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简述第二次世界大战爆发、扩大、转折和结束的重大事件。

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(1) 爆发:法西斯德国经过长期准备,在1939 年 9 月对波兰突然袭击。英、法被迫对德宣战,第二次世界大战从此全面爆发。

(2) 扩大:1941 年 6 月,德国对苏联发动突然袭击,苏联卫国战争正式开始。1941 年 12 月,日本海空军对美国海军基地珍珠港发动突然袭击,美国对日宣战,太平洋战争正式爆发。苏德战争和太平洋战争的爆发,使第二次世界大战进一步扩大了。

(3) 转折: 1942 年 7 月到 1943 年 2 月的斯大林格勒战役是苏德战争的转折点,也是第二次世界大战的转折点。另外,中途岛海战和阿拉曼战役分别是太平洋战场和北非战场的转折点。

(4) 结束:①1943 年 9 月,意大利投降是法西斯集团开始瓦解的标志。②1945 年 5 月,法西斯德国无条件投降,第二次世界大战在欧洲结束。③1945 年 9 月,日本无条件投降使整个世界大战最后结束。

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Selling Digital Music without Copy-protection Makes Sense A. It was uncharacteristically low-key for the industry’s greatest showman. But the essay published this week by Steve Jobs, the boss of Apple, on his firm’s website under the unassuming title “Thoughts on Music” has nonetheless provoked a vigorous debate about the future of digital music, which Apple dominates with its iPod music-player and iTunes music-store. At issue is “digital rights management” (DRM)—the technology guarding downloaded music against theft. Since there is no common standard for DRM, it also has the side-effect that songs purchased for one type of music-player may not work on another. Apple’s DRM system, called FairPlay, is the most widespread. So it came as a surprise when Mr. Jobs called for DRM for digital music to be abolished. B. This is a change of tack for Apple. It has come under fire from European regulators who claim that its refusal to license FairPlay to other firms has “locked in” customers. Since music from the iTunes store cannot be played on non-iPod music-players (at least not without a lot of fiddling), any iTunes buyer will be deterred from switching to a device made by a rival firm, such as Sony or Microsoft. When French lawmakers drafted a bill last year compelling Apple to open up FairPlay to rivals, the company warned of “state-sponsored piracy”. Only DRM, it implied, could keep the pirates at bay. C. This week Mr. Jobs gave another explanation for his former defence of DRM: the record companies made him do it. They would make their music available to the iTunes store only if Apple agreed to protect it using DRM. They can still withdraw their catalogues if the DRM system is compromised. Apple cannot license FairPlay to others, says Mr Jobs, because it would depend on them to produce security fixes promptly. All DRM does is restrict consumer choice and provide a barrier to entry, says Mr Jobs; without it there would be far more stores and players, and far more innovation. So, he suggests, why not do away with DRM and sell music unprotected? “This is clearly the best alternative for consumers,” he declares, “and Apple would embrace it in a heartbeat.” D. Why the sudden change of heart? Mr Jobs seems chiefly concerned with getting Europe’s regulators off his back. Rather than complaining to Apple about its use of DRM, he suggests, “those unhappy with the current situation should redirect their energies towards persuading the music companies to sell their music DRM-free.” Two and a half of the four big record companies, he helpfully points out, are European-owned. Mr Jobs also hopes to paint himself as a consumer champion. Apple resents accusations that it has become the Microsoft of digital music. E. Apple can afford to embrace open competition in music players and online stores. 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