彩陶，以逮殷代的青铜器，其花纹的情形，在今日犹可考见。这可以说是今日能够看到的中国最古的绘画。彩陶文化期的花纹，多彩多姿；青铜器的花纹，威重神秘；但两者皆系图案的、抽象的性质，反不如原始象形文字之追求物象。一直到战国时期，才有一部分铜器上的狩猎、动物的花纹，带有活泼的写实意味。由这种古代实物的考查，可以明了我国的书与画，完全属于两种不同的系统。由最早的彩陶花纹来看，这完全是属于装饰意味的系统，所以它本身没有象形不象形的问题。例如把这类花纹应用到衣服器物上面，以表示服用者的不同身份，这依然是对被装饰的对象，由装饰的象征性而赋与以当时所要求的意味。由甲骨文的文字来看，这完全是属于帮助并代替记忆的实用系统；所以一开始便不能不追求人们所要记忆的事物之形。等到约定俗成之后，便慢慢从事物之形中解放出来，以追求实用时的便利。所以文字与绘画的发展，都是在两种精神状态及两种目的中进行。何况我国六书中指事的起源，没有人能说它会晚于象形。因造字之始，即有指事的方法，即可斥破由象形文字而来的文字是与绘画同源，或出于绘画之说之谬。

    书画的密切关联，乃发生在书法自身有了美的自觉、成为美的对象的时代；其引发此一自觉的，恐怕和草书的出现有关系。因为草书虽是适应简便的要求，但因体势的流走变化，易于发挥书写者的个性，便于不知不觉之中，成为把文字由实用带到含有游戏性质的艺术领域的桥梁。在历史中最先在书法上受到艺术性欣赏的，当为后汉章帝时杜度的章草，由此流衍而为崔瑗的草贤，张芝的草圣。而张彦远的《书法要录》，一开始便录有后汉赵一的《非草书》。非草书，是对草书加以非难。赵氏认草书为“示简易之旨，非圣人之业”，所以他劝大家把这一番精力，应“用之彼七经”和“稽历协律”这一方面。由此不难窥见自杜度的草书成功后所引起的对草书的欣赏与学习的狂潮。我以为书法是在此种狂潮中才卷进了艺术的宫殿。书法从实用中转移过来而艺术化了，它的性格便和绘画相同。加以两者使用笔墨纸帛的同样工具，而到了唐中期以后，水墨画成立，书与画之间，更大大地接近了一步，遂使一千多年来，大家把两者本是艺术性格上的关联，误解为历史发生上的关联。

    即使在艺术性的关联上，后来许多人，以为要把画画好，必先把字写好的看法，依然是把相得益彰的附益的关系，说成了因果上的必然的关系。书与画的线条，虽然要同样的功力；但画的线条，一直在吴道子晚年的“如莼菜条”出现以前，都是匀而细的，有如“春蚕吐丝”的线条，这和书的线条，也是属于两种形态，自然需要用两种技巧。事实上，固然许多人善书同时也善画，但吴道子本来是“学书于张长史旭，贺监知章。学书不成，因工画”。而元代四大画家之一的倪云林，“初以董源为宗。及乎晚年，画益精诣而书法漫矣。”沈颢《山水法》在《落款》项下谓“元以前，多不用款，款或隐之石隙，恐书不精，有伤画局。”这即足以证明绘画的成就，原与书法并无关系。宋以后，有一部分人，把书法在绘画中的意味强调得太过，这中间实含有认为书法的价值，在绘画之上，要借书法以伸张绘画的意味在里面。这便会无形中忽视了绘画自身更基本的因素，是值得重新加以考虑的。

（摘自徐复观《中国艺术精神》）