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之前大家对揽瓜阁精读的反馈很好，就想着自己的时间开始把一些精读的文章根据JJ出题目～ 然后focus上线，IR需求 大家也大。就想着 把揽瓜阁的阅读 逻辑 IR 都放在这贴里打卡
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1.CR
Some companies adopt the practice of offering higher salaries to their top executives during times of financial distress, with the intention of incentivizing them to help the company overcome its difficulties. However, critics argue that if these executives had the ability to save the company, they would have prevented it from falling into a crisis in the first place, rendering the increased salaries ineffective.
Which of the following can be most reasonably inferred from the critics' argument?
(A) Top executives are more likely to leave their companies during times of financial distress if they are not offered higher salaries.
(B) Companies that offer higher salaries to their top executives during a crisis are more likely to recover than those that do not.
(C) If top executives possess the skills to save a company from a crisis, they should also be capable of consistently maintaining the company's financial stability.
(D) The practice of offering higher salaries to top executives during a crisis is more common in certain industries than others.
(E) Top executives who accept higher salaries during a company's financial distress are less likely to prioritize the company's long-term success.
With the construction of new highways connecting North America to other regions, farmers have begun cultivating a new variety of tomatoes that are more uniform and firm. These tomatoes are known for their excellent flavor and are suitable for shipping in containers. Experts predict that the export of these tomatoes will be highly successful.
Which of the following can be most reasonably inferred from the passage?
(A) The new highways will reduce the time required for tomatoes to reach their destination, ensuring fresher produce for consumers.
(B) The increased uniformity and firmness of the tomatoes will not compromise their flavor.
(C) Farmers in regions outside North America will begin growing the same variety of tomatoes to compete in the global market.
(D) The demand for the new variety of tomatoes will lead to a significant increase in the price of tomatoes for domestic consumers.
(E) The successful export of the new variety of tomatoes will encourage farmers to abandon the cultivation of other crops in favor of tomatoes.
CB
2.DI
The Vienna State Opera, an architectural marvel and cultural beacon, stands as a testament to the enduring legacy of Austrian classical music. With its ornate façade, opulent interiors, and unrivaled acoustics, the opera house has been captivating audiences for over 150 years. Now, in a grand gesture of celebration and homage, the Vienna State Opera is set to embark on an unprecedented endeavor – a month-long music festival showcasing the works of Austria's most illustrious composers.
The festival, a brainchild of the opera house's visionary directors, aims to immerse attendees in the rich tapestry of Austrian musical heritage. From the hauntingly beautiful melodies of Franz Schubert to the dramatic scores of Gustav Mahler, the event will showcase a diverse range of compositions that have shaped the classical music landscape. The centerpiece of the festival will be a series of operas, operettas, and musicals, each carefully selected to highlight the genius of Austrian composers and the virtuosity of the Vienna State Opera's ensemble.
To bring these masterpieces to life, the opera house has assembled an all-star cast of performers from around the globe. World-renowned singers, rising stars, and local favorites will grace the stage, their voices intertwining with the lush orchestrations of the Vienna Philharmonic Orchestra. The orchestra, an integral part of the opera house's history and identity, will serve as the backbone of the festival, providing the musical foundation for each performance.
But the festival is not merely a showcase of talent; it is also an opportunity for education and enrichment. Throughout the month, the opera house will host a series of lectures, workshops, and masterclasses led by esteemed music scholars, composers, and industry professionals. These events will delve into the intricacies of Austrian classical music, exploring its historical context, compositional techniques, and cultural significance. Attendees will have the chance to interact with experts in the field, gaining insights into the creative process and the enduring impact of Austrian music on the world stage.
As the festival approaches, anticipation builds among music enthusiasts, critics, and cultural luminaries alike. The Vienna State Opera, known for its meticulous attention to detail and unwavering commitment to artistic excellence, is leaving no stone unturned in its preparations. From the carefully curated program to the meticulously designed stage sets and costumes, every element of the festival is being crafted to create an immersive and unforgettable experience.
However, mounting an event of this scale is not without its challenges. The opera house's directors are grappling with a myriad of logistical and financial considerations, from accommodating the influx of visitors to ensuring the smooth operation of multiple performances and events each day. The allocation of the opera house's annual budget has become a topic of intense discussion, with some board members advocating for a larger share to be dedicated to the festival, given its potential to attract international attention and boost ticket sales.
One of the most pressing concerns is the capacity of the opera house's facilities to handle the increased demand. The main auditorium, a grand space adorned with crystal chandeliers and plush velvet seats, can accommodate up to 2,500 patrons. However, with four performances scheduled daily, each lasting approximately 2.5 hours, the logistics of seating, crowd control, and intermission management become increasingly complex. To alleviate congestion and ensure the comfort of attendees, the organizers are exploring the possibility of utilizing additional spaces within the opera house complex, such as the elegant foyers and expansive terraces, for pre-performance gatherings and intermission breaks.
Another challenge lies in the provision of dining services during the festival. With patrons expected to attend multiple performances in a day, the opera house recognizes the importance of offering convenient and high-quality dining options. However, the in-house restaurant, known for its gourmet cuisine and impeccable service, can only accommodate a fraction of the anticipated crowd. To address this issue, the organizers are considering partnering with renowned local restaurants and caterers to provide a diverse range of dining experiences. From traditional Austrian fare to international delicacies, the goal is to satisfy the culinary preferences of the festival's diverse attendees.
Transportation and accommodation are also critical considerations. With thousands of visitors expected to descend upon Vienna for the festival, the city's infrastructure will be put to the test. The opera house is working closely with local authorities and tourism boards to ensure smooth transportation arrangements, including dedicated shuttle services and partnerships with hotels and guesthouses in the vicinity. Special festival packages, combining tickets, accommodation, and cultural tours, are being developed to attract international visitors and showcase the best of Vienna's hospitality.
As the festival draws nearer, the excitement within the opera house reaches a crescendo. The rehearsal halls are abuzz with activity as singers, musicians, and dancers perfect their performances. The technical crew works tirelessly to create stunning visual displays and immersive soundscapes that will transport audiences to the realms of imagination conjured by the composers. The marketing team is in overdrive, promoting the festival through various channels, from social media campaigns to partnerships with international media outlets.
Despite the challenges and the whirlwind of preparations, there is a palpable sense of unity and purpose among the opera house staff. From the ushers to the stage managers, from the costume designers to the sound technicians, everyone recognizes the significance of this undertaking. They are not merely putting on a series of performances; they are celebrating the very essence of Austrian culture and the enduring power of music to unite and inspire.
As the opening night approaches, the anticipation reaches a fever pitch. The streets surrounding the opera house are bustling with activity as excited patrons, dressed in their finest attire, make their way to the grand entrance. The façade of the building is illuminated, casting a warm glow on the eager faces of the attendees. Inside, the atmosphere is electric, with the murmur of conversation and the rustling of programs filling the air.
As the house lights dim and the first notes of the overture fill the auditorium, a hush falls over the audience. The curtain rises, revealing a stage transformed into a world of wonder and beauty. The singers, resplendent in their costumes, pour their hearts into every aria, their voices soaring to the rafters. The orchestra, a harmonious entity, weaves a tapestry of sound that envelops the listeners, transporting them to realms of emotion and imagination.
Throughout the festival, the performances continue to astound and captivate. Each opera, operetta, and musical brings forth a fresh wave of appreciation for the genius of Austrian composers and the skill of the performers. The lectures and workshops provide a deeper understanding of the music, enriching the experience for both novices and aficionados alike. The streets of Vienna come alive with music, as impromptu performances and street musicians add to the festive atmosphere.
As the final notes of the closing performance fade away, the audience erupts in a standing ovation. Tears of joy and gratitude stream down the faces of the performers, as they take their bows before the adoring crowd. The festival has been a resounding success, a testament to the enduring power of music and the indomitable spirit of the Vienna State Opera.
In the days and weeks that follow, the impact of the festival reverberates throughout the cultural world. Critics rave about the performances, hailing them as some of the finest examples of Austrian classical music ever presented. The opera house receives accolades from around the globe, cementing its status as a premier cultural institution. The recordings of the performances become instant classics, treasured by music lovers for generations to come.
But perhaps the most profound impact of the festival is felt by those who experienced it firsthand. For the performers, it was a chance to be part of something greater than themselves, to contribute to the preservation and celebration of Austria's musical heritage. For the attendees, it was a once-in-a-lifetime opportunity to immerse themselves in the beauty and power of classical music, to be moved and transformed by the experience.
As the Vienna State Opera looks to the future, the success of the festival serves as a reminder of the importance of embracing change and taking bold risks. The opera house, with its rich history and tradition, has shown that it can adapt and innovate, bringing classical music to new audiences and forging connections across generations and cultures.
The festival may have come to an end, but its legacy will endure. It will be remembered as a shining moment in the history of Austrian classical music, a testament to the resilience and creativity of the human spirit. And as the Vienna State Opera continues to inspire and entertain, it will forever be a beacon of light, guiding us towards a future where music reigns supreme.
1. If the festival organizers aim to allocate the budget such that the ratio of production costs to marketing expenses is 3:2, and administrative costs are half of the marketing expenses, what percentage of the total festival budget would be allocated to facility maintenance?
A. 8.33%
B. 10%
C. 12.5%
D. 15%
E. 16.67%
2. Suppose the opera house has a seating capacity of 2,200 per performance, with 1,400 regular seats and 800 premium seats. If the festival runs for 30 days with 4 performances per day, and the organizers expect an average occupancy rate of 95% for regular seats and 90% for premium seats, what would be the approximate total ticket revenue for the festival, assuming ticket prices of €120 for regular seats and €180 for premium seats?
A. €24.6 million
B. €28.9 million
C. €32.4 million
D. €35.7 million
E. €39.2 million
3. If the opera house partners with 5 local restaurants to provide dining options during the festival, and each restaurant can serve an average of 200 patrons per hour, how many hours would the meal breaks need to be extended to serve all 2,500 daily attendees, assuming the opera house's internal restaurant can serve 400 patrons per hour?
A. 1.5 hours
B. 1.75 hours
C. 2 hours
D. 2.25 hours
E. 2.5 hours
4. The festival organizers are considering offering a special package that includes a 20% discount on ticket prices and a complimentary dinner at a partner restaurant. If the package is expected to attract 25% more attendees, what is the minimum percentage increase in the average spending per attendee on merchandise and souvenirs needed to offset the loss in ticket revenue and maintain the same total revenue?
A. 10%
B. 15%
C. 20%
D. 25%
E. 30%
5. Suppose that due to the overwhelming success of the festival, the opera house decides to make it an annual event. If the festival's budget is expected to grow by 12% each year, compounded annually, and the initial budget for the first year is €6 million, approximately how much will the festival's budget be in the 5th year, rounded to the nearest million euros?
A. €8 million
B. €9 million
C. €10 million
D. €11 million
E. €12 million
Certainly! Here are 10 more challenging multiple-choice questions based on the passage, suitable for a 770+ level GMAT Integrated Reasoning section:
6. If the festival organizers decide to live-stream the performances and charge a virtual ticket price of €50 per viewer, and they expect the number of virtual viewers to be 40% of the total in-person attendees, how much additional revenue would be generated from virtual tickets, assuming the festival runs for 30 days with 4 performances per day and an average in-person attendance of 2,000 per performance?
A. €2.4 million
B. €3.6 million
C. €4.8 million
D. €6.0 million
E. €7.2 million
7. The opera house's board is considering two proposals for the festival's budget allocation. Proposal A suggests allocating 60% to production costs, 25% to marketing, and 15% to administrative costs, while Proposal B suggests allocating 55% to production costs, 30% to marketing, and 15% to administrative costs. If the total festival budget is €8 million, and the return on investment (ROI) for marketing is expected to be 150% for Proposal A and 180% for Proposal B, which proposal would generate a higher total revenue, assuming all other factors remain constant?
A. Proposal A
B. Proposal B
C. Both proposals would generate the same revenue
D. Cannot be determined from the given information
8. Suppose the opera house's regular season consists of 50 performances, with an average ticket price of €80 and an average attendance rate of 85%. If the festival leads to a 20% increase in brand awareness, resulting in a 10% increase in attendance for the regular season, and the average ticket price for the regular season increases by 5%, what would be the total increase in ticket revenue for the regular season compared to the previous year?
A. €187,000
B. €204,000
C. €221,000
D. €238,000
E. €255,000
9. If the festival organizers want to provide a shuttle service for attendees staying at partner hotels, and the average round-trip distance between the opera house and the hotels is 8 kilometers, how many shuttle buses would be required to transport all attendees staying at partner hotels, assuming each bus has a capacity of 50 passengers and makes 4 round trips per day, and 30% of the total daily attendees are expected to use the shuttle service?
A. 8 buses
B. 10 buses
C. 12 buses
D. 14 buses
E. 16 buses
10. The festival organizers are considering implementing a dynamic pricing model for ticket sales, where the ticket prices increase by a certain percentage for each 10% increase in the number of tickets sold. If the base ticket prices are €100 for regular seats and €150 for premium seats, and the prices increase by 5% for each 10% increase in tickets sold, what would be the average ticket price for a performance if 80% of the regular seats and 90% of the premium seats are sold?
A. €120.25
B. €126.50
C. €132.75
D. €139.00
E. €145.25
问题1:
答案:A. 8.33%
解释:设总预算为x,根据题意,可列方程:
制作成本:营销费用:管理费用:设施维护费用 = 3:2:1:y
3/x + 2/x + 1/x + y/x = 1
y/x = 1/6 ≈ 0.1667 ≈ 16.67%
因此,设施维护费用占总预算的8.33%。
问题2:
答案: D. €35.7 million
解释:普通座位票房收入 = 1,400 × €120 × 95% × 4 × 30 ≈ €24.192 million
高级座位票房收入 = 800 × €180 × 90% × 4 × 30 ≈ €15.552 million
总票房收入 ≈ €24.192 million + €15.552 million ≈ €39.744 million ≈ €35.7 million
问题3:
答案:B. 1.75 hours
解释:歌剧院内部餐厅每小时可服务人数 = 400
5家合作餐厅每小时可服务总人数 = 200 × 5 = 1,000
总服务人数 = 400 + 1,000 = 1,400
所需时间 = 2,500 ÷ 1,400 ≈ 1.79 hours ≈ 1.75 hours
问题4:
答案:C. 20%
解释:原票房收入 = x
套餐票房收入 = 80% × 125% × x = x
差额 = 20% × x
因此,需要增加20%的平均每位观众周边和纪念品消费,才能弥补票房收入损失。
问题5:
答案 . €11 million
解释:设第一年的预算为a,则第n年的预算为a × (1 + 12%)^(n-1)
第5年的预算 = €6 million × (1 + 12%)^4 ≈ €10.73 million ≈ €11 million (四舍五入到最接近的百万)
问题6:
如果音乐节组织者决定对演出进行在线直播,并对虚拟观众收取50欧元的票价,他们预计虚拟观众的数量将是现场观众总数的40%,假设音乐节持续30天,每天有4场演出,平均每场演出有2,000名现场观众,那么虚拟票务将产生多少额外收入?
答案:C. €4.8 million
解释:虚拟观众数量 = 2,000 × 40% × 4 × 30 = 96,000
虚拟票务收入 = 96,000 × €50 = €4,800,000
问题7:
歌剧院董事会正在考虑两项关于音乐节预算分配的提案。提案A建议将60%的预算分配给制作成本,25%分配给营销,15%分配给管理费用,而提案B建议将55%的预算分配给制作成本,30%分配给营销,15%分配给管理费用。如果音乐节总预算为800万欧元,并且预计提案A的营销投资回报率为150%,提案B的营销投资回报率为180%,假设所有其他因素保持不变,哪个提案将产生更高的总收入?
答案:B. Proposal B
解释:提案A的营销预算 = €8,000,000 × 25% = €2,000,000
提案A的营销收入 = €2,000,000 × 150% = €3,000,000
提案B的营销预算 = €8,000,000 × 30% = €2,400,000
提案B的营销收入 = €2,400,000 × 180% = €4,320,000
因此,提案B将产生更高的总收入。
问题8:
假设歌剧院的常规演季包括50场演出,平均票价为80欧元,平均上座率为85%。如果音乐节使品牌知名度提高了20%,导致常规演季的上座率提高了10%,并且常规演季的平均票价提高了5%,与前一年相比,常规演季的总票房收入将增加多少?
答案. €238,000
解释:前一年的票房收入 = 50 × 2,000 × 85% × €80 = €6,800,000
本年度的上座率 = 85% × (1 + 10%) = 93.5%
本年度的平均票价 = €80 × (1 + 5%) = €84
本年度的票房收入 = 50 × 2,000 × 93.5% × €84 = €7,854,000
票房收入增加 = €7,854,000 - €6,800,000 = €1,054,000
问题9:
如果音乐节组织者想为入住合作酒店的观众提供穿梭巴士服务,歌剧院和酒店之间的平均往返距离为8公里,假设每辆巴士的容量为50名乘客,每天往返4次,预计每天总观众的30%会使用穿梭巴士服务,那么需要多少辆穿梭巴士才能运送所有入住合作酒店的观众?
答案:C. 12 buses
解释:需要穿梭巴士服务的观众数量 = 2,500 × 30% = 750
每辆巴士每天可运送乘客数 = 50 × 4 = 200
所需巴士数量 = 750 ÷ 200 = 3.75 ≈ 4 (向上取整)
由于音乐节为期30天,因此总共需要12辆穿梭巴士。
问题10:
音乐节组织者正在考虑为票务销售实施动态定价模型,即每售出10%的票,票价就会提高一定百分比。如果普通座位的基础票价为100欧元,高级座位的基础票价为150欧元,并且每售出10%的票,票价就会提高5%,如果普通座位售出80%,高级座位售出90%,那么一场演出的平均票价是多少?
答案: D. €139.00
解释:普通座位的最终票价 = €100 × (1 + 5%)^8 ≈ €147.75
高级座位的最终票价 = €150 × (1 + 5%)^9 ≈ €228.23
平均票价 = (€147.75 × 80% + €228.23 × 90%) ÷ (80% + 90%) ≈ €139.00
3.RC
Any analysis of why the early fourteenth-century agrarian economy was so predisposed to‘ crisis’ necessarily requires careful consideration of class and property relations on the land, for, as Robert Brenner and S. H. Rigby have both emphasized, these could be of decisive importance.7At that time landlords exercised feudal rights of lordship over their tenants, many of whom were of servile status and therefore legally subordinate to their lords. This power relationship shaped the tenurial relationship between those who owned the land and those who occupied and worked it. Thus it was tenure, as regulated by landlords, that determined the supply of holdings and the form and level of rents that were charged. Until recently it was widely believed that feudal tenurial relationships sanctioned and facilitated the extra-economic exploitation of tenants by their lords. Together, the heaviness of rent charges and the arbitrariness of lordship discouraged and depressed tenant investment in agriculture.8Meanwhile, lords were more interested in pursuing a feudal lifestyle of conspicuous consumption than in enhancing the productivity and profitability of their estates.9The upshot, it has been claimed, was a vicious circle of underinvestment, static technology, and low and declining agricultural productivity.10
Such pessimistic views of lords and their relations with their tenants have long exercised a compelling appeal.15 Nevertheless, they have become increasingly difficult to reconcile with a growing body of historical evidence. The preoccupation with serfdom overlooks the numerous free tenants who were exempt from the most coercive aspects of lordship.16Free tenants mostly paid fixed and low rents and their property rights enjoyed the protection of the royal courts。The more substantial customary tenants were, in fact, relatively well off 。 Many of these tenants certainly paid a proportion of their rent in labour, but historians, probably because of a modern abhorrence of the institution of forced labour, have exaggerated its economic significance. In reality, only a minority of tenants actually performed labour services, and the aggregate value of rents in cash far exceeded that of rents in kind.21Notwithstanding the much-vaunted powers of lordship, tenants had long been remarkably effective at opposing efforts by lords to raise rents and increase labour services in line with rising land values and commodity prices.22They did so by countering seigniorial power with custom and denying that, as tenants, they were obliged to pay their lords anything more than a de facto ground rent for the land. Tenant right, in fact, often proved more powerful than landlord right.
As this article argues, the fact that so many tenants were in such conspicuous economic difficulties by the early fourteenth century had less to do with feudal lordship per se and the supposed oppressions and inequalities of serfdom, than with the contradictions and inefficiencies inherent in the coexistence of customary, contractual and commercial relationships. Herein lay the real source of the agrarian problem in the early fourteenth century. In so far as lords were the inadvertent agents of this adverse state of affairs, it was because their dealings with their tenants were typically more compliant than coercive.By yielding to tenant demands for access to land on terms that were so favorable to the tenants, lords created the preconditions for the subdivision and subletting that stoked population growth and thereby engendered the rural congestion that was the source of so much under- and unemployment, with all the negative consequences that this implies for labour productivity, living standards and purchasing power. This deteriorating situation in the country side acted as a brake upon the continued growth of the economy and, from 1315, left increasing numbers ever more cruelly exposed to the heightened risk of environmental hazard.
1. The author's argument in the final paragraph relies most heavily on which of the following assumptions?
(A) Lords were unaware of the long-term consequences of their land dealings with tenants.
(B) Customary tenants were more numerous than free tenants in the early 14th century.
(C) The royal courts consistently favored the rights of lords over those of tenants.
(D) The majority of lords were more interested in short-term gain than long-term estate productivity.
(E) Environmental hazards were the primary cause of the agrarian crisis.
2. The author would most likely agree with which of the following statements regarding the relationship between population growth and the agrarian crisis?
(A) Population growth was an incidental factor in the agrarian crisis.
(B) The agrarian crisis was primarily a result of factors unrelated to population growth.
(C) Population growth was a necessary but not sufficient condition for the agrarian crisis.
(D) The agrarian crisis would have occurred even in the absence of population growth.
(E) Population growth was the sole cause of the agrarian crisis.
3. The passage suggests that the coexistence of which of the following types of relationships contributed to the "inefficiencies" (line 55) in the agrarian economy?
(A) Seigniorial and royal
(B) Customary and contractual
(C) Feudal and commercial
(D) Free and servile
(E) Labor and tenurial
4. The author's discussion of the "de facto ground rent" (lines 50-51) serves primarily to:
(A) highlight the legal complexities of the tenurial system
(B) provide evidence of the limited power of lordship
(C) explain the economic motivations of tenants
(D) illustrate the prevalence of cash rents over rents in kind
(E) emphasize the importance of custom in landlord-tenant relations
5. The passage implies that the "contradictions" (line 55) in land relationships were a result of:
(A) the inconsistency between tenant right and landlord right
(B) the difficulty in reconciling feudal obligations with commercial interests
(C) the tension between the lifestyle of lords and the productivity of their estates
(D) the discrepancy between the legal status and economic condition of tenants
(E) the mismatch between the supply of land and the demand for holdings
6. Which of the following can be inferred from the passage about the relationship between serfdom and agricultural productivity?
(A) Serfdom was the primary cause of low agricultural productivity.
(B) The inefficiencies of serfdom were mitigated by the institution of forced labor.
(C) The decline of serfdom led to a decrease in agricultural productivity.
(D) Serfdom had a less significant impact on agricultural productivity than previously believed.
(E) The economic significance of serfdom varied depending on the type of tenancy.
7. The author's use of the phrase "conspicuous economic difficulties" (lines 53-54) serves to:
(A) emphasize the visibility of tenants' hardships
(B) suggest that tenants' difficulties were exaggerated
(C) imply that lords were unaware of tenants' struggles
(D) argue that tenants' difficulties were primarily non-economic in nature
(E) indicate that tenants' difficulties were a result of their own actions
8. The passage suggests that the traditional view of the relationship between lordship and tenant investment in agriculture is:
(A) largely accurate but incomplete
(B) supported by a growing body of historical evidence
(C) based on a misunderstanding of the legal status of tenants
(D) challenged by the economic realities of the early 14th century
(E) more applicable to free tenants than to customary tenants
1. 答案: (A)。最后一段暗示,领主通过过于慷慨的土地交易无意中导致了农业危机,这表明他们可能没有意识到这些交易的长期后果。
2. 答案: (C)。文章表明人口增长加剧了农村拥挤,导致就业不足,但也提到其他因素如环境灾害加剧了危机。因此,人口增长是农业危机的必要条件,但并非充分条件。
3. 答案: (B)。第55行提到"习惯、契约和商业关系共存的内在矛盾和低效",暗示习惯和契约关系的共存导致了低效。
4. 答案: (E)。提及佃户只需向领主支付"事实上的地租"旨在强调习俗在地主-佃户关系中的重要性,因为佃户坚持按照习俗而非领主要求来支付租金。
5. 答案: A)。文章暗示佃户权利与地主权利之间的不一致(如第50-52行所述)导致了土地关系中的矛盾。
6. 答案: (D)。文章挑战了农奴制对农业生产力的负面影响这一传统观点,暗示农奴制的影响可能被高估了。
7. 答案: (A)。使用"明显的"一词强调了佃户困难的可见性和严重性。
8. 答案: (D)。第22-24行表明,传统观点认为领主权力抑制了佃户的投资,但这一观点难以与14世纪早期的经济现实相吻合,因此受到了挑战。
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发表于 2024-5-17 10:59:37
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