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NEW QUESTION: 1
プロジェクトが処理されると、チームはバラバラに見えます。 適切なチームメンバーが議論に参加していないため、会議は効果的ではありません。また、機能マネージャーは、プロジェクトマネージャーに真の管理計画があるかどうかを疑問視しています。
問題を明らかにするために、最初にレビューする必要がある文書はどれですか？
A. プロジェクト管理計画
B. 組織図
C. スコープステートメント
D. コミュニケーション計画
Answer: D

NEW QUESTION: 2
In this section, you'll see one or more sets of questions with the same scenario and problem Each question
presents a unique solution to the problem, and you must determine whether the solution meets the stated goals.
Any of the solutions might solve the problem. It is also possible that none of the solutions solve the problem.
Once you answer a question in this section, you will NOT be able to return to it. As a result, these questions
will not appear in the review screen
Note: This question is part of a series of questions that present the same scenario. Each question in the series
contains a unique solution. Determine whether the solution meets the stated goals.
Your network contains an Active Directory domain named contoso.com. The domain contains a DNS server
named Server1. All client computers run Windows 10.
On Server1, you have the following zone configuration

You need to prevent Server1 from resolving queries from DNS clients located on Subnet4 Server1 must
resolve queries from all other DNS clients Solution From a Group Policy object (GPO) in the domain, you
modify the Network List Manager Policies Does this meet the goal?
A. No
B. Yes
Answer: A

NEW QUESTION: 3
Which two statements about enhanced zoning are true? (Choose two.)
A. Enhanced zoning sets the default zone to the same state in all switches.
B. Enhanced zoning cannot be enabled in an FCoE environment.
C. Enhanced zoning sends ACA to lock the fabric when the administrator starts a zone change.
D. Enhanced zoning is a mode that shows much more detail for the SAN choices when it is viewed in Fabric Manager.
E. Enhanced zoning cannot be enabled per VSAN. It is a chassis-wide setting.
Answer: A,C

NEW QUESTION: 4
Mathew ascended three flights of stairs--passed half-way down a long arched gallery--and knocked at
another old-fashioned oak door. This time the signal was answered. A low, clear, sweet voice, inside the
room, inquired who was waiting without? In a few hasty words Mathew told his errand. Before he had
done speaking the door was quietly and quickly opened, and Sarah Leeson confronted him on the
threshold, with her candle in her hand.
Not tall, not handsome, not in her first youth--shy and irresolute in manner--simple in dress to the utmost
limits of plainness--the lady's-maid, in spite of all these disadvantages, was a woman whom it was
impossible to look at without a feeling of curiosity, if not of interest. Few men, at first sight of her, could
have resisted the desire to find out who she was; few would have been satisfied with receiving for answer,
She is Mrs. Treverton's maid; few would have refrained from the attempt to extract some secret
information for themselves from her face and manner; and none, not even the most patient and practiced
of observers, could have succeeded in discovering more than that she must have passed through the
ordeal of some great suffering at some former period of her life. Much in her manner, and more in her face,
said plainly and sadly: I am the wreck of something that you might once have liked to see; a wreck that
can never be repaired--that must drift on through life unnoticed, unguided, unpitied--drift till the fatal shore
is touched, and the waves of Time have swallowed up these broken relics of me forever. This was the
story that was told in Sarah Leeson's face--this, and no more. No two men interpreting that story for
themselves, would probably have agreed on the nature of the suffering which this woman had undergone.
It was hard to say, at the outset, whether the past pain that had set its ineffaceable mark on her had been
pain of the body or pain of the mind. But whatever the nature of the affliction she had suffered, the traces it
had left were deeply and strikingly visible in every part of her face.
Her cheeks had lost their roundness and their natural color; her lips, singularly flexible in movement and
delicate in form, had faded to an unhealthy paleness; her eyes, large and black and overshadowed by
unusually thick lashes, had contracted an anxious startled look, which never left them and which piteously
expressed the painful acuteness of her sensibility, the inherent timidity of her disposition. So far, the
marks which sorrow or sickness had set on her were the marks common to most victims of mental or
physical suffering. The one extraordinary personal deterioration which she had undergone consisted in
the unnatural change that had passed over the color of her hair.
It was as thick and soft, it grew as gracefully, as the hair of a young girl; but it was as gray as the hair of an
old woman. It seemed to contradict, in the most startling manner, every personal assertion of youth that
still existed in her face. With all its haggardness and paleness, no one could have looked at it and
supposed for a moment that it was the face of an elderly woman. Wan as they might be, there was not a
wrinkle in her cheeks. Her eyes, viewed apart from their prevailing expression of uneasiness and timidity,
still preserved that bright, clear moisture which is never seen in the eyes of the old. The skin about her
temples was as delicately smooth as the skin of a child. These and other physical signs which never
mislead, showed that she was still, as to years, in the very prime of her life.
Sickly and sorrow-stricken as she was, she looked, from the eyes downward, a woman who had barely
reached thirty years of age. From the eyes upward, the effect of her abundant gray hair, seen in
connection with her face, was not simply incongruous--it was absolutely startling; so startling as to make it
no paradox to say that she would have looked most natural, most like herself if her hair had been dyed. In
her case, Art would have seemed to be the truth, because Nature looked like falsehood. What shock had
stricken her hair, in the very maturity of its luxuriance, with the hue of an unnatural old age? Was it a
serious illness, or a dreadful grief that had turned her gray in the prime of her womanhood? That question
had often been agitated among her fellow-servants, who were all struck by the peculiarities of her
personal appearance, and rendered a little suspicious of her, as well, by an inveterate habit that she had
of talking to herself. Inquire as they might, however, their curiosity was always baffled. Nothing more
could be discovered than that Sarah Leeson was, in the common phrase, touchy on the subject of her
gray hair and her habit of talking to herself, and that Sarah Leeson's mistress had long since forbidden
every one, from her husband downward, to ruffle her maid's tranquility by inquisitive questions.
Why does the author end paragraph four with "But whatever. . .visible in every part of her face"?
A. to impart that there was nowhere on her face you could not see the pain
B. to reaffirm to the reader that there was massive damage that was immediately noticeable
C. to summate the previous writing in the passage to this point
D. to indicate to the reader just how significant the damage to her face was
E. to introduce the subject matter for the next paragraph
Answer: E
Explanation:
The author uses the last line of the preceding paragraph to introduce the topic of the entire next
paragraph where he describes, in minute detail, each mark left by the mysterious pain.