下面是类hello的定义，若果命令行调用语句是：java Hello one two three,输出结果_百度知道
下面是类hello的定义，若果命令行调用语句是：java Hello one two three,输出结果
public cl穿肌扁可壮玖憋雪铂磨ass Hello{public static void main(string a[]){system.out.println(a[0]);}}A:Hello
D:运行错误
提问者采纳
应该选B，当你敲入java
three时，其中java后面的参数穿肌扁可壮玖憋雪铂磨，都会传入数组a中，并且按顺序存入数组，所以此时a[0] = 'one',a[1] = 'two',a[2] = 'three'希望对你有帮助！！！
提问者评价
十分感谢~~~
其他类似问题
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其他2条回答
@1L，B 啊，这是 java，不是 穿肌扁可壮玖憋雪铂磨c。。。a[0] = &one&, a[1] = &two&, a[2] = &three&@2L，这明显是打错了么
编译都不通过啊。 string 首字符应该大写system首字符也是大写
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出门在外也不愁第92讲 叶落归根 Put down roots & Have one’s share of sth.
第92讲 叶落归根 Put down roots & Have one’s share of sth.
14:37:30 来源：世博英语
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人人都有一种浓浓的家乡情结，不管离家多远，不管走南闯北，总会思念自己的家乡。所以我决定退休后一定要回到家乡安度晚年，所谓叶落归根嘛! 对了，汉语中有叶落归根的说法，而英文中的片语put down roots就与这个说法密切相关。Put down有“安置、放下”的意思，root表示“根部，原来的地方”，所以片语put down roots引申出来的意思就是“落脚、定居”。If you put down roots somewhere, you start to feel that a place is your home and to have relationships with the people there.
让我们来看看下面的例句：
Steven, one of my college classmates, put down roots in America three years ago. It is said that he has owned a Chinese restaurant in Chicago.(译文：我大学时的一个同学Steven三年前定居了美国。听说在芝加哥他已经拥有了一个中国餐厅。)
随着国际交往的深入，现在移居外国的人大有人在。我不知道移居外国有什么好，但我知道如果移居美国、英国或澳大利亚的话，也许就用不着那么痛苦的学习英语了。
Next month, I will be visiting my uncle who puts down roots in Australia. I think it will be a good opportunity to practice my English.(译文：下个月，我将去拜访定居在澳大利亚的叔父，我想，这将是一个练习英文的好机会。)
其实英语并不一定都要出国才能学好的，只要有所好的英语培训学校就行。记得刚开始在一个比较有名的培训学习学习英语时老师就教过我们一些简单的英文表达，如表达“许多、很多、大量”等意思的单词，先是教many, lots of, 后来就更复杂了：表达可数名词的，可以用a great number of, 表达不可数名词的，可以用a great deal of等。今天从杂志上又看到一个新的表达：have one’s share of something，它的意思是“有足够数量的”。让我们来看一看。
China has its share of famous mountains. But on holidays, these places are still packed with lots of visitors.(译文：中国有足够数量的名山，但是在假日，这些地方还是会挤满大量的参观者。)
片语have one’s share of something的意思是“有足够数量的…”。英文中表达“足够数量的”形容词很多，正如上面我们所提到的。同时，用以表达数量单位的词也很多，share就是其中一个，它有“股份，份额，一份”的意思，所以片语have one’s share of something的表面意思是“拥有某物的所有份额”，这不正是“有足够数量”的意思吗？If you indicate that something has its share of it, you mean there are lots of them. 又如：
It is wise to learn English at this new school, which has its share of American teachers who teach English.(译文：在这所拥有足够数量教英语的美国老师的新学校学习英语是明智的。)
结束语：朋友说钱不是万能的，但没有钱却是万万不能的。他还说夏威夷有着足够数量的(have one’s share of something)美丽风光，真想到那里去定居(put down roots)，可是没有钱! 我问他去年不是有上百万的家产吗？他说被一个女人骗走了，他还说女人不是万能的，但没有女人也是万万不能的。哎，叫我对他说什么好呢？
14:52:18 14:51:22 14:50:26 14:49:24 14:48:11From Wikipedia, the free encyclopedia
, One and Three Chairs (1965)
One and Three Chairs, 1965, is a work by . An example of , the piece consists of a , a photograph of this chair, and an enlarged dictionary definition of the word "chair". The photograph depicts the chair as it is actually installed in the room, and thus the work changes each time it is installed in a new venue.
Two elements of the work remain constant: a copy of a dictionary definition of the word "chair" and a diagram with instructions for installation. Both bear Kosuth's signature. Under the instructions, the installer is to choose a chair, place it before a wall, and take a photograph of the chair. This photo is to be enlarged to the size of the actual chair and placed on the wall to the left of the chair. Finally, a blow-up of the copy of the dictionary definition is to be hung to the right of the chair, its upper edge aligned with that of the photograph.
Kosuth's concern with the difference between a concept and its mode of presentation was prefigured in the "event cards" of -artists like ,
and . These artists also tackled the problem of presenting "concepts" to an art audience. One and Three Chairs is, perhaps, a step towards a resolution of this problem. Rather than present the viewer with the bare written instructions for the work, or make a live event of the realization of the concept (in the manner of the Fluxus artists), Kosuth instead unifies concept and realization. One and Three Chairs demonstrates how an artwork can embody an idea that remains constant despite changes to its elements.
Kosuth stresses the difference between concept and presentation in his writings (e.g., "Art after Philosophy", 1969 ) and interviews (see the quotation below). He tries to intimately bind the conceptual nature of his work with the nature of art itself, thus raising his instructions for the presentation of an artwork to the level of a discourse on art. In 1963
articulated these problems in the article "Concept Art". This was a forerunner to Kosuth's thematization of "Concept Art" in "Art after Philosophy", the text that made One and Three Chairs famous.
The work One and Three Chairs can be seen to highlight the relation between language, picture and referent. It problematizes relations between object, visual and verbal references () plus semantic fields of the term chosen for the verbal reference. The term of the dictionary includes
and possible denotations which are relevant in the context of the presentation of One and Three Chairs. The meanings of the three elements are congruent in certain semantic fields and incongruent in other semantic fields: A semantic congruity ("One") and a threefold incongruity ("One and Three"). Ironically, One and Three Chairs can be looked upon as simple but rather complex model, of the science of signs. A viewer may ask "what's real here?" and answer that "the definition is real"; Without a definition, one would never know what an actual chair is.
There exist different interpretations of these semantic and ontological aspects. Some refer to ?s Republic (Book X); others refer to ?s Tractatus or to 's triad icon-index-symbol. Dreher discusses the semantic problems of One and Three Chairs as inclusions of circles which represent semantic fields.
The work tends to defy formal analysis because one chair can be substituted for another chair, rendering the photograph and the chair photographed elusive to description. Nevertheless the particular chair and its accompanying photograph lend themselves to formal analysis. There are many thus only those actually used can be described. Those chairs not used would not be analyzed. The enlarged dictionary definition of the word chair is also open to formal analysis, as is the diagram containing instructions of the work.
Kosuth's thematization of semantic congruities and incongruities can be seen as a reflection of the problems which the relations between concept and presentation pose. Kosuth uses the related questions, "how meanings of signs are constituted" and "how signs refer to extra-lingual phenomena" as a fundament to discuss the relation between concept and presentation. Kosuth tries to identify or equate these philosophical problems with the theory of art. Kosuth changes the art practice from hand-made originals to notations with substitutable realizations, and tries to exemplify the relevance of this change for the theory of art.
In "Art after Philosophy," Kosuth provoked a confrontation with the formal criticism of
and . Both exposed the concept of the art work as a non-substitutable instance realized by an artist who follows no other criteria than visual ones. They defined this concept as the core of modernism. In the sixties, Greenberg's and Fried's modernist doctrine dominated the America meanwhile, the artists , , Henry Flynt, ,
and Joseph Kosuth wrote articles on art exemplifying a pluralistic anti- and post-modernist tendency which gained more influence at the end of the sixties. In 1968, Greenberg tried to disqualify the new tendencies as "'novelty' art": "The different mediums are exploding...when everybody is a revolutionary the revolution is over."
offered a more positive view in 1972: "The situation of open possibilities which confronted artists in the first years of the seventies allowed a variety of means and many fertile idea systems to coexist, reconciling through the poetic imagination apparent contradictions."
Joseph Kosuth, WBAI, April 7, 1970:
"I used common, functional objects - such as a chair - and to the left of the object would be a full-scale photograph of it and to the right of the object would be a photostat of a definition of the object from the dictionary. Everything you saw when you looked at the object had to be the same that you saw in the photograph, so each time the work was exhibited the new installation necessitated a new photograph. I liked that the work itself was something other than simply what you saw. By changing the location, the object, the photograph and still having it remain the same work was very interesting. It meant you could have an art work which was that idea of an art work, and its formal components weren't important."
, a series of paintings by
which includes the phrase "Ceci n'est pas une pipe" (This is not a pipe) inscribed alongside a painting of a pipe.
Dickel, Hans u.a.: Die Sammlung Paul Maenz. Neues Museum Weimar. Edition Cantz, Ostfildern-Ruit 1998, p. 82s.
Kosuth J., (1969),
Flynt, Henry: . In: Mac Low, Jackson/Young: LaMonte (ed.): An Anthology. New York 1963, unpaginated.
Kosuth, Joseph: Art after Philosophy, Part III. In: Studio International, November 1969, p. 212.
Gerwen, Rob van: Introducing My Philosophical Directions: . Universiteit Utrecht 2009.
Inboden, Gudrun: Introduction: Joseph Kosuth - Artist and Critic of Modernism. In: Joseph Kosuth: The Making of Meaning. Selected Writings and Documentation of Investigations on Art Since 1965. Cat. of exhib. Staatsgalerie Stuttgart. Stuttgart 1981, p. 16-19.
Tragatschnig, Ulrich: Konzeptuelle Kunst. Interpretationsparadigmen: Ein Prop?deutikum. Reimer, Berlin 1998, p. 116.
Dreher, Thomas: Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976. Thesis Ludwig-Maximilians-Universit?t/Peter Lang, Frankfurt am Main 1992, p. 70-79.
Greenberg, Clement: , 1968. The Jon Power Lecture in Contemporary Art, 17 Mai 1968. First published in: In Memory of John Joseph Wardell Power. Power Institute of Fine Arts, University of Sydney, 1969. Republished in: Greenberg, Clement: The Collected Essays and Criticism. volume 4: Modernism with a Vengeance, . The University of Chicago Press, Chicago 1993, p. 292, 299.
Hunter, Sam: American Art of the 20th Century. New York 1972, p. 410.
Siegel, Jeanne: Artwords. Discourse on the 60s and 20s. UMI Research Press, Ann Arbour/Michigan 1985; second edition Da Capo Press, New York 1992, p. 225
Archer, Michael: Art since 1960. Thames and Hudson, London 1997, p. 80.
Art & Language (Atkinson, Terry/Baldwin, Michael/Pilkington, Philip/Rushton, David): Introduction to a Partial Problematic. In: Joseph Kosuth: Art Investigations & `Problematics? since 1965. Cat. of exhib. Kunstmuseum Luzern. Luzern 1973, vol. 2, p. 12,22.
Dickel, Hans u.a.: Die Sammlung Paul Maenz. Neues Museum Weimar. Edition Cantz, Ostfildern-Ruit 1998, p. 82s. (with descriptions of the constituents of the German-English version and a bibliography).
Dreher, Thomas: Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976. Thesis Ludwig-Maximilians-Universit?t/Peter Lang, Frankfurt am Main 1992, p. 70-79.
Inboden, Gudrun: Introduction: Joseph Kosuth - Artist and Critic of Modernism. In: Joseph Kosuth: The Making of Meaning. Selected Writings and Documentation of Investigations on Art Since 1965. Cat. of exhib. Staatsgalerie Stuttgart. Stuttgart 1981, p. 16-19.
Kosuth, Joseph: Art after Philosophy, Part III. In: Studio International, December 1969, p. 212.
Maenz, Paul:
Paul Maenz K?ln. Gallery Paul Maenz, Cologne 1975, p. 85 (Illustrations of three different realizations of One and Three Chairs (English/German)).
Prinz, Jessica: Text and Context: Reading Kosuth's Art. In: Prinz, Jessica: Art Discourse/Discourse in Art. Rutger U.P., New Brunswick/New Jersey 1991, p. 52,58.
Rorimer, Anne: New Art in the 60s and 70s. Redefining Reality. Thames & Hudson, London 2001, p. 94.
Tragatschnig, Ulrich: Konzeptuelle Kunst. Interpretationsparadigmen: Ein Prop?deutikum. Reimer, Berlin 1998, p. 116.
Intermedia Art: Konzeptuelle Kunst: illustration "One and Three Chairs", version with English-German definition (blow-up of an article in a dictionary with an English-to-German translation).
Paris: version with English-French definition (blow-up of an article in a dictionary with an English-to-French translation).
Algorithmic Art and Artificial Intelligence: Conceptual Art: Tautologies (with three examples). Institute of Artificial Art Amsterdam (IAAA), Course.