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Directions:

Read the following text. Choose the best word(s) for each numbered blank and mark [A], [B], [C] or [D] on ANSWER SHEET 1. (10 points)

In 1924 American’ National Research Council sent to engineers to supervise a series of industrial experiments at a large telephone-parts factory called the Hawthorne Plant near Chicago. It hoped they would learn how stop-floor lignting__1__workers productivity. Instead, the studies ended __2___giving their name to the “Hawthorne effect”, the extremely influential idea that the very___3____to being experimented upon changed subjects’ behavior.

The idea arose because of the __4____behavior of the women in the Hawthorne plant. According to __5____of the experiments, their hourly output rose when lighting was increased, but also when it was dimmed. It did not __6____what was done in the experiment; ___7_someting was changed ,productivity rose. A(n)___8___that they were being experimented upon seemed to be ____9___to alter workers’ behavior ____10____itself.

After several decades, the same data were _11__ to econometric the analysis. Hawthorne experiments has another surprise store _12 __the descriptions on record, no systematic _13__ was found that levels of productivity were related to changes in lighting.

It turns out that peculiar way of conducting the experiments may be have let to__ 14__ interpretation of what happed.__ 15___ , lighting was always changed on a Sunday .When work started again on Monday, output __16___ rose compared with the previous Saturday and__ 17 __to rise for the next couple of days.__ 18__ , a comparison with data for weeks when there was no experimentation showed that output always went up on Monday, workers__ 19__ to be diligent for the first few days of the week in any case , before __20 __a plateau and then slackening off. This suggests that the alleged” Hawthorne effect “ is hard to pin down.

1. [A] affected [B] achieved [C] extracted [D] restored

2. [A] at [B]up [C] with [D] off

3. [A]truth [B]sight [C] act [D] proof

4. [A] controversial [B] perplexing [C]mischievous [D] ambiguous

5. [A]requirements [B]explanations [C] accounts [D] assessments

6. [A] conclude [B] matter [C] indicate [D] work

7. [A] as far as [B] for fear that [C] in case that [D] so long as

8. [A] awareness [B] expectation [C] sentiment [D] illusion

9. [A] suitable [B] excessive [C] enough [D] abundant

10. [A] about [B] for [C] on [D] by

11. [A] compared [B]shown [C] subjected [D] conveyed

12. [A] contrary to [B] consistent with [C] parallel with [D] pealliar to

13. [A] evidence [B]guidance [C]implication [D]source

14. [A] disputable [B]enlightening [C]reliable [D]misleading

15. [A] In contrast [B] For example [C] In consequence [D] As usual

16. [A] duly [B]accidentally [C] unpredictably [D] suddenly

17. [A]failed [B]ceased [C]started [D]continued

20. [A]breaking [B]climbing [C]surpassing [D]hiting

Section II Reading Comprehension

Part A

Directions:

Read the following four texts. Answer the questions below each text by choosing [A], [B], [C] or [D]. Mark your answers on ANSWER SHEET 1. (40 points)

Text 1

Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the m ost far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.

It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant c ollections of criticism published in the 20th century consisted in large part of new spaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.

We are even farther rem oved from the unfocused newspaper review spublished in England between the turn of t he 2 0th century and the eve of World War Ⅱ, at a time when newsprint was dirt-cheap and stylish arts crit icism was consi dered an ornament to the publications in which it appe ared. In those far-off days, it was taken for granted tha t the cri tics of major papers woul dwri te in detail and at length about the events they covered. Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bern ard Shaw and Ernest Newman, could be trus ted to know what they were a bout. These men believed in journalism as a calling, and were proud to be published in the daily press. “So few authors have brains enough or literary gift enough to keep their own end up in journalism, ”Newman wrote, “ that I am tempted to define‘journalism’ as ‘a term of cont empt appl ied by writers who are not read to writers who are’. ”

Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays ont he game of cricket. During his l ifetime, though, he was also one of England's foremost classical-music critics, and a stylist so widely admired that his Autobiography(1947)became a best-seller. He was knighted in 1967, the first music critic to be so ho nored. Yet on ly one of his books is now in print, and his vast body of writings on music is unknown save to specialists.

Is there any chance that Cardus’s criticism will enjoy a revi val? The prospect seems remote. Jour nalistic tastes had changed long before his death, and postmodern reader shave little use for the ric hly upholstered Vicwardian prose in which he specialized. Moreover, the amateur tradition in music criticism has been in headlong retreat.