考虑荷载偏心及倾斜影响的极限承载力计算公式是：

A:普朗特尔公式 B:魏锡克公式 C:太沙基公式 D:赖纳斯公式

电极法测定的原理所依据的公式是

A:波尔定律 B:比耳定律 C:能斯特公式 D:H-H公式 E:Bohr公式

考虑荷载偏心及倾斜影响的极限承载力公式是：（）

A:太沙基公式 B:普朗特尔公式 C:魏锡克公式 D:赖纳斯公式

考虑荷载偏心及倾斜影响的极限承载力计算公式为：

A:太沙基公式 B:魏锡克公式 C:赖斯纳公式 D:普朗特尔公式

霍尔方法与切克兰德方法相比，哪个论述是错误的（）

A:切克兰德方法更强调定性与定量有机结合 B:霍尔三维结构更多的关注定量分析方法 C:切克兰德方法的核心内容是优化分析 D:霍尔方法论主要以工程系统为研究对象

考托尔曼提出的行为公式是( )。

A:S-R B:B=f(S.A) C:B=f(P.E) D:B=f(S.E)

第二篇Making a Loss is the Height of Fashion Given that a good year in the haute couture business is one where you lose even more money than usual, the prevailing mood in Paris last week was of recession-busting buoyancy. The big-name designers were falling over themselves to boast of how many outfits they had sold at below cost price, and how this proved that the fashion business was healthier than ever. Jean-Paul Gaultier reported record sales, "but we don’t make any money out of it," the designer assured journalists backstage. "No matter how successful you are, you can’t make a profit from couture," explained Jean-Jacques Picart, a veteran fashion PR man, and co-founder of the now-bankrupt Lacroix house. Almost 20 years have passed since the Alice in Wonderland economics of the couture business were first exposed. Outraged that he was losing money on evening dresses costing tens of thousands of pounds, the couturier Jean-Louis Scherrer — to howls of "trahison" from his colleagues - published a detailed summary of his costs. One outfit he described contained over half a mile of gold thread, 18,000 sequins, and had required hundreds of hours of hand-stitching in an atelier. A fair price would have been ￡50,000, but the couturier could only get ￡35,000 for it. Rather than riding high on the follies of the super-rich, he and his team could barely feed their hungry families. The result was an outcry and the first of a series of government - and industry-sponsored inquiries into the surreal world of ultimate fashion. The trade continues to insist that - relatively speaking - couture offers you more than you pay for, but it’s not as simple as that. When such a temple of old wealth starts talking about value for money, it isn’t to convince anyone that dresses costing as much as houses are a bargain. Rather, it is to preserve the peculiar mystique, lucrative associations and threatened interests that couture represents. Essentially, the arguments couldn’t be simpler. On one side are those who say that the business will die if it doesn’t change. On the other are those who say it will die if it does. What’s not in doubt is that haute couture - the term translates as "high sewing" - is a spectacular anachronism. Colossal in its costs, tiny in its clientele and questionable in its influence, it still remains one of the great themes of Parisian life. In his book, The Fashion Conspiracy, Nicholas Coleridge estimates that the entire couture industry rests on the whims of less than 30 immensely wealthy women, and although the number may have grown in recent years with the new prosperity of Asia, the number of couture customers worldwide is no more than 4,000. To qualify as couture, a garment must be entirely hand-made by one of the 11 Paris couture houses registered to the Chambre Syndicale de la Haute Couture. Each house must employ at least 20 people, and show a minimum of 75 new designs a year. So far, so stirringly traditional, but the Big Four operators - Chanel, Dior, Givenchy and Gaultier — increasingly use couture as a marketing device for their far more profitable ready-to-wear, fragrance and accessory lines.What is the main idea of the first paragraph?

A:The haute couture business is expanding quickly. B:The haute couture designers claim losses in their sales. C:The haute couture designers make much profit in their sales. D:The haute couture businessmen are happy with their profit.

第二篇Making a Loss is the Height of Fashion Given that a good year in the haute couture business is one where you lose even more money than usual, the prevailing mood in Paris last week was of recession-busting buoyancy. The big-name designers were falling over themselves to boast of how many outfits they had sold at below cost price, and how this proved that the fashion business was healthier than ever. Jean-Paul Gaultier reported record sales, "but we don’t make any money out of it," the designer assured journalists backstage. "No matter how successful you are, you can’t make a profit from couture," explained Jean-Jacques Picart, a veteran fashion PR man, and co-founder of the now-bankrupt Lacroix house. Almost 20 years have passed since the Alice in Wonderland economics of the couture business were first exposed. Outraged that he was losing money on evening dresses costing tens of thousands of pounds, the couturier Jean-Louis Scherrer — to howls of "trahison" from his colleagues - published a detailed summary of his costs. One outfit he described contained over half a mile of gold thread, 18,000 sequins, and had required hundreds of hours of hand-stitching in an atelier. A fair price would have been ￡50,000, but the couturier could only get ￡35,000 for it. Rather than riding high on the follies of the super-rich, he and his team could barely feed their hungry families. The result was an outcry and the first of a series of government - and industry-sponsored inquiries into the surreal world of ultimate fashion. The trade continues to insist that - relatively speaking - couture offers you more than you pay for, but it’s not as simple as that. When such a temple of old wealth starts talking about value for money, it isn’t to convince anyone that dresses costing as much as houses are a bargain. Rather, it is to preserve the peculiar mystique, lucrative associations and threatened interests that couture represents. Essentially, the arguments couldn’t be simpler. On one side are those who say that the business will die if it doesn’t change. On the other are those who say it will die if it does. What’s not in doubt is that haute couture - the term translates as "high sewing" - is a spectacular anachronism. Colossal in its costs, tiny in its clientele and questionable in its influence, it still remains one of the great themes of Parisian life. In his book, The Fashion Conspiracy, Nicholas Coleridge estimates that the entire couture industry rests on the whims of less than 30 immensely wealthy women, and although the number may have grown in recent years with the new prosperity of Asia, the number of couture customers worldwide is no more than 4,000. To qualify as couture, a garment must be entirely hand-made by one of the 11 Paris couture houses registered to the Chambre Syndicale de la Haute Couture. Each house must employ at least 20 people, and show a minimum of 75 new designs a year. So far, so stirringly traditional, but the Big Four operators - Chanel, Dior, Givenchy and Gaultier — increasingly use couture as a marketing device for their far more profitable ready-to-wear, fragrance and accessory lines.The writer says in paragraph 4 that there is disagreement over

A:the history of haute couture. B:the real costs of haute couture. C:the future of haute couture. D:the changes that need to be made in haute couture.