对n阶方阵A,若存在可逆矩阵P,使得 Λ,则对角矩阵Λ的对角线上的元素,即为方阵A的( ),可逆矩阵P的列向量,即为方阵A的( )。
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\t某建筑公司2013年9月的资产负债简表如下：\t\t另知，该公司8月末的流动资产为1000万元，9月末在岗职工300人，再就业的离退休人员20人，借用的外单位人员15人，保留劳动关系但已经离...该公司9月份的流动资产平均余额为（）万元。
\tA.1000
\tB.1029.14
\tC.1014.57
\tD.1260
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At the tail end of the 19th century, Friedrich Nietzsche suggested that natural history—which he saw as a war against fear and superstition—ought to be narrated "in such a way that everyone who hears it is irresistibly inspired to strive after spiritual and bodily health and vigour", and he grumbled that artists had yet to discover the right language to do this. "None the less," Nietzsche admitted, "the English have taken admirable steps in the direction of that ideal ... the reason is that they [natural history books] are written by their most distinguished scholars—whole, complete and fulfilling natures." The English language tradition of nature writing and narrating natural history is gloriously rich, and although it may not make any bold claims to improving health and wellbeing, it does a good job—for readers and the subjects of the writing. Where the insights of field naturalists meet the legacy of poets such as Clare, Wordsworth, Hughes and Heaney, there emerges a language as vivid as any cultural achievement. That this language is still alive and kicking and read every day in a newspaper is astounding. So to hold a century’s worth of country diaries is, for an interloper like me, both an inspiring and humbling experience. But is this the best way of representing nature, or is it a cultural default Will the next century of writers want to shake loose from this tradition What happens next Over the years, nature writers and country diarists have developed an increasingly sophisticated ecological literacy of the world around them through the naming of things and an understanding of the relationships between them. They find ways of linking simple observations to bigger issues by remaining in the present, the particular. For writers of my generation, a nostalgia for lost wildlife and habitats and the business of bearing witness to a war of attrition in the countryside colours what we’re about. The anxieties of future generations may not be the same. Articulating the "wild" as a qualitative character of nature and context for the more quantitative notion of biodiversity will, I believe, become a more dynamic cultural project. The re-wilding of lands and seas, coupled with a re-wilding of experience and language, offers fertile ground for writers. A response to the anxieties springing from climate change, and a general fear of nature answering our continued environmental injustices with violence, will need a reassessment of our feelings for the nature we like—cultural landscapes, continuity, native species—as well as the nature we don’t like—rising seas, droughts, "invasive" species. Whether future writers take their sensibilities for a walk and, like a pack of wayward dogs unleashed, let them loose in hills and woods to sniff out some fugitive truth hiding in the undergrowth, or choose to honestly recount the this-is-where-I-am, this-is-what-I-see approach, they will be hitched to the values implicit in the language they use. They should challenge these. Perhaps they will see our natural history as a contributor to the commodification of nature and the obsessive managerialism of our times. Perhaps they will see our romanticism as a blanket thrown over the traumatised victim of the countryside. But maybe they will follow threads we found in the writings of others and find their own way to wonder.
A. The English tradition of nature writing should be reflected and reconsidered. B. The values implicit in the language of natural history should be challenged. C. The re-wilding of human experience and language will greatly benefit us. D. The re-wilding of lands and seas will bring us more disasters.
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