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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
A school replaced the carton containers for milk with new plastic packaging. After the change, they noticed that less milk was left over, leading to the conclusion that students were drinking more milk due to the new packaging.
What is an assumption necessary for this conclusion?
A. The taste of milk did not change with the new packaging.
B. The new plastic packaging does not leak more milk than the old carton containers.
C. Students prefer plastic packaging over carton containers.
D. The types and quantities of other beverages provided to students at lunchtime remained the same.
E. The plastic packaging is more environmentally friendly than the carton containers.
Maple sugar suppliers are considering replacing expensive and scarce fuel oil with used cooking oil from restaurants. This alternative is equally efficient and costs 30% less, with the government covering the costs of new machinery required for the change. However, there's a concern that as demand for used cooking oil increases, its price might rise, making it as expensive as fuel oil. Which of the following, if true, most effectively weakens this concern?
A. The supply of used cooking oil is consistently high due to a large number of restaurants in the region.
B. The transportation costs for used cooking oil are significantly lower than for fuel oil.
C. The government plans to subsidize the price difference if the cost of used cooking oil increases.
D. The majority of maple sugar suppliers are located near cities with an ample supply of used cooking oil.
E. The price of fuel oil is expected to rise significantly in the near future, making used cooking oil a more economical option even if its price increases.
ba
2.DI
The Television Arts Network, an esteemed bastion of high-quality programming, finds itself ensnared in a tempestuous quandary as it grapples with a seismic shift in its content strategy. The newly appointed Programming Director, Alessandro Rossi, an indefatigable and fervent advocate for the arts, particularly the resplendent and mellifluous realm of Italian opera, expresses deep-seated and vehement concerns about the network's current lineup, which is heavily dominated by a surfeit of reality shows, often characterized by their trite, banal, and even vulgar content. In stark and unequivocal contrast, the Marketing Manager, Sophia Bianchi, an inveterate pragmatist and an astute observer of audience proclivities, vociferously argues that the network must prioritize audience numbers and cater to the diverse and multifarious preferences of viewers nationwide to attract sponsors and maintain financial viability in an increasingly cutthroat and competitive television landscape.
According to a recent comprehensive and exhaustive report meticulously compiled by Nielsen, a preeminent authority in the field of audience measurement, the Television Arts Network's primetime viewership has experienced a notable and substantial 15% increase over the past year, a testament to its burgeoning popularity. However, a more granular analysis of the data reveals that reality shows, with their ostensibly irresistible allure and mass appeal, account for a staggering and disproportionate 70% of the network's total viewership. This statistic, while undeniably impressive from a purely numerical standpoint, has nonetheless raised eyebrows and elicited consternation among certain quarters, particularly those who champion the intrinsic value and edifying potential of the arts.
In a parallel development, a thought-provoking survey conducted by the National Endowment for the Arts, a bastion of cultural preservation and artistic patronage, reveals that 35% of American adults, a not inconsiderable proportion, have attended at least one live performing arts event in the past year, a heartening indication of the enduring appeal and relevance of the arts in contemporary society. Particularly noteworthy is the finding that opera attendance, long considered a niche and rarefied pursuit, has shown a modest yet significant 2% uptick, suggesting a nascent resurgence of interest in this venerable and storied art form.
Rossi, a man of deep conviction and artistic integrity, passionately believes that the network has a moral and cultural imperative to educate and uplift its audience by offering a more diverse and substantive array of arts-related content. He proposes the creation of a groundbreaking and ambitious new series, "Opera Italiana," which would showcase the rich history, breathtaking beauty, and profound emotional depth of Italian opera, featuring mesmerizing performances from world-renowned opera houses such as the iconic La Scala in Milan and the venerable Teatro San Carlo in Naples, institutions that have long been synonymous with artistic excellence and cultural refinement. Rossi, drawing upon his extensive knowledge of the opera world and his keen understanding of audience dynamics, estimates that the series could potentially attract a niche but devoted audience of 1.5 million viewers per episode, a figure that, while modest in comparison to the network's current reality show offerings, nonetheless represents a significant and untapped market. Moreover, Rossi envisions the series as a catalyst for growth and expansion, predicting that its reputation for quality and sophistication will gradually spread through word of mouth and critical acclaim, drawing in ever-larger numbers of discerning viewers who yearn for more meaningful and enriching television experiences.
Bianchi, however, ever the pragmatist and the guardian of the network's bottom line, counters that the costs associated with producing high-quality opera content would be substantial and perhaps even prohibitive, potentially exceeding $1.5 million per episode, a figure that would strain the network's already limited budget and divert resources from more commercially viable programming options. She argues, with a steely and unwavering conviction, that the network's financial resources would be more effectively and efficiently allocated towards developing additional reality shows, which have a more modest average production cost of $500,000 per episode yet consistently draw an impressive and reliable audience of 5 million viewers, a figure that dwarfs the projected viewership of "Opera Italiana" and underscores the enduring and unassailable popularity of the reality genre.
Furthermore, in an effort to bolster the artistic credibility and commercial appeal of his proposed series, Rossi suggests collaborating with renowned and celebrated Italian opera singers such as the luminous Anna Netrebko and the electrifying Juan Diego Flórez, artists whose transcendent talents and magnetic stage presence have earned them a vast and devoted following among opera enthusiasts worldwide. He points out, with a mixture of admiration and strategic calculation, that these acclaimed artists have the power to help expand the program's reach and draw in new and diverse audiences who might otherwise be unfamiliar with or indifferent to the charms of opera.
Rossi also proposes forging a strategic partnership with the Italian Ministry of Culture, a venerable institution that has long been a champion of the arts and a guardian of Italy's rich cultural heritage. By securing subsidies and financial support from this esteemed body, Rossi believes that the network could offset a significant portion of the production costs associated with "Opera Italiana," thereby making the series a more financially viable and sustainable proposition in the long run.
Bianchi, however, remains skeptical and unconvinced by Rossi's grand vision and sweeping proposals. She notes, with a hint of concern and a touch of incredulity, that collaborating with famous opera singers, while undeniably prestigious and attention-grabbing, would likely lead to a significant increase in the program's budget, as these artists often command high fees and require extensive accommodations for their appearances. Additionally, she questions, with a raised eyebrow and a note of doubt in her voice, whether the Italian government, with its own budgetary constraints and competing priorities, would be willing to provide substantial funding for a program produced by an American television network, regardless of its artistic merits or cultural significance. Bianchi maintains, with a steely resolve and an unwavering commitment to the bottom line, that the network should focus its energies and resources on programming that has a proven track record of attracting a wide and diverse audience, rather than taking risks on high-minded but potentially niche offerings like "Opera Italiana."
Rossi, however, remains undeterred by Bianchi's skepticism and continues to passionately advocate for the transformative potential of high-quality arts programming. He asserts, with a mixture of conviction and strategic savvy, that investing in a series like "Opera Italiana" could help elevate the Television Arts Network's brand image and position it as a leader in cultural programming, thereby attracting a more affluent, educated, and discerning class of advertisers. To support his argument, Rossi cites a recent study conducted by the prestigious advertising firm Publicis, which found that brands associated with sophisticated cultural programming are perceived by consumers as more trustworthy, refined, and prestigious than those that primarily advertise on reality television. The study also indicates, much to Rossi's delight and Bianchi's consternation, that these high-end brands are willing to pay a premium of up to 20% in advertising rates compared to their counterparts in the reality TV space, a finding that underscores the potential financial benefits of embracing a more arts-focused programming strategy.
Bianchi, while acknowledging the potential merits of Rossi's arguments, nevertheless remains committed to her role as the network's financial gatekeeper and the guardian of its shareholder interests. She pointedly reminds Rossi, with a mixture of firmness and diplomacy, that the network's primary responsibility is to generate returns for its investors and maintain a stable financial footing in an increasingly competitive and unpredictable media landscape. To underscore her point, Bianchi highlights the fact that the network's stock price has soared by an impressive 25% over the past year, a surge that she attributes largely to the runaway success and popularity of its reality programming. She cautions, with a note of gravity and concern, that deviating too far from this proven and lucrative strategy could jeopardize the network's hard-won gains and expose it to unnecessary financial risks and uncertainties.
As the debate between Rossi and Bianchi continues to rage, with each party marshaling new arguments and evidence to support their respective positions, the Television Arts Network finds itself at a critical inflection point in its history. The decision of whether to embrace a more arts-focused programming strategy, with all the risks and rewards that entails, or to stay the course with its current emphasis on crowd-pleasing reality fare, will have far-reaching implications for the network's identity, audience composition, and financial performance in the years to come. It is a decision that will require vision, courage, and a willingness to take calculated risks in pursuit of a higher purpose, and one that will ultimately determine whether the Television Arts Network remains true to its founding mission of enriching and inspiring viewers through the power of great art and storytelling.
In the end, the fate of "Opera Italiana" and the broader question of the network's programming philosophy will hinge on the ability of Rossi and Bianchi to find common ground and forge a compromise that balances their competing visions and priorities. Rossi, with his deep passion for the arts and his unwavering belief in the transformative power of opera, will need to make a compelling case for the long-term benefits of investing in high-quality cultural programming, even if the short-term financial returns are less certain. He will need to demonstrate, through rigorous market research and audience analysis, that there is indeed a significant and growing demand for the kind of sophisticated, intellectually engaging content that "Opera Italiana" represents, and that the series has the potential to attract a loyal and affluent viewership that will ultimately benefit the network's bottom line.
Bianchi, for her part, will need to keep an open mind and be willing to consider the merits of Rossi's proposals, even if they challenge her own assumptions and preferences. She will need to weigh the potential risks and rewards of venturing into uncharted programming territory, and consider whether the network's long-term viability and relevance might be better served by a more diverse and ambitious content strategy that embraces the arts as well as more populist fare. At the same time, Bianchi will need to remain vigilant in her role as the network's financial steward, ensuring that any new programming initiatives are carefully planned, budgeted, and executed in a way that maximizes their chances of success while minimizing potential losses.
Ultimately, the resolution of this debate will require both Rossi and Bianchi to engage in a frank, open, and constructive dialogue about the network's values, priorities, and long-term strategic vision. They will need to find a way to bridge their differences and work together in pursuit of a common goal: to create programming that is both commercially successful and culturally enriching, and that serves the needs and interests of a diverse and evolving audience.
If they can achieve this delicate balance, the Television Arts Network may well be poised for a new era of growth, innovation, and creative excellence, one that honors its proud tradition of quality programming while also embracing the challenges and opportunities of an increasingly complex and competitive media landscape. With "Opera Italiana" as its flagship offering, the network could potentially redefine itself as a leader in the field of arts broadcasting, setting a new standard for intelligent, engaging, and thought-provoking television that inspires and delights audiences around the world.
Of course, the path ahead is not without its obstacles and uncertainties, and success is by no means guaranteed. But if Rossi and Bianchi can summon the courage, vision, and determination to pursue their shared dream of a more vibrant and meaningful television culture, they may well find that the rewards – both financial and artistic – are well worth the risks and challenges they face along the way.
In the final analysis, the fate of "Opera Italiana" and the larger question of the Television Arts Network's programming philosophy will be decided not by any one individual or argument, but by the collective wisdom, creativity, and passion of all those who believe in the enduring power and importance of great art and storytelling. It is a struggle that has been waged since the dawn of human civilization, and one that will continue to shape our cultural landscape for generations to come. And as the curtain rises on this latest act in the ongoing drama of the arts and media, one can only hope that the protagonists – Rossi, Bianchi, and all those who share their love of beauty and truth – will rise to the occasion and create something truly extraordinary, something that will stand the test of time and inspire audiences for years to come.
1. Which of the following best encapsulates the central tension between Rossi and Bianchi's perspectives on the Television Arts Network's programming strategy?
A. The role of the network in shaping public taste versus responding to existing audience preferences
B. The importance of financial considerations in programming decisions versus the pursuit of artistic merit and cultural enrichment
C. The targeting of niche audiences versus the appeal to mass audiences and broad commercial success
D. The responsibility of the network to its shareholders and investors versus its broader cultural obligations to society
E. The short-term benefits and profitability of reality programming versus the long-term value and prestige of investing in the arts
2. According to the passage, what percentage of the Television Arts Network's total viewership is currently attributed to reality shows?
A. 15%
B. 35%
C. 50%
D. 70%
E. 85%
3. Based on the information provided in the passage, which of the following statements about opera attendance in the United States is most accurate?
A. Opera attendance has declined by 2% over the past year, indicating a waning interest in the art form among American audiences.
B. Opera attendance has remained steady over the past year, suggesting a stable but limited audience for the genre.
C. Opera attendance has increased by a modest 2% over the past year, pointing to a potential resurgence of interest in the art form.
D. Opera attendance has surged by 35% over the past year, reflecting a major shift in audience preferences towards highbrow cultural content.
E. The passage does not provide enough information to draw any definitive conclusions about trends in opera attendance in the United States.
4. According to Rossi's estimates, what is the projected per-episode viewership for the proposed "Opera Italiana" series?
A. 500,000
B. 1,000,000
C. 1,500,000
D. 2,000,000
E. 2,500,000
5. How much more expensive does Bianchi estimate the per-episode production costs of "Opera Italiana" to be compared to the network's typical reality shows?
A. $500,000
B. $750,000
C. $1,000,000
D. $1,250,000
E. $1,500,000
6. According to the passage, which of the following is NOT cited as a potential benefit of collaborating with renowned opera singers like Anna Netrebko and Juan Diego Flórez on the "Opera Italiana" project?
A. Enhancing the artistic credibility and prestige of the series
B. Attracting a wider audience of opera enthusiasts and aficionados
C. Helping to secure additional funding and support from the Italian Ministry of Culture
D. Expanding the program's reach and drawing in new and diverse viewership
E. Increasing the marketability and commercial appeal of the series to potential advertisers
7. What does the Publicis study cited by Rossi suggest about the potential advertising benefits of arts-focused programming?
A. Brands associated with cultural programming are perceived as more sophisticated and trustworthy by consumers.
B. Arts-focused shows tend to attract a younger, more diverse, and more engaged audience than reality programming.
C. Advertising rates for arts programs are typically 20% lower than those for reality shows, making them a more cost-effective investment.
D. The study found no significant differences in advertising outcomes between arts programming and reality television.
E. The study's findings are inconclusive and do not provide clear guidance for the network's advertising strategy.
8. According to the passage, what has been the primary driver of the Television Arts Network's recent financial success and stock price growth?
A. The popularity and profitability of its reality television programming
B. The critical acclaim and prestige of its arts-focused shows and documentaries
C. The network's strategic partnerships with leading cultural institutions and arts organizations
D. Its successful expansion into international markets and foreign-language content
E. The passage does not provide a clear explanation for the network's recent financial performance.
9. Which of the following best describes Bianchi's central argument against investing heavily in "Opera Italiana" and other arts programming?
A. The network lacks the necessary expertise and resources to produce high-quality arts content.
B. The audience for opera and other highbrow cultural programming is too small and niche to justify the investment.
C. Arts programming is inherently more expensive and risky than reality television, and could jeopardize the network's financial stability.
D. The network's shareholders and investors are primarily interested in short-term profits and returns, rather than long-term cultural impact.
E. The Italian Ministry of Culture is unlikely to provide significant funding or support for an American-produced arts series.
10. Based on the information provided in the passage, which of the following statements best characterizes the current state of the debate between Rossi and Bianchi over the network's programming strategy?
A. Rossi's vision for arts programming has clearly prevailed, and the network is poised to make significant investments in series like "Opera Italiana."
B. Bianchi's focus on financial considerations and profitability has won out, and the network is likely to continue prioritizing reality shows over arts content.
C. The two sides have reached a mutual understanding and compromise, agreeing to pursue a balanced strategy that includes both reality programming and selective arts investments.
D. The debate remains unresolved and ongoing, with both Rossi and Bianchi continuing to advocate for their respective positions and philosophies.
E. The passage suggests that external factors, such as market trends and audience preferences, are likely to be the ultimate deciding factor in the network's programming choices, rather than the internal debate between Rossi and Bianchi.
问题1:正确答案是B。这个选项最准确地概括了罗西和比安奇在节目策略上的主要分歧,即财务考量与艺术价值追求之间的矛盾。
问题2:正确答案是D。文章明确指出,真人秀节目占据了电视艺术网70%的总观众份额。
问题3:正确答案是C。文章提到,歌剧出席率在过去一年中小幅上升了2%,表明人们对这种艺术形式的兴趣可能正在恢复。
问题4:正确答案是C。罗西估计"意大利歌剧"系列每集可能吸引150万观众。
问题5:正确答案是C。比安奇估计,"意大利歌剧"每集的制作成本比该网典型的真人秀节目高出100万美元。
问题6:正确答案是C。文章没有提到与著名歌剧演员合作可以帮助从意大利文化部获得额外资金和支持。
问题7:正确答案是A。罗西引用的Publicis研究表明,与文化节目相关的品牌被消费者认为更精致、更值得信赖。
问题8:正确答案是A。文章指出,电视艺术网最近的财务成功和股价增长主要是由其真人秀节目的受欢迎程度和盈利能力所推动的。
问题9:正确答案是C。比安奇反对大量投资"意大利歌剧"和其他艺术节目的核心论点是,艺术节目比真人秀更昂贵、更具风险,可能会危及电视网的财务稳定。
问题10:正确答案是D。文章描述了罗西和比安奇之间关于电视网节目策略的辩论仍在继续,双方都在为各自的立场和理念而努力。
The role of humans in the global dispersal of vascular plants has surpassed that of natural forces. This dispersal occurs through both inadvertent and deliberate means. Accidental dispersal involves the transportation of seeds, plant disseminules, and vegetative propagules through clothing, domesticated animals, and various forms of commerce, particularly as contaminants in seed lots (Muenscher 1955). Deliberate transportation of plants has been a longstanding practice in almost all human societies to fulfill basic needs (Mack 1999). While many ancient accounts of plant transport may be apocryphal, such as Queen Hatshepsut's importation of incense trees to Egypt from the Land of Punt in 1500 BC (Hodge and Erlanson 1956), there is a verifiable fossil record documenting the cultivation of plants far from their native ranges for millennia (Godwin 1975).
The consequences of human actions as global plant dispersers can be beneficial, neutral, or detrimental. Establishing plants beyond their native ranges has been crucial to agriculture (Hodge and Erlanson 1956), with few agricultural economies today relying solely on native crops and none supporting an industrialized society. Many plants transported long distances by humans perish en route or shortly after, resulting in no significant impact. However, some immigrants thrive in their new range, even without cultivation, and a few cause significant environmental and economic damage (Vitousek et al. 1996). These species are termed naturalized species if they form permanent but nonspreading populations, or invaders if they form prolific, permanent populations that typically spread over large new ranges (Mack 1997). The term "weed," while anthropocentric, is often applied to species in both ecological categories and to those that are destructive in their native range. Although there is no universally agreed-upon definition of weeds, Baker's (1974) definition—species that not only have no detected human value but actually interfere with human activities—has gained wide acceptance. This article focuses exclusively on introduced species that meet this definition in a new range.
These species lead to economic losses (e.g., weeds in pastures and crops), adverse effects on human health (such as allergies and toxic reactions), and ecological losses (reduction of biodiversity and ecosystem services, such as water supply) (Vitousek et al. 1996). The aggregate cost of this damage is enormous, with introduced weeds costing the Australian economy perhaps A$3 billion (ANWS 1997) and the US economy more than $26 billion annually (Pimentel et al. 2000).
In many regions of the world, the emerging assessment on the origin of weeds leads to two conclusions. First, most weeds in a region are not native but were introduced by humans. Second, the largest single group of these unwelcome intruders was originally introduced deliberately (Panetta 1993). For instance, 60% of the more than 600 naturalized taxa listed in Fernald (1950) for the northeastern United States were deliberately introduced, with the true percentage likely being higher due to the obscure original use of many naturalized species (Sturtevant 1919). Both conclusions have significant implications for controlling a nation's current weeds and preventing future weed introductions.
This article explores the apparent motivations behind the introduction of vascular plants, both transoceanically and throughout a potential new range, as well as the biological basis for factors that foster the spread of some introduced species in a new range. Predictions are made about the characteristics of future weeds and the steps that could prevent such new weeds from arising. Additionally, areas for research in the epidemiology of potentially weedy species are suggested. The role of natural forces in moving potentially weedy species around the globe is briefly explored.
Questions:
1. What is the main idea of the passage?
A. Humans have become the primary force in the global dispersal of vascular plants, with both beneficial and detrimental consequences.
B. The introduction of weeds by humans has led to significant economic losses in various regions of the world.
C. The fossil record provides evidence of plants being cultivated far from their native ranges for thousands of years.
D. The majority of weeds in most regions of the world are not native but were introduced by humans, often deliberately.
E. Natural forces play a crucial role in moving potentially weedy species around the globe.
2. According to the passage, which of the following is NOT a consequence of the introduction of weedy species?
A. Economic losses due to weeds in pastures and crops
B. Adverse effects on human health,such as allergies and toxic reactions
C. Reduction of biodiversity and ecosystem services
D. Increased agricultural productivity in industrialized societies
E. Enormous aggregate costs to national economies
3. Based on the information in the passage, which of the following statements about the origin of weeds is TRUE?
A. Most weeds in a region are native to that area.
B. The majority of weeds were introduced accidentally by humans.
C. The largest single group of weeds was originally introduced deliberately.
D. The original use of many naturalized species is well-documented.
E. Humans have played a minor role in the introduction of weeds.
4. According to the passage, what percentage of the naturalized taxa listed in Fernald (1950) for the northeastern United States were deliberately introduced?
A. Less than 50%
B. Exactly 50%
C. 60%
D. More than 60%
E. The passage does not specify the exact percentage.
5. Which of the following is NOT mentioned as a means of accidental plant dispersal by humans?
A. Transportation of seeds in clothing
B. Ingestion of seeds by domesticated animals
C. Contamination of seed lots in commerce
D. Attachment of plant propagules to various forms of commerce
E. Deliberate cultivation of plants for agricultural purposes
6. The term "weed" is described in the passage as:
A. Having a universally agreed-upon definition
B. Applying only to species that are destructive in their native range
C. Being an anthropocentric but familiar term
D. Referring exclusively to naturalized species
E. Having no accepted definition in the scientific community
7. The passage suggests that the two conclusions drawn from the emerging assessment on the origin of weeds have implications for:
A. The methods by which a nation's current weeds might be controlled
B. The prevention of future weed introductions
C. The role of natural forces in the global dispersal of plants
D. Both A and B
E. Both B and C
8. The author's primary purpose in writing this passage is to:
A. Argue for the importance of human activities in the global dispersal of vascular plants
B. Provide a comprehensive history of plant transportation by humans
C. Explore the motivations behind plant introductions and the factors that contribute to the spread of weedy species
D. Criticize the deliberate introduction of plants by humans throughout history
E. Compare the roles of humans and natural forces in the global dispersal of plants
1. 答案:A。这个选项最好地概括了文章的主旨,即人类已成为全球维管植物散布的主要力量,带来了有益和有害的后果。文章探讨了人类在植物传播中的作用,以及由此产生的影响。
2. 答案 。文章提到了杂草入侵导致的经济损失、人体健康问题、生物多样性和生态系统服务减少等后果,但并未提及杂草入侵增加了工业化社会的农业生产力。相反,文章指出,没有哪个工业化社会完全依赖本地作物。
3. 答案:C。文章明确指出,新兴评估得出两个结论:大多数杂草是由人类引入的,而不是本地物种;最大的一组不受欢迎的入侵者最初是有意引入的。
4. 答案:C。文章提到,在Fernald(1950)列出的美国东北部600多个归化分类群中,60%是有意引入的。
5. 答案:E。文章提到衣服、驯养动物和商品等偶然传播植物的方式,但没有将有意种植作物列为偶然传播的手段。相反,文章将其描述为人类有意传播植物的一种方式。
6. 答案:C。文章描述"杂草"这个术语是人类中心主义的,但很常见。文章也提到,虽然对杂草没有普遍认可的定义解释,但贝克(1974)的定义得到了广泛接受。
7. 答案。文章建议,关于杂草起源的两个结论对控制一个国家目前的杂草以及防止未来杂草的入侵都有重要意义。因此,正确答案是A和B。
8. 答案:C。作者写这篇文章的主要目的是探讨植物引进背后的动机,以及导致杂草物种传播的因素。文章探讨了人类有意和无意引进植物的原因,以及某些外来物种在新环境中传播的生物学基础。
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发表于 2024-4-19 10:34:16
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