電大金融學(xué)本科期末測(cè)試試題及答案資料

1、單選題1金融創(chuàng)新對(duì)金融發(fā)展和經(jīng)濟(jì)發(fā)展的作用是(D )。A.利大于弊 B.利小于弊 C.有利無(wú)弊 D.利弊均衡2按國(guó)際貨幣基金組織的口徑，對(duì)現(xiàn)鈔不正確表述是(B )。A.居民手中的現(xiàn)鈔 B.商業(yè)銀行的庫(kù)存現(xiàn)金C.企業(yè)單位的備用金 D.購(gòu)買力最強(qiáng)3信用的基本特征是(C )。A.平等的價(jià)值交換 B.無(wú)條件的價(jià)值單方面讓渡C.以償還為條件的價(jià)值單方面轉(zhuǎn)移 D.無(wú)償?shù)馁?zèng)予或援助4貝幣和谷帛曾經(jīng)是我國(guó)歷史上的(C )。A.信用貨幣 B.紙幣 C.實(shí)物貨幣 D.金屬貨幣5在多種利率并存條件下起決定作用的利率是(A )。A.基準(zhǔn)利率 B.差別利率 C.實(shí)際利率 D.公定利率6由政府或政府金融機(jī)構(gòu)確定并強(qiáng)令執(zhí)行

2、的利率是(C )。A.公定利率 B.一般利率 C.官定利率 D.固定利率7在我國(guó)，目前沒有實(shí)行市場(chǎng)利率的是(A ) 。A.民間借貸利率 B.銀行存貸款利率C.銀行同業(yè)拆借利率 D.上海證券交易所債券市場(chǎng)利率8在金融機(jī)構(gòu)發(fā)揮的所有功能中，(B ) 功能是適應(yīng)經(jīng)濟(jì)發(fā)展需求最早產(chǎn)生的。A.融通資金 B.支付結(jié)算服務(wù) C.降低交易成本 D.風(fēng)險(xiǎn)轉(zhuǎn)移與管理9當(dāng)代金融創(chuàng)新的(A )特點(diǎn)大大刺激了創(chuàng)新的供給熱情。A.高收益低成本 B.投機(jī)性 C.安全性 D.靈活性10美元與黃金直接掛鉤，其他國(guó)家的貨幣與美元掛鉤是(C )的特點(diǎn)。A.國(guó)際金本位制 B.牙買加體系C.布雷頓森林體系 D.國(guó)際金塊本位制11(C

3、) 是在國(guó)家或地區(qū)金融監(jiān)管組織機(jī)構(gòu)中居于核心位置的機(jī)構(gòu)。A.社會(huì)性公律組織 B.行業(yè)協(xié)會(huì)C.中央銀行或金融管理局 D.分業(yè)設(shè)立的監(jiān)管機(jī)構(gòu)12以下不屬于債務(wù)信用的是(C )。A.銀行的存貸款活動(dòng) B.政府發(fā)行國(guó)債C.居民購(gòu)買股票 D.企業(yè)發(fā)行債券13典型的商業(yè)信用形式是(D )。A.商品批發(fā) B.商品零售 C.商品代銷 D.商品賒銷14我國(guó)習(xí)慣上將年息、月息、日息都以“厘”作單位，但實(shí)際含義卻不同，年息6厘，月息6厘，日息6厘的含義分別是指(C )。A.年利率為6，月利率為06，日利率為6B.年利率為6，月利率為6，日利率為06C.年利率為6，月利率為6，日利率為06D.年利率為06，月利率為6

4、，日利率為615經(jīng)濟(jì)發(fā)展對(duì)金融起(B )作用。A.推動(dòng) B.決定性 C.不確定 D.一定的16高利貸是一種以(B )為條件的借貸活動(dòng)。A.價(jià)值轉(zhuǎn)移 B.高利借債和償還C.價(jià)值特殊運(yùn)動(dòng) D.支付利息17金融市場(chǎng)場(chǎng)內(nèi)交易遵循的競(jìng)價(jià)原則是(D )。A.時(shí)間優(yōu)先 B.時(shí)間優(yōu)先、價(jià)格優(yōu)先C.價(jià)格優(yōu)先 D.價(jià)格優(yōu)先、時(shí)間優(yōu)先18以下哪項(xiàng)不屬于商業(yè)信用形式：(B )。A.銀行貸款 B.商品零售 C.商品代銷 D.商品賒銷19貨幣材料的演變階段依次經(jīng)歷了 (C )。A.金屬貨幣到實(shí)物貨幣到信用貨幣B.實(shí)物貨幣到信用貨幣到金屬貨幣C.實(shí)物貨幣到金屬貨幣到信用貨幣D.信用貨幣到金屬貨幣到代用貨幣 20利率決定的基

5、本因素是(B )。A.企業(yè)承受力 B.平均利潤(rùn)率 C.資金供求狀況 D.價(jià)格水平21現(xiàn)貨市場(chǎng)的實(shí)際交割一般在成交后(A )內(nèi)進(jìn)行。A.2日 B.5日 C.1周 D.1月22由于同業(yè)拆借市場(chǎng)利率常被當(dāng)作(A )，所以是整個(gè)利率走勢(shì)的風(fēng)向標(biāo)。A.基準(zhǔn)利率 B.官定利率 C.浮動(dòng)利率 D.市場(chǎng)利率23世界銀行集團(tuán)是由(D )個(gè)機(jī)構(gòu)合稱的全球性金融組織。A.二 B.三 C.四 D.五24下列屬于所有權(quán)憑證的金融工具是(C )。A.商業(yè)票據(jù) B.企業(yè)債券 C.股票 D.可轉(zhuǎn)讓大額定期存單25一張差半年到期的面額為1000元的票據(jù)，到銀行得到950元的貼現(xiàn)金額，則年貼現(xiàn)率為(B )。A.5% B.10%

6、C.256% D.512%26股份制商業(yè)銀行內(nèi)部組織形式一般包括決策機(jī)構(gòu)、執(zhí)行機(jī)構(gòu)和監(jiān)督機(jī)構(gòu)(B )是公司的最高權(quán)利機(jī)構(gòu)。A.股東大會(huì) B.董事會(huì) C.監(jiān)事會(huì) D.執(zhí)行機(jī)構(gòu)27( D )是指投保人對(duì)保險(xiǎn)標(biāo)的所具有的法律上承認(rèn)的利益。A.保險(xiǎn)標(biāo)的 B.保險(xiǎn)價(jià)值 C.保險(xiǎn)期間 D.保險(xiǎn)利益28存款分為定期存款、活期存款和定活兩便存款是依據(jù)（A ）分類的。A.存款的穩(wěn)定性 B.存款的經(jīng)濟(jì)性質(zhì)C.存款的貨幣形式 D.存款的現(xiàn)行統(tǒng)計(jì)口徑29在貸款五級(jí)分類中，當(dāng)“盡管借款人有能力償還貸款本息，但是存在一些可能對(duì)償還產(chǎn)生不利影響的因素”時(shí)，應(yīng)當(dāng)作為( A )貸款。A.關(guān)注類 B.次級(jí)類 C.可疑類 D.正常

7、類30( A )是金融中介機(jī)構(gòu)最基本的職能。A.信用中介職能 B.信用創(chuàng)造職能C.支付中介職能 D.金融服務(wù)職能31貨幣層次的劃分主要是以( B )作為標(biāo)準(zhǔn)。A.安全性 B.流動(dòng)性 C.順序性 D.具體性32利率上下浮動(dòng)的范圍是( C )確定。A.各商業(yè)銀行總行 B.商業(yè)銀行經(jīng)營(yíng)行處C.中國(guó)人民銀行總行 D.國(guó)務(wù)院33商場(chǎng)商品標(biāo)簽上注明某商品的價(jià)格為10元，此時(shí)貨幣在執(zhí)行（A）職能。A.價(jià)值尺度 B.流通手段 C.支付手段 D.儲(chǔ)藏手段34表外業(yè)務(wù)與表內(nèi)業(yè)務(wù)相比具有明顯的( C )特征。A.負(fù)債業(yè)務(wù) B.資產(chǎn)業(yè)務(wù) C.中間業(yè)務(wù) D.或有負(fù)債35短期國(guó)債通常稱為( A )。A.國(guó)庫(kù)券 B.公債

8、C.公司債券 D.股票36影響對(duì)公存款變化的外部因素有( )。A.社會(huì)經(jīng)濟(jì)環(huán)境 B.國(guó)家金融政策C.商品價(jià)格變動(dòng) D.競(jìng)爭(zhēng)性利率政策37下列屬于優(yōu)先股股東權(quán)利范圍的是(B )。A.選舉權(quán) B.收益權(quán) C.被選舉權(quán) D.投票權(quán)38信用是(D )。A.買賣行為 B.贈(zèng)予行為 C.救濟(jì)行為D.各種借貸關(guān)系的總和39現(xiàn)代信用活動(dòng)的基礎(chǔ)是(D )。A.信用貨幣在理代經(jīng)濟(jì)中的使用 B.經(jīng)濟(jì)中存在大量的資金需求C.企業(yè)間的賒銷活動(dòng) D.現(xiàn)代經(jīng)濟(jì)中廣泛存在著盈余或赤字單位40目前我國(guó)商業(yè)銀行存款利率屬于(B )。A.市場(chǎng)利率 B.官定利率 C.公定利率 D.優(yōu)惠利率判斷題41高利貸是一種以極高的利率為特征信用

9、形式，它在資本主義社會(huì)中占主導(dǎo)地位。42利率管制嚴(yán)重制約了利率作為經(jīng)濟(jì)杠桿的作用，對(duì)經(jīng)濟(jì)毫無(wú)益處。43以復(fù)利計(jì)息，考慮了資金的時(shí)間價(jià)值因素，對(duì)貸出者有利。44經(jīng)濟(jì)泡沫主要通過(guò)虛擬資產(chǎn)表現(xiàn)出來(lái)，如股票，金融衍生產(chǎn)品等，一般實(shí)物資產(chǎn)不會(huì)出現(xiàn)泡沫。45金融市場(chǎng)是一個(gè)包含許多不同層次和內(nèi)容的復(fù)合體。46由于定期存款事先約定期限，所以不到期絕對(duì)不能支取。47所有的商業(yè)保險(xiǎn)都是自愿的。48當(dāng)存款貼現(xiàn)率為100時(shí)，則派生存款額等于零。49所有的商業(yè)保險(xiǎn)都是自愿的。50貼現(xiàn)貸款最突出的特點(diǎn)是自償性。51貸款利率政策是我國(guó)信貸政策的一個(gè)重要組成部分。52一筆6個(gè)月的短期貸款，利率為8%，展期6個(gè)月后，其貸款仍需

10、按8%的利率指標(biāo)計(jì)收利息。53農(nóng)發(fā)行實(shí)行封閉運(yùn)行目標(biāo)，有利于減輕中央銀行發(fā)行基礎(chǔ)貨幣的壓力。54開辦政策性住房信貸業(yè)務(wù)的銀行必須是由中國(guó)人民銀行指定的銀行。55商業(yè)銀行是各國(guó)金融體系的中心，處于主導(dǎo)地位。56中長(zhǎng)期貸款又稱為固定資金貸款。57貸款方式的選擇主要依據(jù)借款人的信用和貸款風(fēng)險(xiǎn)程度。58貨幣乘數(shù)效應(yīng)既然是一種客觀必然性，因此是不可控的。59金融機(jī)構(gòu)辦理自營(yíng)外匯買賣業(yè)務(wù)可以不經(jīng)任何部門批準(zhǔn)，自己進(jìn)行。60企業(yè)經(jīng)濟(jì)效益高，則銀行貸款效益一定高。61代理業(yè)務(wù)具有代客服務(wù)的性質(zhì)，它是在委托人與銀行之間產(chǎn)生的一種法律和契約關(guān)系。62貸款項(xiàng)目評(píng)估和可行性研究是同一概念。63銀行承兌匯票的貼現(xiàn)，從貼

11、現(xiàn)銀行的角度講，實(shí)際上是以現(xiàn)款買入未到期匯款上的債權(quán)，等匯票到期時(shí)，收回本金并獲得利益。64申請(qǐng)汽車消費(fèi)貸款的借款人只能是個(gè)人。65存款和現(xiàn)金可以相互轉(zhuǎn)化，因此，在一定條件下，存款也是通貨。66在市場(chǎng)利率波動(dòng)較大的情況下，政府發(fā)債的利率風(fēng)險(xiǎn)加大，此時(shí)應(yīng)該減少短期債券，增加長(zhǎng)期公債的發(fā)行。67任何信用活動(dòng)都會(huì)導(dǎo)致貨幣的變動(dòng)：信用的擴(kuò)張會(huì)減少貨幣供給，信用緊縮將增加貨幣供給，最終信用資金的調(diào)劑將影響貨幣流通速度和貨幣供給的結(jié)構(gòu)。68廣義貨幣量反映的是整個(gè)社會(huì)潛在的購(gòu)買能力。69金融與經(jīng)濟(jì)發(fā)展的關(guān)系可以這樣理解：金融在整體經(jīng)濟(jì)中一直居于主導(dǎo)地為，它可以凌駕于經(jīng)濟(jì)發(fā)展之上。70利率管制嚴(yán)重制約了利率作

12、為經(jīng)濟(jì)杠桿的作用，對(duì)經(jīng)濟(jì)毫無(wú)益處。71銀行信用是現(xiàn)代信用活動(dòng)中最基本的信用形式，而商業(yè)信用是現(xiàn)代信用活動(dòng)中主要的信用形式。72牙買加體系規(guī)定美元和黃金不再作為國(guó)際儲(chǔ)備貨幣。73中國(guó)的金融資產(chǎn)管理公司帶有典型的商業(yè)性金融機(jī)構(gòu)特征，是專門為接受和處理國(guó)有金融機(jī)構(gòu)不良資產(chǎn)而建立的。74現(xiàn)代金融業(yè)的發(fā)展在有力地推動(dòng)經(jīng)濟(jì)發(fā)展的同時(shí)，出現(xiàn)不良影響和負(fù)作用的可能性也越來(lái)越大。75格雷欣法則是在金銀復(fù)本位制中的平行本位制條件下出現(xiàn)的現(xiàn)象。76商業(yè)銀行的“三性”經(jīng)營(yíng)原則，是一個(gè)具有完全內(nèi)在統(tǒng)一性的整體。您好，為你提供優(yōu)秀的畢業(yè)論文參考資料，請(qǐng)您刪除以下內(nèi)容，O(_)O謝謝！A large group of te

13、a merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started t

14、he trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers an

15、d take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In

16、 the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 br

17、anch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs, Nasun says

18、. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big part

19、y with local people joining in. For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and todays performers of the troupe still tour the regions villages

20、and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. Being from the regi

21、on allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged, Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about

22、his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year,

23、Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-ye

24、ar-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.Although I learned the piano since childhood and grew up listening to various kinds

25、 of music, to me, the folk music of Inner Mongolia is the root, he says. Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled. The first round of spring auction season in Beijing ended last week, but it failed to crea

26、te much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous represe

27、ntative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year be

28、fore. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market

29、and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that va

30、luable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China

31、 Guardians Hu Yanyan. Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out o

32、f the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales v

33、olume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a spe

34、cial session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed ti

35、dbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it

36、 was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, hig

37、hly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native

38、 viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and p

39、auses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and reca

40、pping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to a

41、ppeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names an

42、d titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It

43、 is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for

44、the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer

45、, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emersons essay titled Self-Reliance. If youve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of society

46、and finding ones own path. He urges the reader to find rectitude and lead a moral life. He professes that, only by being self reliant, as opposed to relying on the government and being dictated to by society, can one begin leading a decent and purposeful life. He avers that such a life is the only l

47、ife worth living. I agree with him. This essay was written during a time of social upheaval in America, and it is rather odd that Emerson authored it, as he was a part of the upper crust of society at the time. It just so happened that he looked around him, at the indolence and the wantonness of the

48、 people in his circle; he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his excommunication from high society and also caused him a lot of legal trouble. The legal trouble came as a result of the fact that he was speaking out against the government. I like to reference such texts from time to time as an example both of the fact that hist