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

      At 7 pm 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 case 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. 'They 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 word has things to offer which the competitive world just doesn't. Cousins 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 realized, 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.

What conclusion does the writer draw about Holiday on Ice?

A.  It is hard to know who really enjoys it

B. It is more enjoyable to watch than formal ice-skating

C. It requires as much skill as Olympic ice-skating

D. It is difficult to dislike it

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.

Loneliness is a curious thing. Most of us can remember feeling most lonely when we were not in fact alone at all, but when we were surrounded by people. Everyone has experienced, at some time, that utter sense of isolation that comes over you when you are at a party, in a room full of happy laughing people, or in an audience at a theatre or a lecture. It suddenly seems to you as if everybody knows everybody else, everybody is sure of himself, everybody knows what is going on; everybody, that is, except you.

This feeling of loneliness which can overcome you when are in a crowd is very difficult to get rid of. People living alone - divorced, widowed or single people - are advised to tackle their loneliness by joining a club or society, by going out and meeting people. Does this really help? And what do you do if you are already surrounded by people?

There are no easy solutions. Your first day at work, or at a new school or university, is a typical situation in which you are likely to feel lonely. You feel lonely because you feel left out of things. You feel that everybody else is full of confidence and knows what to do, but you are adrift and helpless. The fact of the matter is that, in order to survive, we all put on a show of self-confidence to hide our uncertainties and doubts. So it is wrong to assume that you are alone.

In a big city it is particularly easy to get the feeling that everybody except you is leading a full, rich, busy life. Everybody is going somewhere, and you tend to assume that they are going somewhere nice and interesting, where they can find life and fulfilment. You are also going somewhere, and there is no reason at all to believe that your destination is any less, or, for that matter, any more exciting than the next man's.

The trouble is that you may not be able to hide the fact that you are lonely, and the miserable look on your face might well put people off. After all, if you are at a party you are not likely to try to strike up a conversation with a person who has a gloomy expression on his face and his lips turned down at the comers. So trying to look reasonably cheerful is a good starting point in combating loneliness, even if you are choking inside.

The next thing to avoid is finding yourself in a group where in fact you are a stranger, that is, in the sort of group where all the other people already know each other. There is a natural tendency for people to stick together, to form 'cliques'. You will do yourself no good by trying to establish yourself in a group which has so far managed to do very well without you. Groups generally resent intrusion, not because they dislike you personally, but because they have already had to work quite hard to turn the group into the functioning unit. To include you means having to go over a lot of ground again, so that you can learn their language, as it was, and get involved in their conversation at their level. Of course if you can offer something the group needs, such as expert information, you can get in quickly.

In fact the surest way of getting to know others is to have an interest in common with them. There is no guarantee that you will then like each other, but at least part of your life will be taken up with sharing experiences with others. It is much better than always feeling alone. If all this seems to be a rather pessimistic view of life, you have to accept the fact that we are_all alone when it comes down to it. When the most loving couple in the world kiss and say goodnight, as soon as the husband falls asleep, the wife realizes that she is alone, that her partner is as far away as if he were on another planet. But it is no cause for despair: there is always tomorrow.

Question:People who have formed a group tend to

A. refuse to talk with newcomers.

B. be rude to newcomers.

C. be interested in newcomers.

D. ignore newcomers.

The Computer has had an enormous__________on the way we work.

A. change   

B. alteration  

C. influence 

D. impression

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

      At 7 pm 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 case 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. 'They 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 word has things to offer which the competitive world just doesn't. Cousins 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 realized, 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 key point when rehearsing skating routines is

A. filling all available space on the ice

B. the movement of the lights

C. keeping in time with the music

D. the skaters' positions on the rice

I phoned the company, who _____ me that my goods had been dispatched.

A. guaranteed       

B. assured    

C. reassured 

D. confirmed

Mark the letter A, B, C or D on your answer sheet to indicate the most suitable response to complete each of the following exchanges

“Do you mind if I switch the light off?”                 - “________.”

A. Yes, I mind it sorry

B. What if I do not mind it?

C. Yes, please do it

D. I’d rather you didn’t, if you don’t mind.

Mark the letter A, B, C or B on your answer sheet to indicate the underlined part that needs correction in each of the following questions.

He is (A) very (B) weak (C) to lift (D) this suitcase.

A. very 

B. weak 

C. to 

D. this 

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 following questions from 43 to 50.

             It is commonly believed in the United States that school is where people go to get an education. Nevertheless, it has been said that today children interrupt their education to go to school. The distinction between schooling and education implied by this remark is important.
Education is much more open-ended and all-inclusive than schooling. Education knows no bounds. It can take place anywhere, whether in the shower or on the job, whether in a kitchen or on a tractor. It includes both the formal learning that takes place in schools and the whole universe of informal learning. The agents of education can range from a revered grandparent to the people debating politics on the radio, from a child to a distinguished scientist. Whereas schooling has a certain predictability, education quite often produces surprises. A chance conversation with a stranger may lead a person to discover how little is known of other religions. People are engaged in education from infancy on. Education, then, is a very broad, inclusive term. It is a lifelong process, a process that starts long before the start of school, and one that should be an integral part of one's entire life.

        Schooling, on the other hand, is a specific, formalized process, whose general pattern varies little from one setting to the next. Throughout a country, children arrive at school at approximately the same time, take assigned seats, are taught by an adult, use similar textbooks, do homework, take exams, and so on. The slices of reality that are to be learned, whether they are the alphabet or an understanding of the workings of government, have usually been limited by the boundaries of the subject being taught. For example, high school students know that they are not likely to find out in their classes the truth about political problems in their communities or what the newest filmmakers are experimenting with. There are definite conditions surrounding the formalized process of schooling.

The passage is organized by ________________.

A. listing and discussing several educational problems

B. contrasting the meanings of two related words

C. narrating a story about excellent teachers

D. giving examples of different kinds of schools

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.

Alexis de Tocqueville, the French political scientist, historian, philosopher and politician, is most famous for a four-volume book he wrote called “Democracy in America”. He came to America in 1831 to study the American form of democracy and what it might mean to the rest of the world. After a visit of only nine months, he wrote a remarkable book which is regarded as a classic. De Tocqueville had unusual powers of observation. He described not only the democratic system of government and how it operated, but also its effect on how Americans think, feel, and act. Many scholars believe he had a deeper understanding of traditional American beliefs and values than anyone else who has written about the United States. What is so remarkable is that many of these traits which he observed nearly 200 years ago, are still visible and meaningful today. His observations are also important because the timing of his visit, the 1830s, was before America was industrialized. This was the era of the small farmer, the small businessman, and the settling of the western frontier. It was the period of history when the traditional values of the new country were newly established. In just a generation, some 40 years since the adoption of the U.S. Constitution, the new form of government had already produced a society of people with unique values. He was, however, a neutral observer and saw both the good and bad sides of these qualities.

The first part of “Democracy in America” was written in 1831-32 and published in 1835. A highly positive and optimistic account of American government and society, the book was very well received. He attempted to get a glimpse of the essence of American society, all the while promoting his own philosophy: the equaling of the classes and the inevitable depth of aristocratic privilege. The rest of the book he labored on for four years, and in 1840 the second part was published. This was substantially more pessimistic than the first, warning of the dangers despotism and governmental centralization, and applying his ideas and criticisms more directly to France. As a result, it was not received as well as the first part, except in England where it was acclaimed highly.

Question:The phrase “these traits” refers to

A. observations

B. how Americans think, feel, and act

C. traditional American beliefs and values

D. visible and meaningful observations