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Test One

Section ¢ñ Use of English

Directions:

Read the following text. Choose the best word(s) for each numbered blank and mark £ÛA£Ý, £ÛB£Ý, £ÛC£Ý or £ÛD£Ý on Answer Sheet 1. (10 points)

Most worthwhile careers require some kind of specialized training. Ideally, therefore, the choice of an1 should be made even before choice of a curriculum in high school.

Actually,2, most people make several job choices during their working lives,3 because of economic and industrial changes and partly to improve their position. The ¡°one perfect job¡± does not exist. Young people should4enter into a broad flexible training program that will fit them for a5 of work rather than for a single job.

Unfortunately many young people have to make career plans6benefit of help from a competent vocational counselor or psychologist. Knowing7about the occupational world, or themselves for that matter, they choose their lifework on a hit-or-miss 8. Some drift from job to job. Others9to work in which they are unhappy and for which they are not fitted.

One common mistake is choosing an occupation for its real or10prestige. Too many highª²school students or their parents for them choose the professional field,11both the relatively small proportion of workers in the professions and the extremely high educational and personal12 . The prestige that people tend to13to a profession or a white-collar job is no good reason for choosing it as life¡¯s work.

14, these occupations are not always well paid. Since a large15 of jobs are in mechanical and manual work, the majority of young people should give serious16 to these fields.

Before making an occupational choice, a person should have a general idea of what he wants 17 life and how hard he is willing to work to get it. Some people desire social prestige, others intellectual18. Some want security; others are willing to take19 for financial gain. Each occupational choice has its demands as well as its 20 .

1. £ÛA£Ý identification£ÛB£Ý entertainment£ÛC£Ý accommodation£ÛD£Ý occupation

2. £ÛA£Ý however£ÛB£Ý therefore£ÛC£Ý though£ÛD£Ý thereby

3. £ÛA£Ý entirely£ÛB£Ý mainly£ÛC£Ý partly£ÛD£Ý his

4. £ÛA£Ý since £ÛB£Ý therefore£ÛC£Ý furthermore£ÛD£Ý forever

5. £ÛA£Ý place £ÛB£Ý chance£ÛC£Ýfield £ÛD£Ý opening

6. £ÛA£Ý to £ÛB£Ý for£ÛC£Ý without£ÛD£Ý with

7. £ÛA£Ý little£ÛB£Ý few£ÛC£Ý much£ÛD£Ý a lot

8. £ÛA£Ý chance£ÛB£Ý basis£ÛC£Ý purpose£ÛD£Ý opportunity

9. £ÛA£Ý apply£ÛB£Ý appeal£ÛC£Ý stick£ÛD£Ý turn

10. £ÛA£Ý imagined £ÛB£Ý substantial£ÛC£Ý acquired£ÛD£Ý demanded

11. £ÛA£Ý concerning£ÛB£Ý following£ÛC£Ý considering£ÛD£Ý disregarding

12. £ÛA£Ý preferences£ÛB£Ý requirements£ÛC£Ý tendencies£ÛD£Ý ambitions

13. £ÛA£Ý contribute£ÛB£Ý attach£ÛC£Ý attribute£ÛD£Ý allot

14. £ÛA£Ý Therefore£ÛB£Ý However£ÛC£Ý Nevertheless£ÛD£Ý Moreover

15. £ÛA£Ý proportion£ÛB£Ý part£ÛC£Ý quanitity£ÛD£Ý batch

16. £ÛA£Ý proposal£ÛB£Ý suggestion£ÛC£Ý consideration£ÛD£Ý appraisal

17. £ÛA£Ý towards£ÛB£Ý against£ÛC£Ý out of£ÛD£Ý without

18. £ÛA£Ý knowledge£ÛB£Ý satisfaction£ÛC£Ý culture£ÛD£Ý sensitivity

19. £ÛA£Ý turns£ÛB£Ý parts£ÛC£Ý choices£ÛD£Ý risks

20. £ÛA£Ý awards£ÛB£Ý requirements £ÛC£Ý results£ÛD£Ý needs

Section ¢ò Reading Comprehension

Directions:

Read the following four texts. Answer the questions below each text by choosing £ÛA£Ý, £ÛB£Ý, £ÛC£Ý or £ÛD£Ý. Mark your answers on Answer Sheet 1. (40 points)

It is said that people buy contemporary art when they are confident about the future and old art when they are not. Conventional wisdom has it that older art holds its value, while contemporary stuff is for risk-lovers. William Goetzmann, a professor at Yale, estimates that during the last art-market depression, which set in after 1990, impressionist and contemporary works fell by most (51% and 40% respectively), while Old Masters suffered least (down by 16%). Yet despite the ups and downs, contemporary works have been rewarding for those who are prepared to hang on: according to Jianping Mei and Michael Moses, professors at New York University (NYU) since 1970 the returns on contemporary art have far exceeded those on Old Masters and 19th-century paintings.

Since the late 1980s, more sophisticated analysis of the art market and a growing interest in alternative investments have spurred the creation of several new investment funds focused on art. At a recent conference organised by one of these, the Fine Art Fund, Rachel Campbell of Maastricht University pointed out the low correlation between returns on art and on those other investments. Given that it usually pays to diversify, that is a good argument for investing in art, whatever your taste. The Fine Art Fund, which began buying this April (and has 36% of its money in cash), advises that investors spread their art allocation fairly evenly between Impressionists, Old Masters, modern art and contemporary works.

Contemporary art, in particular, has served rich investors well in the past few years. Prices stayed stable when stock markets fell. Nevertheless, one recent academic study has found a correlation with another asset class: during the last world art boom, in the late 1980s, prices were closely tied to property values, specifically Japanese land prices. After 1990, art and property fell together. Now property prices in several countries are once again at frightening heights.

Investing in art will always be a risky business. Works of art by definition belong to different categories; holding periods vary; the market is illiquid; art yields no income, producing only capital gain or loss; transaction costs are high. As for contemporary art in particular, it is a sobering thought that, according to Mr Moses, each year an average of only two artists emerge whose work increases in value over time. All this speaks against a big commitment to speculating in art; better, maybe, simply to buy what you like, if you can: treat your money, in other words, not as invested but as consumed.

21. By saying that the market is illiquid (Line 2, Para. 4), the author suggests that.

£ÛA£Ý art works seldom lose their value in the market

£ÛB£Ý investment in art does not have guaranteed return of profits

£ÛC£Ý the difficulty to trade art works is obvious and evident

£ÛD£Ý the art market tends to be responsive to the economic situation

22. The Fine Art Fund advise that investors need to spread their art allocation because.

£ÛA£Ý Old Masters always promise a high return of profits

£ÛB£Ý different art works are valued differently in the market

£ÛC£Ý buying art works is always a good way of investment

£ÛD£Ý people should be aware of the risks of investment in art

23. The returns on contemporary art indicate.

£ÛA£Ý people have come to see the value of contemporary art

£ÛB£Ý the economic prospects are positively assessed

£ÛC£Ý there is a growing interest in alternative art investments

£ÛD£Ý investors have learned to spread their art allocation

24. We can learn from the text that .

£ÛA£Ý the two NYU professors advise people against buying Old Masters

£ÛB£Ý cautious investors are advised to stay away from the art market

£ÛC£Ý the real estate market is a good indicator of the art market

£ÛD£Ý art investors should not speculate in the art market

25. What is the possible attitude of Mr Moses toward investing in contemporary art?

£ÛA£Ý Investors in contemporary art should be more patient.

£ÛB£Ý A supplicated analysis of the art market is always a must.

£ÛC£Ý Contemporary art seems to promise greater returns of profits.

£ÛD£Ý It is dangerous to speculate in the contemporary art market.

 Text 2

They have been writers and actors, entertainers and creators. They have won Academy Awards and received critical acclaim. They have graced the covers of magazines.

In the arts and entertainment world, women have made a myriad of contributions to what we know as popular culture. Although many female celebrities may be known more for their figures than their talents, women remain more than just pretty faces. Women¡¯s History Month promises to take a look back at the influential female lives and legacies that have shaped our society.

In this century alone, a number of famous females have made their artistic marks. In the literary world, women such as Sylvia Plath and Colette composed celebrated works, establishing themselves as creative writers to be reckoned with. Colette, a prolific French novelist, tackled weighty themes such as the woman¡¯s struggle for independence. Her catalog of works includes celebrated novels such as Cheri and The Pure and the Impure. Plath, renowned for her suicide as much as for her writing, wrote The Bell Jar as well as a wealth of poetry.

Within the realm of fashion, influential designers such as Coco Chanel changed the face of female dressing. The Chanel name has become synonymous with high style. Coco invented the little black dress, perfected a trademark scent¡ªChanel No. 5¡ªand became famous for her tweed suits and quilted handbags.

Hollywood starlets such as Katharine Hepburn transformed the film world. She was known for her portrayal of strong, spirited females in her films, clearly embodying what it means to be an independent woman. As Hepburn once said, ¡°I never realized until lately that women were supposed to be the inferior sex. ¡±

The music industry has also seen its share of barrier-breaking female stars. Women such as Billie Holiday and Ella Fitzgerald endure as revered names within the jazz world. Similarly, Joan Baez took the folk music genre by storm. She was one of the most outspoken performers during the social turmoil of the 1960s, establishing herself not only as an acclaimed singer/songwriter but also as an activist for civil rights and nonviolence.

Undeniably, women have contributed to our culture in immeasurable ways. From the silver screen to the record-store shelves, the most talented stars exhibit a wealth of creativity, a fanª²winning charisma and a unique dedication to their respective crafts¡ªand many of them also happen to be female.

26. Who may be considered as a feminist writer according to the passage?

£ÛA£Ý Sylvia Plath.£ÛB£Ý Colettle.

£ÛC£Ý Both Plath and Colette.£ÛD£Ý Neither Plath nor Colette.

27. From the passage, we can learn that Chanel No. 5 is.

£ÛA£Ý a typical style of little black dress

£ÛB£Ý a perfume marketed by Chanel

£ÛC£Ý a high class way of life advocated by Coco

£ÛD£Ý the chanel tweed suits and quilted handbags.

28. By saying ¡°women remain more than just pretty faces¡±, the author means.

£ÛA£Ý some women have nothing but pretty faces

£ÛB£Ý beauty for many female celebrities is necessary

£ÛC£Ý some women don¡¯t mange to be successful for beauty

£ÛD£Ý each female celebrity has her own success story

29. Joan Baez is called an outspoken performer because she.

£ÛA£Ý stunned the world by the message her music expressed

£ÛB£Ý was expressive for her performance on the stage

£ÛC£Ý had to suffer the social turmoil of the 1960s

£ÛD£Ý openly voiced her opinions on the major social issues

30. Women¡¯s contributions to pop culture are NOT caused by .

£ÛA£Ý their enthusiasm they have toward what they do

£ÛB£Ý the physical appeal they have to the public

£ÛC£Ý their understanding of the importance of pop culture

£ÛD£Ý the display of their natural talents and gifts

Text 3

Old people are always saying that the young are not what they were. The same comment is made from generation to generation and it is always true. It has never been truer than it is today. The young are better educated; they have a lot more money to spend and enjoy more freedom. They grow up more quickly and are not so dependent on their parents. They think more for themselves and do not blindly accept the ideals of their elders. Events which the older generation remembers vividly are nothing more than past history. This is as it should be. Every new generation is different from the one that preceded it. Today the difference is very marked indeed. The old always assume that they know best for the simple reason that they have been around a bit longer. They don¡¯t like to feel that their values are being questioned or threatened. And this is precisely what the young are doing. They are questioning the assumptions of their elders and disturbing their sense of feeling contended. They doubt that the older generation has created the best of all possible worlds.

What they reject more than anything is conformity. Office hours, for instance, are nothing more than enforced slavery. Wouldn¡¯t people work best if they were given complete freedom and responsibility? And what about clothing? Who said that all the men in the world should wear dull gray suits and convict haircuts? If we turn our minds to more serious matters, who said that human differences can best be solved through conventional politics or by violent means? Why have the older generation so often used violence to solve their problems? Why are they so unhappy and guilt-ridden in their personal lives; so obsessed with mean ambitions and the desire to amass more and more material possessions? Can anything be right with the rat-race? Haven¡¯t the old lost touch with all that is important in life?

These are not questions the older generation can shrug off lightly. Their record over the past forty years or so hasn¡¯t been exactly spotless. Traditionally, the young have turned to the older for guidance. Today, the situation might be reversed. The old¡ªif they are prepared to admit it¡ªcould learn a thing or two from their children. One of the biggest lessons they could learn is that enjoyment is not sinful. Enjoyment is a principle one could apply to all aspects of life. It is surely not wrong to enjoy your work and enjoy your leisure; to shed restricting inhibitions. It is surely not wrong to live in the present rather than in the past or future. The world is full of uncertainty and tension. This is their glorious heritage. Can we be surprised that they should so often question the sanity of the generation that passed it down?

31. Which of the following features in the young is NOT mentioned?

£ÛA£Ý Better educated£ÛB£Ý More money and freedom.

£ÛC£Ý Greater independence. £ÛD£Ý Respect for work.

32. What do the young have an attitude for?

£ÛA£Ý The differences between the old and young.

£ÛB£Ý The assumption of the old generation.

£ÛC£Ý The emphasis on violence as a solution to social problems.

£ÛD£Ý The social conventions that they are expected to follow.

33. Why do the young stress on the present because.

£ÛA£Ý the past is full of sanity that should be done with

£ÛB£Ý the present is more secure than the past

£ÛC£Ý the present world is substantial and sustaining

£ÛD£Ý the present is made up of a glorious heritage

34. What can the old learn from the young generation?

£ÛA£Ý Enjoyment is not despicable for what it is

£ÛB£Ý People should have more time for leisure.

£ÛC£Ý It is a blessing that people can learn to enjoy life

£ÛD£Ý One should break free of the restrictions that life imposes

35. How do the young think about office hours?

£ÛA£Ý They are more painful than enforced slavery

£ÛB£Ý They are happier than enforced slavery

£ÛC£Ý They are almost as painful as enforced slavery

£ÛD£Ý They are the most painful enforced slavery

Text 4

Researchers are finding that boys and girls really are from two different planets. Experts say boys and girls have different ¡°crisis points¡±, stages in their emotional and social development where things can go very wrong. Until recently, girls got all the attention. But boys are much more likely than girls to have discipline problems at school and to be diagnosed with Attention Deficit Disorder (ADD). Boys far outnumber girls in special-education classes. They¡¯re also more likely to commit violent crimes and end up in jail.

Even normal boy behavior has come to be considered pathological£¨²¡Ì¬µÄ£©in the wake of the feminist movement. An abundance of physical energy and the urge to conquer£­these are normal male characteristics, and in an earlier age they were good things, even essential to survival. ¡°If Huck Finn or Tom Sawyer were alive today,¡± says Michael Gurian, author of The Wonder of Boys, ¡°we¡¯d say they had ADD.¡± He says one of the new insights we¡¯re gaining about boys is a very old one: boys will be boys. ¡°They are who they are,¡± says Gurian, ¡°and we need to love them for who they are. Let¡¯s not try to rewire them.¡±

But what exactly is the essential nature of boys? Even as infants, boys and girls behave differently. A recent study at Children¡¯s Hospital in Boston found that boy babies are more emotionally expressive; girls are more reflective. (That means boy babies tend to cry when they¡¯re unhappy; girl babies suck their thumbs.) This could indicate that girls are innately more able to control their emotions. Boys have higher levels of testosterone and lower levels of neurotransmitter serotonin(Éñ¾­´«µÝËØ), which inhabits aggression(غÍ輤ËØ) and impulsivity. That may help explain why more males than females carry through with suicide or become alcoholics.

There¡¯s a struggle between a desire and need for warmth on the one hand and a pull toward independence on the other. Boys are going through what psychologists long ago declared an integral part of growing up: individualization and disconnection from parents, especially mothers. But now some researchers think that process is too abrupt. When boys repress normal feelings like love because of social pressure, says William Pollack, head of the Center for Men at Boston¡¯s McLean Hospital, ¡°they¡¯ve lost contact with the genuine nature of whom they are and what they feel. Boys are in a silent crisis. The only time we notice it is when they pull the trigger.¡±

36. Which of the following is NOT true according to the first paragraph?

£ÛA£Ý Boys and girls are different.

£ÛB£Ý Boys need more attention than girls.

£ÛC£Ý Girls almost need no help from society.

£ÛD£Ý Boys are more difficult to educate than girls.

37. What can be inferred about Tom Sawyer and Huck Finn (Line 4, Para. 2)?

£ÛA£Ý They were more like today¡¯s girls than boys.

£ÛB£Ý They suffered Attention Deficit Disorder but were not diagnosed.

£ÛC£Ý They were energetic and conquering.

£ÛD£Ý They had more problems than today¡¯s boys.

38. The word ¡°rewire¡± (Line 7, Para. 2) could best be replaced by .

£ÛA£Ý restore to a former condition £ÛB£Ý recognize the worth of

£ÛC£Ý change the nature of £ÛD£Ý address the problems of

39. Which aspect of the boyª²girl differences does Para. 3 discuss?

£ÛA£Ý Physiological. £ÛB£Ý Psychological. £ÛC£Ý Cultural. £ÛD£Ý Intellectual.

40. It is implied in the passage that .

£ÛA£Ý society approves of boys who have tender feelings

£ÛB£Ý society expects boys to be independent

£ÛC£Ý boys take more time to grow up than girls

£ÛD£Ý boys and girls can never receive similar treatment

Part B

Directions:

In the following article, some sentences have been removed. For Questions 41-45, choose the most suitable one from the list A-G to fit into each of the numbered blank. There are two extra choices, which do not fit in any of the gaps. Mark your answers on Answer Sheet 1.

William Lanouette¡¯s biography of Leo Szilard, Genius in the Shadows, does more than reveal the life of a brilliant physicist and social activist; it sheds a perceptive light on the role of scientists in public policy. World War II is usually recognized as the coming of age of science in U.S. politics. Albert Einstein had become the world¡¯s first science celebrity and a person to whom presidents felt obliged to listen. (41)Bush laid the foundation for a postwar science policy that would put government in the dominant role in funding basic research.

What is instructive about Szilard¡¯s life, however, is not the political influence of scientists as a group. (42)He believed that scientists should have more influence in policymaking in general¡ªnot because of their knowledge but because of their ability to think rationally. This faith in reason was a weakness in Szilard¡¯s political thinking, however, because it prevented him from understanding the emotional forces that must also be taken into account.

(43)And although he often used the reputation of his friend Einstein to gain access to decision makers, he believed firmly that it was the power of his ideas that deserved attention. He felt the same way about science. Even as an unemployed and relatively unknown physicist, he expected the giants in the field to respect his ideas if they made sense.

(44)He didn¡¯t assume that he should be listened to just because he was a brilliant physicist, and he accepted that even the most enlightened thinking had to be promoted vigorously to be influential. Of course, it didn¡¯t hurt that he was way ahead of his time in recognizing the threat posed by Hitler, the importance of nuclear weapons, and the problems with nuclear weapons that would arise after the war.

(45)First, the most important policies are those that address issues bigger than science itself. Szilard studied and cared deeply about the larger issues of governance, not just the role of science. Second, he understood that his scientific training did not entitle him to influence and that the quality of his thinking did not mean that the world¡¯s leaders would come knocking at his door. He knew that to make a difference in the world it is necessary to think broadly; to win support through compelling analysis, not reputation; and to work tirelessly to promote one¡¯s ideas.

£ÛA£ÝWhat Szilard did was to approach public policy with the same vigor, determination, and persistence with which good scientists approach science. What works in advancing science can also work in improving policy.

£ÛB£ÝThe key to Szilard¡¯s effectiveness and influence was his sense of responsibility for making the world a better place. Once he decided that something should be done, he devoted enormous energy, resourcefulness, and audacity to advancing his proposal.

£ÛC£ÝBut Szilard was not expecting to be influential in policy debates just because he was a scientist. An avid newspaper reader, he was extremely well informed about public affairs.

£ÛD£ÝThe Manhattan Project to develop the atomic bomb was an unprecedented federal investment in research, and questions about how to use the insights of nuclear physics for military and civilian purposes brought scientists into direct conversation with the nation¡¯s leaders.

£ÛE£ÝNot everything that Szilard advocated was wise; reason sometimes overwhelmed common sense. Still, his life illustrates important lessons for scientists who want to influence public policy.

£ÛF£ÝIndeed, it was the scientific hyper-rationality of someone like Szilard that Roald Hoffman had in mind when he questioned why scientists shouldn¡¯t run the world.

£ÛG£ÝSzilard¡¯s efforts to convince the government to develop nuclear weapons and his subsequent campaigns to establish civilian and international control of the power of the atom are an inspiring example of how a determined individual can play a major role in public policy.

Part C

Directions:

Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written clearly on Answer Sheet 2. (10 points)

The universities are schools of education, and schools of research. (46) But the primary reason for their existence is not to be found either in the mere knowledge conveyed to the students or in the mere opportunities for research afforded to the members of the faculty.

Both these functions could be performed at a cheaper rate, apart from these very expensive institutions. Books are cheap, and the system of apprenticeship is well understood. (47) So far as the mere imparting of information is concerned, no university has had any justification for existence since the popularisation of printing in the fifteenth century. Yet the chief impetus to the foundation of universities came after that date, and in more recent times has even increased.

(48) The justification for a university is that it preserves the connection between knowledge and the zest of life, by uniting the young and the old in the imaginative consideration of learning. The university imparts information, but it imparts it imaginatively. At least, this is the function which it should perform for society. A university which fails in this respect has no reason for existence.

This atmosphere of excitement, arising from imaginative consideration, transforms knowledge. A fact is no longer a bare fact: it is invested with all its possibilities. It is no longer a burden on the memory: it is energising as the poet of our dreams, and as the architect of our purposes.

Imagination is not to be divorced from the facts: it is a way of illuminating the facts. (49) It works by drawing the general principles which apply to the facts, as they exist, and then by an intellectual survey of alternative possibilities which are consistent with those principles. It enables men to construct an intellectual vision of a new world, and it preserves the zest of life by the suggestion of satisfying purposes.

Youth is imaginative, and if the imagination be strengthened by discipline this energy of imagination can in great measure be preserved through life. The tragedy of the world is that those who are imaginative have but slight experience, and those who are experienced have feeble imaginations. Fools act on imagination without knowledge; pedants act on knowledge without imagination. The task of a university is to weld together imagination and experience.

The initial discipline of imagination in its period of youthful vigour requires that there be no responsibility for immediate action. (50) The habit of unbiased thought, whereby the ideal variety of exemplification is discerned in its derivation from general principles, cannot be acquired when there is the daily task of preserving a concrete organisation. You must be free to think rightly and wrongly, and free to appreciate the variousness of the universe undisturbed by its perils.

Section ¢ó Writing

Part A

51.Directions:

Six months from now, you will be graduating from the university. For the time being, you are looking for a chance of internship at the Evening Post of the city.

1) State your wish to work as an intern with the newspaper;

2) Explain what kind of job that you¡¯re looking for;

3) And State your reasons why you can do the job well.

Write your letter with no less than 100 words. Write it neatly on Answer Sheet 2. Do not sign your own name at the end of the letter, use ¡°Li Ming¡± instead. You do not need to write the address. (10 points)

Part B

52.Directions:

Write an essay of 160-200 words based on the following drawing. In your essay, you should first describe the drawing, interpret its meaning, and give your comment on it.

You should write neatly on Answer Sheet 2. (20 points)

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