第24－28题为套题：党的十七大报告指出，要以社会保险、社会救助、社会福利为基础，以基本养老、基本医疗、最低生活保障制度为重点，以慈善事业、商业保险为补充，加快完善社会保障体系。商业保险近几年的发展在社会保障中作用日渐凸显，农村社会保险制度改革也获得较大发展。养老保险制度的改革与完善，是进一步落实科学发展观的内在要求，也是构建和谐社会的重要内容。商业保险作为国家社会保障体系的重要组成部分，在基础性社会保障层面的作用主要体现在（）。
A.开展企业年金和团体福利计划等业务，为企业提供独立运作、专业化管理和适度保障的全程服务B.参与社会保险日常管理，为社会保险提供技术和管理支持，提高保障机制运行效率C.商业保险发挥主导作用，提供更多的保障产品和更高的保障程度D.弥补社会保险供给的不足，丰富和发展整个国家社会保障体系，发挥商业保险的主导作用
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TEXT B As a contemporary artist, Jim Dine has often incorporated other people’s photography into his abstract works. But, the 68-year-old American didn’t pick up a camera himself and start shooting until he moved to Berlin in 1995—and once he did, he couldn’t stop. The result is a voluminous collection of images, ranging from early-20th-century-style heliogravures to modern-day digital printings, a selection of which are on exhibition at the Maison Européenne de la Photographie in Paris. They are among his most prized achievements. "I make photographs the way I make paintings, "says Dine, "but the difference is, in photography. It’s like lighting a fire every time. " Though photography makes up a small slice of Dine’s vast oeuvre, the exhibit is a true retrospective, of his career. Dine mostly photographs his own artwork or the subjects that he has portrayed in sculpture, painting and prints including Venus de Milo, ravens and owls, hearts and skulls. There are still pictures of well-used tools in his Connecticut workshop, delightful digital self-portraits and intimate portraits of his sleeping wife, the American photographer Diana Michener. Most revealing and novel are Dine’s shots of his poetry, scribbled in charcoal on walls like graffiti. To take in this show is to wander through Dine’s life: his childhood obsessions, his loves, his dreams. It is a poignant and powerful exhibit that rightly celebrates one of modern art’s most intriguing—and least hyped-talents. When he arrived on the scene in the early 1960s, Dine was seen as a pioneer in the pop-art movement. But he didn’t last long; once pop stagnated, Dine moved on. "Pop art had to do with the exterior world, " he says. He was more interested, he adds, in "what was going on inside me". He explored his own personality, and from there developed themes. His love for handcrafting grew into a series of artworks incorporating hammers and saws. His obsession with owls and ravens came from a dream he once had. His childhood toy Pinocchio, worn and chipped, appears in some self-portraits as a red and yellow blur flying through the air. Dine first dabbled in photography in the late 1970s, when Polaroid invited him to try out a new large-format camera at its head-quarters in Cambridge, Massachusetts. He produced a series of colorful, out-of-focus self-portraits, and when he was done, he packed them away. A half dozen of these images—in perfect condition—are on display in Paris for the first time. Though masterful, they feel flat when compared with his later pictures. Dine didn’t shoot again until he went to Berlin in the mid-90s to teach. By then he was ready to embrace photography completely. Michener was his guide: "She opened my eyes to what was possible," he says. "Her approach is so natural and classic. I listened. " When it came time to print what he had photographed, Dine chose heliogravure, the old style of printing favored by Alfred Stieglitz, Edward Curtis and Paul Strand, which gives photographs a warm tone and an almost hand drawn look—like Dine’s etchings. He later tried out the traditional black-and-white silver-gelatin process, then digital photography and jet-ink printing, which he adores. At the same time, Dine immersed himself into Jungian psychoanalysis. That, in conjunction with his new artistic tack, proved cathartic. "The access photography that gives you to your subconscious is so fantastic," he says. "I’ve learned how to bring these images out like a stream of consciousness—something that’s not possible in the same way in drawing or painting because technique always gets in your way. " This is evident in the way he works: when Dine shoots, he leaves things alone. Eventually, Dine turned the camera on himself. His self-portraits are disturbingly personal; he opens himself physically and emotionally before the lens. He says such pictures are an attempt to examine himself as well as "record the march of time, what gravity does to the face in everybody. I’m a very willing subject. " Indeed, Dine sees photography as the surest path to serf discovery. "I’ve always learned about myself in my art," he says. "But photography expresses me. It’s me. Me. " The Paris exhibit makes that perfectly clear.
A．Their connotative meanings are not rich enough.B．They are not so exquisite as his later works.C．They reflect themes of his childhood dreams.D．They are much better than his later pictures.
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