2 In this sense it is true that it is the duty of society to create conditions in which such men can live. For whatever the value of any individual contribution, the general body of work is of immense value to everyone. But of course things are not so formal, in reality. There is not society on the one hand and these individuals on the other. In ordinary living, and in his work, the contributor shares in the life of his society, which often affects him both in minor ways and in ways sometimes so deep that he is not even aware of them. His ability to make his work public depends on the actual communication system the language itself, or certain visual or musical or scientific conventions and the institutions through which the communication will be passed. The effect of these on his actual work can be almost infinitely variable. For it is not only a communication system outside him. it is also, however original he may he, a communication system which is in fact part of himself. Many contributors make active use of this kind of internal communication system. It is to themselves, in a way, that they first show their conceptions, play their music, present their arguments. Not only as a way of getting these clear, in the process of almost endless testing that active composition involves. But also, whether consciously or not, as a way of putting the experience into a communicable form. If one mind has grasped it, then it may be open to other minds.
3 In this deep sense, the society is in some ways already present in the act of composition. This is always very difficult to understand, but often, when we have the advantage of looking back at a period, we can see, even if we cannot explain, how this was so. We can see how much even highly original individuals had in common, in their actual work, and in what is called their "structure of feeling", with other individual workers of the time, and with the society of that time to which they belonged. The historian is also continually struck by the fact that men of this kind felt isolated at the very time when in reality they were beginning to get through. This can also be noticed in our own time, when some of the most deeply influential men feel isolated and even rejected. The society and the communication are there, but it is difficult to recognize them, difficult to be sure.
Creative artists and thinkers achieve communication by
A.depending on shared conventions.
B.fashioning their own conventions.
C.adjusting their personal feelings.
D.elaborating a common language.
第1题
维生素D缺乏性手足搐搦症发生惊厥是由于血清中()。
A.钾离子浓度降低
B.钠离子浓度降低
C.氯离子浓度降低
D.钙离子浓度降低
E.磷离子浓度降低
第2题
维生素D缺乏性手足搐搦症发生惊厥是由于血清中()。
A.钾离子浓度降低
B.钠离子浓度降低
C.氯离子浓度降低
D.钙离子浓度降低
E.磷离子浓度降低
第6题
维生素D缺乏性手足搐搦症发生惊厥是由于
A.血钾浓度降低
B.血钠浓度降低
C.血钙浓度降低
D.血磷浓度降低
E.血镁浓度降低
第7题
维生素D缺乏性手足搐搦症发生惊厥是由于
A.血钾浓度降低
B.血钠浓度降低
C.血钙浓度降低
D.血磷浓度降低
E.血镁浓度降低
第8题
维生素D缺乏性手足搐搦症发生惊厥史由于
A.血钾浓度降低
B.血钠浓度降低
C.血钙浓度降低
D.血磷浓度降低
E.血镁浓度降低
第9题
B、婴儿痉挛症
C、维生素D缺乏性佝偻病
D、维生素D缺乏性手足搐搦症
E、低镁血症
其发生惊厥是由于血清中()A、钾离子浓度降低
B、钠离子浓度降低
C、氯离子浓度降低
D、钙离子浓度降低
E、磷离子浓度降低
若患儿出现惊厥,呼吸时快时慢,以下紧急处理中,哪些是必要的()A、测血糖
B、测血胆红素
C、监测呼吸、心率、血压
D、床旁头颅B超检查
E、测血钙
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