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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?
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 30 to 34 When drawing human figures, children often make the head too large for the rest of the body. A recent study offers some insights into this common disproportion in children's illustrations. As part of the study, researchers asked children between 4 and 7 years old to make several drawings of men. When they drew front views of male figures, the size of the heads was markedly enlarged. However, when the children drew rear views of men, the size of the heads was not so exaggerated. The researchers suggested that children drew bigger heads when they know they must leave room for facial details. Therefore, the odd head size in children's illustrations is a form of planning ahead and not an indication of a poor sense of scale. It can be inferred that during the research project, the children drew____________
Read the following passage and mark the letter A, B, C, or D to choose the word or phrase that best fits each of the numbered blanks from 25 to 29 Around 200 million people are employed in tourism worldwide, making it the largest industry in the modern global economy. It is estimated that three-quarters of a billion people go on holiday each year, and industry planners expect this figure to double (25) ____________2020. Some of the biggest beneficiaries are less developed countries, where it is often their main source of income. (26) ____________, along with the economic benefits, this mass movement of people has resulted in threats to the environment. People often forget the damage caused by carbon emissions from aircraft, (27) ____________contribute directly to global warming. Deforestation has cleared land in order to build hotels, airports and roads, and this has destroyed wildlife. In some areas, water shortages are now common because of the need to fill swimming pools and water golf courses for tourists. By pushing up prices for goods and services, tourism can also be harmful to people living in tourist destinations. In response to these (28) ____________, some travel operators now offer environment-friendly holidays. Many of these aims to reduce the negative effects of tourism by (29) ____________only hotels that have invested equipment to recycle waste and use energy and water efficiently. Increasingly, tourists are also being reminded to show respect for customs of the people whose countries they are going to visit, and to support local businesses, such as restaurants and shops which depend on tourism for their main income