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TOEIC・英語 大学生・専門学校生・社会人

474と476は問題でhave A ( )となっていたらどっちを入れてもいいですか?

:) 474. have Ado原形不定詞が補語 Toronto mismoet W have A do は, 「Aに・・・してもらう [させる]」の意味を表し、 haveの目的語であるA と目的格補語の do が能動関係になっていることに注意。 get A to do (473) とほぼ同 意と考えておけばよいが, get A to do 「(頼んで) Aに・・・ してもらう」に対して have Ado は, 「(Aの義務として)Aに・・・してもらう」 といったニュアンスの違いがある。ま (大和 注意。 get の場合は、目的格補語に to 不定詞, have の場合は,原形不定詞がくることに 475. get A done ・過去分詞が補語 beel alod (8) wildcath W get[have] A done には (1) Aをしてもらう[させる] (使役)」 (2) 「A を…される (受身被害)」 (3) 「(主語が) Aを・・・してしまう(完了)」の3つの意味がある。Aと done は受動関係となる。 TARGET 73 (2) の用法 get A caught between B (複数名 ○ 本間の get A done は (2) の用法。 get A caught between B (複数名詞) は, 「AをB Oget (2) Ac の間に挟まれる」の意味。 gaidaiant arlol S 29reini adol it 476. have A done 過去分詞が補語 ndol tedt 大) W dainit ot ndlol ⑤ ○問題 475 で扱った (1) Aを・・・ してもらう[させる] (使役)」 が本間のポイント。 ② to have (my teeth treated) の to不定詞は, 「目的」 …するために) を表す副詞用法。 2 D 「bon A do」, 「help do」

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理科 中学生

問5を教えて欲しいです。解説の、8g。辺りに/がありますがこれは、そこまで理解出来たという意味です!それ以降がなぜそうなるのか分からないのでそこを教えて欲しいです!

問3. 問2より、十分な量のうすい塩酸 A と10g の石灰石が反応したとき、発生する気体は4g。うすい塩酸 A から発生する気体は最大で15gなので,50mLのうすい塩酸 Aと反応することができる石灰石の質量は, 15(g) 10(g) x 4(g) = 37.5 = 38 (g) 4.発生した気体の質量は,150(g) + 30 (g) - 172(g)=8(g)なので,問2より、反応した石灰石の質 20 (g) 量は20g。 よって、 石灰石の純度は, 30(g) × 100 = 67 (%) 問5. ビーカーに入ったうすい塩酸 A50mLにうすい水酸化ナトリウム水溶液 B を 20mL 加えたので、反応 前の合計質量は,100(g)+50(mL) × 1.0 (g/mL) + 20 (mL) × 1.0 (g/mL)=170(g) 実験2の表よ り、加えた石灰石の質量が 10g のとき,発生する気体の質量は, 170(g)+10(g)-176 (g) = 4(g) 同 様に加えた石灰石の質量が20g, 30g のとき,発生する気体の質量は, 170(g)+20 (g) 182 (g) = 8 (g),170 (g) +30 (g)-192(g)=8(g) となり,石灰石の質量を増やしても発生する気体の質量は8go したがって、うすい水酸化ナトリウム水溶液 B20mLによって中和されずに残った塩酸は, 20g の石灰石と 反応する。 問3より うすい塩酸 A50mLは37.5gの石灰石と反応することができるので、 うすい水酸化ナ トリウム水溶液 B20mL によって中和された塩酸は, 37.5(g)-20(g)=17.5 (g) の石灰石と反応するこ とができる。 よって、うすい塩酸 A50mLをちょうど中和するのに必要なうすい水酸化ナトリウム水溶液 B 37.5 (g) ≒ 43 (mL) , 20 (mL) x 17.5 (g)

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英語 高校生

線を引いたところの訳し方を丁寧に教えて頂きたいです🙇‍♀️

L American poet Ralph Waldo Emerson once said, "Every artist was first an amateur." He likely never thought those words would apply to machines. Yet artificial intelligence (AI) has demonstrated a growing talent for creativity, whether writing a heavy-metal rock album or producing an original portrait that is strikingly similar to a Rembrandt. Applying AI to the art world might seem unoriginal; there are, of course, plenty of humans delivering awe-inspiring work. Supporters say, however, the real beauty of training AI to be creative does not lie in the end product-but rather in the technology's potential to expand on its own machine-learning education, and to solve problems by thinking in different ways far faster and better than humans can. For example, creative problem-solving AI could someday make snap decisions that save the lives of the passengers in a self-driving car if its sensors fail. AI with a creative component will be essential in developing highly automated systems that can respond appropriately to human life, says Mark Riedl, an associate professor at Georgia Institute of Technology's School of Interactive Computing. "The fact is, we do lots of little bits of creativity every single day; lots of problem-solving goes on," Riedl says. "If my son gets a toy stuck under the couch, I have to devise a tool from a hanger to get it out." Riedl points out human creativity is also important in human social interactions, even telling a well-timed joke or recognizing a pun. Computers struggle with such subtleties. An incomplete understanding of how humans construct metaphors, for example, was all it took for an experiment in Al-generated literature to compose a new Harry Potter chapter filled with nonsensical sentences such as, "The floor of the castle seemed like a large pile

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英語 高校生

下から15行目のthrow whichのthrow とはなんですか?

y II Day 12 15 5 Negro Leagues Baseball was a collection of major and minor-league baseball leagues that were the first to showcase black team sports on intertwined with the African American and American experience not only a national scale. Launched in 1895, the leagues, as with jazz, became as a cultural element, but as a lucrative business endeavor. team The leagues were not under central management, and schedules and composition League, were changeable from season to season. Appearance and disappearance of leagues was common: the National Colored Baseball for instance, collapsed after only two weeks of operations. Latins, especially Cubans, were also a significant presence on teams. In these ways, the Negro Leagues were quite similar to their white counterparts which would eventually consolidate into Major League Baseball. Blacks near the beginning of the 20th century had only a fraction of whites' purchasing power, so the emergence of the Negro Leagues might have seemed unlikely. However, the Negro Leagues had two main draws that accounted for its business success. The first was a deep reserve of athletic talent. After blacks were formally excluded from white leagues in the 1880s, the Negro Leagues were the sole organization through which black players could work professionally. The quality of Negro Leagues 20 players was high, and substantiated through exhibition matches between Negro Leagues and Major League teams: over the years, both had their fair share of wins and losses in these matches. Another reason for the success of the Negro Leagues was an increasingly affluent black fan base. Driven by American industrialization, blacks were concentrating in major cities such as New York City, Chicago, and Atlanta. Usually barred by custom-and in the South by law-from attending many white entertainment outlets, blacks turned to Negro Leagues games. As a result of these factors, by the 20th century the Negro Leagues were earning a combined millions of dollars. This profitability ended with the desegregation of Major League Baseball. Black fans began attending Major League games, starving the Negro Leagues of its core revenue source. By 1951, the Negro Leagues had ended, although a succession of black star athletes in the Major League had begun.

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