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NEW QUESTION: 1
This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-
ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is
infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony
on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera. He returned to mainland Japan once more, where the young were turning to
Marxism as a rejection of the militarism of the war. After a brief, unsuccessful stint at medical school, he
became part of a Marxist group of avant-garde artists. His work at this time was passionate and
outspoken on political matters, adopting black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growth driven, increasingly corporate society.
The phrase "blind us" in the last paragraph refers to the
A. difficulty in reconciling Woman in the Dunes and other later works with the form and content of his
earlier works.
B. challenge of interpreting Abe's more experimental works.
C. overwhelming power of Abe's novel, Woman in the Dunes.
D. excessive critical attention to Abe's novel, Woman in the Dunes.
E. absence of film adaptations for Abe's other novels.
Answer: D
Explanation:
Explanation/Reference:
As always, go back to the passage to look for the context of the phrase. Shortly after the phrase appears,
the author says that readers have wrongly decided that Woman in the Dunes was Abe's masterpiece.
The author also refers to the lack of translations of Abe's earlier works. The answer that best summarizes
these two things is (B).

NEW QUESTION: 2
写真共有モバイルアプリを設計しています。アプリケーションは、すべての写真を単一のAmazon S3バケットに保存します。
ユーザーは、モバイルデバイスからAmazon S3に直接写真をアップロードし、Amazon S3から直接自分の写真を表示およびダウンロードできます。
潜在的に数百万のユーザーを可能な限り最も安全な方法で処理するようにセキュリティを構成します。
新しいユーザーが写真共有モバイルアプリケーションに登録するとき、サーバー側アプリケーションは何をすべきですか？
A. ユーザーの情報をAmazon RDSに記録し、適切なアクセス許可でIAMにロールを作成します。
ユーザーがモバイルアプリを使用する場合、AWSセキュリティトークンサービスの「AssumeRole」機能を使用して一時的な認証情報を作成します。これらの認証情報をモバイルアプリのメモリに保存し、それらを使用してAmazon S3にアクセスします。ユーザーが次回モバイルアプリを実行するときに新しい資格情報を生成します。
B. IAMユーザーを作成します。 IAMユーザーに適切なアクセス許可を割り当てます。 IAMユーザーのアクセスキーとシークレットキーを生成し、モバイルアプリに保存し、これらの認証情報を使用してAmazon S3にアクセスします。
C. IAMユーザーを作成します。 IAMユーザーの適切なアクセス許可でバケットポリシーを更新します。 IAMユーザーのアクセスキーとシークレットキーを生成し、モバイルアプリに保存し、これらの認証情報を使用してAmazon S3にアクセスします。
D. AWSセキュリティトークンサービスと適切なアクセス許可を使用して、長期資格情報のセットを作成します。
これらの認証情報をモバイルアプリに保存し、それらを使用してAmazon S3にアクセスします。
E. Amazon DynamoDBにユーザーの情報を記録します。ユーザーがモバイルアプリを使用する場合、AWS Security Token Serviceを適切なアクセス許可で使用して一時的な認証情報を作成します。これらの認証情報をモバイルアプリのメモリに保存し、それらを使用してAmazon S3にアクセスします。ユーザーが次回モバイルアプリを実行するときに新しい資格情報を生成します。
Answer: A
Explanation:
説明
RDSまたはDynamoDBのいずれかを使用できますが、与えられた回答では、IAMロールはRDSでのみ言及されているため、回答Bに進みます。
質問は明示的にセキュリティに焦点を当てていたため、RDSを使用したIAMが最適な選択です。

NEW QUESTION: 3
You want to modify a charge offer. However, you first need to check what impact it will have on other pricing objects.
In Pricing Design Center (PDC), which three steps do you perform to check this? (Choose three.)
A. Select the charge offer to display the charge offer detail.
B. Display the Setup panel.
C. Click the Used By button to display the pricing objects that use this charge offer.
D. Using the Search Pricing feature, search for the charge offer.
E. Run the ImportExportPricing utility to export pricing configuration.
Answer: A,D,E