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For all the talk of his sustained adolescence, no performer made a more compelling entrance into manhood than Michael Jackson did with the release of his 1979 album, “Off the Wall” just a couple of weeks before his 21st （1）____（day）. It was all the more stunning because we had watched him during his （2） child____ and adolescence. He wasn’t an apparition rising out of obscurity, like Elvis Presley. To become who he was in “Off the Wall,” he had to annul—if not destroy—the performer he had been in the Jackson 5. However, the change was （3）____（organ） as well as deliberate. Michael Jackson grew into his body, and out of that new body emerged wholly new ideas of what pop music, and the （4） move ____ it generates, were. It can be hard to remember now, 30 years later, just how ubiquitous the hits from that album, especially “Rock with You,” really were. In soul, in rock ‘n’ roll, and in pop, there is a long tradition of men singing in high voices, the height of the voice suggesting the pitch of the singer’s fervour. Michael Jackson made the sweetness of that high voice guttural and （5）____（demand）. He showed that it was rooted in his feet and hips and hands. He re-sexualized it in a way that you could never really mistake—then—as androgynous. Very few artists—certainly very few child stars—have ever redefined themselves as thoroughly or as （6）____（success） as Michael Jackson did. His second act was better than any number of first acts put together. The uncanny thing wasn’t just his physical transformation, or his hypnotic new ability to move. It was the certainty of “Off the Wall” and its sequel “Thriller” that this was the music we wanted to hear. He knew, too, that this was a music we wanted to （7）____（visual）, to see formalised and set loose in dance. In a sense, he was loosing his transformation upon the rest of us, expecting us to be caught up in the （8） excite____ the music caused in him, and we were. Michael jackson came to be synonymous with transformation—ultimately, with an eerie stasis that comes from seeking transformation all the time. The alchemy of change worked longer and（9）____（well） for him—through the ’80s and into the early ’90s—than it has for almost any other artist. Yet somehow all the changes always take us （10）____ to the album in which Michael Jackson grew up.
对做全口义齿的患者了解家族史的目的不包括（ ）。
注册会计师为了验证被审计单位记录的销售交易是否真实发生，下列最有效的实质性程序是（）。
关于糖皮质激素分泌调节，正确的是（ ）。
爱因斯坦的相对论指出：主体选择不同的参照系对同一物理事件或物理过程进行时空度量，所得的结果可能不一样。从认识论上来说是：（）
如动火中断半小时以上，无需重新分析。（）
患者，男性，30岁，工作时被化学液体溅入左眼，左眼剧痛、不能睁开，此时正确的处理是（）
工程项目平行承包模式的特点不包括（）。
早期鉴别强直性脊柱炎与其他脊柱疾病的最重要检查方法是（）。
3/4冠的缺点是（）。
根据《建筑边坡工程技术规范》（GB 50330—2013），下列有关于边坡支护形式适用性的论述，哪些选项是正确的？（ ）[2013年真题]
根据《建筑边坡工程技术规范》（GB 50330—2013），对下列边坡稳定性分析的论述中，错误的是（ ）。[2013年真题]
根据《建筑边坡工程技术规范》（GB 50330—2013）的相关要求，下列关于锚杆挡墙的适用性说法哪个选项是错误的？（ ）[2014年真题]
Ⅲ类岩体边坡拟采用喷锚支护，根据《建筑边坡工程技术规范》（GB 50330—2013）中有关规定，以下哪些选项是正确的？（ ）[2014年真题]
边坡工程应按现行国家标准《建筑边坡工程技术规范》（GB 50330）进行设计；应遵循先设计后施工，边施工边治理，边施工边监测的原则。
边坡工程应按现行国家标准《建筑边坡工程技术规范》（GB 50330）进行设计；应遵循先设计后施工，边施工边治理，边施工边监测的原则。
根据《建筑边坡工程技术规范》（GB 50330—2013）的规定，下列哪些岩质边坡不应采用钢筋混凝土锚喷支护？（ ）[2009年真题]
图示重力式挡土墙和墙后岩石陡坡之间填砂土，墙高6m，墙背倾角60°，岩石陡坡倾角60°，砂土γ＝17kN/m3，φ＝30°，砂土与墙背及岩坡间的摩擦角均为15°...
根据《膨胀土地区建筑技术规范》（GB 50112—2013），（ ）可列为膨胀土的特性指标。
根据《膨胀土地区建筑技术规范》（GB 50112—2013），收缩系数是（ ）。