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Which of the following can be a reason for the popularity of Lomborg's books?

Skeptics are a stange lot. Some of them refuse to admit the serious threat of human activities to the enviroment, and they are tired of people who disagree with them. Those people, say skeptics, spread nothing but bad news about the environment. The "eco-guilt" brought on by the discouraging news about our planet gives rise to the popularity of skeptics as people search for more comforting worldviews. Perhaps that explain why a new book by Bjorn Lomborg received so much publicity. That book, The Skeptical Environmentalist, declares that it measures the "real state of the world" as fine. Of course, another explanation is the deep pockets some big businesses with special intererts. Indeed, Mr. Lomborg's views are similar to those of some Industry-funded organizations, which start huge activities though the media to confuse the public about issues like global warming. So it was strange to see Mr. Lomborg's book go largely unchallenged in the media though his beliefs were contrary to most scientific opinions. One national newspaper in Canada ran a number of articles and reviews full of words of praise, even with the conclusion that "After Lomborg, the environmental movement will begin to die down." Such one-sided views should have immediately been challenged. But only a different review appeared in Nature, a respected science magazine with specific readership. The review remarked that Mr. Lomborg's "preference for unexamined materials is incredible "。 A critical eye is valuable, and the media should present information in such a way that could allow people to make informed decisions. Unfortunately, that is often inaccessible as blocked by the desire to be shocking or to defend some special interests. People might become half-blind before a world partially exhibited by the media. That's a shame, because matters concerning the health of the planet are far too important to be treated lightly.

4108.txt

The author mentioned the review in Nature in order to _ .

Skeptics are a stange lot. Some of them refuse to admit the serious threat of human activities to the enviroment, and they are tired of people who disagree with them. Those people, say skeptics, spread nothing but bad news about the environment. The "eco-guilt" brought on by the discouraging news about our planet gives rise to the popularity of skeptics as people search for more comforting worldviews. Perhaps that explain why a new book by Bjorn Lomborg received so much publicity. That book, The Skeptical Environmentalist, declares that it measures the "real state of the world" as fine. Of course, another explanation is the deep pockets some big businesses with special intererts. Indeed, Mr. Lomborg's views are similar to those of some Industry-funded organizations, which start huge activities though the media to confuse the public about issues like global warming. So it was strange to see Mr. Lomborg's book go largely unchallenged in the media though his beliefs were contrary to most scientific opinions. One national newspaper in Canada ran a number of articles and reviews full of words of praise, even with the conclusion that "After Lomborg, the environmental movement will begin to die down." Such one-sided views should have immediately been challenged. But only a different review appeared in Nature, a respected science magazine with specific readership. The review remarked that Mr. Lomborg's "preference for unexamined materials is incredible "。 A critical eye is valuable, and the media should present information in such a way that could allow people to make informed decisions. Unfortunately, that is often inaccessible as blocked by the desire to be shocking or to defend some special interests. People might become half-blind before a world partially exhibited by the media. That's a shame, because matters concerning the health of the planet are far too important to be treated lightly.

4108.txt

What is the author's main purpose in writing the passage?

Skeptics are a stange lot. Some of them refuse to admit the serious threat of human activities to the enviroment, and they are tired of people who disagree with them. Those people, say skeptics, spread nothing but bad news about the environment. The "eco-guilt" brought on by the discouraging news about our planet gives rise to the popularity of skeptics as people search for more comforting worldviews. Perhaps that explain why a new book by Bjorn Lomborg received so much publicity. That book, The Skeptical Environmentalist, declares that it measures the "real state of the world" as fine. Of course, another explanation is the deep pockets some big businesses with special intererts. Indeed, Mr. Lomborg's views are similar to those of some Industry-funded organizations, which start huge activities though the media to confuse the public about issues like global warming. So it was strange to see Mr. Lomborg's book go largely unchallenged in the media though his beliefs were contrary to most scientific opinions. One national newspaper in Canada ran a number of articles and reviews full of words of praise, even with the conclusion that "After Lomborg, the environmental movement will begin to die down." Such one-sided views should have immediately been challenged. But only a different review appeared in Nature, a respected science magazine with specific readership. The review remarked that Mr. Lomborg's "preference for unexamined materials is incredible "。 A critical eye is valuable, and the media should present information in such a way that could allow people to make informed decisions. Unfortunately, that is often inaccessible as blocked by the desire to be shocking or to defend some special interests. People might become half-blind before a world partially exhibited by the media. That's a shame, because matters concerning the health of the planet are far too important to be treated lightly.

4108.txt

According to Paragraph 1, corporations start to _ .

No one word demonstrated the shift in corporations' attention in the mid-1990s from processes to people more vividly than the single word" talent" . Spurred on by a bookcalled" The War for Talent" , written by three McKinsey consultants in the late 1990s, the word became common in management speak. Talent is a subset of what used to be called human resources, the people who work in organisations. It is, essentially, those individuals among that group who have the potential to add most value. Behind the word lies the idea that more and more corporate value is going to be created by knowledge and by so-called" knowledge workers" . Manual labour is worth less; knowledge（and the right use of it）is worth more. And people with such knowledge are（so the theory goes）in short supply. One CEO was reported as saying that not only did he not have enough talent to carry out the company's strategy, but he did not even have" the talent needed in HR to hire the missing managers" . Moreover, the situation is likely to stay that way（and may even get worse）for some time to come. This has significantly shifted the balance of power in the recruitment process. Companies used to be relaxed about finding enough qualified people to run their operations. What they could not find they would train, was the usual attitude. That might take some time, but in a world where people sought jobs for life （and the pensions that went with them）time was in the company's favour. But talent is not patient, and it is not faithful. Many companies found themselves training employees only for them to go on and sell their acquired skills to their rivals. So now they look for talent that is ready-made. In their eagerness to please this talent, companies have gone to considerable lengths to appear especiallyattractive. They have, for instance, devoted a great deal of effort to the design of their websites, often the first port of call these days for bright young potential recruits. They have in many cases reconstructed their HR departments, in part so that they can tailor their remuneration packages more finely for the individuals that they really require. And they have altered their approach to issues such as governance and environmental responsibility because they know that many of the talented people they are seeking want to work for ethical and responsible employers-almost more than they want a hefty pay packet. Talented people increasingly want to work in places where they can feel good about what they do for most of the day. What's more, in today's knowledge-based businesses, these young people are far more aware of their working environment, of" what's going on around here" , than were their grandparents, who were hired for their brawn rather than their brain. It is harder for today's businesses to disguise from their employees what they are up to-even when, as in cases such as Enron and WorldCom, they put a lot of effort into it.

445.txt

The expression" talent" （Line 2, Paragraph 1）most probably means _ .

No one word demonstrated the shift in corporations' attention in the mid-1990s from processes to people more vividly than the single word" talent" . Spurred on by a bookcalled" The War for Talent" , written by three McKinsey consultants in the late 1990s, the word became common in management speak. Talent is a subset of what used to be called human resources, the people who work in organisations. It is, essentially, those individuals among that group who have the potential to add most value. Behind the word lies the idea that more and more corporate value is going to be created by knowledge and by so-called" knowledge workers" . Manual labour is worth less; knowledge（and the right use of it）is worth more. And people with such knowledge are（so the theory goes）in short supply. One CEO was reported as saying that not only did he not have enough talent to carry out the company's strategy, but he did not even have" the talent needed in HR to hire the missing managers" . Moreover, the situation is likely to stay that way（and may even get worse）for some time to come. This has significantly shifted the balance of power in the recruitment process. Companies used to be relaxed about finding enough qualified people to run their operations. What they could not find they would train, was the usual attitude. That might take some time, but in a world where people sought jobs for life （and the pensions that went with them）time was in the company's favour. But talent is not patient, and it is not faithful. Many companies found themselves training employees only for them to go on and sell their acquired skills to their rivals. So now they look for talent that is ready-made. In their eagerness to please this talent, companies have gone to considerable lengths to appear especiallyattractive. They have, for instance, devoted a great deal of effort to the design of their websites, often the first port of call these days for bright young potential recruits. They have in many cases reconstructed their HR departments, in part so that they can tailor their remuneration packages more finely for the individuals that they really require. And they have altered their approach to issues such as governance and environmental responsibility because they know that many of the talented people they are seeking want to work for ethical and responsible employers-almost more than they want a hefty pay packet. Talented people increasingly want to work in places where they can feel good about what they do for most of the day. What's more, in today's knowledge-based businesses, these young people are far more aware of their working environment, of" what's going on around here" , than were their grandparents, who were hired for their brawn rather than their brain. It is harder for today's businesses to disguise from their employees what they are up to-even when, as in cases such as Enron and WorldCom, they put a lot of effort into it.

445.txt

The following measures to attract talents are mentioned EXCEPT _ .

No one word demonstrated the shift in corporations' attention in the mid-1990s from processes to people more vividly than the single word" talent" . Spurred on by a bookcalled" The War for Talent" , written by three McKinsey consultants in the late 1990s, the word became common in management speak. Talent is a subset of what used to be called human resources, the people who work in organisations. It is, essentially, those individuals among that group who have the potential to add most value. Behind the word lies the idea that more and more corporate value is going to be created by knowledge and by so-called" knowledge workers" . Manual labour is worth less; knowledge（and the right use of it）is worth more. And people with such knowledge are（so the theory goes）in short supply. One CEO was reported as saying that not only did he not have enough talent to carry out the company's strategy, but he did not even have" the talent needed in HR to hire the missing managers" . Moreover, the situation is likely to stay that way（and may even get worse）for some time to come. This has significantly shifted the balance of power in the recruitment process. Companies used to be relaxed about finding enough qualified people to run their operations. What they could not find they would train, was the usual attitude. That might take some time, but in a world where people sought jobs for life （and the pensions that went with them）time was in the company's favour. But talent is not patient, and it is not faithful. Many companies found themselves training employees only for them to go on and sell their acquired skills to their rivals. So now they look for talent that is ready-made. In their eagerness to please this talent, companies have gone to considerable lengths to appear especiallyattractive. They have, for instance, devoted a great deal of effort to the design of their websites, often the first port of call these days for bright young potential recruits. They have in many cases reconstructed their HR departments, in part so that they can tailor their remuneration packages more finely for the individuals that they really require. And they have altered their approach to issues such as governance and environmental responsibility because they know that many of the talented people they are seeking want to work for ethical and responsible employers-almost more than they want a hefty pay packet. Talented people increasingly want to work in places where they can feel good about what they do for most of the day. What's more, in today's knowledge-based businesses, these young people are far more aware of their working environment, of" what's going on around here" , than were their grandparents, who were hired for their brawn rather than their brain. It is harder for today's businesses to disguise from their employees what they are up to-even when, as in cases such as Enron and WorldCom, they put a lot of effort into it.

445.txt

Which of the following statements is an unexpected result of the shift of attention to talent?

No one word demonstrated the shift in corporations' attention in the mid-1990s from processes to people more vividly than the single word" talent" . Spurred on by a bookcalled" The War for Talent" , written by three McKinsey consultants in the late 1990s, the word became common in management speak. Talent is a subset of what used to be called human resources, the people who work in organisations. It is, essentially, those individuals among that group who have the potential to add most value. Behind the word lies the idea that more and more corporate value is going to be created by knowledge and by so-called" knowledge workers" . Manual labour is worth less; knowledge（and the right use of it）is worth more. And people with such knowledge are（so the theory goes）in short supply. One CEO was reported as saying that not only did he not have enough talent to carry out the company's strategy, but he did not even have" the talent needed in HR to hire the missing managers" . Moreover, the situation is likely to stay that way（and may even get worse）for some time to come. This has significantly shifted the balance of power in the recruitment process. Companies used to be relaxed about finding enough qualified people to run their operations. What they could not find they would train, was the usual attitude. That might take some time, but in a world where people sought jobs for life （and the pensions that went with them）time was in the company's favour. But talent is not patient, and it is not faithful. Many companies found themselves training employees only for them to go on and sell their acquired skills to their rivals. So now they look for talent that is ready-made. In their eagerness to please this talent, companies have gone to considerable lengths to appear especiallyattractive. They have, for instance, devoted a great deal of effort to the design of their websites, often the first port of call these days for bright young potential recruits. They have in many cases reconstructed their HR departments, in part so that they can tailor their remuneration packages more finely for the individuals that they really require. And they have altered their approach to issues such as governance and environmental responsibility because they know that many of the talented people they are seeking want to work for ethical and responsible employers-almost more than they want a hefty pay packet. Talented people increasingly want to work in places where they can feel good about what they do for most of the day. What's more, in today's knowledge-based businesses, these young people are far more aware of their working environment, of" what's going on around here" , than were their grandparents, who were hired for their brawn rather than their brain. It is harder for today's businesses to disguise from their employees what they are up to-even when, as in cases such as Enron and WorldCom, they put a lot of effort into it.

445.txt

The best title for the text may be _ .

No one word demonstrated the shift in corporations' attention in the mid-1990s from processes to people more vividly than the single word" talent" . Spurred on by a bookcalled" The War for Talent" , written by three McKinsey consultants in the late 1990s, the word became common in management speak. Talent is a subset of what used to be called human resources, the people who work in organisations. It is, essentially, those individuals among that group who have the potential to add most value. Behind the word lies the idea that more and more corporate value is going to be created by knowledge and by so-called" knowledge workers" . Manual labour is worth less; knowledge（and the right use of it）is worth more. And people with such knowledge are（so the theory goes）in short supply. One CEO was reported as saying that not only did he not have enough talent to carry out the company's strategy, but he did not even have" the talent needed in HR to hire the missing managers" . Moreover, the situation is likely to stay that way（and may even get worse）for some time to come. This has significantly shifted the balance of power in the recruitment process. Companies used to be relaxed about finding enough qualified people to run their operations. What they could not find they would train, was the usual attitude. That might take some time, but in a world where people sought jobs for life （and the pensions that went with them）time was in the company's favour. But talent is not patient, and it is not faithful. Many companies found themselves training employees only for them to go on and sell their acquired skills to their rivals. So now they look for talent that is ready-made. In their eagerness to please this talent, companies have gone to considerable lengths to appear especiallyattractive. They have, for instance, devoted a great deal of effort to the design of their websites, often the first port of call these days for bright young potential recruits. They have in many cases reconstructed their HR departments, in part so that they can tailor their remuneration packages more finely for the individuals that they really require. And they have altered their approach to issues such as governance and environmental responsibility because they know that many of the talented people they are seeking want to work for ethical and responsible employers-almost more than they want a hefty pay packet. Talented people increasingly want to work in places where they can feel good about what they do for most of the day. What's more, in today's knowledge-based businesses, these young people are far more aware of their working environment, of" what's going on around here" , than were their grandparents, who were hired for their brawn rather than their brain. It is harder for today's businesses to disguise from their employees what they are up to-even when, as in cases such as Enron and WorldCom, they put a lot of effort into it.

445.txt

The passage is primarily concerned with

Paule Marshall's Brown Girl, Brownstones (1959) was a landmark in the depiction of female characters in Black American literature. Marshall avoided the oppressed and tragic heroine in conflict with White society that had been typical of the protest novels of the early twentieth century. Like her immediate predecesors, Zora Neale Hurston and Gwendolyn Brooks, she focused her novel on an ordinary Black woman's search for identity within the context of a Black community. But Marshalll extended the analysis of Black female characters begun by Hurston and Brooks by depicting her heroine's development in terms of the relationship between her Barbadian American parents, and by exploring how male and female roles were defined by their immigrant culture, which in turn was influenced by the materialism of White America. By placing characters within a wider cultural context, Marshall attacked racial and sexual stereotypes and paved the way for explorations of race. class, and gender in the novels of the 1970's.

1888.txt

According to the passage, Hurston, Brooks, and Marshall are alike in that they

Paule Marshall's Brown Girl, Brownstones (1959) was a landmark in the depiction of female characters in Black American literature. Marshall avoided the oppressed and tragic heroine in conflict with White society that had been typical of the protest novels of the early twentieth century. Like her immediate predecesors, Zora Neale Hurston and Gwendolyn Brooks, she focused her novel on an ordinary Black woman's search for identity within the context of a Black community. But Marshalll extended the analysis of Black female characters begun by Hurston and Brooks by depicting her heroine's development in terms of the relationship between her Barbadian American parents, and by exploring how male and female roles were defined by their immigrant culture, which in turn was influenced by the materialism of White America. By placing characters within a wider cultural context, Marshall attacked racial and sexual stereotypes and paved the way for explorations of race. class, and gender in the novels of the 1970's.

1888.txt

The author's description of the way in which Marshall depicts her heroine's development is most probably intended to

Paule Marshall's Brown Girl, Brownstones (1959) was a landmark in the depiction of female characters in Black American literature. Marshall avoided the oppressed and tragic heroine in conflict with White society that had been typical of the protest novels of the early twentieth century. Like her immediate predecesors, Zora Neale Hurston and Gwendolyn Brooks, she focused her novel on an ordinary Black woman's search for identity within the context of a Black community. But Marshalll extended the analysis of Black female characters begun by Hurston and Brooks by depicting her heroine's development in terms of the relationship between her Barbadian American parents, and by exploring how male and female roles were defined by their immigrant culture, which in turn was influenced by the materialism of White America. By placing characters within a wider cultural context, Marshall attacked racial and sexual stereotypes and paved the way for explorations of race. class, and gender in the novels of the 1970's.

1888.txt

It can be inferred that the author of the passage would describe Brown Girl, Brownstones as being

Paule Marshall's Brown Girl, Brownstones (1959) was a landmark in the depiction of female characters in Black American literature. Marshall avoided the oppressed and tragic heroine in conflict with White society that had been typical of the protest novels of the early twentieth century. Like her immediate predecesors, Zora Neale Hurston and Gwendolyn Brooks, she focused her novel on an ordinary Black woman's search for identity within the context of a Black community. But Marshalll extended the analysis of Black female characters begun by Hurston and Brooks by depicting her heroine's development in terms of the relationship between her Barbadian American parents, and by exploring how male and female roles were defined by their immigrant culture, which in turn was influenced by the materialism of White America. By placing characters within a wider cultural context, Marshall attacked racial and sexual stereotypes and paved the way for explorations of race. class, and gender in the novels of the 1970's.

1888.txt

How many people have been found dead in the two ferry disasters?

Storms Sink Ships Rescuers have found the bodies of over 130 people killed in two ferry disasters in Bangladesh The accidents happened during a storm that hit the country on April 2i Hundreds more are missing or feared dead The two ferries sank in different rivers near the capital city of Dhaka as strong winds and rain hit the South Asian country The government has since banned all ferries and other boats from traveling at night during the April-May stormy season One of the ferries, MV Mitali, was carrying far more people than it was supposed to About 400 passengers fitted into a space made for just 300, police said The second ferry carried about 100 passengers "The number of deaths is certain to rise," said an official in charge of the rescue work "No one really knows how many people were on board the ferry or how many of then survived" Ferries in Bangladesh don't always keep passenger lists, making it difficult to determine the exact number of people on board Besides the ferry accidents, at least 40 people were killed and 400 injured by lightning strikes, falling houses and trees and the sinking of small boats Storms are common this time of year in Bangladesh, as are boating accidents Ferry disasters take away hundreds of lives every year in a nation of 130 million people Officials blame these river accidents on a lack of safety measures, too many passengers in boats and not enough checks on weather conditions Ferries are a common means of transport in Bangladesh It is a country covered by about 230 rivers Some 20,000 ferries use the nation's waterways ( every year Arid many of them are dangerously overcrowded (） Since 1977, more than 3,000 people have died in some 260 boating accidents.

1229.txt

The two ferry disasters occurred

Storms Sink Ships Rescuers have found the bodies of over 130 people killed in two ferry disasters in Bangladesh The accidents happened during a storm that hit the country on April 2i Hundreds more are missing or feared dead The two ferries sank in different rivers near the capital city of Dhaka as strong winds and rain hit the South Asian country The government has since banned all ferries and other boats from traveling at night during the April-May stormy season One of the ferries, MV Mitali, was carrying far more people than it was supposed to About 400 passengers fitted into a space made for just 300, police said The second ferry carried about 100 passengers "The number of deaths is certain to rise," said an official in charge of the rescue work "No one really knows how many people were on board the ferry or how many of then survived" Ferries in Bangladesh don't always keep passenger lists, making it difficult to determine the exact number of people on board Besides the ferry accidents, at least 40 people were killed and 400 injured by lightning strikes, falling houses and trees and the sinking of small boats Storms are common this time of year in Bangladesh, as are boating accidents Ferry disasters take away hundreds of lives every year in a nation of 130 million people Officials blame these river accidents on a lack of safety measures, too many passengers in boats and not enough checks on weather conditions Ferries are a common means of transport in Bangladesh It is a country covered by about 230 rivers Some 20,000 ferries use the nation's waterways ( every year Arid many of them are dangerously overcrowded (） Since 1977, more than 3,000 people have died in some 260 boating accidents.

1229.txt

How many passengers was MV Mitali designed to carry?

Storms Sink Ships Rescuers have found the bodies of over 130 people killed in two ferry disasters in Bangladesh The accidents happened during a storm that hit the country on April 2i Hundreds more are missing or feared dead The two ferries sank in different rivers near the capital city of Dhaka as strong winds and rain hit the South Asian country The government has since banned all ferries and other boats from traveling at night during the April-May stormy season One of the ferries, MV Mitali, was carrying far more people than it was supposed to About 400 passengers fitted into a space made for just 300, police said The second ferry carried about 100 passengers "The number of deaths is certain to rise," said an official in charge of the rescue work "No one really knows how many people were on board the ferry or how many of then survived" Ferries in Bangladesh don't always keep passenger lists, making it difficult to determine the exact number of people on board Besides the ferry accidents, at least 40 people were killed and 400 injured by lightning strikes, falling houses and trees and the sinking of small boats Storms are common this time of year in Bangladesh, as are boating accidents Ferry disasters take away hundreds of lives every year in a nation of 130 million people Officials blame these river accidents on a lack of safety measures, too many passengers in boats and not enough checks on weather conditions Ferries are a common means of transport in Bangladesh It is a country covered by about 230 rivers Some 20,000 ferries use the nation's waterways ( every year Arid many of them are dangerously overcrowded (） Since 1977, more than 3,000 people have died in some 260 boating accidents.

1229.txt

Which of the following is NOT mentioned as a cause of the boating accidents?

Storms Sink Ships Rescuers have found the bodies of over 130 people killed in two ferry disasters in Bangladesh The accidents happened during a storm that hit the country on April 2i Hundreds more are missing or feared dead The two ferries sank in different rivers near the capital city of Dhaka as strong winds and rain hit the South Asian country The government has since banned all ferries and other boats from traveling at night during the April-May stormy season One of the ferries, MV Mitali, was carrying far more people than it was supposed to About 400 passengers fitted into a space made for just 300, police said The second ferry carried about 100 passengers "The number of deaths is certain to rise," said an official in charge of the rescue work "No one really knows how many people were on board the ferry or how many of then survived" Ferries in Bangladesh don't always keep passenger lists, making it difficult to determine the exact number of people on board Besides the ferry accidents, at least 40 people were killed and 400 injured by lightning strikes, falling houses and trees and the sinking of small boats Storms are common this time of year in Bangladesh, as are boating accidents Ferry disasters take away hundreds of lives every year in a nation of 130 million people Officials blame these river accidents on a lack of safety measures, too many passengers in boats and not enough checks on weather conditions Ferries are a common means of transport in Bangladesh It is a country covered by about 230 rivers Some 20,000 ferries use the nation's waterways ( every year Arid many of them are dangerously overcrowded (） Since 1977, more than 3,000 people have died in some 260 boating accidents.

1229.txt

Which of the following statements is NOT true of the two ferry disasters?

Storms Sink Ships Rescuers have found the bodies of over 130 people killed in two ferry disasters in Bangladesh The accidents happened during a storm that hit the country on April 2i Hundreds more are missing or feared dead The two ferries sank in different rivers near the capital city of Dhaka as strong winds and rain hit the South Asian country The government has since banned all ferries and other boats from traveling at night during the April-May stormy season One of the ferries, MV Mitali, was carrying far more people than it was supposed to About 400 passengers fitted into a space made for just 300, police said The second ferry carried about 100 passengers "The number of deaths is certain to rise," said an official in charge of the rescue work "No one really knows how many people were on board the ferry or how many of then survived" Ferries in Bangladesh don't always keep passenger lists, making it difficult to determine the exact number of people on board Besides the ferry accidents, at least 40 people were killed and 400 injured by lightning strikes, falling houses and trees and the sinking of small boats Storms are common this time of year in Bangladesh, as are boating accidents Ferry disasters take away hundreds of lives every year in a nation of 130 million people Officials blame these river accidents on a lack of safety measures, too many passengers in boats and not enough checks on weather conditions Ferries are a common means of transport in Bangladesh It is a country covered by about 230 rivers Some 20,000 ferries use the nation's waterways ( every year Arid many of them are dangerously overcrowded (） Since 1977, more than 3,000 people have died in some 260 boating accidents.

1229.txt

According to the passage a humorless person _ .

That particularly humorless boss or dour neighbor may not have a personality defect-but a different brain structure, research published Wednesday suggests. Scientists in Canada say they have found how brain damage can affect a person's sense of humor, adding to evidence that humor may be hard-wired into the brain. A team at the University of Toronto and the Baycrest Center for Geriatric Care in Toronto found that people with damage to the right frontal lobe of their brains do not really "get" ironic jokes the way they should. Instead, they prefer slapstick humor. "We always thought of humor as an intangible part of our personality," Prathiba Shammi of the University of Toronto, a psychologist who worked on the study, said in a statement. "Now we know humor can be tested and scientifically scrutinized." Shammi compared the responses of 42 volunteers aged 18 to 70 to written and verbal jokes and cartoons. Half the group had a brain injury caused by stroke, tumor or surgical removal. People with damage to the right anterior frontal lobe were the least able to appreciate jokes and cartoons, Shammi reported in the journal Brain. Instead, they showed a preference for silly slapstick humor. Shammi gave an example of one of her jokes and the responses. A teen-ager is being interviewed for a summer job. "You'll get $ 50 a week to start off," says his boss. "Then after a month you'll get a raise to $75 a week. "Volunteers were offered three possible punch lines: a. "I'd like to take the job. When can I start?" b. "That's great! I'll come back in a month." c. "Hey boss, your nose is too big for your face!"

938.txt

Traditionally people believe that humor _ .

That particularly humorless boss or dour neighbor may not have a personality defect-but a different brain structure, research published Wednesday suggests. Scientists in Canada say they have found how brain damage can affect a person's sense of humor, adding to evidence that humor may be hard-wired into the brain. A team at the University of Toronto and the Baycrest Center for Geriatric Care in Toronto found that people with damage to the right frontal lobe of their brains do not really "get" ironic jokes the way they should. Instead, they prefer slapstick humor. "We always thought of humor as an intangible part of our personality," Prathiba Shammi of the University of Toronto, a psychologist who worked on the study, said in a statement. "Now we know humor can be tested and scientifically scrutinized." Shammi compared the responses of 42 volunteers aged 18 to 70 to written and verbal jokes and cartoons. Half the group had a brain injury caused by stroke, tumor or surgical removal. People with damage to the right anterior frontal lobe were the least able to appreciate jokes and cartoons, Shammi reported in the journal Brain. Instead, they showed a preference for silly slapstick humor. Shammi gave an example of one of her jokes and the responses. A teen-ager is being interviewed for a summer job. "You'll get $ 50 a week to start off," says his boss. "Then after a month you'll get a raise to $75 a week. "Volunteers were offered three possible punch lines: a. "I'd like to take the job. When can I start?" b. "That's great! I'll come back in a month." c. "Hey boss, your nose is too big for your face!"

938.txt

Which of the following statement is true?

That particularly humorless boss or dour neighbor may not have a personality defect-but a different brain structure, research published Wednesday suggests. Scientists in Canada say they have found how brain damage can affect a person's sense of humor, adding to evidence that humor may be hard-wired into the brain. A team at the University of Toronto and the Baycrest Center for Geriatric Care in Toronto found that people with damage to the right frontal lobe of their brains do not really "get" ironic jokes the way they should. Instead, they prefer slapstick humor. "We always thought of humor as an intangible part of our personality," Prathiba Shammi of the University of Toronto, a psychologist who worked on the study, said in a statement. "Now we know humor can be tested and scientifically scrutinized." Shammi compared the responses of 42 volunteers aged 18 to 70 to written and verbal jokes and cartoons. Half the group had a brain injury caused by stroke, tumor or surgical removal. People with damage to the right anterior frontal lobe were the least able to appreciate jokes and cartoons, Shammi reported in the journal Brain. Instead, they showed a preference for silly slapstick humor. Shammi gave an example of one of her jokes and the responses. A teen-ager is being interviewed for a summer job. "You'll get $ 50 a week to start off," says his boss. "Then after a month you'll get a raise to $75 a week. "Volunteers were offered three possible punch lines: a. "I'd like to take the job. When can I start?" b. "That's great! I'll come back in a month." c. "Hey boss, your nose is too big for your face!"

938.txt

Which of the following statements about the volunteers in the experiment is NOT true?

That particularly humorless boss or dour neighbor may not have a personality defect-but a different brain structure, research published Wednesday suggests. Scientists in Canada say they have found how brain damage can affect a person's sense of humor, adding to evidence that humor may be hard-wired into the brain. A team at the University of Toronto and the Baycrest Center for Geriatric Care in Toronto found that people with damage to the right frontal lobe of their brains do not really "get" ironic jokes the way they should. Instead, they prefer slapstick humor. "We always thought of humor as an intangible part of our personality," Prathiba Shammi of the University of Toronto, a psychologist who worked on the study, said in a statement. "Now we know humor can be tested and scientifically scrutinized." Shammi compared the responses of 42 volunteers aged 18 to 70 to written and verbal jokes and cartoons. Half the group had a brain injury caused by stroke, tumor or surgical removal. People with damage to the right anterior frontal lobe were the least able to appreciate jokes and cartoons, Shammi reported in the journal Brain. Instead, they showed a preference for silly slapstick humor. Shammi gave an example of one of her jokes and the responses. A teen-ager is being interviewed for a summer job. "You'll get $ 50 a week to start off," says his boss. "Then after a month you'll get a raise to $75 a week. "Volunteers were offered three possible punch lines: a. "I'd like to take the job. When can I start?" b. "That's great! I'll come back in a month." c. "Hey boss, your nose is too big for your face!"

938.txt

Look at the joke in the last part of the passage. We can infer that most people with damage to the right anterior frontal lobe _ .

That particularly humorless boss or dour neighbor may not have a personality defect-but a different brain structure, research published Wednesday suggests. Scientists in Canada say they have found how brain damage can affect a person's sense of humor, adding to evidence that humor may be hard-wired into the brain. A team at the University of Toronto and the Baycrest Center for Geriatric Care in Toronto found that people with damage to the right frontal lobe of their brains do not really "get" ironic jokes the way they should. Instead, they prefer slapstick humor. "We always thought of humor as an intangible part of our personality," Prathiba Shammi of the University of Toronto, a psychologist who worked on the study, said in a statement. "Now we know humor can be tested and scientifically scrutinized." Shammi compared the responses of 42 volunteers aged 18 to 70 to written and verbal jokes and cartoons. Half the group had a brain injury caused by stroke, tumor or surgical removal. People with damage to the right anterior frontal lobe were the least able to appreciate jokes and cartoons, Shammi reported in the journal Brain. Instead, they showed a preference for silly slapstick humor. Shammi gave an example of one of her jokes and the responses. A teen-ager is being interviewed for a summer job. "You'll get $ 50 a week to start off," says his boss. "Then after a month you'll get a raise to $75 a week. "Volunteers were offered three possible punch lines: a. "I'd like to take the job. When can I start?" b. "That's great! I'll come back in a month." c. "Hey boss, your nose is too big for your face!"

938.txt

The time of the recognition span can be affected by the following facts except _ .

Now let us look at how we read. When we read a printed text, our eyes move across a page in short, jerky movement. We recognize words usually when our eyes are still when they fixate. Each time they fixate, we see a group of words. This is known as the recognition span or the visual span. The length of time ofr which the eyes stop ---the duration of the fixation ----varies considerably from person to person. It also vaies within any one person according to his purpose in reading and his familiarity with the text. Furthermore, it can be affected by such factors as lighting and tiredness. Unfortunately, in the past, many reading improvement courses have concentrated too much on how our eyes move across the printed page. As a result of this misleading emphasis on the purely visual aspects of reading, numerous exercises have been devised to train the eyes to see more words at one fixation. For instance, in some exercises, words are flashed on to a screen for, say, a tenth or a twentieth of a second. One of the exercises has required students to fix their eyes on some central point, taking in the words on either side. Such word patterns are often constructed in the shape of rather steep pyramids so the reader takes in more and more words at each successive fixation. All these exercises are very clever, but it's one thing to improve a person's ability to see words and quite another thing to improve his ability to read a text efficiently. Reading requires the ability to understand the relationship between words. Consequently, for these reasons, many experts have now begun to question the usefulness of eye training, especially since any approach which trains a person to read isolated words and phrases would seem unlikely to help him in reading a continuous text.

1454.txt

The author may believe that reading _ .

Now let us look at how we read. When we read a printed text, our eyes move across a page in short, jerky movement. We recognize words usually when our eyes are still when they fixate. Each time they fixate, we see a group of words. This is known as the recognition span or the visual span. The length of time ofr which the eyes stop ---the duration of the fixation ----varies considerably from person to person. It also vaies within any one person according to his purpose in reading and his familiarity with the text. Furthermore, it can be affected by such factors as lighting and tiredness. Unfortunately, in the past, many reading improvement courses have concentrated too much on how our eyes move across the printed page. As a result of this misleading emphasis on the purely visual aspects of reading, numerous exercises have been devised to train the eyes to see more words at one fixation. For instance, in some exercises, words are flashed on to a screen for, say, a tenth or a twentieth of a second. One of the exercises has required students to fix their eyes on some central point, taking in the words on either side. Such word patterns are often constructed in the shape of rather steep pyramids so the reader takes in more and more words at each successive fixation. All these exercises are very clever, but it's one thing to improve a person's ability to see words and quite another thing to improve his ability to read a text efficiently. Reading requires the ability to understand the relationship between words. Consequently, for these reasons, many experts have now begun to question the usefulness of eye training, especially since any approach which trains a person to read isolated words and phrases would seem unlikely to help him in reading a continuous text.

1454.txt

" in the second parapraph?

Now let us look at how we read. When we read a printed text, our eyes move across a page in short, jerky movement. We recognize words usually when our eyes are still when they fixate. Each time they fixate, we see a group of words. This is known as the recognition span or the visual span. The length of time ofr which the eyes stop ---the duration of the fixation ----varies considerably from person to person. It also vaies within any one person according to his purpose in reading and his familiarity with the text. Furthermore, it can be affected by such factors as lighting and tiredness. Unfortunately, in the past, many reading improvement courses have concentrated too much on how our eyes move across the printed page. As a result of this misleading emphasis on the purely visual aspects of reading, numerous exercises have been devised to train the eyes to see more words at one fixation. For instance, in some exercises, words are flashed on to a screen for, say, a tenth or a twentieth of a second. One of the exercises has required students to fix their eyes on some central point, taking in the words on either side. Such word patterns are often constructed in the shape of rather steep pyramids so the reader takes in more and more words at each successive fixation. All these exercises are very clever, but it's one thing to improve a person's ability to see words and quite another thing to improve his ability to read a text efficiently. Reading requires the ability to understand the relationship between words. Consequently, for these reasons, many experts have now begun to question the usefulness of eye training, especially since any approach which trains a person to read isolated words and phrases would seem unlikely to help him in reading a continuous text.

1454.txt

Which of the following is NOT true?

Now let us look at how we read. When we read a printed text, our eyes move across a page in short, jerky movement. We recognize words usually when our eyes are still when they fixate. Each time they fixate, we see a group of words. This is known as the recognition span or the visual span. The length of time ofr which the eyes stop ---the duration of the fixation ----varies considerably from person to person. It also vaies within any one person according to his purpose in reading and his familiarity with the text. Furthermore, it can be affected by such factors as lighting and tiredness. Unfortunately, in the past, many reading improvement courses have concentrated too much on how our eyes move across the printed page. As a result of this misleading emphasis on the purely visual aspects of reading, numerous exercises have been devised to train the eyes to see more words at one fixation. For instance, in some exercises, words are flashed on to a screen for, say, a tenth or a twentieth of a second. One of the exercises has required students to fix their eyes on some central point, taking in the words on either side. Such word patterns are often constructed in the shape of rather steep pyramids so the reader takes in more and more words at each successive fixation. All these exercises are very clever, but it's one thing to improve a person's ability to see words and quite another thing to improve his ability to read a text efficiently. Reading requires the ability to understand the relationship between words. Consequently, for these reasons, many experts have now begun to question the usefulness of eye training, especially since any approach which trains a person to read isolated words and phrases would seem unlikely to help him in reading a continuous text.

1454.txt

The tune of the author in writing this article is _

Now let us look at how we read. When we read a printed text, our eyes move across a page in short, jerky movement. We recognize words usually when our eyes are still when they fixate. Each time they fixate, we see a group of words. This is known as the recognition span or the visual span. The length of time ofr which the eyes stop ---the duration of the fixation ----varies considerably from person to person. It also vaies within any one person according to his purpose in reading and his familiarity with the text. Furthermore, it can be affected by such factors as lighting and tiredness. Unfortunately, in the past, many reading improvement courses have concentrated too much on how our eyes move across the printed page. As a result of this misleading emphasis on the purely visual aspects of reading, numerous exercises have been devised to train the eyes to see more words at one fixation. For instance, in some exercises, words are flashed on to a screen for, say, a tenth or a twentieth of a second. One of the exercises has required students to fix their eyes on some central point, taking in the words on either side. Such word patterns are often constructed in the shape of rather steep pyramids so the reader takes in more and more words at each successive fixation. All these exercises are very clever, but it's one thing to improve a person's ability to see words and quite another thing to improve his ability to read a text efficiently. Reading requires the ability to understand the relationship between words. Consequently, for these reasons, many experts have now begun to question the usefulness of eye training, especially since any approach which trains a person to read isolated words and phrases would seem unlikely to help him in reading a continuous text.

1454.txt

According to Susie Orbach，_ .

Eating disorders is very common now."When I first wrote about this，the problem was pretty much hidden…I didn't expect ii to get：as bad as it is，"Susie Orbach，all intema'tional authority on eating disorders，said. Orbach must at times think the anti-diet message of her book"Fat is a Feminist Issue "has been lost since it was written more than 20 years ago. Girls，boys，old people-even the famously well-rounded female population of Fiji is failing victim to fat fears."If anything.the situation has got much，much worse.We nOW have kids as young aseight and women in old people's homes worried about the way they look，" Orbach said. Even though it has been proved that repeated dieting results in a little more than regaining most of the lost weight, constant dieting has become a way of life for many women.48 per cent of British women aged 25 t0 35 were on some kind of diet and that 20 per cent of young wonen dieted all or most of time.Some of them said they would pop a pill to give them their beautiful shape.even if it meant risking their health. Worldwide，70 million people have an eating disorder.Most are women，but men are increasingly affected，too. More than half the women and two-thirds of the men in Britain weigh too much，while in the United States more than one quarter of adults and about one in five children are overweight.The idea that female beauty is a very thin body could be changed，if clothing factories and magazines showed images of women of an shapes instead of selecting skeletal-like models and stick.thin actresses. But that is easier said than done. To get her message across.Orbach is also considering talking to pop stars such as Victoria Beckham and Geri Halliwell，both of whom have admitted having suffered from eating disorders.

1862.txt

Why did people fear being fat?Because_ .

Eating disorders is very common now."When I first wrote about this，the problem was pretty much hidden…I didn't expect ii to get：as bad as it is，"Susie Orbach，all intema'tional authority on eating disorders，said. Orbach must at times think the anti-diet message of her book"Fat is a Feminist Issue "has been lost since it was written more than 20 years ago. Girls，boys，old people-even the famously well-rounded female population of Fiji is failing victim to fat fears."If anything.the situation has got much，much worse.We nOW have kids as young aseight and women in old people's homes worried about the way they look，" Orbach said. Even though it has been proved that repeated dieting results in a little more than regaining most of the lost weight, constant dieting has become a way of life for many women.48 per cent of British women aged 25 t0 35 were on some kind of diet and that 20 per cent of young wonen dieted all or most of time.Some of them said they would pop a pill to give them their beautiful shape.even if it meant risking their health. Worldwide，70 million people have an eating disorder.Most are women，but men are increasingly affected，too. More than half the women and two-thirds of the men in Britain weigh too much，while in the United States more than one quarter of adults and about one in five children are overweight.The idea that female beauty is a very thin body could be changed，if clothing factories and magazines showed images of women of an shapes instead of selecting skeletal-like models and stick.thin actresses. But that is easier said than done. To get her message across.Orbach is also considering talking to pop stars such as Victoria Beckham and Geri Halliwell，both of whom have admitted having suffered from eating disorders.

1862.txt

Even if repeated dieting results in more than regaining most of the lost weight，in Britain_ .

Eating disorders is very common now."When I first wrote about this，the problem was pretty much hidden…I didn't expect ii to get：as bad as it is，"Susie Orbach，all intema'tional authority on eating disorders，said. Orbach must at times think the anti-diet message of her book"Fat is a Feminist Issue "has been lost since it was written more than 20 years ago. Girls，boys，old people-even the famously well-rounded female population of Fiji is failing victim to fat fears."If anything.the situation has got much，much worse.We nOW have kids as young aseight and women in old people's homes worried about the way they look，" Orbach said. Even though it has been proved that repeated dieting results in a little more than regaining most of the lost weight, constant dieting has become a way of life for many women.48 per cent of British women aged 25 t0 35 were on some kind of diet and that 20 per cent of young wonen dieted all or most of time.Some of them said they would pop a pill to give them their beautiful shape.even if it meant risking their health. Worldwide，70 million people have an eating disorder.Most are women，but men are increasingly affected，too. More than half the women and two-thirds of the men in Britain weigh too much，while in the United States more than one quarter of adults and about one in five children are overweight.The idea that female beauty is a very thin body could be changed，if clothing factories and magazines showed images of women of an shapes instead of selecting skeletal-like models and stick.thin actresses. But that is easier said than done. To get her message across.Orbach is also considering talking to pop stars such as Victoria Beckham and Geri Halliwell，both of whom have admitted having suffered from eating disorders.

1862.txt

Which of the following is NOT true?

Eating disorders is very common now."When I first wrote about this，the problem was pretty much hidden…I didn't expect ii to get：as bad as it is，"Susie Orbach，all intema'tional authority on eating disorders，said. Orbach must at times think the anti-diet message of her book"Fat is a Feminist Issue "has been lost since it was written more than 20 years ago. Girls，boys，old people-even the famously well-rounded female population of Fiji is failing victim to fat fears."If anything.the situation has got much，much worse.We nOW have kids as young aseight and women in old people's homes worried about the way they look，" Orbach said. Even though it has been proved that repeated dieting results in a little more than regaining most of the lost weight, constant dieting has become a way of life for many women.48 per cent of British women aged 25 t0 35 were on some kind of diet and that 20 per cent of young wonen dieted all or most of time.Some of them said they would pop a pill to give them their beautiful shape.even if it meant risking their health. Worldwide，70 million people have an eating disorder.Most are women，but men are increasingly affected，too. More than half the women and two-thirds of the men in Britain weigh too much，while in the United States more than one quarter of adults and about one in five children are overweight.The idea that female beauty is a very thin body could be changed，if clothing factories and magazines showed images of women of an shapes instead of selecting skeletal-like models and stick.thin actresses. But that is easier said than done. To get her message across.Orbach is also considering talking to pop stars such as Victoria Beckham and Geri Halliwell，both of whom have admitted having suffered from eating disorders.

1862.txt

What was the University of Kent famous for?

Until recently, the University of Kent prided itself on its friendly image. Not any more. Over thepast few months it has been working hard, with the help of media consultants, to play down its cosyreputation in favour of something more academic and serious. Kent is not alone in considering an image revamp . Changes to next year's funding regime are forcing universities to justify charging students up to ~9000 in fees. Nowadays universities are putting much more of a focus on their brands and what their valuepropositions are. While in the past universities have often focused on student social life and attractions ofthe university town in recruitment campaigns, they are now concentrating on more tangible attractions, such as employment prospects, engagement with industry, and lecturer contact hours, makingclear exactly what students are going to get for their money. The l~roblem for universities is that if those benefits fail to materialise, students notice. That worriesRob Behrens, who deals with student complaints. "Universities need to be extremely careful in describingwhat's going to happen to students," he says. "As competition is going to get greater for attracting gifted students, there is a danger that universities will go the extra mile." One university told prospective engineering students they would be able to design a car and race it atBrands Hatch, which never happened, he says. Others have promised use of sophisticated equipment thatturned out to be broken or unavailable. "If universities spent as much money on handling complaints andappeals appropriately as they spend on marketing, they would do better at keeping students, and in theNational Student Survey returns," he says. Ongoing research tracking prospective 2012 students suggests that they are not only becoming moresophisticated in thinking about what they want from a university, but are also spending more timeresearching evidence to back up institutional claims. Hence the growing importance of the student survey. From next September, all institutions will alsobe expected to publish on their websites key information sets, allowing easier comparison betweeninstitutions, between promises and reality, and the types of jobs and salaries graduates go on to. As a result, it is hardly surprising that universities are beginning to change the way they marketthemselves. While the best form of marketing for institutions is to be good at what they do, they also needto be clear about how they are different from others. And it is vital that once an institution claims to be particularly good at something, it must live up to it. The moment you position yourself, you become exposed, and if you fail in that you are in trouble.

1436.txt

What are universities trying to do to attract students?

Until recently, the University of Kent prided itself on its friendly image. Not any more. Over thepast few months it has been working hard, with the help of media consultants, to play down its cosyreputation in favour of something more academic and serious. Kent is not alone in considering an image revamp . Changes to next year's funding regime are forcing universities to justify charging students up to ~9000 in fees. Nowadays universities are putting much more of a focus on their brands and what their valuepropositions are. While in the past universities have often focused on student social life and attractions ofthe university town in recruitment campaigns, they are now concentrating on more tangible attractions, such as employment prospects, engagement with industry, and lecturer contact hours, makingclear exactly what students are going to get for their money. The l~roblem for universities is that if those benefits fail to materialise, students notice. That worriesRob Behrens, who deals with student complaints. "Universities need to be extremely careful in describingwhat's going to happen to students," he says. "As competition is going to get greater for attracting gifted students, there is a danger that universities will go the extra mile." One university told prospective engineering students they would be able to design a car and race it atBrands Hatch, which never happened, he says. Others have promised use of sophisticated equipment thatturned out to be broken or unavailable. "If universities spent as much money on handling complaints andappeals appropriately as they spend on marketing, they would do better at keeping students, and in theNational Student Survey returns," he says. Ongoing research tracking prospective 2012 students suggests that they are not only becoming moresophisticated in thinking about what they want from a university, but are also spending more timeresearching evidence to back up institutional claims. Hence the growing importance of the student survey. From next September, all institutions will alsobe expected to publish on their websites key information sets, allowing easier comparison betweeninstitutions, between promises and reality, and the types of jobs and salaries graduates go on to. As a result, it is hardly surprising that universities are beginning to change the way they marketthemselves. While the best form of marketing for institutions is to be good at what they do, they also needto be clear about how they are different from others. And it is vital that once an institution claims to be particularly good at something, it must live up to it. The moment you position yourself, you become exposed, and if you fail in that you are in trouble.

1436.txt

What does Rob Behrens suggest universities do in marketing themselves?

Until recently, the University of Kent prided itself on its friendly image. Not any more. Over thepast few months it has been working hard, with the help of media consultants, to play down its cosyreputation in favour of something more academic and serious. Kent is not alone in considering an image revamp . Changes to next year's funding regime are forcing universities to justify charging students up to ~9000 in fees. Nowadays universities are putting much more of a focus on their brands and what their valuepropositions are. While in the past universities have often focused on student social life and attractions ofthe university town in recruitment campaigns, they are now concentrating on more tangible attractions, such as employment prospects, engagement with industry, and lecturer contact hours, makingclear exactly what students are going to get for their money. The l~roblem for universities is that if those benefits fail to materialise, students notice. That worriesRob Behrens, who deals with student complaints. "Universities need to be extremely careful in describingwhat's going to happen to students," he says. "As competition is going to get greater for attracting gifted students, there is a danger that universities will go the extra mile." One university told prospective engineering students they would be able to design a car and race it atBrands Hatch, which never happened, he says. Others have promised use of sophisticated equipment thatturned out to be broken or unavailable. "If universities spent as much money on handling complaints andappeals appropriately as they spend on marketing, they would do better at keeping students, and in theNational Student Survey returns," he says. Ongoing research tracking prospective 2012 students suggests that they are not only becoming moresophisticated in thinking about what they want from a university, but are also spending more timeresearching evidence to back up institutional claims. Hence the growing importance of the student survey. From next September, all institutions will alsobe expected to publish on their websites key information sets, allowing easier comparison betweeninstitutions, between promises and reality, and the types of jobs and salaries graduates go on to. As a result, it is hardly surprising that universities are beginning to change the way they marketthemselves. While the best form of marketing for institutions is to be good at what they do, they also needto be clear about how they are different from others. And it is vital that once an institution claims to be particularly good at something, it must live up to it. The moment you position yourself, you become exposed, and if you fail in that you are in trouble.

1436.txt

What is students' chief consideration in choosing a university?

Until recently, the University of Kent prided itself on its friendly image. Not any more. Over thepast few months it has been working hard, with the help of media consultants, to play down its cosyreputation in favour of something more academic and serious. Kent is not alone in considering an image revamp . Changes to next year's funding regime are forcing universities to justify charging students up to ~9000 in fees. Nowadays universities are putting much more of a focus on their brands and what their valuepropositions are. While in the past universities have often focused on student social life and attractions ofthe university town in recruitment campaigns, they are now concentrating on more tangible attractions, such as employment prospects, engagement with industry, and lecturer contact hours, makingclear exactly what students are going to get for their money. The l~roblem for universities is that if those benefits fail to materialise, students notice. That worriesRob Behrens, who deals with student complaints. "Universities need to be extremely careful in describingwhat's going to happen to students," he says. "As competition is going to get greater for attracting gifted students, there is a danger that universities will go the extra mile." One university told prospective engineering students they would be able to design a car and race it atBrands Hatch, which never happened, he says. Others have promised use of sophisticated equipment thatturned out to be broken or unavailable. "If universities spent as much money on handling complaints andappeals appropriately as they spend on marketing, they would do better at keeping students, and in theNational Student Survey returns," he says. Ongoing research tracking prospective 2012 students suggests that they are not only becoming moresophisticated in thinking about what they want from a university, but are also spending more timeresearching evidence to back up institutional claims. Hence the growing importance of the student survey. From next September, all institutions will alsobe expected to publish on their websites key information sets, allowing easier comparison betweeninstitutions, between promises and reality, and the types of jobs and salaries graduates go on to. As a result, it is hardly surprising that universities are beginning to change the way they marketthemselves. While the best form of marketing for institutions is to be good at what they do, they also needto be clear about how they are different from others. And it is vital that once an institution claims to be particularly good at something, it must live up to it. The moment you position yourself, you become exposed, and if you fail in that you are in trouble.

1436.txt

What must universities show to win recruitment campaigns?

Until recently, the University of Kent prided itself on its friendly image. Not any more. Over thepast few months it has been working hard, with the help of media consultants, to play down its cosyreputation in favour of something more academic and serious. Kent is not alone in considering an image revamp . Changes to next year's funding regime are forcing universities to justify charging students up to ~9000 in fees. Nowadays universities are putting much more of a focus on their brands and what their valuepropositions are. While in the past universities have often focused on student social life and attractions ofthe university town in recruitment campaigns, they are now concentrating on more tangible attractions, such as employment prospects, engagement with industry, and lecturer contact hours, makingclear exactly what students are going to get for their money. The l~roblem for universities is that if those benefits fail to materialise, students notice. That worriesRob Behrens, who deals with student complaints. "Universities need to be extremely careful in describingwhat's going to happen to students," he says. "As competition is going to get greater for attracting gifted students, there is a danger that universities will go the extra mile." One university told prospective engineering students they would be able to design a car and race it atBrands Hatch, which never happened, he says. Others have promised use of sophisticated equipment thatturned out to be broken or unavailable. "If universities spent as much money on handling complaints andappeals appropriately as they spend on marketing, they would do better at keeping students, and in theNational Student Survey returns," he says. Ongoing research tracking prospective 2012 students suggests that they are not only becoming moresophisticated in thinking about what they want from a university, but are also spending more timeresearching evidence to back up institutional claims. Hence the growing importance of the student survey. From next September, all institutions will alsobe expected to publish on their websites key information sets, allowing easier comparison betweeninstitutions, between promises and reality, and the types of jobs and salaries graduates go on to. As a result, it is hardly surprising that universities are beginning to change the way they marketthemselves. While the best form of marketing for institutions is to be good at what they do, they also needto be clear about how they are different from others. And it is vital that once an institution claims to be particularly good at something, it must live up to it. The moment you position yourself, you become exposed, and if you fail in that you are in trouble.

1436.txt

The writer chiefly talks about _ .

Want a glance of the future of health care? Take a look at the way the various networks of people about patient care are being connected to one another, and how this new connectivity is being exploited to deliver medicine to the patient -no matter where he or she may be. Online doctors offering advice based on normal symptoms are the most obvious example. Increasingly, however, remote diagnosis will be based on real physiological data from the actual patient. A group from the University of Kentucky has shown that by using personal data assistance plus a mobile phone, it is perfectly practical to send a patient's important signs over the telephone. With this kind of equipment, the cry asking whether there was a doctor in the house could well be a thing of the past. Other medical technology groups are working on applying telemedicine to rural(countryside) care. And at least one team wants to use telemedicine as a tool for disaster need-especially after earthquakes. On the whole, the trend is towards providing global access to medical data and experts' opinions. But there is one problem. Bandwidth is the limiting factor for sending complex medical pictures around the world - CT photos being one of the biggest bandwidth users. Communication satellites may be able to deal with the short-term needs during disasters such as earthquakes or wars. But medicine is looking towards both the second-generation Internet and third-generation mobile phones for the future of remote medical service. Doctors have met to discuss computer-based tools for medical diagnosis, training and telemedicine. With the falling price of broadband communications, the new technologies should start a new time when telemedicine and the sharing of medical information, experts' opinions and diagnosis are common.

2857.txt

The basis of remote diagnosis will be _ .

Want a glance of the future of health care? Take a look at the way the various networks of people about patient care are being connected to one another, and how this new connectivity is being exploited to deliver medicine to the patient -no matter where he or she may be. Online doctors offering advice based on normal symptoms are the most obvious example. Increasingly, however, remote diagnosis will be based on real physiological data from the actual patient. A group from the University of Kentucky has shown that by using personal data assistance plus a mobile phone, it is perfectly practical to send a patient's important signs over the telephone. With this kind of equipment, the cry asking whether there was a doctor in the house could well be a thing of the past. Other medical technology groups are working on applying telemedicine to rural(countryside) care. And at least one team wants to use telemedicine as a tool for disaster need-especially after earthquakes. On the whole, the trend is towards providing global access to medical data and experts' opinions. But there is one problem. Bandwidth is the limiting factor for sending complex medical pictures around the world - CT photos being one of the biggest bandwidth users. Communication satellites may be able to deal with the short-term needs during disasters such as earthquakes or wars. But medicine is looking towards both the second-generation Internet and third-generation mobile phones for the future of remote medical service. Doctors have met to discuss computer-based tools for medical diagnosis, training and telemedicine. With the falling price of broadband communications, the new technologies should start a new time when telemedicine and the sharing of medical information, experts' opinions and diagnosis are common.

2857.txt

Which of the following statements is true according to the text？

Want a glance of the future of health care? Take a look at the way the various networks of people about patient care are being connected to one another, and how this new connectivity is being exploited to deliver medicine to the patient -no matter where he or she may be. Online doctors offering advice based on normal symptoms are the most obvious example. Increasingly, however, remote diagnosis will be based on real physiological data from the actual patient. A group from the University of Kentucky has shown that by using personal data assistance plus a mobile phone, it is perfectly practical to send a patient's important signs over the telephone. With this kind of equipment, the cry asking whether there was a doctor in the house could well be a thing of the past. Other medical technology groups are working on applying telemedicine to rural(countryside) care. And at least one team wants to use telemedicine as a tool for disaster need-especially after earthquakes. On the whole, the trend is towards providing global access to medical data and experts' opinions. But there is one problem. Bandwidth is the limiting factor for sending complex medical pictures around the world - CT photos being one of the biggest bandwidth users. Communication satellites may be able to deal with the short-term needs during disasters such as earthquakes or wars. But medicine is looking towards both the second-generation Internet and third-generation mobile phones for the future of remote medical service. Doctors have met to discuss computer-based tools for medical diagnosis, training and telemedicine. With the falling price of broadband communications, the new technologies should start a new time when telemedicine and the sharing of medical information, experts' opinions and diagnosis are common.

2857.txt

The "problem" in the fourth paragraph refers to the fact that _ .

Want a glance of the future of health care? Take a look at the way the various networks of people about patient care are being connected to one another, and how this new connectivity is being exploited to deliver medicine to the patient -no matter where he or she may be. Online doctors offering advice based on normal symptoms are the most obvious example. Increasingly, however, remote diagnosis will be based on real physiological data from the actual patient. A group from the University of Kentucky has shown that by using personal data assistance plus a mobile phone, it is perfectly practical to send a patient's important signs over the telephone. With this kind of equipment, the cry asking whether there was a doctor in the house could well be a thing of the past. Other medical technology groups are working on applying telemedicine to rural(countryside) care. And at least one team wants to use telemedicine as a tool for disaster need-especially after earthquakes. On the whole, the trend is towards providing global access to medical data and experts' opinions. But there is one problem. Bandwidth is the limiting factor for sending complex medical pictures around the world - CT photos being one of the biggest bandwidth users. Communication satellites may be able to deal with the short-term needs during disasters such as earthquakes or wars. But medicine is looking towards both the second-generation Internet and third-generation mobile phones for the future of remote medical service. Doctors have met to discuss computer-based tools for medical diagnosis, training and telemedicine. With the falling price of broadband communications, the new technologies should start a new time when telemedicine and the sharing of medical information, experts' opinions and diagnosis are common.

2857.txt

Which one of the following statements is TRUE of the strike?

Thousands of writers in Los Angeles and New York went on strike this week, risking their incomes and careers. They want more money for their work when it is used online than Hollywood studios are willing to pay. Because the strike is over matters of principle, not just dollars and cents, it could last for months. The immediate effect was to shut down late-night talk shows, including "Late Show with David Letterman" and "The Tonight Show with Jay Leno". If the last writers' strike, in 1988, is any guide, the talk shows will stay silent for a couple of months before going back on air without scripts. Soaps will be next to go, in a week or two; then prime-time dramas, a few weeks later. Some say the film business is safe, because studios have stockpiled scripts. But scripts often need tweaking by writers at the last minute. Media companies argue that the market has become increasingly competitive and uncertain for many reasons, including internet piracy and tumbling box-office receipts. They want to cut writers' income from "residuals", which are payments made when a TV show is re-used. The writers are determined not to repeat the mistake they made in 1985, when they listened to the studios' plea that home video was an unproven new market and agreed to a residual payment of 0.3%, which translates into about four cents for each sale of a DVD-or one-tenth of what DVD-box manufacturers get. The writers now want a residual payment of 2.5% for re-use of material online and on mobile phones. The studios say that internet delivery is the same as home video, so the old rate still applies. And they refuse to pay anything to writers when content is streamed over the internet free to viewers, supported by ads, because this is merely "promotion". Both sides made last-minute concessions on traditional-media payments. But because new-media rights are so critical to the future earnings of writers and studios, neither was willing to compromise. Who will suffer the most? "The strike won't affect most studios unless the writers stay out three to five months," says a senior executive at a media conglomerate. Because writers on reality and animation programmes are not unionised, the networks will be able to switch to other forms of programming; sport will fill the gaps, too. But Moody's, a credit-rating agency, reckons that a strike lasting into late 2008 would have a serious financial impact. Broadcast networks and premium-cable channels would be hurt most, because they rely most on first-run scripted shows. Some writers, of course, are wealthy. "I'm walking the picket line with some guys who are worth millions," says Lou DiMaggio, a reality- and game-show writer who won an Emmy award for "Win Ben Stein's Money". But the vast majority of writers, he says, earn about $50,000-75,000 a year. Mr DiMaggio says he backed out of buying a house because of the strike; junior writers may have to go back to waiting tables. Luckily for Hollywood, however, most scribes are too devoted to their calling to be put off. Gary Goldman, a writer picketing outside Fox Studios who has worked on science-fiction thrillers such as "Minority Report", says that many writers will spend their free time working on screenplays that they hope to sell to the studios on spec.

3469.txt

The writers made a mistake in the strike of 1985 because _

Thousands of writers in Los Angeles and New York went on strike this week, risking their incomes and careers. They want more money for their work when it is used online than Hollywood studios are willing to pay. Because the strike is over matters of principle, not just dollars and cents, it could last for months. The immediate effect was to shut down late-night talk shows, including "Late Show with David Letterman" and "The Tonight Show with Jay Leno". If the last writers' strike, in 1988, is any guide, the talk shows will stay silent for a couple of months before going back on air without scripts. Soaps will be next to go, in a week or two; then prime-time dramas, a few weeks later. Some say the film business is safe, because studios have stockpiled scripts. But scripts often need tweaking by writers at the last minute. Media companies argue that the market has become increasingly competitive and uncertain for many reasons, including internet piracy and tumbling box-office receipts. They want to cut writers' income from "residuals", which are payments made when a TV show is re-used. The writers are determined not to repeat the mistake they made in 1985, when they listened to the studios' plea that home video was an unproven new market and agreed to a residual payment of 0.3%, which translates into about four cents for each sale of a DVD-or one-tenth of what DVD-box manufacturers get. The writers now want a residual payment of 2.5% for re-use of material online and on mobile phones. The studios say that internet delivery is the same as home video, so the old rate still applies. And they refuse to pay anything to writers when content is streamed over the internet free to viewers, supported by ads, because this is merely "promotion". Both sides made last-minute concessions on traditional-media payments. But because new-media rights are so critical to the future earnings of writers and studios, neither was willing to compromise. Who will suffer the most? "The strike won't affect most studios unless the writers stay out three to five months," says a senior executive at a media conglomerate. Because writers on reality and animation programmes are not unionised, the networks will be able to switch to other forms of programming; sport will fill the gaps, too. But Moody's, a credit-rating agency, reckons that a strike lasting into late 2008 would have a serious financial impact. Broadcast networks and premium-cable channels would be hurt most, because they rely most on first-run scripted shows. Some writers, of course, are wealthy. "I'm walking the picket line with some guys who are worth millions," says Lou DiMaggio, a reality- and game-show writer who won an Emmy award for "Win Ben Stein's Money". But the vast majority of writers, he says, earn about $50,000-75,000 a year. Mr DiMaggio says he backed out of buying a house because of the strike; junior writers may have to go back to waiting tables. Luckily for Hollywood, however, most scribes are too devoted to their calling to be put off. Gary Goldman, a writer picketing outside Fox Studios who has worked on science-fiction thrillers such as "Minority Report", says that many writers will spend their free time working on screenplays that they hope to sell to the studios on spec.

3469.txt

In the end the writers and the studios made a compromise on _

Thousands of writers in Los Angeles and New York went on strike this week, risking their incomes and careers. They want more money for their work when it is used online than Hollywood studios are willing to pay. Because the strike is over matters of principle, not just dollars and cents, it could last for months. The immediate effect was to shut down late-night talk shows, including "Late Show with David Letterman" and "The Tonight Show with Jay Leno". If the last writers' strike, in 1988, is any guide, the talk shows will stay silent for a couple of months before going back on air without scripts. Soaps will be next to go, in a week or two; then prime-time dramas, a few weeks later. Some say the film business is safe, because studios have stockpiled scripts. But scripts often need tweaking by writers at the last minute. Media companies argue that the market has become increasingly competitive and uncertain for many reasons, including internet piracy and tumbling box-office receipts. They want to cut writers' income from "residuals", which are payments made when a TV show is re-used. The writers are determined not to repeat the mistake they made in 1985, when they listened to the studios' plea that home video was an unproven new market and agreed to a residual payment of 0.3%, which translates into about four cents for each sale of a DVD-or one-tenth of what DVD-box manufacturers get. The writers now want a residual payment of 2.5% for re-use of material online and on mobile phones. The studios say that internet delivery is the same as home video, so the old rate still applies. And they refuse to pay anything to writers when content is streamed over the internet free to viewers, supported by ads, because this is merely "promotion". Both sides made last-minute concessions on traditional-media payments. But because new-media rights are so critical to the future earnings of writers and studios, neither was willing to compromise. Who will suffer the most? "The strike won't affect most studios unless the writers stay out three to five months," says a senior executive at a media conglomerate. Because writers on reality and animation programmes are not unionised, the networks will be able to switch to other forms of programming; sport will fill the gaps, too. But Moody's, a credit-rating agency, reckons that a strike lasting into late 2008 would have a serious financial impact. Broadcast networks and premium-cable channels would be hurt most, because they rely most on first-run scripted shows. Some writers, of course, are wealthy. "I'm walking the picket line with some guys who are worth millions," says Lou DiMaggio, a reality- and game-show writer who won an Emmy award for "Win Ben Stein's Money". But the vast majority of writers, he says, earn about $50,000-75,000 a year. Mr DiMaggio says he backed out of buying a house because of the strike; junior writers may have to go back to waiting tables. Luckily for Hollywood, however, most scribes are too devoted to their calling to be put off. Gary Goldman, a writer picketing outside Fox Studios who has worked on science-fiction thrillers such as "Minority Report", says that many writers will spend their free time working on screenplays that they hope to sell to the studios on spec.

3469.txt

The word "unionised" (Line 3, Paragraph 4) most probably means _

Thousands of writers in Los Angeles and New York went on strike this week, risking their incomes and careers. They want more money for their work when it is used online than Hollywood studios are willing to pay. Because the strike is over matters of principle, not just dollars and cents, it could last for months. The immediate effect was to shut down late-night talk shows, including "Late Show with David Letterman" and "The Tonight Show with Jay Leno". If the last writers' strike, in 1988, is any guide, the talk shows will stay silent for a couple of months before going back on air without scripts. Soaps will be next to go, in a week or two; then prime-time dramas, a few weeks later. Some say the film business is safe, because studios have stockpiled scripts. But scripts often need tweaking by writers at the last minute. Media companies argue that the market has become increasingly competitive and uncertain for many reasons, including internet piracy and tumbling box-office receipts. They want to cut writers' income from "residuals", which are payments made when a TV show is re-used. The writers are determined not to repeat the mistake they made in 1985, when they listened to the studios' plea that home video was an unproven new market and agreed to a residual payment of 0.3%, which translates into about four cents for each sale of a DVD-or one-tenth of what DVD-box manufacturers get. The writers now want a residual payment of 2.5% for re-use of material online and on mobile phones. The studios say that internet delivery is the same as home video, so the old rate still applies. And they refuse to pay anything to writers when content is streamed over the internet free to viewers, supported by ads, because this is merely "promotion". Both sides made last-minute concessions on traditional-media payments. But because new-media rights are so critical to the future earnings of writers and studios, neither was willing to compromise. Who will suffer the most? "The strike won't affect most studios unless the writers stay out three to five months," says a senior executive at a media conglomerate. Because writers on reality and animation programmes are not unionised, the networks will be able to switch to other forms of programming; sport will fill the gaps, too. But Moody's, a credit-rating agency, reckons that a strike lasting into late 2008 would have a serious financial impact. Broadcast networks and premium-cable channels would be hurt most, because they rely most on first-run scripted shows. Some writers, of course, are wealthy. "I'm walking the picket line with some guys who are worth millions," says Lou DiMaggio, a reality- and game-show writer who won an Emmy award for "Win Ben Stein's Money". But the vast majority of writers, he says, earn about $50,000-75,000 a year. Mr DiMaggio says he backed out of buying a house because of the strike; junior writers may have to go back to waiting tables. Luckily for Hollywood, however, most scribes are too devoted to their calling to be put off. Gary Goldman, a writer picketing outside Fox Studios who has worked on science-fiction thrillers such as "Minority Report", says that many writers will spend their free time working on screenplays that they hope to sell to the studios on spec.

3469.txt

The screenplays are written by the writers in their free time will be sold to the studios _

Thousands of writers in Los Angeles and New York went on strike this week, risking their incomes and careers. They want more money for their work when it is used online than Hollywood studios are willing to pay. Because the strike is over matters of principle, not just dollars and cents, it could last for months. The immediate effect was to shut down late-night talk shows, including "Late Show with David Letterman" and "The Tonight Show with Jay Leno". If the last writers' strike, in 1988, is any guide, the talk shows will stay silent for a couple of months before going back on air without scripts. Soaps will be next to go, in a week or two; then prime-time dramas, a few weeks later. Some say the film business is safe, because studios have stockpiled scripts. But scripts often need tweaking by writers at the last minute. Media companies argue that the market has become increasingly competitive and uncertain for many reasons, including internet piracy and tumbling box-office receipts. They want to cut writers' income from "residuals", which are payments made when a TV show is re-used. The writers are determined not to repeat the mistake they made in 1985, when they listened to the studios' plea that home video was an unproven new market and agreed to a residual payment of 0.3%, which translates into about four cents for each sale of a DVD-or one-tenth of what DVD-box manufacturers get. The writers now want a residual payment of 2.5% for re-use of material online and on mobile phones. The studios say that internet delivery is the same as home video, so the old rate still applies. And they refuse to pay anything to writers when content is streamed over the internet free to viewers, supported by ads, because this is merely "promotion". Both sides made last-minute concessions on traditional-media payments. But because new-media rights are so critical to the future earnings of writers and studios, neither was willing to compromise. Who will suffer the most? "The strike won't affect most studios unless the writers stay out three to five months," says a senior executive at a media conglomerate. Because writers on reality and animation programmes are not unionised, the networks will be able to switch to other forms of programming; sport will fill the gaps, too. But Moody's, a credit-rating agency, reckons that a strike lasting into late 2008 would have a serious financial impact. Broadcast networks and premium-cable channels would be hurt most, because they rely most on first-run scripted shows. Some writers, of course, are wealthy. "I'm walking the picket line with some guys who are worth millions," says Lou DiMaggio, a reality- and game-show writer who won an Emmy award for "Win Ben Stein's Money". But the vast majority of writers, he says, earn about $50,000-75,000 a year. Mr DiMaggio says he backed out of buying a house because of the strike; junior writers may have to go back to waiting tables. Luckily for Hollywood, however, most scribes are too devoted to their calling to be put off. Gary Goldman, a writer picketing outside Fox Studios who has worked on science-fiction thrillers such as "Minority Report", says that many writers will spend their free time working on screenplays that they hope to sell to the studios on spec.

3469.txt

What can be inferred from paragraph 1 about theatrical dance in the late nineteenth century?

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

According to paragraph 2, all of the following are characteristic of Fuller's type of dance EXCEPT

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

The word prestigious in the passage is closest in meaning to

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

The word engaged in the passage is closest in meaning to

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

The word synthesize in the passage is closest in meaning to

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

According to paragraph 3, why was Fuller's work well received in Paris?

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

According to paragraph 4, Fuller's Fire Dance was notable in part for its

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

Why does the author mention Fuller's The Sea?

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

The word agitated in the passage is closest in meaning to

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

According to paragraph 6, what was true of Fuller's theater at the Paris Exposition?

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

The passage mentions which of the following as a dance of Fuller's that was set to music?

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects-Fire, the Lily, the Butterfly, and so on-and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films-then in an early stage of development-and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.

1617.txt

The subject of article is_ .

The common view in social science of love relationships is not that opposites attract but that like attracts like. People fall in Jove with others who share their interests and whose personalities are similar. Hill, Rubin, and Peplau(1976) found only slight support for this view. On a great many characteristics, couples were not alike. On others, couples were only somewhat alike. Couples did tend to be about the same age, to be equally good looking, to have similar IQ scores, to be of the same religion, and to want the same number of children. But on each of these things, quite a few couples differed from one another. In fact, on only one question did most agree: on whether they were "in love". The early interviews failed to find that being alike was very important in bringing couples together. The follow-up interviews found that similarities were much more important in keeping couples together. Those who were together after two years were much more closely matched than couples who broke up, especially in terms of age, IQ, college plans, and looks. Thus, couples were much more likely to break up if one person was a lot smarter, better looking, or older. It is easy to imagine why these differences would matter. If one person is much smarter or more mature than the other, this could cause conflicts. If one person is much better looking, he or she will have more chances for other relationships. Yet other things that would seem as important turned out not to matter. Those who stayed together differed not at all from those who broke up in how alike they were on religion, sex role ideas, beliefs about sex, idealism, or the number of children they wanted. Surely, one might suppose that marked difference in sex role attitudes could cause friction or that religious differences might lead to breakups. But there was no evidence of this. In fact, conflict was not one of the main reasons people gave for breaking up. Most said they broke up because they got bored with the other person. Often this caused one of the pair to become interested in someone else, thus prompting the split. Perhaps surprisingly, the woman got involved with someone else far more often than the man. Also, women were much more likely to suggest a breakup than men, regardless of the grounds. However, people were more likely to remain friends after the breakup if the man asked for the split. This suggests that the man is more sensitive to rejection.

1470.txt

The view that "like attracts like"_ .

The common view in social science of love relationships is not that opposites attract but that like attracts like. People fall in Jove with others who share their interests and whose personalities are similar. Hill, Rubin, and Peplau(1976) found only slight support for this view. On a great many characteristics, couples were not alike. On others, couples were only somewhat alike. Couples did tend to be about the same age, to be equally good looking, to have similar IQ scores, to be of the same religion, and to want the same number of children. But on each of these things, quite a few couples differed from one another. In fact, on only one question did most agree: on whether they were "in love". The early interviews failed to find that being alike was very important in bringing couples together. The follow-up interviews found that similarities were much more important in keeping couples together. Those who were together after two years were much more closely matched than couples who broke up, especially in terms of age, IQ, college plans, and looks. Thus, couples were much more likely to break up if one person was a lot smarter, better looking, or older. It is easy to imagine why these differences would matter. If one person is much smarter or more mature than the other, this could cause conflicts. If one person is much better looking, he or she will have more chances for other relationships. Yet other things that would seem as important turned out not to matter. Those who stayed together differed not at all from those who broke up in how alike they were on religion, sex role ideas, beliefs about sex, idealism, or the number of children they wanted. Surely, one might suppose that marked difference in sex role attitudes could cause friction or that religious differences might lead to breakups. But there was no evidence of this. In fact, conflict was not one of the main reasons people gave for breaking up. Most said they broke up because they got bored with the other person. Often this caused one of the pair to become interested in someone else, thus prompting the split. Perhaps surprisingly, the woman got involved with someone else far more often than the man. Also, women were much more likely to suggest a breakup than men, regardless of the grounds. However, people were more likely to remain friends after the breakup if the man asked for the split. This suggests that the man is more sensitive to rejection.

1470.txt

One similarity that seemed important to the success of a relationship was_

The common view in social science of love relationships is not that opposites attract but that like attracts like. People fall in Jove with others who share their interests and whose personalities are similar. Hill, Rubin, and Peplau(1976) found only slight support for this view. On a great many characteristics, couples were not alike. On others, couples were only somewhat alike. Couples did tend to be about the same age, to be equally good looking, to have similar IQ scores, to be of the same religion, and to want the same number of children. But on each of these things, quite a few couples differed from one another. In fact, on only one question did most agree: on whether they were "in love". The early interviews failed to find that being alike was very important in bringing couples together. The follow-up interviews found that similarities were much more important in keeping couples together. Those who were together after two years were much more closely matched than couples who broke up, especially in terms of age, IQ, college plans, and looks. Thus, couples were much more likely to break up if one person was a lot smarter, better looking, or older. It is easy to imagine why these differences would matter. If one person is much smarter or more mature than the other, this could cause conflicts. If one person is much better looking, he or she will have more chances for other relationships. Yet other things that would seem as important turned out not to matter. Those who stayed together differed not at all from those who broke up in how alike they were on religion, sex role ideas, beliefs about sex, idealism, or the number of children they wanted. Surely, one might suppose that marked difference in sex role attitudes could cause friction or that religious differences might lead to breakups. But there was no evidence of this. In fact, conflict was not one of the main reasons people gave for breaking up. Most said they broke up because they got bored with the other person. Often this caused one of the pair to become interested in someone else, thus prompting the split. Perhaps surprisingly, the woman got involved with someone else far more often than the man. Also, women were much more likely to suggest a breakup than men, regardless of the grounds. However, people were more likely to remain friends after the breakup if the man asked for the split. This suggests that the man is more sensitive to rejection.

1470.txt

The main reason for breakups was_ .

The common view in social science of love relationships is not that opposites attract but that like attracts like. People fall in Jove with others who share their interests and whose personalities are similar. Hill, Rubin, and Peplau(1976) found only slight support for this view. On a great many characteristics, couples were not alike. On others, couples were only somewhat alike. Couples did tend to be about the same age, to be equally good looking, to have similar IQ scores, to be of the same religion, and to want the same number of children. But on each of these things, quite a few couples differed from one another. In fact, on only one question did most agree: on whether they were "in love". The early interviews failed to find that being alike was very important in bringing couples together. The follow-up interviews found that similarities were much more important in keeping couples together. Those who were together after two years were much more closely matched than couples who broke up, especially in terms of age, IQ, college plans, and looks. Thus, couples were much more likely to break up if one person was a lot smarter, better looking, or older. It is easy to imagine why these differences would matter. If one person is much smarter or more mature than the other, this could cause conflicts. If one person is much better looking, he or she will have more chances for other relationships. Yet other things that would seem as important turned out not to matter. Those who stayed together differed not at all from those who broke up in how alike they were on religion, sex role ideas, beliefs about sex, idealism, or the number of children they wanted. Surely, one might suppose that marked difference in sex role attitudes could cause friction or that religious differences might lead to breakups. But there was no evidence of this. In fact, conflict was not one of the main reasons people gave for breaking up. Most said they broke up because they got bored with the other person. Often this caused one of the pair to become interested in someone else, thus prompting the split. Perhaps surprisingly, the woman got involved with someone else far more often than the man. Also, women were much more likely to suggest a breakup than men, regardless of the grounds. However, people were more likely to remain friends after the breakup if the man asked for the split. This suggests that the man is more sensitive to rejection.

1470.txt

The article implies that_ .

The common view in social science of love relationships is not that opposites attract but that like attracts like. People fall in Jove with others who share their interests and whose personalities are similar. Hill, Rubin, and Peplau(1976) found only slight support for this view. On a great many characteristics, couples were not alike. On others, couples were only somewhat alike. Couples did tend to be about the same age, to be equally good looking, to have similar IQ scores, to be of the same religion, and to want the same number of children. But on each of these things, quite a few couples differed from one another. In fact, on only one question did most agree: on whether they were "in love". The early interviews failed to find that being alike was very important in bringing couples together. The follow-up interviews found that similarities were much more important in keeping couples together. Those who were together after two years were much more closely matched than couples who broke up, especially in terms of age, IQ, college plans, and looks. Thus, couples were much more likely to break up if one person was a lot smarter, better looking, or older. It is easy to imagine why these differences would matter. If one person is much smarter or more mature than the other, this could cause conflicts. If one person is much better looking, he or she will have more chances for other relationships. Yet other things that would seem as important turned out not to matter. Those who stayed together differed not at all from those who broke up in how alike they were on religion, sex role ideas, beliefs about sex, idealism, or the number of children they wanted. Surely, one might suppose that marked difference in sex role attitudes could cause friction or that religious differences might lead to breakups. But there was no evidence of this. In fact, conflict was not one of the main reasons people gave for breaking up. Most said they broke up because they got bored with the other person. Often this caused one of the pair to become interested in someone else, thus prompting the split. Perhaps surprisingly, the woman got involved with someone else far more often than the man. Also, women were much more likely to suggest a breakup than men, regardless of the grounds. However, people were more likely to remain friends after the breakup if the man asked for the split. This suggests that the man is more sensitive to rejection.

1470.txt

Guidelines recommended by the scientific panel can be used for _ .

A scientific panel convened by the World Health organization recommended guidelines on Friday for doctors conducting clinical studies of SARS patients. The panel urged doctors to apply the guidelines in analyzing the masses of potentially useful information about various therapies that were collected in this year's epidemic. Much of that information has not been published or analyzed. "It is a matter of urgency to get better analysis and review," said Dr. Simon Mardel, a WHO official who led the two-day meeting that ended on Friday. He said thousands of potential therapies and compounds had been tested so far as researchers try to determine treatments for SARS, or severe acute respiratory syndrome. "We recognize that having no treatment for SARS is hindering our ability to control an epidemic in so many ways." He said. In the epidemic earlier this year, various treatments, like drugs to fight the virus or strengthen the immune system, as well as traditional Chinese medicine, were delivered under emergency conditions, in widely different settings and countries to patients suffering from varying stages of the illness. Those conditions--generally without standardized measurements or controlled situations-- have made it hard to interpret results. Standard supportive therapy like nursing, and in severe cases the use of mechanical respirators to help patients breathe, is the mainstay of SARS care, and helped many patients survive. But doctors still do not know how best to treat SARS patients who have breathing difficulties, Dr. Mardel said. One method is invasive ventilation. A second method involves blowing oxygen into the lungs through a mask. Both carry the risk of transmitting the virus to hospital employees. Without proper analysis, the panel was unable to say definitively which treatment worked best, or which caused the most harm. "There is a lack of shared information," Dr. Mardel said, noting that a lot of data have not been published. The panel also agreed on guidelines that would allow doctors to conduct quick and safe clinical trials, a process that generally takes years to complete. The World Health organization, a United Nations agency did not release the guidelines. Dr. Mardel said they were flexible because no one knew where, when and in what setting SARS would return. Experts in many countries have already listed the treatments they want to test, and the health agency is leaving these decisions to individual nations.

3981.txt

According to the passage, it is difficult to interpret the results of certain treatments for SARS because _ .

A scientific panel convened by the World Health organization recommended guidelines on Friday for doctors conducting clinical studies of SARS patients. The panel urged doctors to apply the guidelines in analyzing the masses of potentially useful information about various therapies that were collected in this year's epidemic. Much of that information has not been published or analyzed. "It is a matter of urgency to get better analysis and review," said Dr. Simon Mardel, a WHO official who led the two-day meeting that ended on Friday. He said thousands of potential therapies and compounds had been tested so far as researchers try to determine treatments for SARS, or severe acute respiratory syndrome. "We recognize that having no treatment for SARS is hindering our ability to control an epidemic in so many ways." He said. In the epidemic earlier this year, various treatments, like drugs to fight the virus or strengthen the immune system, as well as traditional Chinese medicine, were delivered under emergency conditions, in widely different settings and countries to patients suffering from varying stages of the illness. Those conditions--generally without standardized measurements or controlled situations-- have made it hard to interpret results. Standard supportive therapy like nursing, and in severe cases the use of mechanical respirators to help patients breathe, is the mainstay of SARS care, and helped many patients survive. But doctors still do not know how best to treat SARS patients who have breathing difficulties, Dr. Mardel said. One method is invasive ventilation. A second method involves blowing oxygen into the lungs through a mask. Both carry the risk of transmitting the virus to hospital employees. Without proper analysis, the panel was unable to say definitively which treatment worked best, or which caused the most harm. "There is a lack of shared information," Dr. Mardel said, noting that a lot of data have not been published. The panel also agreed on guidelines that would allow doctors to conduct quick and safe clinical trials, a process that generally takes years to complete. The World Health organization, a United Nations agency did not release the guidelines. Dr. Mardel said they were flexible because no one knew where, when and in what setting SARS would return. Experts in many countries have already listed the treatments they want to test, and the health agency is leaving these decisions to individual nations.

3981.txt

According to doctors, the two methods to treat SARS patients who have breathing difficulties both _ .

A scientific panel convened by the World Health organization recommended guidelines on Friday for doctors conducting clinical studies of SARS patients. The panel urged doctors to apply the guidelines in analyzing the masses of potentially useful information about various therapies that were collected in this year's epidemic. Much of that information has not been published or analyzed. "It is a matter of urgency to get better analysis and review," said Dr. Simon Mardel, a WHO official who led the two-day meeting that ended on Friday. He said thousands of potential therapies and compounds had been tested so far as researchers try to determine treatments for SARS, or severe acute respiratory syndrome. "We recognize that having no treatment for SARS is hindering our ability to control an epidemic in so many ways." He said. In the epidemic earlier this year, various treatments, like drugs to fight the virus or strengthen the immune system, as well as traditional Chinese medicine, were delivered under emergency conditions, in widely different settings and countries to patients suffering from varying stages of the illness. Those conditions--generally without standardized measurements or controlled situations-- have made it hard to interpret results. Standard supportive therapy like nursing, and in severe cases the use of mechanical respirators to help patients breathe, is the mainstay of SARS care, and helped many patients survive. But doctors still do not know how best to treat SARS patients who have breathing difficulties, Dr. Mardel said. One method is invasive ventilation. A second method involves blowing oxygen into the lungs through a mask. Both carry the risk of transmitting the virus to hospital employees. Without proper analysis, the panel was unable to say definitively which treatment worked best, or which caused the most harm. "There is a lack of shared information," Dr. Mardel said, noting that a lot of data have not been published. The panel also agreed on guidelines that would allow doctors to conduct quick and safe clinical trials, a process that generally takes years to complete. The World Health organization, a United Nations agency did not release the guidelines. Dr. Mardel said they were flexible because no one knew where, when and in what setting SARS would return. Experts in many countries have already listed the treatments they want to test, and the health agency is leaving these decisions to individual nations.

3981.txt

According to a WHO official, Dr. Mardel, the guidelines were flexible because _ .

A scientific panel convened by the World Health organization recommended guidelines on Friday for doctors conducting clinical studies of SARS patients. The panel urged doctors to apply the guidelines in analyzing the masses of potentially useful information about various therapies that were collected in this year's epidemic. Much of that information has not been published or analyzed. "It is a matter of urgency to get better analysis and review," said Dr. Simon Mardel, a WHO official who led the two-day meeting that ended on Friday. He said thousands of potential therapies and compounds had been tested so far as researchers try to determine treatments for SARS, or severe acute respiratory syndrome. "We recognize that having no treatment for SARS is hindering our ability to control an epidemic in so many ways." He said. In the epidemic earlier this year, various treatments, like drugs to fight the virus or strengthen the immune system, as well as traditional Chinese medicine, were delivered under emergency conditions, in widely different settings and countries to patients suffering from varying stages of the illness. Those conditions--generally without standardized measurements or controlled situations-- have made it hard to interpret results. Standard supportive therapy like nursing, and in severe cases the use of mechanical respirators to help patients breathe, is the mainstay of SARS care, and helped many patients survive. But doctors still do not know how best to treat SARS patients who have breathing difficulties, Dr. Mardel said. One method is invasive ventilation. A second method involves blowing oxygen into the lungs through a mask. Both carry the risk of transmitting the virus to hospital employees. Without proper analysis, the panel was unable to say definitively which treatment worked best, or which caused the most harm. "There is a lack of shared information," Dr. Mardel said, noting that a lot of data have not been published. The panel also agreed on guidelines that would allow doctors to conduct quick and safe clinical trials, a process that generally takes years to complete. The World Health organization, a United Nations agency did not release the guidelines. Dr. Mardel said they were flexible because no one knew where, when and in what setting SARS would return. Experts in many countries have already listed the treatments they want to test, and the health agency is leaving these decisions to individual nations.

3981.txt

Which of the following can be the best title of the passage?

A scientific panel convened by the World Health organization recommended guidelines on Friday for doctors conducting clinical studies of SARS patients. The panel urged doctors to apply the guidelines in analyzing the masses of potentially useful information about various therapies that were collected in this year's epidemic. Much of that information has not been published or analyzed. "It is a matter of urgency to get better analysis and review," said Dr. Simon Mardel, a WHO official who led the two-day meeting that ended on Friday. He said thousands of potential therapies and compounds had been tested so far as researchers try to determine treatments for SARS, or severe acute respiratory syndrome. "We recognize that having no treatment for SARS is hindering our ability to control an epidemic in so many ways." He said. In the epidemic earlier this year, various treatments, like drugs to fight the virus or strengthen the immune system, as well as traditional Chinese medicine, were delivered under emergency conditions, in widely different settings and countries to patients suffering from varying stages of the illness. Those conditions--generally without standardized measurements or controlled situations-- have made it hard to interpret results. Standard supportive therapy like nursing, and in severe cases the use of mechanical respirators to help patients breathe, is the mainstay of SARS care, and helped many patients survive. But doctors still do not know how best to treat SARS patients who have breathing difficulties, Dr. Mardel said. One method is invasive ventilation. A second method involves blowing oxygen into the lungs through a mask. Both carry the risk of transmitting the virus to hospital employees. Without proper analysis, the panel was unable to say definitively which treatment worked best, or which caused the most harm. "There is a lack of shared information," Dr. Mardel said, noting that a lot of data have not been published. The panel also agreed on guidelines that would allow doctors to conduct quick and safe clinical trials, a process that generally takes years to complete. The World Health organization, a United Nations agency did not release the guidelines. Dr. Mardel said they were flexible because no one knew where, when and in what setting SARS would return. Experts in many countries have already listed the treatments they want to test, and the health agency is leaving these decisions to individual nations.

3981.txt

The passage mainly discusses _ .

Glacier National Park in Montana shares boundaries with Canada, an American Indian reservation, and a national forest. Along the North Fork of the Flathead River, the park also borders about 17,000 acres of private lands that are currently used for ranching, timber, and agriculture. This land is an important part of the habitat and migratory routes for several endangered species that frequent the park. These private lands are essentially the only ones available for development in the region. With encouragement from the park, local landowners initiated a land use planning effort to guide the future of the North Fork. The park is a partner in an inter local agreement that calls for resource managing agencies to work together and with the more than 400 private owners in the area. A draft plan has been prepared, with objective of maintaining traditional economic uses but limiting new development that would damage park resources. Voluntary action by landowners, in cooperation with the park and the county, is helping to restrict small lot subdivisions, maintain wildlife corridors, and minimize any harmful impact on the environment. The willingness of local landowners to participate in this protection effort may have been stimulated by concerns that congress would impose a legislative solution. Nevertheless, many local residents want to retain the existing character of the area. Meetings between park officials and landowners have led to a dramatically improved understanding of all concerns.

29.txt

Why are the private lands surrounding Glacier National Park so important?

Glacier National Park in Montana shares boundaries with Canada, an American Indian reservation, and a national forest. Along the North Fork of the Flathead River, the park also borders about 17,000 acres of private lands that are currently used for ranching, timber, and agriculture. This land is an important part of the habitat and migratory routes for several endangered species that frequent the park. These private lands are essentially the only ones available for development in the region. With encouragement from the park, local landowners initiated a land use planning effort to guide the future of the North Fork. The park is a partner in an inter local agreement that calls for resource managing agencies to work together and with the more than 400 private owners in the area. A draft plan has been prepared, with objective of maintaining traditional economic uses but limiting new development that would damage park resources. Voluntary action by landowners, in cooperation with the park and the county, is helping to restrict small lot subdivisions, maintain wildlife corridors, and minimize any harmful impact on the environment. The willingness of local landowners to participate in this protection effort may have been stimulated by concerns that congress would impose a legislative solution. Nevertheless, many local residents want to retain the existing character of the area. Meetings between park officials and landowners have led to a dramatically improved understanding of all concerns.

29.txt

The relationship between park officials and neighboring landowners may best be described as _ .

Glacier National Park in Montana shares boundaries with Canada, an American Indian reservation, and a national forest. Along the North Fork of the Flathead River, the park also borders about 17,000 acres of private lands that are currently used for ranching, timber, and agriculture. This land is an important part of the habitat and migratory routes for several endangered species that frequent the park. These private lands are essentially the only ones available for development in the region. With encouragement from the park, local landowners initiated a land use planning effort to guide the future of the North Fork. The park is a partner in an inter local agreement that calls for resource managing agencies to work together and with the more than 400 private owners in the area. A draft plan has been prepared, with objective of maintaining traditional economic uses but limiting new development that would damage park resources. Voluntary action by landowners, in cooperation with the park and the county, is helping to restrict small lot subdivisions, maintain wildlife corridors, and minimize any harmful impact on the environment. The willingness of local landowners to participate in this protection effort may have been stimulated by concerns that congress would impose a legislative solution. Nevertheless, many local residents want to retain the existing character of the area. Meetings between park officials and landowners have led to a dramatically improved understanding of all concerns.

29.txt

It can be inferred from the passage that a major interest of the officials of Glacier National Park is to _ .

Glacier National Park in Montana shares boundaries with Canada, an American Indian reservation, and a national forest. Along the North Fork of the Flathead River, the park also borders about 17,000 acres of private lands that are currently used for ranching, timber, and agriculture. This land is an important part of the habitat and migratory routes for several endangered species that frequent the park. These private lands are essentially the only ones available for development in the region. With encouragement from the park, local landowners initiated a land use planning effort to guide the future of the North Fork. The park is a partner in an inter local agreement that calls for resource managing agencies to work together and with the more than 400 private owners in the area. A draft plan has been prepared, with objective of maintaining traditional economic uses but limiting new development that would damage park resources. Voluntary action by landowners, in cooperation with the park and the county, is helping to restrict small lot subdivisions, maintain wildlife corridors, and minimize any harmful impact on the environment. The willingness of local landowners to participate in this protection effort may have been stimulated by concerns that congress would impose a legislative solution. Nevertheless, many local residents want to retain the existing character of the area. Meetings between park officials and landowners have led to a dramatically improved understanding of all concerns.

29.txt

It can be inferred from the first paragraph that ________.

In our culture, the sources of what we call a sense of "mastery"-feeling important and worth-while-and the sources of what we call a sense "pleasure"-finding life enjoyable-are not always identical. Women often are told "You can't have it all." Sometimes what the speaker really is saying is: "You chose a career, so you can't expect to have closer relationships or a happy family life." or "You have a wonderful husband and children-What's all this about wanting a career?" But women need to understand and develop both aspects of well-being, if they are to feel good about themselves. Our study shows that, for women, well-being has two dimensions. One is mastery, which includes self-esteem , a sense of control over your life, and low levels of anxiety and depression. Mastery is closely related to the "doing" side of life, to work and activity. Pleasure is the other dimensions, and it is composed of happiness, satisfaction and optimism . It is tied more closely to the "feeling" side of life. The two are independent of each other. A woman could be high in mastery and low in pleasure, and vice versa. For example, a woman who has a good job, but whose mother has just died, might be feeling very good about herself and in control of her work life, but the pleasure side could be damaged for a time. The concepts of mastery and pleasure can help us identify the sources of well-being for women, and remedy past mistakes. In the past, women were encouraged to look only at the feeling side of life as the source of all well-being. But we know that both mastery and pleasure are critical. And mastery seems to be achieved largely through work. In our study, all the groups of employed women rated significantly higher in mastery than did women who were not employed. A woman's well-being is enhanced when she takes on multiple roles. At least by middle adulthood, the women who were involved in a combination of roles-marriages, motherhood, and employment were the highest in well-being, despite warnings about stress and strain.

2122.txt

The author's attitude towards women having a career is ________.

In our culture, the sources of what we call a sense of "mastery"-feeling important and worth-while-and the sources of what we call a sense "pleasure"-finding life enjoyable-are not always identical. Women often are told "You can't have it all." Sometimes what the speaker really is saying is: "You chose a career, so you can't expect to have closer relationships or a happy family life." or "You have a wonderful husband and children-What's all this about wanting a career?" But women need to understand and develop both aspects of well-being, if they are to feel good about themselves. Our study shows that, for women, well-being has two dimensions. One is mastery, which includes self-esteem , a sense of control over your life, and low levels of anxiety and depression. Mastery is closely related to the "doing" side of life, to work and activity. Pleasure is the other dimensions, and it is composed of happiness, satisfaction and optimism . It is tied more closely to the "feeling" side of life. The two are independent of each other. A woman could be high in mastery and low in pleasure, and vice versa. For example, a woman who has a good job, but whose mother has just died, might be feeling very good about herself and in control of her work life, but the pleasure side could be damaged for a time. The concepts of mastery and pleasure can help us identify the sources of well-being for women, and remedy past mistakes. In the past, women were encouraged to look only at the feeling side of life as the source of all well-being. But we know that both mastery and pleasure are critical. And mastery seems to be achieved largely through work. In our study, all the groups of employed women rated significantly higher in mastery than did women who were not employed. A woman's well-being is enhanced when she takes on multiple roles. At least by middle adulthood, the women who were involved in a combination of roles-marriages, motherhood, and employment were the highest in well-being, despite warnings about stress and strain.

2122.txt

One can conclude from the passage that if a woman takes on several social roles, ________.

In our culture, the sources of what we call a sense of "mastery"-feeling important and worth-while-and the sources of what we call a sense "pleasure"-finding life enjoyable-are not always identical. Women often are told "You can't have it all." Sometimes what the speaker really is saying is: "You chose a career, so you can't expect to have closer relationships or a happy family life." or "You have a wonderful husband and children-What's all this about wanting a career?" But women need to understand and develop both aspects of well-being, if they are to feel good about themselves. Our study shows that, for women, well-being has two dimensions. One is mastery, which includes self-esteem , a sense of control over your life, and low levels of anxiety and depression. Mastery is closely related to the "doing" side of life, to work and activity. Pleasure is the other dimensions, and it is composed of happiness, satisfaction and optimism . It is tied more closely to the "feeling" side of life. The two are independent of each other. A woman could be high in mastery and low in pleasure, and vice versa. For example, a woman who has a good job, but whose mother has just died, might be feeling very good about herself and in control of her work life, but the pleasure side could be damaged for a time. The concepts of mastery and pleasure can help us identify the sources of well-being for women, and remedy past mistakes. In the past, women were encouraged to look only at the feeling side of life as the source of all well-being. But we know that both mastery and pleasure are critical. And mastery seems to be achieved largely through work. In our study, all the groups of employed women rated significantly higher in mastery than did women who were not employed. A woman's well-being is enhanced when she takes on multiple roles. At least by middle adulthood, the women who were involved in a combination of roles-marriages, motherhood, and employment were the highest in well-being, despite warnings about stress and strain.

2122.txt

Which of the following can be identified as a source of "pleasure" for women?

In our culture, the sources of what we call a sense of "mastery"-feeling important and worth-while-and the sources of what we call a sense "pleasure"-finding life enjoyable-are not always identical. Women often are told "You can't have it all." Sometimes what the speaker really is saying is: "You chose a career, so you can't expect to have closer relationships or a happy family life." or "You have a wonderful husband and children-What's all this about wanting a career?" But women need to understand and develop both aspects of well-being, if they are to feel good about themselves. Our study shows that, for women, well-being has two dimensions. One is mastery, which includes self-esteem , a sense of control over your life, and low levels of anxiety and depression. Mastery is closely related to the "doing" side of life, to work and activity. Pleasure is the other dimensions, and it is composed of happiness, satisfaction and optimism . It is tied more closely to the "feeling" side of life. The two are independent of each other. A woman could be high in mastery and low in pleasure, and vice versa. For example, a woman who has a good job, but whose mother has just died, might be feeling very good about herself and in control of her work life, but the pleasure side could be damaged for a time. The concepts of mastery and pleasure can help us identify the sources of well-being for women, and remedy past mistakes. In the past, women were encouraged to look only at the feeling side of life as the source of all well-being. But we know that both mastery and pleasure are critical. And mastery seems to be achieved largely through work. In our study, all the groups of employed women rated significantly higher in mastery than did women who were not employed. A woman's well-being is enhanced when she takes on multiple roles. At least by middle adulthood, the women who were involved in a combination of roles-marriages, motherhood, and employment were the highest in well-being, despite warnings about stress and strain.

2122.txt

The most appropriate title for the passage would be ________.

In our culture, the sources of what we call a sense of "mastery"-feeling important and worth-while-and the sources of what we call a sense "pleasure"-finding life enjoyable-are not always identical. Women often are told "You can't have it all." Sometimes what the speaker really is saying is: "You chose a career, so you can't expect to have closer relationships or a happy family life." or "You have a wonderful husband and children-What's all this about wanting a career?" But women need to understand and develop both aspects of well-being, if they are to feel good about themselves. Our study shows that, for women, well-being has two dimensions. One is mastery, which includes self-esteem , a sense of control over your life, and low levels of anxiety and depression. Mastery is closely related to the "doing" side of life, to work and activity. Pleasure is the other dimensions, and it is composed of happiness, satisfaction and optimism . It is tied more closely to the "feeling" side of life. The two are independent of each other. A woman could be high in mastery and low in pleasure, and vice versa. For example, a woman who has a good job, but whose mother has just died, might be feeling very good about herself and in control of her work life, but the pleasure side could be damaged for a time. The concepts of mastery and pleasure can help us identify the sources of well-being for women, and remedy past mistakes. In the past, women were encouraged to look only at the feeling side of life as the source of all well-being. But we know that both mastery and pleasure are critical. And mastery seems to be achieved largely through work. In our study, all the groups of employed women rated significantly higher in mastery than did women who were not employed. A woman's well-being is enhanced when she takes on multiple roles. At least by middle adulthood, the women who were involved in a combination of roles-marriages, motherhood, and employment were the highest in well-being, despite warnings about stress and strain.

2122.txt

America's current prosperity can be attributed to_

Ben Bernanke, Mr Greenspan's successor, likes to explain America's current account deficit as the inevitable consequence of a saving glut in the rest of the world. Yet a large part of the blame lies with the Fed's own policies, Which have allowed growth in domestic demand to outstrip supply for no less than ten years on the trot. Part of America's current prosperity is based not on genuine gains in income, nor on high productivity growth, but on borrowing from the future. The words of Ludwig yon Mises, an Austrian economist of the early 20th century, nicely sum up the illusion: It may sometimes he expedient for a man to heat the stove with his furniture. But he should not delude himself by believing that he has discovered a wonderful new method of heating his premises. Handovers to a new Fed chairman are always tricky moments. They have often been followed hy some sort of financial turmoil, such as the 1987 stockmarket crash, only two months after Mr Greenspanspan took over. This handover takes place with the economy in an unusually vulnerable state, thanks to its imbalances. The interest rates that Mr Bernanke will inherit will be close to neutral, neither restraininnor stimulating the economy. But America's domestic demand needs to grow more slowly in order to bring the saving rate and the current-account deficit back to sustainable levels. If demand fails to slow, he will need to push rates higher. This will be risky, given households' heavy debts. After 13 increases in interest rates, the tide of easy money is now flowing out, and many American households are. going to be shockingly exposed. In the words of Warren Buffett, It's only when the tide goes out that you can see who's swimming naked. How should Mr Bernanke respond to falling house prices and a sharp economic slowdown when they come? While he is even more opposed than Mr Greenspan to the idea of restraining asser price bubbles. he seems just as keen to slash interest rates when bubbles burst to prevent it downturn, lie is likely to,, continue thecurrent asymmetric policy of never raising interest rates to curb rising asset prices, but always cutting fates after prices fall. This is dangerous as it encourages excessive risk taking and allows the imbalances to grow ever larger, making the eventual correction even worse. If the imbalances are to unwind, America needs to accept a period in which domestic demand grows more slowly than output.examda. The big question is whether the rest of the world will slow too. The good news is that growth is becoming more broadly based, as demand in the euro area and Japan has been picking up, and fears about an imminent hard landing in China have faded. America kept the world going during troubled times. But now it is time for others to take the lead. [479 words]

1218.txt

Which of the following is compared to heating one's premises with his furniture?

Ben Bernanke, Mr Greenspan's successor, likes to explain America's current account deficit as the inevitable consequence of a saving glut in the rest of the world. Yet a large part of the blame lies with the Fed's own policies, Which have allowed growth in domestic demand to outstrip supply for no less than ten years on the trot. Part of America's current prosperity is based not on genuine gains in income, nor on high productivity growth, but on borrowing from the future. The words of Ludwig yon Mises, an Austrian economist of the early 20th century, nicely sum up the illusion: It may sometimes he expedient for a man to heat the stove with his furniture. But he should not delude himself by believing that he has discovered a wonderful new method of heating his premises. Handovers to a new Fed chairman are always tricky moments. They have often been followed hy some sort of financial turmoil, such as the 1987 stockmarket crash, only two months after Mr Greenspanspan took over. This handover takes place with the economy in an unusually vulnerable state, thanks to its imbalances. The interest rates that Mr Bernanke will inherit will be close to neutral, neither restraininnor stimulating the economy. But America's domestic demand needs to grow more slowly in order to bring the saving rate and the current-account deficit back to sustainable levels. If demand fails to slow, he will need to push rates higher. This will be risky, given households' heavy debts. After 13 increases in interest rates, the tide of easy money is now flowing out, and many American households are. going to be shockingly exposed. In the words of Warren Buffett, It's only when the tide goes out that you can see who's swimming naked. How should Mr Bernanke respond to falling house prices and a sharp economic slowdown when they come? While he is even more opposed than Mr Greenspan to the idea of restraining asser price bubbles. he seems just as keen to slash interest rates when bubbles burst to prevent it downturn, lie is likely to,, continue thecurrent asymmetric policy of never raising interest rates to curb rising asset prices, but always cutting fates after prices fall. This is dangerous as it encourages excessive risk taking and allows the imbalances to grow ever larger, making the eventual correction even worse. If the imbalances are to unwind, America needs to accept a period in which domestic demand grows more slowly than output.examda. The big question is whether the rest of the world will slow too. The good news is that growth is becoming more broadly based, as demand in the euro area and Japan has been picking up, and fears about an imminent hard landing in China have faded. America kept the world going during troubled times. But now it is time for others to take the lead. [479 words]

1218.txt

The imbalances of American economy_

Ben Bernanke, Mr Greenspan's successor, likes to explain America's current account deficit as the inevitable consequence of a saving glut in the rest of the world. Yet a large part of the blame lies with the Fed's own policies, Which have allowed growth in domestic demand to outstrip supply for no less than ten years on the trot. Part of America's current prosperity is based not on genuine gains in income, nor on high productivity growth, but on borrowing from the future. The words of Ludwig yon Mises, an Austrian economist of the early 20th century, nicely sum up the illusion: It may sometimes he expedient for a man to heat the stove with his furniture. But he should not delude himself by believing that he has discovered a wonderful new method of heating his premises. Handovers to a new Fed chairman are always tricky moments. They have often been followed hy some sort of financial turmoil, such as the 1987 stockmarket crash, only two months after Mr Greenspanspan took over. This handover takes place with the economy in an unusually vulnerable state, thanks to its imbalances. The interest rates that Mr Bernanke will inherit will be close to neutral, neither restraininnor stimulating the economy. But America's domestic demand needs to grow more slowly in order to bring the saving rate and the current-account deficit back to sustainable levels. If demand fails to slow, he will need to push rates higher. This will be risky, given households' heavy debts. After 13 increases in interest rates, the tide of easy money is now flowing out, and many American households are. going to be shockingly exposed. In the words of Warren Buffett, It's only when the tide goes out that you can see who's swimming naked. How should Mr Bernanke respond to falling house prices and a sharp economic slowdown when they come? While he is even more opposed than Mr Greenspan to the idea of restraining asser price bubbles. he seems just as keen to slash interest rates when bubbles burst to prevent it downturn, lie is likely to,, continue thecurrent asymmetric policy of never raising interest rates to curb rising asset prices, but always cutting fates after prices fall. This is dangerous as it encourages excessive risk taking and allows the imbalances to grow ever larger, making the eventual correction even worse. If the imbalances are to unwind, America needs to accept a period in which domestic demand grows more slowly than output.examda. The big question is whether the rest of the world will slow too. The good news is that growth is becoming more broadly based, as demand in the euro area and Japan has been picking up, and fears about an imminent hard landing in China have faded. America kept the world going during troubled times. But now it is time for others to take the lead. [479 words]

1218.txt

It can be inferred from the text that in America_

Ben Bernanke, Mr Greenspan's successor, likes to explain America's current account deficit as the inevitable consequence of a saving glut in the rest of the world. Yet a large part of the blame lies with the Fed's own policies, Which have allowed growth in domestic demand to outstrip supply for no less than ten years on the trot. Part of America's current prosperity is based not on genuine gains in income, nor on high productivity growth, but on borrowing from the future. The words of Ludwig yon Mises, an Austrian economist of the early 20th century, nicely sum up the illusion: It may sometimes he expedient for a man to heat the stove with his furniture. But he should not delude himself by believing that he has discovered a wonderful new method of heating his premises. Handovers to a new Fed chairman are always tricky moments. They have often been followed hy some sort of financial turmoil, such as the 1987 stockmarket crash, only two months after Mr Greenspanspan took over. This handover takes place with the economy in an unusually vulnerable state, thanks to its imbalances. The interest rates that Mr Bernanke will inherit will be close to neutral, neither restraininnor stimulating the economy. But America's domestic demand needs to grow more slowly in order to bring the saving rate and the current-account deficit back to sustainable levels. If demand fails to slow, he will need to push rates higher. This will be risky, given households' heavy debts. After 13 increases in interest rates, the tide of easy money is now flowing out, and many American households are. going to be shockingly exposed. In the words of Warren Buffett, It's only when the tide goes out that you can see who's swimming naked. How should Mr Bernanke respond to falling house prices and a sharp economic slowdown when they come? While he is even more opposed than Mr Greenspan to the idea of restraining asser price bubbles. he seems just as keen to slash interest rates when bubbles burst to prevent it downturn, lie is likely to,, continue thecurrent asymmetric policy of never raising interest rates to curb rising asset prices, but always cutting fates after prices fall. This is dangerous as it encourages excessive risk taking and allows the imbalances to grow ever larger, making the eventual correction even worse. If the imbalances are to unwind, America needs to accept a period in which domestic demand grows more slowly than output.examda. The big question is whether the rest of the world will slow too. The good news is that growth is becoming more broadly based, as demand in the euro area and Japan has been picking up, and fears about an imminent hard landing in China have faded. America kept the world going during troubled times. But now it is time for others to take the lead. [479 words]

1218.txt

Mr Bernanke will probably manage to_

Ben Bernanke, Mr Greenspan's successor, likes to explain America's current account deficit as the inevitable consequence of a saving glut in the rest of the world. Yet a large part of the blame lies with the Fed's own policies, Which have allowed growth in domestic demand to outstrip supply for no less than ten years on the trot. Part of America's current prosperity is based not on genuine gains in income, nor on high productivity growth, but on borrowing from the future. The words of Ludwig yon Mises, an Austrian economist of the early 20th century, nicely sum up the illusion: It may sometimes he expedient for a man to heat the stove with his furniture. But he should not delude himself by believing that he has discovered a wonderful new method of heating his premises. Handovers to a new Fed chairman are always tricky moments. They have often been followed hy some sort of financial turmoil, such as the 1987 stockmarket crash, only two months after Mr Greenspanspan took over. This handover takes place with the economy in an unusually vulnerable state, thanks to its imbalances. The interest rates that Mr Bernanke will inherit will be close to neutral, neither restraininnor stimulating the economy. But America's domestic demand needs to grow more slowly in order to bring the saving rate and the current-account deficit back to sustainable levels. If demand fails to slow, he will need to push rates higher. This will be risky, given households' heavy debts. After 13 increases in interest rates, the tide of easy money is now flowing out, and many American households are. going to be shockingly exposed. In the words of Warren Buffett, It's only when the tide goes out that you can see who's swimming naked. How should Mr Bernanke respond to falling house prices and a sharp economic slowdown when they come? While he is even more opposed than Mr Greenspan to the idea of restraining asser price bubbles. he seems just as keen to slash interest rates when bubbles burst to prevent it downturn, lie is likely to,, continue thecurrent asymmetric policy of never raising interest rates to curb rising asset prices, but always cutting fates after prices fall. This is dangerous as it encourages excessive risk taking and allows the imbalances to grow ever larger, making the eventual correction even worse. If the imbalances are to unwind, America needs to accept a period in which domestic demand grows more slowly than output.examda. The big question is whether the rest of the world will slow too. The good news is that growth is becoming more broadly based, as demand in the euro area and Japan has been picking up, and fears about an imminent hard landing in China have faded. America kept the world going during troubled times. But now it is time for others to take the lead. [479 words]

1218.txt

Why do hospitals equip their staff with computers, smartphones and other devices?

Hospitals, hoping to curb medical error, have invested heavily to put computers, smartphones and other devices into the hands of medical staff for instant access to patient data, drug information and case studies. But like many cures, this solution has come with an unintended side effect: doctors and nurses can be focused on the screen and not the patient, even during moments of critical care. A poll showed that half of medical technicians had admitted texting during a procedure. This phenomenon has set off an intensifying discussion at hospitals and medical schools about a problem perhaps best described as "distracted doctoring." In response, some hospitals have begun limiting the use of electronic devices in critical settings, while schools have started reminding medical students to focus on patients instead of devices. "You justify carrying devices around the hospital to do medical records, but you can surf the Internet or do Facebook, and sometimes Facebook is more tempting," said Dr. Peter Papadakos at the University of Rochester Medical Center. "My gut feeling（）is lives are in danger," said Dr. Papadakos. "We're not educating people about the problem, and ifs getting worse." A survey of 439 medical technicians found that 55 percent of technicians who monitor bypass machines acknowledged that they had talked on cellphones during heart surgery. Half said they had texted while in surgery. The study concluded, " Such distractions have the potential to be disastrous." Medical professionals have always faced interruptions from cellphones, and multitasking is simply a fact of life for many medical jobs. What has changed, say doctors, especially younger ones, is that they face increasing pressure to interact with their devices. The pressure stems from a mantra(）of modem medicine that patient care must be "data driven," and informed by the latest, instantly accessible information. By many accounts, the technology has helped reduce medical error by providing instant access to patient data or prescription details. Dr. Peter Carmel, president of the American Medical Association, said technology "offers great potential in health care," but he added that doctors, first priority should be with the patient.

2176.txt

What does the author refer to by "distracted doctoring" ?

Hospitals, hoping to curb medical error, have invested heavily to put computers, smartphones and other devices into the hands of medical staff for instant access to patient data, drug information and case studies. But like many cures, this solution has come with an unintended side effect: doctors and nurses can be focused on the screen and not the patient, even during moments of critical care. A poll showed that half of medical technicians had admitted texting during a procedure. This phenomenon has set off an intensifying discussion at hospitals and medical schools about a problem perhaps best described as "distracted doctoring." In response, some hospitals have begun limiting the use of electronic devices in critical settings, while schools have started reminding medical students to focus on patients instead of devices. "You justify carrying devices around the hospital to do medical records, but you can surf the Internet or do Facebook, and sometimes Facebook is more tempting," said Dr. Peter Papadakos at the University of Rochester Medical Center. "My gut feeling（）is lives are in danger," said Dr. Papadakos. "We're not educating people about the problem, and ifs getting worse." A survey of 439 medical technicians found that 55 percent of technicians who monitor bypass machines acknowledged that they had talked on cellphones during heart surgery. Half said they had texted while in surgery. The study concluded, " Such distractions have the potential to be disastrous." Medical professionals have always faced interruptions from cellphones, and multitasking is simply a fact of life for many medical jobs. What has changed, say doctors, especially younger ones, is that they face increasing pressure to interact with their devices. The pressure stems from a mantra(）of modem medicine that patient care must be "data driven," and informed by the latest, instantly accessible information. By many accounts, the technology has helped reduce medical error by providing instant access to patient data or prescription details. Dr. Peter Carmel, president of the American Medical Association, said technology "offers great potential in health care," but he added that doctors, first priority should be with the patient.

2176.txt

What does Dr. Peter Papadakos worry about?

Hospitals, hoping to curb medical error, have invested heavily to put computers, smartphones and other devices into the hands of medical staff for instant access to patient data, drug information and case studies. But like many cures, this solution has come with an unintended side effect: doctors and nurses can be focused on the screen and not the patient, even during moments of critical care. A poll showed that half of medical technicians had admitted texting during a procedure. This phenomenon has set off an intensifying discussion at hospitals and medical schools about a problem perhaps best described as "distracted doctoring." In response, some hospitals have begun limiting the use of electronic devices in critical settings, while schools have started reminding medical students to focus on patients instead of devices. "You justify carrying devices around the hospital to do medical records, but you can surf the Internet or do Facebook, and sometimes Facebook is more tempting," said Dr. Peter Papadakos at the University of Rochester Medical Center. "My gut feeling（）is lives are in danger," said Dr. Papadakos. "We're not educating people about the problem, and ifs getting worse." A survey of 439 medical technicians found that 55 percent of technicians who monitor bypass machines acknowledged that they had talked on cellphones during heart surgery. Half said they had texted while in surgery. The study concluded, " Such distractions have the potential to be disastrous." Medical professionals have always faced interruptions from cellphones, and multitasking is simply a fact of life for many medical jobs. What has changed, say doctors, especially younger ones, is that they face increasing pressure to interact with their devices. The pressure stems from a mantra(）of modem medicine that patient care must be "data driven," and informed by the latest, instantly accessible information. By many accounts, the technology has helped reduce medical error by providing instant access to patient data or prescription details. Dr. Peter Carmel, president of the American Medical Association, said technology "offers great potential in health care," but he added that doctors, first priority should be with the patient.

2176.txt

Why do doctors feel increasing pressure to use modem devices?

Hospitals, hoping to curb medical error, have invested heavily to put computers, smartphones and other devices into the hands of medical staff for instant access to patient data, drug information and case studies. But like many cures, this solution has come with an unintended side effect: doctors and nurses can be focused on the screen and not the patient, even during moments of critical care. A poll showed that half of medical technicians had admitted texting during a procedure. This phenomenon has set off an intensifying discussion at hospitals and medical schools about a problem perhaps best described as "distracted doctoring." In response, some hospitals have begun limiting the use of electronic devices in critical settings, while schools have started reminding medical students to focus on patients instead of devices. "You justify carrying devices around the hospital to do medical records, but you can surf the Internet or do Facebook, and sometimes Facebook is more tempting," said Dr. Peter Papadakos at the University of Rochester Medical Center. "My gut feeling（）is lives are in danger," said Dr. Papadakos. "We're not educating people about the problem, and ifs getting worse." A survey of 439 medical technicians found that 55 percent of technicians who monitor bypass machines acknowledged that they had talked on cellphones during heart surgery. Half said they had texted while in surgery. The study concluded, " Such distractions have the potential to be disastrous." Medical professionals have always faced interruptions from cellphones, and multitasking is simply a fact of life for many medical jobs. What has changed, say doctors, especially younger ones, is that they face increasing pressure to interact with their devices. The pressure stems from a mantra(）of modem medicine that patient care must be "data driven," and informed by the latest, instantly accessible information. By many accounts, the technology has helped reduce medical error by providing instant access to patient data or prescription details. Dr. Peter Carmel, president of the American Medical Association, said technology "offers great potential in health care," but he added that doctors, first priority should be with the patient.

2176.txt

What is Peter Carmel's advice to doctors?

Hospitals, hoping to curb medical error, have invested heavily to put computers, smartphones and other devices into the hands of medical staff for instant access to patient data, drug information and case studies. But like many cures, this solution has come with an unintended side effect: doctors and nurses can be focused on the screen and not the patient, even during moments of critical care. A poll showed that half of medical technicians had admitted texting during a procedure. This phenomenon has set off an intensifying discussion at hospitals and medical schools about a problem perhaps best described as "distracted doctoring." In response, some hospitals have begun limiting the use of electronic devices in critical settings, while schools have started reminding medical students to focus on patients instead of devices. "You justify carrying devices around the hospital to do medical records, but you can surf the Internet or do Facebook, and sometimes Facebook is more tempting," said Dr. Peter Papadakos at the University of Rochester Medical Center. "My gut feeling（）is lives are in danger," said Dr. Papadakos. "We're not educating people about the problem, and ifs getting worse." A survey of 439 medical technicians found that 55 percent of technicians who monitor bypass machines acknowledged that they had talked on cellphones during heart surgery. Half said they had texted while in surgery. The study concluded, " Such distractions have the potential to be disastrous." Medical professionals have always faced interruptions from cellphones, and multitasking is simply a fact of life for many medical jobs. What has changed, say doctors, especially younger ones, is that they face increasing pressure to interact with their devices. The pressure stems from a mantra(）of modem medicine that patient care must be "data driven," and informed by the latest, instantly accessible information. By many accounts, the technology has helped reduce medical error by providing instant access to patient data or prescription details. Dr. Peter Carmel, president of the American Medical Association, said technology "offers great potential in health care," but he added that doctors, first priority should be with the patient.

2176.txt

Bergqvist designed and built the world's first igloo hotel because _ .

Holidaymakers who are bored with baking beachesand overheated hotel rooms head for a big igloo.Swedish businessman Nile Bergqvist is delightedwith his new hotel, the world's first igloo hotel. Builtin a small town in Lapland, it has been attracting lotsof visitors, but soon the fun will be over. In two weeks'time Bergqvist's ice creation willbe nothing more than a pool of water. "We don't see it as a big problem," he says. "We just lookforward to replacing it." Bergqvist built his first igloo in 1991 for an art exhibition. It was so successful that hedesigned the present one, which measures roughly 200 square meters. Six workmen spentmore than eight weeks piling 1,000 tons of snow onto a wooden base; when the snow froze, thebase was removed. "The only wooden thing we have left in the igloo is the front door," he says. After their stay, all visitors receive a survival certificate recording their success. With nowindows, nowhere to hang clothes and temperatures below 0℃, it may seem more like asurvival test than a relaxing hotel break. "It's great fun," Bergqvist explains, "As wellas a good start in survival training." The popularity of the igloo is beyond doubt: it is now attracting tourists from all over theworld. At least 800 people have stayed at the igloo this season even though there are only 10rooms. "You can get a lot of people in," explains Bergqvist. "The beds are three meters wide bytwo meters long, and can fit at least four at one time."

2329.txt

When the writer says "the fun will be over," he refers to the fact that _ .

Holidaymakers who are bored with baking beachesand overheated hotel rooms head for a big igloo.Swedish businessman Nile Bergqvist is delightedwith his new hotel, the world's first igloo hotel. Builtin a small town in Lapland, it has been attracting lotsof visitors, but soon the fun will be over. In two weeks'time Bergqvist's ice creation willbe nothing more than a pool of water. "We don't see it as a big problem," he says. "We just lookforward to replacing it." Bergqvist built his first igloo in 1991 for an art exhibition. It was so successful that hedesigned the present one, which measures roughly 200 square meters. Six workmen spentmore than eight weeks piling 1,000 tons of snow onto a wooden base; when the snow froze, thebase was removed. "The only wooden thing we have left in the igloo is the front door," he says. After their stay, all visitors receive a survival certificate recording their success. With nowindows, nowhere to hang clothes and temperatures below 0℃, it may seem more like asurvival test than a relaxing hotel break. "It's great fun," Bergqvist explains, "As wellas a good start in survival training." The popularity of the igloo is beyond doubt: it is now attracting tourists from all over theworld. At least 800 people have stayed at the igloo this season even though there are only 10rooms. "You can get a lot of people in," explains Bergqvist. "The beds are three meters wide bytwo meters long, and can fit at least four at one time."

2329.txt

according to the text, the first thing to do in building an igloo is _ .

Holidaymakers who are bored with baking beachesand overheated hotel rooms head for a big igloo.Swedish businessman Nile Bergqvist is delightedwith his new hotel, the world's first igloo hotel. Builtin a small town in Lapland, it has been attracting lotsof visitors, but soon the fun will be over. In two weeks'time Bergqvist's ice creation willbe nothing more than a pool of water. "We don't see it as a big problem," he says. "We just lookforward to replacing it." Bergqvist built his first igloo in 1991 for an art exhibition. It was so successful that hedesigned the present one, which measures roughly 200 square meters. Six workmen spentmore than eight weeks piling 1,000 tons of snow onto a wooden base; when the snow froze, thebase was removed. "The only wooden thing we have left in the igloo is the front door," he says. After their stay, all visitors receive a survival certificate recording their success. With nowindows, nowhere to hang clothes and temperatures below 0℃, it may seem more like asurvival test than a relaxing hotel break. "It's great fun," Bergqvist explains, "As wellas a good start in survival training." The popularity of the igloo is beyond doubt: it is now attracting tourists from all over theworld. At least 800 people have stayed at the igloo this season even though there are only 10rooms. "You can get a lot of people in," explains Bergqvist. "The beds are three meters wide bytwo meters long, and can fit at least four at one time."

2329.txt

When guests leave the igloo hotel they will receive a paper stating that _ .

Holidaymakers who are bored with baking beachesand overheated hotel rooms head for a big igloo.Swedish businessman Nile Bergqvist is delightedwith his new hotel, the world's first igloo hotel. Builtin a small town in Lapland, it has been attracting lotsof visitors, but soon the fun will be over. In two weeks'time Bergqvist's ice creation willbe nothing more than a pool of water. "We don't see it as a big problem," he says. "We just lookforward to replacing it." Bergqvist built his first igloo in 1991 for an art exhibition. It was so successful that hedesigned the present one, which measures roughly 200 square meters. Six workmen spentmore than eight weeks piling 1,000 tons of snow onto a wooden base; when the snow froze, thebase was removed. "The only wooden thing we have left in the igloo is the front door," he says. After their stay, all visitors receive a survival certificate recording their success. With nowindows, nowhere to hang clothes and temperatures below 0℃, it may seem more like asurvival test than a relaxing hotel break. "It's great fun," Bergqvist explains, "As wellas a good start in survival training." The popularity of the igloo is beyond doubt: it is now attracting tourists from all over theworld. At least 800 people have stayed at the igloo this season even though there are only 10rooms. "You can get a lot of people in," explains Bergqvist. "The beds are three meters wide bytwo meters long, and can fit at least four at one time."

2329.txt

The word "accumulations" in the passage (paragraph 1) is closest in meaning to

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

The word "heterogeneous" in the passage (paragraph 1) is closest in meaning to

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

According to paragraph 1, what persuaded Louis Agassiz that glaciation in the past had been widespread?

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

The word "enjoy" in the passage (paragraph 2) is closest in meaning to

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

It can be inferred from paragraph 2 that Agassiz and other geologists of his time were not able to determine

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

According to paragraph 3, what did geologists conclude as a result of finding well-developed soils containing warm-climate plant fossils between layers of glacial drift?

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

According to paragraph 3 and 4, scientists modified their theory about the exact number of glaciations because of evidence obtained from

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

The word "reveal" in the passage (paragraph 4) is closest in meaning to

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

According to paragraph 4, scientists use foraminifera shells to learn about Pleistocene ocean conditions by

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

It can be inferred from paragraph 5 that foraminifera fossil shells containing calcite with high percentages of oxygen-16 were deposited at times when

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

525.txt

In paragraph 5, why does the author include the information that the "oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice"?

In the middle of the nineteenth century, Louis Agassiz, one of the first scientists to study glaciers, immigrated to the United States from Switzerland and became a professor at Harvard University, where he continued his studies in geology and other sciences. For his research, Agassiz visited many places in the northern parts of Europe and North America, from the mountains of Scandinavia and New England to the rolling hills of the American Midwest. In all these diverse regions, Agassiz saw signs of glacial erosion and sedimentation. In flat plains country, he saw moraines (accumulations of earth and loose rock that form at the edges of glaciers) that reminded him of the terminal moraines found at the end of valley glaciers in the Alps. The heterogeneous material of the drift (sand, clay, and rocks deposited there) convinced him of its glacial origin. The areas covered by this material were so vast that the ice that deposited it must have been a continental glacier larger than Greenland or Antarctica. Eventually, Agassiz and others convinced geologists and the general public that a great continental glaciation had extended the polar ice caps far into regions that now enjoy temperate climates. For the first time, people began to talk about ice ages. It was also apparent that the glaciation occurred in the relatively recent past because the drift was soft, like freshly deposited sediment. We now know the age of the glaciation accurately from radiometric dating of the carbon-14 in logs buried in the drift. The drift of the last glaciation was deposited during one of the most recent epochs of geologic time, the Pleistocene, which lasted from 1.8 million to 10,000 years ago. Along the east coast of the United States, the southernmost advance of this ice is recorded by the enormous sand and drift deposits of the terminal moraines that form Long Island and Cape Cod. It soon became clear that there were multiple glacial ages during the Pleistocene, with warmer interglacial intervals between them. As geologists mapped glacial deposits in the late nineteenth century, they became aware that there were several layers of drift, the lower ones corresponding to earlier ice ages. Between the older layers of glacial material were well-developed soils containing fossils of warm-climate plants. These soils were evidence that the glaciers retreated as the climate warmed. By the early part of the twentieth century, scientists believed that four distinct glaciations had affected North America and Europe during the Pleistocene epoch. This idea was modified in the late twentieth century, when geologists and oceanographers examining oceanic sediment found fossil evidence of warming and cooling of the oceans. Ocean sediments presented a much more complete geologic record of the Pleistocene than continental glacial deposits did. The fossils buried in Pleistocene and earlier ocean sediments were of foraminifera-small, single-celled marine organisms that secrete shells of calcium carbonate, or calcite. These shells differ in their proportion of ordinary oxygen (oxygen-16) and the heavy oxygen isotope (oxygen-18). The ratio of oxygen-16 to oxygen-18 found in the calcite of a foraminifer's shell depends on the temperature of the water in which the organism lived. Different ratios in the shells preserved in various layers of sediment reveal the temperature changes in the oceans during the Pleistocene epoch. Isotopic analysis of shells allowed geologists to measure another glacial effect. They could trace the growth and shrinkage of continental glaciers, even in parts of the ocean where there may have been no great change in temperature-around the equator, for example. The oxygen isotope ratio of the ocean changes as a great deal of water is withdrawn from it by evaporation and is precipitated as snow to form glacial ice. During glaciations, the lighter oxygen-16 has a greater tendency to evaporate from the ocean surface than the heavier oxygen-18 does. Thus, more of the heavy isotope is left behind in the ocean and absorbed by marine organisms. From this analysis of marine sediments, geologists have learned that there were many shorter, more regular cycles of glaciation and deglaciation than geologists had recognized from the glacial drift of the continents alone.

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