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Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 34 There has been a trend over recent decades for families to become less close than they were in the past and this situation is largely accepted in society. This essay will discuss the reasons for this and examine the benefits and drawbacks of this development. One of the first reasons for a decline in the closeness of families is connected to the busy lifestyles that we now lead. Most people are having to work longer hours and often both parents work, so they simply do not have as much time to spend with each other as they did in the past. Another factor is the materialistic and consumer driven culture we now live in, which has led to less value being placed on family relationships. Modern technology also means that people are more interested in their online life than interacting with their family in their free time. It could be argued that this has benefits. If people are not so close with their family, they are free to pursue their own dreams and aspirations, and to focus on improving their own lifestyle. However, I believe that there are far more negative outcomes. The most important factors leading to a fulfilled and happy life are emotional security and comfort. Without these we are in danger of feeling lost. It is a difficult world we live in and we need the support of people close to us to cope with modern life. We are seeing a rise in mental health problems in many countries and this may well be a factor in this. To conclude, busy modern lifestyles, changing cultural values and modern technology are causing families to become less close. We should try to halt this trend as it has more negative than positive outcomesWhy does the writer mention a difficult world where we live?
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 34 There has been a trend over recent decades for families to become less close than they were in the past and this situation is largely accepted in society. This essay will discuss the reasons for this and examine the benefits and drawbacks of this development. One of the first reasons for a decline in the closeness of families is connected to the busy lifestyles that we now lead. Most people are having to work longer hours and often both parents work, so they simply do not have as much time to spend with each other as they did in the past. Another factor is the materialistic and consumer driven culture we now live in, which has led to less value being placed on family relationships. Modern technology also means that people are more interested in their online life than interacting with their family in their free time. It could be argued that this has benefits. If people are not so close with their family, they are free to pursue their own dreams and aspirations, and to focus on improving their own lifestyle. However, I believe that there are far more negative outcomes. The most important factors leading to a fulfilled and happy life are emotional security and comfort. Without these we are in danger of feeling lost. It is a difficult world we live in and we need the support of people close to us to cope with modern life. We are seeing a rise in mental health problems in many countries and this may well be a factor in this. To conclude, busy modern lifestyles, changing cultural values and modern technology are causing families to become less close. We should try to halt this trend as it has more negative than positive outcomesThe word “these" in paragraph 3 refers to ____________
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 34 There has been a trend over recent decades for families to become less close than they were in the past and this situation is largely accepted in society. This essay will discuss the reasons for this and examine the benefits and drawbacks of this development. One of the first reasons for a decline in the closeness of families is connected to the busy lifestyles that we now lead. Most people are having to work longer hours and often both parents work, so they simply do not have as much time to spend with each other as they did in the past. Another factor is the materialistic and consumer driven culture we now live in, which has led to less value being placed on family relationships. Modern technology also means that people are more interested in their online life than interacting with their family in their free time. It could be argued that this has benefits. If people are not so close with their family, they are free to pursue their own dreams and aspirations, and to focus on improving their own lifestyle. However, I believe that there are far more negative outcomes. The most important factors leading to a fulfilled and happy life are emotional security and comfort. Without these we are in danger of feeling lost. It is a difficult world we live in and we need the support of people close to us to cope with modern life. We are seeing a rise in mental health problems in many countries and this may well be a factor in this. To conclude, busy modern lifestyles, changing cultural values and modern technology are causing families to become less close. We should try to halt this trend as it has more negative than positive outcomesAccording to the passage, the families becoming less close have all of the following EXCEPT____________
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 30 to 34 There has been a trend over recent decades for families to become less close than they were in the past and this situation is largely accepted in society. This essay will discuss the reasons for this and examine the benefits and drawbacks of this development. One of the first reasons for a decline in the closeness of families is connected to the busy lifestyles that we now lead. Most people are having to work longer hours and often both parents work, so they simply do not have as much time to spend with each other as they did in the past. Another factor is the materialistic and consumer driven culture we now live in, which has led to less value being placed on family relationships. Modern technology also means that people are more interested in their online life than interacting with their family in their free time. It could be argued that this has benefits. If people are not so close with their family, they are free to pursue their own dreams and aspirations, and to focus on improving their own lifestyle. However, I believe that there are far more negative outcomes. The most important factors leading to a fulfilled and happy life are emotional security and comfort. Without these we are in danger of feeling lost. It is a difficult world we live in and we need the support of people close to us to cope with modern life. We are seeing a rise in mental health problems in many countries and this may well be a factor in this. To conclude, busy modern lifestyles, changing cultural values and modern technology are causing families to become less close. We should try to halt this trend as it has more negative than positive outcomesWhat is the passage mainly about?
Read the following passage and mark the letter A, B, C, or Don your answer sheet to choose the word or phrase that best fits each of the numbered blanks from 25 to 29 Humans are destroying the earth's tropical rain forests. About 80,000 square kilometers are being destroyed every year. About a quarter of the (25) ____________ comes from people cutting trees for fuel. Another quarter is to make grassland for their cattle. The (26) ____________ trees are cut down to sell the wood to start farms. The population in cities all over the world is growing, and more and more wood is needed to build huge new buildings. For example, 5,000 trees from Sarawak rain forest in Malaysia were used to build just one tall building. (27) ____________ people continue cutting down that many trees in Sarawak rain forest, all the trees could be gone in eight years. The world needs more food, and it (28) ____________ like a good idea to clear the rain forests and use the land for agriculture. Many people think that the land under these huge, thick forests must be in rich nutrients, but it isn't. This is another surprising thing about rain forests. Most of the land in tropical rain forest is very (29) ____________
Read the following passage and mark the letter A, B, C, or Don your answer sheet to choose the word or phrase that best fits each of the numbered blanks from 25 to 29 Humans are destroying the earth's tropical rain forests. About 80,000 square kilometers are being destroyed every year. About a quarter of the (25) ____________ comes from people cutting trees for fuel. Another quarter is to make grassland for their cattle. The (26) ____________ trees are cut down to sell the wood to start farms. The population in cities all over the world is growing, and more and more wood is needed to build huge new buildings. For example, 5,000 trees from Sarawak rain forest in Malaysia were used to build just one tall building. (27) ____________ people continue cutting down that many trees in Sarawak rain forest, all the trees could be gone in eight years. The world needs more food, and it (28) ____________ like a good idea to clear the rain forests and use the land for agriculture. Many people think that the land under these huge, thick forests must be in rich nutrients, but it isn't. This is another surprising thing about rain forests. Most of the land in tropical rain forest is very (29) ____________
Read the following passage and mark the letter A, B, C, or Don your answer sheet to choose the word or phrase that best fits each of the numbered blanks from 25 to 29 Humans are destroying the earth's tropical rain forests. About 80,000 square kilometers are being destroyed every year. About a quarter of the (25) ____________ comes from people cutting trees for fuel. Another quarter is to make grassland for their cattle. The (26) ____________ trees are cut down to sell the wood to start farms. The population in cities all over the world is growing, and more and more wood is needed to build huge new buildings. For example, 5,000 trees from Sarawak rain forest in Malaysia were used to build just one tall building. (27) ____________ people continue cutting down that many trees in Sarawak rain forest, all the trees could be gone in eight years. The world needs more food, and it (28) ____________ like a good idea to clear the rain forests and use the land for agriculture. Many people think that the land under these huge, thick forests must be in rich nutrients, but it isn't. This is another surprising thing about rain forests. Most of the land in tropical rain forest is very (29) ____________
Read the following passage and mark the letter A, B, C, or Don your answer sheet to choose the word or phrase that best fits each of the numbered blanks from 25 to 29 Humans are destroying the earth's tropical rain forests. About 80,000 square kilometers are being destroyed every year. About a quarter of the (25) ____________ comes from people cutting trees for fuel. Another quarter is to make grassland for their cattle. The (26) ____________ trees are cut down to sell the wood to start farms. The population in cities all over the world is growing, and more and more wood is needed to build huge new buildings. For example, 5,000 trees from Sarawak rain forest in Malaysia were used to build just one tall building. (27) ____________ people continue cutting down that many trees in Sarawak rain forest, all the trees could be gone in eight years. The world needs more food, and it (28) ____________ like a good idea to clear the rain forests and use the land for agriculture. Many people think that the land under these huge, thick forests must be in rich nutrients, but it isn't. This is another surprising thing about rain forests. Most of the land in tropical rain forest is very (29) ____________
Read the following passage and mark the letter A, B, C, or Don your answer sheet to choose the word or phrase that best fits each of the numbered blanks from 25 to 29 Humans are destroying the earth's tropical rain forests. About 80,000 square kilometers are being destroyed every year. About a quarter of the (25) ____________ comes from people cutting trees for fuel. Another quarter is to make grassland for their cattle. The (26) ____________ trees are cut down to sell the wood to start farms. The population in cities all over the world is growing, and more and more wood is needed to build huge new buildings. For example, 5,000 trees from Sarawak rain forest in Malaysia were used to build just one tall building. (27) ____________ people continue cutting down that many trees in Sarawak rain forest, all the trees could be gone in eight years. The world needs more food, and it (28) ____________ like a good idea to clear the rain forests and use the land for agriculture. Many people think that the land under these huge, thick forests must be in rich nutrients, but it isn't. This is another surprising thing about rain forests. Most of the land in tropical rain forest is very (29) ____________
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42 The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word. On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors. The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth century. How did the work of American carvers in 1776 differ from that of contemporary sculptors?
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42 The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word. On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors. The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth centuryWhat can be inferred about the importation of marble memorials from England?
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42 The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word. On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors. The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth century. Why does the author mention Joseph Wilton in paragraph 2?
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42 The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word. On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors. The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth centuryThe word “they” in the passage refers to ____________
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42 The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word. On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors. The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth centuryThe work of which of the following could be seen in burial ground?
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42 The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word. On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors. The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth centuryThe words "motifs” in the passage is closest in meaning to____________
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42 The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word. On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors. The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth centuryIt is stated in the first paragraph that the sculptural legacy that the new United States had from colonial times was____________
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42 The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word. On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors. The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth centuryWhat is the main idea of the passage?
