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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 35 to 42.   Often the craft worker’s place of employment in ancient Greece was set in rural isolation. Potter, for instance, found it convenient to locate their workshops near their source of clay, regardless of its relation to the center of settlement, At Corinth and Athens, however, two of the best-known potters’ quarters were situated on the cities’ outskirts, and potters and makers of terra-cotta figurines were also established well within the city of Athens itself. The techniques of pottery manufacture had evolved well before the Greek period, but marked stylistic developments occurred in shape and in decoration, for example, in the interplay of black and other glazes with the red surface of the fired pot. Athenian black-figure and red-figure decoration, which emphasized human figures rather than animal images, was adopted between 630 and 530 B.C.; its distinctive color and luster were the result of the skillful adjustments of the kiln’s temperature during an extended three-stage period if firing the clayware. Whether it was the potters or the vase-painters who initiated changes in firing is unclear; the functions of making and decorating were usually divided between them, but neither group can have been so specialized that they did not share in the concerns of the other.   The broad utility of terra-cotta was such that workers in clay could generally afford to confine themselves to either decorated housewares like cooking pots and jars or building materials like roof tiles and drainpipes. Some sixth-and fifth-century B.C. Athenian pottery establishments are known to have concentrated on a limited range of fine ware, but a rural pottery establishment on the island of Tliasos produced many types of pottery and roof tiles too, presumably to meet local demand. Molds were used to create particular effects for some products, such as relief-decorated vessels and figurines; for other products such as roof tiles, which were needed in some quantity, they were used to facilitate mass production. There were also a number of poor-quality figurines and painted pots produced in quantity by easy, inexpensive means- as numerous featureless statuettes and unattractive cases testify. The passage mainly discusses ancient Greek pottery and its __________ .
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 28 to 34.   Because the low latitudes of the Earth, the areas near the equator, receive more heat than the latitudes near the poles, and because the nature of heat is to expand and move, heat is transported from the tropics to the middle and high latitudes. Some of this heat is moved by winds and some by ocean currents, and some gets stored in the atmosphere in the form of latent heat. The term “latent heat” refers to the energy that has to be used to convert liquid water to water vapor. We know that if we warm a pan of water on a stove, it will evaporate, or turn into vapor, faster than if it is allowed to sit at room temperature. We also know that if we hang wet clothes outside in the summertime, they will dry faster than in winter, when the temperature is lower. The energy used in both cases to change liquid water to water vapor is supplied by heat - supplied by the stove in the first case and by the Sun in the latter case. This energy is not lost. It is stored as vapor in the atmosphere as latent heat. Eventually, the water stored as vapor in the atmosphere will condense to liquid again, and the energy will be released to the atmosphere.           In the atmosphere, a large portion of the Sun’s incoming energy is used to evaporate water, primarily in the tropical oceans. Scientists have tried to quantify this proportion of the Sun’s energy. By analyzing temperature, water vapor, and wind data around the globe, they have estimated the quantity to be about 90 watts per square meter, or nearly 30 percent of the Sun’s energy. Once this latent heat is stored within the atmosphere, it can be transported, primarily to higher latitudes, by prevailing, large - scale winds. Or it can be transported vertically to higher levels in the atmosphere, where it forms clouds and subsequent storms, which then release the energy back to the atmosphere. The underlined word “it” 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 28 to 34.   Because the low latitudes of the Earth, the areas near the equator, receive more heat than the latitudes near the poles, and because the nature of heat is to expand and move, heat is transported from the tropics to the middle and high latitudes. Some of this heat is moved by winds and some by ocean currents, and some gets stored in the atmosphere in the form of latent heat. The term “latent heat” refers to the energy that has to be used to convert liquid water to water vapor. We know that if we warm a pan of water on a stove, it will evaporate, or turn into vapor, faster than if it is allowed to sit at room temperature. We also know that if we hang wet clothes outside in the summertime, they will dry faster than in winter, when the temperature is lower. The energy used in both cases to change liquid water to water vapor is supplied by heat - supplied by the stove in the first case and by the Sun in the latter case. This energy is not lost. It is stored as vapor in the atmosphere as latent heat. Eventually, the water stored as vapor in the atmosphere will condense to liquid again, and the energy will be released to the atmosphere.           In the atmosphere, a large portion of the Sun’s incoming energy is used to evaporate water, primarily in the tropical oceans. Scientists have tried to quantify this proportion of the Sun’s energy. By analyzing temperature, water vapor, and wind data around the globe, they have estimated the quantity to be about 90 watts per square meter, or nearly 30 percent of the Sun’s energy. Once this latent heat is stored within the atmosphere, it can be transported, primarily to higher latitudes, by prevailing, large - scale winds. Or it can be transported vertically to higher levels in the atmosphere, where it forms clouds and subsequent storms, which then release the energy back to the atmosphere. According to the passage, 30 percent of the Sun’s incoming energy _______
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 28 to 34.   Because the low latitudes of the Earth, the areas near the equator, receive more heat than the latitudes near the poles, and because the nature of heat is to expand and move, heat is transported from the tropics to the middle and high latitudes. Some of this heat is moved by winds and some by ocean currents, and some gets stored in the atmosphere in the form of latent heat. The term “latent heat” refers to the energy that has to be used to convert liquid water to water vapor. We know that if we warm a pan of water on a stove, it will evaporate, or turn into vapor, faster than if it is allowed to sit at room temperature. We also know that if we hang wet clothes outside in the summertime, they will dry faster than in winter, when the temperature is lower. The energy used in both cases to change liquid water to water vapor is supplied by heat - supplied by the stove in the first case and by the Sun in the latter case. This energy is not lost. It is stored as vapor in the atmosphere as latent heat. Eventually, the water stored as vapor in the atmosphere will condense to liquid again, and the energy will be released to the atmosphere.           In the atmosphere, a large portion of the Sun’s incoming energy is used to evaporate water, primarily in the tropical oceans. Scientists have tried to quantify this proportion of the Sun’s energy. By analyzing temperature, water vapor, and wind data around the globe, they have estimated the quantity to be about 90 watts per square meter, or nearly 30 percent of the Sun’s energy. Once this latent heat is stored within the atmosphere, it can be transported, primarily to higher latitudes, by prevailing, large - scale winds. Or it can be transported vertically to higher levels in the atmosphere, where it forms clouds and subsequent storms, which then release the energy back to the atmosphere. According to the passage, most ocean water evaporation occurs especially _________ .
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 28 to 34.   Because the low latitudes of the Earth, the areas near the equator, receive more heat than the latitudes near the poles, and because the nature of heat is to expand and move, heat is transported from the tropics to the middle and high latitudes. Some of this heat is moved by winds and some by ocean currents, and some gets stored in the atmosphere in the form of latent heat. The term “latent heat” refers to the energy that has to be used to convert liquid water to water vapor. We know that if we warm a pan of water on a stove, it will evaporate, or turn into vapor, faster than if it is allowed to sit at room temperature. We also know that if we hang wet clothes outside in the summertime, they will dry faster than in winter, when the temperature is lower. The energy used in both cases to change liquid water to water vapor is supplied by heat - supplied by the stove in the first case and by the Sun in the latter case. This energy is not lost. It is stored as vapor in the atmosphere as latent heat. Eventually, the water stored as vapor in the atmosphere will condense to liquid again, and the energy will be released to the atmosphere.           In the atmosphere, a large portion of the Sun’s incoming energy is used to evaporate water, primarily in the tropical oceans. Scientists have tried to quantify this proportion of the Sun’s energy. By analyzing temperature, water vapor, and wind data around the globe, they have estimated the quantity to be about 90 watts per square meter, or nearly 30 percent of the Sun’s energy. Once this latent heat is stored within the atmosphere, it can be transported, primarily to higher latitudes, by prevailing, large - scale winds. Or it can be transported vertically to higher levels in the atmosphere, where it forms clouds and subsequent storms, which then release the energy back to the atmosphere. Why does the author mention “the stove” in the passage?
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 28 to 34.   Because the low latitudes of the Earth, the areas near the equator, receive more heat than the latitudes near the poles, and because the nature of heat is to expand and move, heat is transported from the tropics to the middle and high latitudes. Some of this heat is moved by winds and some by ocean currents, and some gets stored in the atmosphere in the form of latent heat. The term “latent heat” refers to the energy that has to be used to convert liquid water to water vapor. We know that if we warm a pan of water on a stove, it will evaporate, or turn into vapor, faster than if it is allowed to sit at room temperature. We also know that if we hang wet clothes outside in the summertime, they will dry faster than in winter, when the temperature is lower. The energy used in both cases to change liquid water to water vapor is supplied by heat - supplied by the stove in the first case and by the Sun in the latter case. This energy is not lost. It is stored as vapor in the atmosphere as latent heat. Eventually, the water stored as vapor in the atmosphere will condense to liquid again, and the energy will be released to the atmosphere.           In the atmosphere, a large portion of the Sun’s incoming energy is used to evaporate water, primarily in the tropical oceans. Scientists have tried to quantify this proportion of the Sun’s energy. By analyzing temperature, water vapor, and wind data around the globe, they have estimated the quantity to be about 90 watts per square meter, or nearly 30 percent of the Sun’s energy. Once this latent heat is stored within the atmosphere, it can be transported, primarily to higher latitudes, by prevailing, large - scale winds. Or it can be transported vertically to higher levels in the atmosphere, where it forms clouds and subsequent storms, which then release the energy back to the atmosphere. The word “convert” is closest in meaning 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 28 to 34.   Because the low latitudes of the Earth, the areas near the equator, receive more heat than the latitudes near the poles, and because the nature of heat is to expand and move, heat is transported from the tropics to the middle and high latitudes. Some of this heat is moved by winds and some by ocean currents, and some gets stored in the atmosphere in the form of latent heat. The term “latent heat” refers to the energy that has to be used to convert liquid water to water vapor. We know that if we warm a pan of water on a stove, it will evaporate, or turn into vapor, faster than if it is allowed to sit at room temperature. We also know that if we hang wet clothes outside in the summertime, they will dry faster than in winter, when the temperature is lower. The energy used in both cases to change liquid water to water vapor is supplied by heat - supplied by the stove in the first case and by the Sun in the latter case. This energy is not lost. It is stored as vapor in the atmosphere as latent heat. Eventually, the water stored as vapor in the atmosphere will condense to liquid again, and the energy will be released to the atmosphere.           In the atmosphere, a large portion of the Sun’s incoming energy is used to evaporate water, primarily in the tropical oceans. Scientists have tried to quantify this proportion of the Sun’s energy. By analyzing temperature, water vapor, and wind data around the globe, they have estimated the quantity to be about 90 watts per square meter, or nearly 30 percent of the Sun’s energy. Once this latent heat is stored within the atmosphere, it can be transported, primarily to higher latitudes, by prevailing, large - scale winds. Or it can be transported vertically to higher levels in the atmosphere, where it forms clouds and subsequent storms, which then release the energy back to the atmosphere. The passage mainly discusses how heat __________
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 28 to 34.   Because the low latitudes of the Earth, the areas near the equator, receive more heat than the latitudes near the poles, and because the nature of heat is to expand and move, heat is transported from the tropics to the middle and high latitudes. Some of this heat is moved by winds and some by ocean currents, and some gets stored in the atmosphere in the form of latent heat. The term “latent heat” refers to the energy that has to be used to convert liquid water to water vapor. We know that if we warm a pan of water on a stove, it will evaporate, or turn into vapor, faster than if it is allowed to sit at room temperature. We also know that if we hang wet clothes outside in the summertime, they will dry faster than in winter, when the temperature is lower. The energy used in both cases to change liquid water to water vapor is supplied by heat - supplied by the stove in the first case and by the Sun in the latter case. This energy is not lost. It is stored as vapor in the atmosphere as latent heat. Eventually, the water stored as vapor in the atmosphere will condense to liquid again, and the energy will be released to the atmosphere.           In the atmosphere, a large portion of the Sun’s incoming energy is used to evaporate water, primarily in the tropical oceans. Scientists have tried to quantify this proportion of the Sun’s energy. By analyzing temperature, water vapor, and wind data around the globe, they have estimated the quantity to be about 90 watts per square meter, or nearly 30 percent of the Sun’s energy. Once this latent heat is stored within the atmosphere, it can be transported, primarily to higher latitudes, by prevailing, large - scale winds. Or it can be transported vertically to higher levels in the atmosphere, where it forms clouds and subsequent storms, which then release the energy back to the atmosphere. The passage mentions that the tropics differ from the Earth’s polar regions in which of the following ways?
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 1 to 8.   At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.   But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.   As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.   The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.   It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.           To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it. Which of the following is the writer's conclusion of Holiday on Ice?
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 1 to 8.   At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.   But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.   As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.   The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.   It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.           To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it. The phrase “the hard way” in paragraph 5 most likely means ___________.
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 1 to 8.   At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.   But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.   As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.   The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.   It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.           To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it. The pronoun “them” in paragraph 5 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 1 to 8.   At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.   But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.   As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.   The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.   It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.           To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it. It is suggested in paragraph 5 that skating in shows ___________.
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 1 to 8.   At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.   But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.   As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.   The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.   It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.           To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it. For Robin Cousins, the aim of the rehearsal is ____________.
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 1 to 8.   At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.   But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.   As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.   The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.   It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.           To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it. It is mentioned in paragraph 3 that __________.
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 1 to 8.   At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.   But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.   As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.   The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.   It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.           To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it. Which of the following adjectives can be used to describe the backstage area?
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 1 to 8.   At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.   But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.   As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.   The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.   It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.           To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it. According to paragraph 1 the writer is surprised to see that although Holiday on Ice is popular ____________.
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 43 to 50.    Cooperation is the common endeavor of two or more people to perform a task or reach a jointly cherished goal. Like competition and conflict, there are different forms of cooperation, based on group organization and attitudes.    In the first form, known as primary cooperation, group and individual fuse. The group contains nearly all of each individual’s life. The rewards of the group’s work are shared with each member. There is an interlocking identity of individual, group and task performed. Means and goals become one, for cooperation itself is valued.       While primary cooperation is most often characteristic of preliterature societies, secondary cooperation is characteristic of many modem societies. In secondary cooperation, individuals devote only part of their lives to the group. Cooperation itself is not a value. Most members of the group feel loyalty, but the welfare of the group is not the first consideration. Members perform tasks so that they can separately enjoy the fruits of their cooperation in the form of salary, prestige, or power. Business offices and professional athletic teams are examples of secondary cooperation.    In the third type, called tertiary cooperation or accommodation, latent conflict underlies the shared work. The attitudes of the cooperating parties are purely opportunistic: the organization is loose and fragile. Accommodation involves common means to achieve antagonistic goals: it breaks down when the common means cease to aid each party in reaching its goals. This is not, strictly speaking, cooperation at all, and hence the somewhat contradictory term antagonistic cooperation is sometimes used for this relationship. The word fragile in paragraph 4 is closest in meaning to