河流袭夺（river capture）

在RMON中，实现捕获组（Capture）时必须实现（）。

A:事件组（Event） B:过滤组（Filter） C:警报组（Alarm） D:主机组（Host）

The haunting paintings of Helene Schjerfbeck, on show in the final leg of a travelling tour that has already attracted thousands of visitors in Hamburg and The Hague, may come as a surprise to many. Few outside the Nordic world would recognise the work of this Finnish artist who died in 1946． More people should.
The 120 works have at their core 20 self-portraits, half the number she painted in all. The first, dated 1880, is of a wide-eyed teenager eager to absorb everything. The last is a sighting of the artist’s ghost-to-be; Schjerfbeck died the year after it was made. Together this series is among the most moving and accomplished autobiographies-in-paint.
Precociously gifted, Schjerfbeck was 11 when she entered the Finnish Art Society’s drawing school. "The Wounded Warrior in the Snow", a history painting, was bought by a private collector and won her a state travel grant when she was 17．Schjerfbeck studied in Paris, went on to Pont-Aven, Brittany, where she painted for a year, then to Tuscany, Cornwall and St Petersburg.
During her 1887 visit to St Ives, Cornwall, Schjerfbeck painted "The Convalescent". A child wrapped in a blanket sits propped up in a large wicker chair, toying with a sprig. The picture won a bronze medal at the 1889 Paris World Fair and was bought by the Finnish Art Society. To a modern eye it seems almost sentimental and is redeemed only by the somewhat stunned, melancholy expression on the child’s face, which may have been inspired by Schjerfbeck’s early experiences. At four, she fell down a flight of steps and never fully recovered.
In 1890, Schjerfbeck settled in Finland. Teaching exhausted her, she did not like the work of other local painters, and she was further isolated when she took on the care of her mother (who lived until 1923). "If I allow myself the freedom to live a secluded life", she wrote, "then it is because it has to be that way. " In 1902, Scherfbeck and her mother settled in the small, industrial town of Hyvinkaa, 50 kilometers north of Hetsinki.
Isolation had one desired effect for it was there that Schjerfbeck became a modern painter. She produced still lives and landscapes but above all moody yet incisive portraits of her mother, local school girls, women workers in town (profiles of a pensive, aristocratic looking seamstress dressed in black stand out ). And of course she painted herself. Comparisons have been made with James McNeill Whistler and Edvard Munch. But from 1905, her pictures became pure Schjerfbeck.
"I have always searched for the dense depths of the soul, that have not yet discovered themselves", she wrote, "where everything is still unconscious-there one can make the greatest discoveries. " She experimented with different kinds of underpainting, scraped and rubbed, made bright rosy red spots; doing whatever had to be done to capture the subconscious-her own and that of her models.
In 1913, Schjerfbeck was rediscovered by an art dealer and journalist, Gosta Stenman. Once again she was a success. Retrospectives, touring exhibitions and a biography followed, yet Schjerfbeck remained little known outside Scandinavia. Th_at may have had something to do with her indifference to her renown. "I am nothing, absolutely nothing", she wrote. "All I want to do is paint". Schjerfbeck was possessed of a unique vision, and it is time the world recognised that.
We can infer from the text that the most outstanding characteristics of Schjerfbeck’s paintings is______.

A:her vivid characterization of common people B:her capture of the characters’ soul C:the melancholy expression of the characters D:her unconscious sense of some mysterious elements

Text 2

We can infer from the text that the most outstanding characteristics of Schjerfbeck’s paintings is______.

A:her vivid characterization of common people B:her capture of the characters’ soul C:the melancholy expression of the characters D:her unconscious sense of some mysterious elements

There's a ______ of 1,000 pounds offered for the capture of the murderer.

A:credit B:grant C:reward D:prize

Invisibility cloaks would have remained impossible, forever locked in science fiction, had it not been for the development of metamaterials. In Greek, "meta" means beyond, and metamaterials can do things beyond what we see in the natural world-like shuffle light waves around an object, and then bring’ them back together. If scientists ever manage to build a full-fledged invisibility cloak, it will probably be made of metamaterials.
"We are creating materials that don’t exist in nature, and that have a physical phenomenon that doesn’t exist in nature," says engineer Dentcho Genov. "That is the most exciting thing." Genov designs and builds metamaterials such as those used in cloaking at Louisiana Tech University in Ruston, Louisiana.
An invisibility cloak will probably not be the first major accomplishment to come from the field of metamaterials. Other applications are just as exciting. In many labs, for example, scientists are working on building a hyperlens. A lens is a device, usually made of glass that can change the direction of light waves. Lenses are used in microscopes and cameras to focus light, thus allowing a researcher to see small things or a photographer to capture image of things that are far away.
A hyperlens, however, would be made of metamaterials. And since metamaterials can do things with light that ordinary materials can’t, the hyperlens would be a powerful too 1. A hyperlens would allow researchers to see things at the smallest scale imaginable, as small as the wavelength of visible light.
Genov points out that the science of metamaterials is driven by the imagination. If someone can think of an idea for a new behavior for fight, then the engineers can find a way to design a device using metamaterials. "We need people who can imagine," he says.
Since 2006, many laboratories have been exploring other kinds of metamaterials that don’t involve just visible light. In fact, scientists are finding that almost any kind of wave may respond to metamaterials.
At the Polytechnic University of Valencia in Spain, Jose Sanchez-Dehesa is working with acoustics, or the science of sound. Just as an invisibility cloak shuffles waves of light, an "acoustic" cloak would shuffle waves of sound in a way that’s not found in nature. In an orchestra hall, for example, an acoustic cloak could redirect the sound waves so someone sitting behind a column would hear the same concert as the rest of the audience without distortion.
Sanchez-Dehesa, an engineer, recently showed that it’s possible to build such an acoustic cloak, though he doubts we’ll see one any time soon. "In principle, it is possible," he says, "but it might be impossible to make one." he adds.
Other scientists are looking into ways to use larger metamaterials as shields around islands or oil rigs as protection from tsunamis. A tsunami is a giant destructive wave. The metamaterial would redirect the tsunami around the rig or island, and the wave would resume its energy on the other side without causing any harm.
A hyperlens is a more powerful tool than a traditional lens ______.

A:as it can allow scientists to see small things. B:as it can help photographers to capture images far away. C:even if it is made of ordinary materials. D:as it can help scientists to see even the wavelengths of visible light.

在RMON中，实现捕获组(capture)时必须实现______。

A:事件组(event) B:过滤组(filter) C:警报组(alarm) D:主机组(host)

在 RMON 中，实现捕获组(capture)时必须实现（ ） 。

A:事件组(event) B:过滤组(filter) C:警报组(alarm) D:主机组(host)