Listening and Reading Practice Supplement

Listening
and Reading
Set A
Practice for the

TOEFL
VERSION 2.0
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Practice A Feb3.indd 1 2/11/05 12:37:37 PM

TOEFL Listening and Reading Practice
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Set A
Table of contents
Listening 5
Questions 7
Academic lecture 1 8
Campus conversation 1 24
Transcripts 29
© The Princeton Review Management, Inc. | 3

Reading 71
Reading drill 1 72
Reading drill 2 76
Reading drill 3 80
Reading drill 4 84
Reading drill 5 88
Reading drill 6 92
Reading drill 7 96
Reading drill 8 100
Answer key 105

Listening 106
Reading 108

Set A
Listening


Set A
Questions

ACADEMIC LECTURE 1
1. What does the professor mainly discuss?
(A) Health benets of exercise

(B) How a drug helps athletes perform better
(C) A chemical produced in the body
(D) How to choose the best exercise program
2. Listen again to part of the lecture.

Then answer the question.
Why did the professor say this?

(A) He is about to quote from another source.
(B) The students may not be familiar with the word.
(C) He is using the word in a special way.
(D) He is trying to think of a clearer word.
3. What does the professor say are effects of

beta-endorphin?
Click on 3 answers.
Increased strength
An elevated mood
Lower stress levels
Higher tolerance for pain
Rapid burning of calories

Set A
4. In the study the professor discussed, when was

beta-endorphin produced in people who exercised
regularly?
(A) After stopping exercise

(B) While performing vigorous exercise
(C) While sleeping after exercise
(D) Just as exercise began
5. According to the professor, what healthful effect does

laughter have?
(A) It lowers blood pressure.

(B) It lowers the production of a harmful chemical.
(C) It increases the production of beta-endorphin.
(D) It relaxes the muscles.
6. What is the primary purpose of the lecture?
(A) To encourage the students to exercise

(B) To report on new research
(C) To question Berk's methods
(D) To suggest an answer to a question

ACADEMIC LECTURE 2
1. What is the primary purpose of the lecture?
(A) To illustrate how plants invade new territory

(B) To show how motorcycling can affect the
environment
(C) To show how desert soil changes over time
(D) To explore how scientists nd and study desert
plants
2. How did the passage of a motorcycle alter surface soil in

the Mojave Desert?
Click on 2 answers.
It raised large clouds of dust.

A channel that could ll with water formed.
The soil absorbed more air.
The soil became more dense.

What does the professor mean by this?

(A) She is sorry to have to bring up the topic.
(B) She has had the experience of riding in the desert.
(C) Her own desert research produced poor results.
(D) She doesn't know anyone who enjoys cycling.

Set A
4. How did soil compacting lead to erosion in the area

studied by the scientists?
Click on 2 answers.
Plants that held the soil in place died.

Wind blew away the soil displaced by motorcycle
tires.
Rain soaked in and turned the soil to soft mud.
Rain washed down hillsides without soaking in.
5. What made it possible for non-native plants to invade

areas with compacted soil?
(A) Erosion uncovered the loose soil they preferred.

(B) Motorcycle tires ran over and killed off competing
native plants.
(C) Their roots grew more densely than those of native
plants.
(D) They needed less air and water than native plants.
6. What does the professor say could require a hundred

years?
(A) Cataloguing the types of plants native to the desert.

(B) Determining how much erosion is caused by
motorcycle tracks.
(C) The regrowth of native plants in the desert.
(D) The killing off of all invading plants in the desert.

ACADEMIC LECTURE 3
1. What aspect of the sloth does the professor mainly
discuss in the lecture?
(A) How its digestive system processes leaves

(B) How it can avoid its predators
(C) How it can be inactive and survive
(D) How scientists are able to nd and study it
2. What does the professor say scientists have discovered

about the cecropia tree?
(A) It is not the only tree the sloth feeds on.

(B) Its vines are ideally suited for sloth shelters.
(C) Its leaves are more nutritious than was once
thought.
(D) It grows in places sloths are not found.
3. How does its diet of leaves cause the sloth to be inactive?

Click on 2 answers.
Its predators are often found near sources of leaves.

Leaves provide little fuel for energy.
Leaves grow back quickly after being eaten.
Leaves require time to digest.

Set A

What is the professor about to do?
(A) Explain how scientists have changed their methods

(B) Explain the sloth's eating habits more carefully
(C) Argue against the most common theory
(D) Restate the question she just asked
5. Why does the sloth not move far to nd food?
(A) A single tree supplies all the leaves it needs.

(B) The trees grow close together.
(C) It is afraid to attract predators.
(D) Cecropia trees only grow in one area of the forest.
6. How does the sloth avoid being eaten by predators?
Click on 3 answers.
Wrapping itself in vines

Pushing a predator off the tree
Clawing at a predator
Biting a predator
Making noises to frighten a predator

ACADEMIC LECTURE 4
1. What are the researchers discussed by the professor
trying to measure?
(A) Nutrient levels in foods

(B) Emissions of gases
(C) Rice production
(D) Literacy rates
2. How does the professor say the researchers have

obtained their information?
(A) They use on-site research from other scientists.

(B) They collect rice samples from around the world.
(C) They make estimates based on population counts.
(D) They make estimates based on Chinese historical
records.
3. Why are scientists particularly interested in Chinese rice

elds?
(A) The rice growing season is longer in China.

(B) Chinese rice elds emit more methane.
(C) It is easier to get accurate readings at Chinese rice
elds.
(D) Rice is grown very efciently in China.

Set A

What did the professor mean by this?

(A) The students should be careful not to misinterpret
the data.
(B) There are several types of scientists involved.
(C) The difference is very large.
(D) The gures can be interpreted several ways.


(A) To identify a problem with the measurements
(B) To correct an error in the male student's statement
(C) To explain why the scientists were puzzled
(D) To answer the question she just asked
6. Why do Chinese rice paddies produce unusual amounts of

methane?
(A) The Chinese grow a special kind of rice.

(B) Irrigation releases chemicals from the soil.
(C) The plants do not breathe normally.
(D) The air is polluted.

ACADEMIC LECTURE 5
1. What aspect of primates did the professor mainly discuss?
(A) How parents and children relate

(B) Differences in body structure
(C) How quickly children mature
(D) Specialized communication methods

Why does the professor mention that he will deliver a
paper at a conference?
(A) To invite students to attend the conference

(B) To explain a schedule change
(C) To encourage students to participate in future
conferences
(D) To add a new reading assignment


(A) Higher primate babies are less well developed than
kittens.
(B) Higher primates go into hiding to give birth.
(C) Higher primate adults raise their young in groups.
(D) Higher primates don't have many babies at a time.

Set A
4. Why do higher primates need an extended period of

contact between infants and parents?
(A) The infants are weak.

(B) The infants learn by watching their parents.
(C) Their children are born in litters.
(D) They travel more than other animals.
5. What can be inferred about infant baboons?
(A) They spend equal time with their fathers and

mothers.
(B) They mature more rapidly than other primate
babies.
(C) They get little protection from their mothers.
(D) They have to nd their own food.
6. According to the professor, what is a special problem

young apes have?
(A) They must compete for their mother's attention.

(B) Their mothers take several weeks to recover from
giving birth.
(C) They have to learn social interactions quickly.
(D) They are not strong enough to cling well.

ACADEMIC LECTURE 6
1. What is the discussion mainly about?
(A) The use of English construction techniques in New

England
(B) Chimney designs in the New England colonies
(C) How colonists survived winters in New England
(D) How New England colonial houses were constructed

What does the professor ask the students for different
examples of?
(A) Building materials

(B) Sources of fuel
(C) Building regulations
(D) Climate conditions
3. Why does the professor write a word on the board for the
students?
(A) It is the only word she wants them to remember

from the lesson.
(B) It resembles a word they discussed previously.
(C) It is unusually long.
(D) They cannot guess the spelling from its
pronunciation.

Set A

Why does the male student mention sh scales?
(A) To show how strong and exible clapboard walls are

(B) To show what inspired the design of clapboard walls
(C) To illustrate how clapboard walls keep out snow and
rain
(D) To illustrate how durable aluminum siding is
5. According to the professor, why do people still use the

overlapping pattern of clapboards on their houses today?
(A) Winters are still very cold and wet.

(B) It reminds them of the colonial period.
(C) Local building materials are suited to making into
clapboard.
(D) It recalls traditional English structures.
6. How was the central chimney an adaptation to the New

England environment?
(A) Its design was inspired by clapboard walls.

(B) It used as little building material as possible.
(C) It allowed rewood to be used efciently.
(D) It was not vulnerable to rot.

ACADEMIC LECTURE 7
1. What is the lecture mainly about?
(A) Colors of different minerals

(B) Historical advances in oil painting
(C) Developments in media used for painting
(D) The different types of paint used in famous works
2. What did the professor say are the oldest paint media?
Click on 2 answers.
Boiled plants
Water
Animal fat
Egg yolk

What is the professor about to explain?
(A) The process by which a pigment is mixed with a

medium
(B) How a type of medium was discovered
(C) The function a medium fullls in painting
(D) Why some mineral pigments need no medium

Set A
4. What is one disadvantage of egg tempera?
(A) It does not produce long-lasting paintings.

(B) It adds a yellow color to pigments.
(C) It can spoil if not used quickly.
(D) It cannot be mixed with mineral pigments.
5. What is the signicance of the painting The Birth of Venus

to the lecture?
(A) It was the rst famous painting with an oil medium.

(B) Historians are unsure which medium was used in
painting it.
(C) Its details have become less visible over the
centuries.
(D) It is a very old egg tempera painting.
6. Why does the professor mention linseed oil?
(A) It was a common medium before the Renaissance.

(B) It spoils as quickly as egg yolk.
(C) It is suited for use in oil paints.
(D) It was the rst plant oil used as a paint medium.

ACADEMIC LECTURE 8
1. What aspect of the San Francisco Bay estuary does the
professor mainly discuss?
(A) Chemical wastes released by manufacturers

(B) New efforts to preserve wildlife
(C) Environmental problems caused by shipping
(D) Its diverse kinds of plants and animals
2. What does the professor say is the dening characteristic

of an estuary?
(A) The water ows in several directions.

(B) A river is wide enough to make a good port.
(C) Salt water and fresh water mix.
(D) There is a large area of deep water.

(A) They have already discussed industrial chemicals.
(B) He does not expect the students to be surprised.
(C) He wants to introduce a recent news article.
(D) He will only talk about one of the problems.

Set A
4. Why did researchers concentrate on the livers of striped

bass?
(A) Other parts of the sh were unavailable.

(B) Striped bass have unusually large livers.
(C) The sh had died of liver problems.
(D) Chemicals collect in the liver.

How did the professor explain the meaning of the term?
(A) By comparing it to a foreign word

(B) By contrasting it with another term
(C) By drawing an analogy
(D) By telling a personal story
6. According to the professor, what is ballast?
(A) A kind of ecosystem found at an estuary

(B) Water used to keep a ship from tipping over
(C) A kind of crab that is competing with native species
(D) A chemical used to combat invading species

CAMPUS CONVERSATION 1
Why did the woman say this?

(A) To let the man know that she is in a hurry
(B) To ask whether the man knows the way to the
student center
(C) To tell the man he is late for class
(D) To nd out whether the man is taking psychology
2. Why did the man ask the woman about the review
session?
(A) He threw away his notes about it.

(B) He is unsure of the change in schedule.
(C) He was not in class when it was announced.
(D) The woman has his notes about it.
3. Why does the woman advise the man to attend the

review session?
(A) The professor will cover material that is not in the

textbook.
(B) There will be no transcripts of the session available.
(C) He needs a high grade on the nal.
(D) He has not kept up with his studying.

What did the woman imply?
(A) Another review session may be scheduled.

(B) The review session will probably be crowded.
(C) The room for the review session may be changed
again.
(D) She will not have many questions to ask.
5. What will the speakers do later?
(A) They will set up the room for the review session.
(B) The man will tell the woman what was covered.
(C) They will combine their questions.
(D) The woman will show the man where the room is.

Set A
1. What does the professor ask the woman to do at the
conference?
(A) Receive guests

(B) Take notes on panel discussions
(C) Translate presentations
(D) Interview panelists
2. What does the woman plan to write her thesis about?
(A) Effects of pesticide use

(B) Translating from Spanish to English
(C) The life of a migrant worker
(D) Pollution in rivers
3. Why did the woman hesitate to agree to the professor's

request?
(A) She had not planned to attend the conference.

(B) She is unfamiliar with the workshop topic.
(C) She wasn't sure she knew enough Spanish.
(D) She is busy writing a paper.


(A) He will be at the workshop to help the woman.
(B) The woman should rewrite parts of her paper.
(C) He doesn't know when the speakers will submit their
papers.
(D) The woman will not be able to prepare her entire
translation.
5. What can be inferred about the ofcial from the

Environmental Protection Commission?
(A) He will leave soon after the conference.

(B) He is interested in the woman's research.
(C) He will give his presentation in English.
(D) He has not yet submitted his paper.

1. Why have the woman and her friends decorated the
lounge?
(A) There was a sale on posters.

(B) Their art history class inspired them.
(C) The atmosphere seemed impersonal.
(D) They had free time.

What does the man imply?
(A) He prefers photographs to paintings.

(B) He wants permission to touch the poster.
(C) He has seen a similar window before.
(D) It looks realistic.
3. According to the woman, what makes a painting stylized?

(A) It has a unique appearance.
(B) It resembles the artist's other paintings.
(C) It follows a certain approach to painting.
(D) It looks three-dimensional.
4. How did O'Keeffe make the image in the painting look

two-dimensional?
Click on 2 answers.
She used a front view.

She left the shutters out.
She used very few colors.
She omitted textural details.
5. What will the man probably do later?
(A) Go to an art museum

(B) Buy a poster like the woman's
(C) Sign up for an art history class
(D) Invite friends to see the lounge

Set A
What can be inferred about the woman?

(A) She was disappointed that she couldn't go along.
(B) She isn't sure where the man went.
(C) She does not understand the man's eagerness.
(D) She and the man are in the same physics class.
2. What impressed the man about the water treatment

plant?
(A) It is much larger than he expected.

(B) It is very far from the lake.
(C) It processes a lot of water.
(D) It processes water thoroughly.


(A) To ask what an unfamiliar word means
(B) To show that she is familiar with the chemical the
man mentioned
(C) To explain why she could not go on the eld trip
(D) To make an analogy to something the man just
mentioned
4. What does the step called coagulation do?
(A) Move water from the river to tanks at the plant

(B) Kill germs in the water
(C) Clear pieces of dirt out of the water
(D) Remove harmful chemicals from the water
5. What do the speakers imply about charcoal?
(A) It gives water a strange smell.

(B) It is ltered out of the water at the plant.
(C) It is used to purify water.
(D) It kills germs effectively.


Set A
Transcripts

ACADEMIC LECTURE 1
N: Listen to part of a lecture in a biology class. The class is discussing human
physiology.
P: I'd like to start today by asking a question that has posed a challenge to
many medical researchers: Why do people who exercise regularly love it so
much? Sure, exercise helps keep you in shape, so you feel healthier. And
when you exercise, you…if you push yourself to keep lifting heavier weights
or running a little farther, there's that sense of challenge…a sense of, well,
accomplishment, that we all like. And then, of course, exercise generally
makes you look better.
Uh, but those things aren't…they're not what I'm talking about.
I'm talking about something like that "runners' high" you hear about from
people who go running and say it elevates their mood. I'm talking about
what people sometimes call the "addictive" properties of regular
exercise. Remember to keep "addictive" in quotation marks in
your mind, of course, so you don't start getting confused. You
may know this, but frequently, dedicated athletes fail to notice an injury
—they'll be competing or playing a game, and they'll injure themselves—
and they often don't even notice they're injured until after the competition
is over. It doesn't hurt right away. There's a researcher, Lee S. Berk, who
did research a while back that may explain why these things happen…why
exercise gives people's moods a lift the way it does. What he found is that
people who exercise regularly produce high levels of a natural opiate called
beta-endorphin in response to strenuous activity. That means that when
they exercise, there's this mood-elevating chemical that gets released into
their bloodstream.
This substance in question…this beta-endorphin…is a hormone
produced by the brain and the pituitary gland. It increases pain tolerance,
so that's why people don't always feel an injury right when they get it. It
also lowers stress, you know, it relaxes you. I mean, if you're exercising,
you're moving around and using up energy, but I'm talking about losing
that sense of uptightness, where your muscles can feel clenched. It also
generally imparts a feeling of well being—you know, puts you in a good
mood. So those are the things we talked about, right? You don't notice
injury and you feel uplifted. Berk designed a study of six men and six
women, who were tested while running on a treadmill. First, he asked the
participants who were in poor physical condition…these were people who
did not exercise regularly…to run continuously for twenty minutes, and then
he measured their beta-endorphin levels at the end of the test by taking
a blood sample. Then, he had participants who jogged regularly and were
physically t do the same thing. He ran the same test.

Set A
/PUFT

Berk found that the physically t subjects produced beta-endorphin

more rapidly and in far greater amounts than those who were usually
sedentary…meaning those who get little exercise. After the activity was
stopped, beta-endorphin levels dropped back to normal. In the people who
didn't exercise regularly, only a small rise in beta-endorphin occurred while
they exercised. However, a larger increase in beta-endorphin production
was noted some time after the activity was nished, when it didn't really
do much for them. So Berk gured that beta-endorphin production may
be the main source of this "runners' high," the feeling of well-being that
people who are so enthusiastic about working out, whatever exercise they
do, always talk about. The theory is that beta-endorphin also accounts
for other benets of vigorous exercise, such as its ability to lower blood
pressure and suppress appetite, since the hormone is known to have those
effects, too.
And actually, it's a little off-topic…maybe I should save this for later
…well, why not? Since we're talking about Lee Berk's research, here's
something else interesting: Having clearly demonstrated a connection
between beta-endorphin and exercise, Berk has actually been studying
the effects of laughter on the levels of mood-altering chemicals in the
bloodstream. It's been known for quite a while that laughing…not just
polite little giggles, but serious belly laughs…that laughing triggers chemical
responses. For anyone who's heard about this, I should mention that it
is not true that Lee Berk has shown that laughing has the same effect as
exercise does, chemically. I mean, laughing has not been shown to release
beta-endorphin. What laughing does is actually decrease the production of
a chemical that suppresses the immune system. You end up with less of
it being pumped through the blood. So it's a healthful effect from kind of,
like, the opposite direction. Instead of producing a chemical that's good
for you, it decreases production of a chemical that isn't always so good for
you. Just thought I'd mention it, even though it's not related to exercise,
because…well, it's another example of how day-to-day activities that…
you know, we all know the folk wisdom that these things are good for your
health, and I think it's fascinating how we're learning they affect all these
complex chemical systems your body uses to regulate itself…and, you
know, where these effects we wonder about…where they come from.

Set A
/PUFT

ACADEMIC LECTURE 2
N: Listen to part of a lecture in an environmental science class.
P: Arid regions in the southwestern United States have become inviting

playgrounds for the growing number of recreation seekers who own
vehicles such as motorcycles or powered trail bikes. These cyclists enjoy
racing in hill-climbing contests or carving new trails in the desert.
Well, I guess, to be honest, I should say "we cyclists," since I'm
no stranger to desert trekking myself. But recent scientic studies
show that these off-road vehicles can cause damage to desert landscapes
that has long-range effects on the area's water-conserving characteristics.
These vehicles also do things to the entire ecology, including both plants
and animals. So pay special attention today if you're the sort who's into
cycling as a sport or as a way to spend your vacation.
Research by scientists in the western Mojave Desert…it was the
Mojave Desert they looked at, in California…revealed that the passage of
just one motorcycle over a strip of ground compacted the soil signicantly.
You know what happens when you run a motorcycle over soft ground,
right? There's a track…okay?…a groove or track in the soil that it leaves.
The weight of the motorcycle—that's what leaves a track. Well, what
happened in the Mojave Desert when the researchers looked at these
motorcycle tracks was, they were different from the surrounding soil, the
stuff that wasn't packed down, in ways that affected plant growth.
One thing that happened after motorcycles went over the soil was,
the soil in these tracks didn't absorb water as well as it had before. And
of course, the track has high sides; it's kind of like a container for water to
collect in. Anyway, what they found was, when it rained, the track couldn't
absorb water very fast, and at the same time water was lling it up like a
ditch. It was shaped so water could pool in it, like a cup or something. So
when it overowed, there was a stream of runoff water running down the
slope. You know, normally, the rain water kind of seeps evenly into the
ground, because the ground absorbs it, but the motorcycle track caught
water that then kind of ooded down the surface of the hill and it washed
away dirt. If you think of that happening a bunch of times on the same
hill, well the surface is going to erode faster than normal, right? And that's
what happened. Soil started washing away, sometimes just because of a
single motorcycle track on the softer soil of the hill.

Set A
/PUFT

Now, there's another problem with water absorption, which is that

when plants start growing back in the motorcycle track, where that soil's
packed down…well, the plants need water. The roots, I mean. The roots
need water, and now they're not getting enough because the soil can't
absorb it. And it's not just water that can't get into the soil. The soil was
less penetrable to air, too. Um, air couldn't get in the way it could before
when the soil was loose and soft…before the motorcycle rode over it. And
air is another nutrient plant roots need. They need oxygen to breathe, just
like us. And they can't get it when the soil is packed down. It's too dense
to absorb that air.
Now, let's take a step back and think about what all this means.
You have soil eroding faster, and you have soil that can't absorb enough
water and air. So what happens? Well, the soil stays barren. It stays
dead. The plants that would normally be able to grow in it can't grow
there. And that…not having plants growing in the soil, with their roots
holding it together, right…that makes the soil even more likely to erode.
It's a vicious cycle.
So when researchers were looking at the Mojave Desert, they looked
at these motorcycle tracks and that's what happened. You had the local
plants dying off, and within a few years different plant species from other
regions started moving in and taking over. See, they…maybe they were
okay with less water and air in the soil—you know, plants have different
needs, so plants that needed less air and water were still able to grow
there, and they didn't have any competition. The perennial plants native
to the desert areas studied took many years before they showed signs of
returning. The scientists think that it could take more than a century for
the native plants to reestablish themselves in these places in the Mojave
they looked at. Something to think about if you like to go motorcycling on
trails.

Set A
/PUFT

ACADEMIC LECTURE 3
N: Listen to part of a lecture in a zoology class. The class is discussing the
biology of certain mammals.
P: The ways animal species nd to adapt to their environment can be

fascinating. Have any of you ever been called a sloth?
M: Didn't you call me that when I complained about my grade last semester?
P: Very funny, Chris. Well, if anyone has been called a sloth, it probably didn't
feel like a compliment. The reason the sloth is used to represent laziness is
that it spends 18 hours out of every day sound asleep. It also moves very
slowly. So humans have come to see it as a symbol of goong off.
But you know, the sloth isn't really goong off. Its habits are
actually the result of a long series of adaptations to the conditions in its
habitat. The sloth lives in the tropical rain forests of Central and South
America, so it has to adjust to the environment of heat and humidity the
way all the other wildlife does, but more specically, its development has
been affected by its food sources. See, the sloth eats only leaves. We
used to think—we in the scientic community used to think that the sloth
only ate the leaves of one particular type of tree. That's the cecropia
tree. But it turns out that sloths actually eat the leaves of two dozen or
so species of tree. Their eating habits are more diverse than we thought.
But still, they only eat the leaves. Most plant-eating animals eat different
parts of plants—the leaves, sure, but also the fruits and the stems and the
starchy parts and stuff. So they get lots of different kinds of nutrition.
But the sloth, remember, I said it eats only leaves. Leaves certainly
contain nutrients, but at the same time, they're hard to digest. And so
actually living just on leaves is hard. An animal that lives on leaves has to
nd some way to, you know, squeeze out all the nutrition it can. It has to
be very thorough about extracting those nutrients. And the sloth is. It has
a stomach with four compartments that the leaves pass through as their
digested, so the process of digesting them is very long—it takes a good
month or so for digestion of a large meal of leaves to be completed—and
draws off as much nutrition. But even so, leaves just don't provide a whole
lot of fuel, of nutrition, for activity. So that's one reason the sloth is so
inactive. It just doesn't eat the sort of high-energy food that would allow
it to move around more, and it spends a lot of time digesting the meals it
does get.

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Now, at this point, you might wonder how the sloth gets away with
this, huh? After all, if it were that easy just to eat food with poor nutritive
value and just not move around without a problem, why wouldn't other
animals do it? Why do other animals develop the fast metabolisms
they need to scurry around all over the place? Actually, let me put
that in another way. The question, if I phrase it better, is why the sloth
has been able to survive when sitting still all the time does not tend to
favor a species for survival. What's dangerous about sitting still?
W: You can't move to where the food is?
P: Oh, yeah—sure. That's denitely true for a lot of animals that have to
follow their food sources around…hunt for food, and things. But the sloth
lives in the trees of the tropical rain forest, remember. It doesn't have to
move far to nd new leaves because the trees grow very densely. Why else
do animals move quickly? What else makes them do that?
M: They want to avoid being eaten.
P: There you go. Animals usually need to be able to move quickly in order to
escape predators. If the sloth has been able to survive this long, hanging
motionlessly from trees and eating leaves…well, one of two things. Either
the sloth doesn't have any predators, or it has some other way to keep
them away. And what we now know is that while the sloth really does have
few predators, it also knows how to deal with those it does have. The sloth
wraps itself in vines when it rests. If a predator approaches, the vines
make noise and also form a protective covering. If the predator keeps
coming, the sloth can use its sharp claws to ght back. Sometimes it will
even hook the predator with its claws and pull it closer so it can bite it.
One such encounter is usually all a predator needs to learn to stay away.

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ACADEMIC LECTURE 4
N: Listen to part of a lecture in an environmental studies class.
P: Estimating the quantity of hydrocarbons emitted into the atmosphere

globally every year has been a challenge to environmental researchers. But
the information is important because such hydrocarbons are greenhouse
gases and may be contributing to global warming, so…well, scientists
obviously want to nd out where they're coming from.
Let's dene a few terms before we go ahead. A hydrocarbon is a
type of chemical found in organic matter. And certain hydrocarbon gases,
when they get into the atmosphere, they can react with what's already
up there and cause the atmosphere to heat up. The exact way that
happens, we'll talk about later. For now, I want to talk about one of those
hydrocarbon gases—it's called methane—and look at how researchers are
tracking where the methane in the atmosphere comes from. It's pretty
interesting.
The researchers I'm talking about—their estimates require sorting
through and analyzing vast amounts of data collected by scientists doing
on-site research. Methane is generated mostly by…the human activity
that produces most of the methane we want to look at is agriculture. So
scientists who want to get a sense of how human activity affects the overall
amount of methane in the atmosphere need to look, as much as they can,
on how farming is conducted…is practiced all over the world. That's a big
job, huh? But they've managed to pull together a lot of on-site research to
get to some conclusions. The on-site research we'll talk about today comes
from China. That on-site research in China has now given scientists new
information about the amount of methane produced from rice elds. Uh,
it's particularly the rice elds called paddies, and we'll talk about those in a
second.
In the past, scientists estimated that one-seventh of the amount of
methane emitted into the atmosphere every year comes from rice paddies.
Those estimates were based on the methane emission rates collected from
the rice elds in the United States and Europe, which are…they're not like
the ones in China or other parts of Asia. And for that reason…I mean, due
to one particular difference between American or European rice elds and
the rice paddies of Asia, recent research indicates, the emission rates of
western rice elds may be far lower than are those of Chinese elds. The
methane emission rates were calculated from 13,000 individual readings
made during growing seasons in 1988 and 1989 in China.

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The average methane emission rate of the Chinese rice paddy elds
is 58 milligrams per square meter per hour. These values were much higher
than the range of 4 - 16 milligrams per square meter per hour reported
from western rice elds. Right? You can see that 58 milligrams is
way bigger than 16 milligrams. You know, you don't have to be
a chemist. It's almost four times as much methane being produced per
square meter of eld per hour. Calculations based on the higher emission
rates—that new 58 gure—indicate that one-fth of the methane emitted
globally could be accounted for by the rice elds of China alone.
So at this point, you may be wondering, what's the big difference?
Why does the Chinese way of growing rice produce so much more
methane? Well, does anyone know how Asian rice paddies work?
M: They make them into these terraces, don't they? And they irrigate them.
P: Right, they irrigate them. Most commercial elds are irrigated, unless
rainfall is so steady that it's not necessary. What's special about the way
Chinese rice paddies are irrigated?
M: Oh, they kind of ood them. You know, like, the water is poured in…
I mean, they let the water ow in until it's a few inches deep. It's like a
pond, or a puddle.
P: There we go. That's it. On rice paddies, the roots are completely
submerged in water; in fact, the water comes part-way up the stems.
What happens when you bury—well, there's probably a better way
to put that, but you know what I mean—when you bury the roots of
a plant? Well, where's it supposed to get air? It can't get the oxygen
it needs to breathe normally. And when that happens, it performs a sort of
respiration—like breathing—that doesn't require access to lots of oxygen.
It's an alternative way of growing and getting energy. But it also produces
methane as a by-product. And that's where the methane comes from. The
way rice paddies are irrigated affects the life processes of the rice plants.

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ACADEMIC LECTURE 5
N: Listen to part of a lecture in a biology class. The class has been discussing
the relationship between humans and their close relatives.
P: Everyone settled? Good. I want to start—before I forget—I want to

start by reminding everyone that I'm going to be at a conference
this Wednesday. I'll be delivering a paper, and so will about ve
other people on the panel, so I hope to have some interesting
research to let you know about when I get back, but what this
also means is, I can't have my regular ofce hours Wednesday. So
provisionally, I'm planning to be in my ofce on Friday, through
most of the afternoon. Hope it doesn't put anyone out.
All right. What we're trying to do is get a sense of what elements
of our behavior as humans come from…well, what parallels we can see in
our primate ancestors. There are trends that we can also see, in different
versions, in modern primates. We can look at relatives of monkeys,
chimpanzees, you know, gorillas, and get a sense of how their behavior
looks like a shadowy version, a primitive version, of what we do as
humans. These trends are the ones that distinguish higher primates from
lower primates and other mammals. Okay? All right, so the rst such
trend is a close relationship between infants and parents.
In all higher primate species, young animals spend years in physical
and social dependence on adults after they're born. Right away at birth,
the newborn establishes a close one-to-one relationship with its mother. It
starts to happen immediately. And while we're used to it from human life,
it's not…it's unlike what many other mammals do. Many other mammals
are born in litters—litters are large groups of babies like the ones cats or
dogs have—and hidden away in dens or nests. Have you ever had a
cat that had babies? She hides herself in the basement or under
the porch, and you have to go look for her to nd where she and
her kittens are, right? It's like you could give all your neighbors
and friends a kitten and still have some left. Well, higher primates
aren't like that. Instead, a single baby is born, and for the rst months of
its life it is continuously in contact with its mother (or mother substitute),
clinging to her while she's moving and resting in her arms to sleep. So
that's one big thing that humans have in common with other higher
primates. You know, we have the most evolved social structures and
learning patterns, and those take a while for the babies to learn. Other
animals don't have language to teach the way human mothers do, but their
babies learn by watching their mothers, seeing what they're doing.

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So this basic pattern holds true for all the higher primates, but
there are differences in the specic ways in which this constant contact is
maintained. Not only do humans have that extended period of dependence
and interaction I was just talking about…it increases the importance of
learning and reduces the importance of just responding by instinct. Okay?
Not only that, but unlike many other primate parents, humans take
responsibility for maintaining contact with their infants. Just to give a
contrast—to show you a counterexample, you have the lower primates, our
more distant relatives. Among all the Old World monkeys, like baboons,
say, the responsibility for maintaining contact rests primarily with the
infant, not the parent. It can really be something to see if you're a scientist
out in the eld observing these animals. From the moment of birth, an
infant monkey must be able to cling to its mother for long periods of time
while she feeds, travels, grooms, or leaps to safety. She doesn't really help
the baby. Infants unable to hang on will not survive…you know, and that's
that. The infants have to learn right away how to hold on.
The same basic pattern is true for the apes…well, sort of. The apes
are closer relatives to us humans than the monkeys are. Apes are more
advanced, right? So they give the babies more help. Newborn apes are
less developed than monkeys and are not very good at clinging during the
rst weeks of life; they have a lot of trouble. But mother apes will help
their infants by carrying them wherever they go and by restricting their
own movements and…well, all their activities, their social interactions and
all…for several weeks after giving birth. And that helps the baby to be able
to stay in contact with the mother. It doesn't fall off, even though it can't
cling well. So the mother is much more attentive to the needs of her young
than the mothers among lower primates are…or Old World monkeys are.
So, yeah, while different primate species have adapted different
ways of keeping mothers and babies in contact, all of them have evolved
mechanisms to ensure an extended period of learning for every infant,
under the tutelage of a mother who doesn't have a whole litter of babies to
care for. And that makes sure that all the complex responses we need to
mature as higher primates are taken care of.

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ACADEMIC LECTURE 6
N: Listen to the following discussion in a history of architecture class. The
class has been discussing how colonists modied European architecture to
suit new environments.
P: Early Colonial American architecture, like Colonial culture in general,

was based on that of Europe. But because of conditions in the new
environment, colonists modied traditional forms and gave them a
uniquely American character. It's not that they were necessarily trying
to make things look more American, exactly, but they were adapting to
local conditions. Buildings have to suit the, uh, the environment
you make them in, if you expect them to be really useful. Is
there anyone in the class who has been to both England and New
England and can suggest what surprises the colonists might have
encountered?
M: Well, I'm from Massachusetts, but I've visited England often in the fall and
winter. And while England gets very rainy, and damp, there's very little
snow, and the temperature doesn't even seem to drop near freezing very
often. You feel cold, but you don't have to worry too much about frostbite
or things like that.
P: Right. That, of course, was the fundamental consideration for the colonists.
They had to get used to—they had to adapt to the New England winter, and
it was harsh…freezing cold. That climate difference led to one of the most
widely known features of New England architecture: the extensive use of
clapboard.
W: Sorry, professor. What's clapboard?
P: Oh, that's a good question. And, um, I'll write it down for you, because
it's not spelled exactly the way it sounds. There. Clapboard is also known
by another name, weatherboard, which perhaps makes its function a bit
clearer. It's designed for the weather in New England. Clapboards are
long boards that are tapered along one edge. When you look at them in
cross-section—you know, you take a board and look at one end of it, it's
smaller on one side. Kind of wedge-shaped. The reason is that when
they're laid in an overlapping pattern over the side of a house, clapboards
help to insulate the house. They trap air between the inner and outer
walls, and a layer of air that doesn't move insulates against cold winds.
They—the clapboards—also form walls that allow rain and snow to
run off. That's important, because when rain gets in…or, you know,
when snow melts and gets inside walls where it's dark…it causes
rot. And then the wall's ruined. It has to be replaced.
M: Oh, so that's why they face downward. The water can just ow
down without getting inside the cracks. Kind of like sh scales,
right?

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P: Uh-huh. That's exactly it. It's that overlapping pattern that newer
materials such as aluminum siding mimic today. Although, of course,
aluminum siding—or vinyl siding, whatever it's made of—is just one solid
piece of wall. The surface isn't made of separate boards, so there's no
actual worry about water getting in and rotting them. People like siding
that imitates clapboard because it looks nice and they associate it…you
know, now it's associated with the look of colonial America.
Anyway, as I was saying, the early English settlers of New England
came from provincial areas where 14th and 15th century structures were
the dominant architectural forms. They copied what they remembered of
these familiar English buildings, but they were forced by the colder New
England climate to…well, they had to make certain modications. We
just talked about clapboards, but they also…for example, they moved the
chimney from the side of the house to its center to provide more efcient
heating.
W: I was wondering about that. When my family and I went to see some
colonial houses once, the replace and chimney were right in the middle.
It looked inconvenient, since all the rooms had to be built around it. But I
guess it does make sure all the heat stays in the house.
P: Yes, it does. The central chimney makes sure that the heat from the
replace isn't escaping through one of the outer walls, where it doesn't help
the people living in the house. The design became typical of 17th-century
New England architecture. It was, a practical development because…you
know, uh, there was a real lack of resources at rst, so the heat and light
from every little bit of rewood was precious. The central chimney made
sure that all the heat could be captured before it literally just disappeared
up the chimney. Along with clapboard, the central chimney is a perfect
example of adaptation to a new environment.

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ACADEMIC LECTURE 7
N: Listen to part of a talk in an art history class:
P: So, we're going to talk…you know, we'll be discussing paintings from the
point of view of their subject matter and the techniques the painters used,
uh, to, well, to represent what they were painting. But it's also important,
if we're really going to understand the paintings we study, to talk about the
physical kinds of materials that are used. Because they—the materials, I
mean—limit what you're able to do with your inspiration. They affect what
you can and can't paint, no matter what your imagination tells you to do.
So let's start by talking about the paint itself.
The two basic materials used in paints are pigments and media.
Pigment is the material that actually gives the paint its color—the colored
powder or whatever that you use. The media are the liquid you use to hold
the pigment in place. Most pigments are powders, so to paint them on
smoothly, you have to dissolve them in a liquid to make them spreadable.
But actually, the earliest humans smeared dirt and crushed charcoal directly
on cave walls to make crude drawings. They didn't dissolve their colors in
any media, and, of course, the color schemes were limited to brown and
grey. But later humans discovered that some plants released beautiful
colors when boiled, often fruits or owers with attractive colors. We still
use plant pigments as dyes for cloth—not so much for paint, really—if you
think about the indigo used to make blue jeans blue, for example. Anyway,
later, they found that some colored minerals could be ground into powder
and used in paints. These minerals proved to be a real breakthrough, since
as chemicals, they're much more stable and long-lasting than plant dyes.
The problem is, dry mineral powder doesn't stick to most surfaces.
It doesn't melt, and it has a dry, chalky kind of quality in most
cases that means it wears off pretty quickly. And that's where the
medium comes in. The medium for a paint is the liquid—it was water
or animal fat for early humans—in which the pigment is dissolved. The
medium makes it possible to apply the pigment smoothly and helps to
bind the color to the surface being painted. Water was, not surprisingly,
probably the rst medium used. The oldest known watercolor paintings are
about 30,000 years old.

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Other, more sophisticated media were developed later. I mentioned

animal fat, which could be a very good, smooth medium if it was puried
rst. But even better media came along later. Between about two and four
thousand years ago, egg tempera paints began to be used. Egg tempera
uses egg yolk mixed with oil and water as a medium. The egg yolk makes
the paint very smooth and easy to control, so painters really liked it. They
could achieve a lot of very specic, very detailed effects…you know, they
could vary the surface of the painting, make it smooth sometimes, or give
it lines and ridges in other places, and the paint would dry that way. It had
enough, uh, body, to hold its shape on the canvas or wood, or what have
you. But there's a problem with using egg yolk if you're thinking about
long periods of history. It goes bad quickly, right? Think about the last
time you got lazy and didn't clean your refrigerator for a few months. The
egg yolk just…well, it rots. Despite this, if it dries properly, you can get egg
tempera that lasts and lasts. Some very old and famous paintings in this
tempera survive even today. One example is the Renaissance painting The
Birth of Venus, created by Sandro Botticelli in the 1480's.
So at this point in history—the 1400's or so, during the Renaissance—that
was when the type of paint that many of you probably associate most with
high-art painting was developed. I'm talking about oil paint, of course. Oil
paint uses natural oils as media. Linseed oil has been the most commonly
used, because it dries quickly. You don't have to let the painting sit too
long before it dries. And the linseed oil forms a very sturdy, elastic lm
over the surface on which it is painted. It also doesn't decay quickly. If
you take care of an oil painting—obviously you have to keep it away from
too much direct sunlight, or moisture and mildew and things, the normal
stuff that ruins valuable objects—but if you do, oil paintings can last like
new for a long time. Okay, why don't we pause here and look at our rst
group of slides, which will show how the use of different media can affect
the appearance of the nal painting.

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ACADEMIC LECTURE 8
N: Listen to part of a lecture in an environmental studies class. The class has
been talking about ecosystems in its area of California.
P: Let's talk today about two problems that are faced by many estuaries like
our very own San Francisco Bay estuary. Ours is the largest one on the
Pacic Coast of the United States. What makes it an estuary, of course,
is that it's a body of water where fresh river water from inland meets the
salt water of the ocean. They mix just near the mouth of the river. The
rivers that feed the San Francisco Bay estuary are the Sacramento and
San Joaquin. When you have such a place where saltwater and freshwater
mix, you tend to nd a diversity of species. You get things that are used
to river water in contact with things that are used to sea water, and a
distinct kind of ecosystem forms. Unfortunately, that's not the only unique
characteristic of an estuary. You also tend to have an ideal port—since
ships can come in from the ocean, or they can come down the river, so it's
a great central location for a port. You can keep the goods moving in both
directions. Well, that's fortunate for human society, since it means things
can be transported efciently. But it can be bad for the wildlife. Uh, as
I mentioned, there are two big problems.
One is pollution from industrial chemicals. I bet you saw that
one coming, huh? It certainly gets enough publicity. Ports are
good places for factories, because the raw materials can come in on ship
and be processed without taking them far from the dock. Of course,
manufacturing and processing produce lots of chemicals, and they're often
released as waste back into the environment. The result is predictable:
we know from the reports of shermen that there has been a decline
in the populations of sh such as salmon, sturgeon, striped bass and
Dungeness crab in the estuary. But that's just anecdotal. Now there's
also scientic proof, a six-month study, in which researchers looked
primarily at striped bass. They particularly looked at the shes' livers,
since that's the organ that tends to collect contaminants. They found
high levels of organochlorine and PCB compounds, which can be traced to
industrial and agricultural sources. These compounds are known to be very
harmful to striped bass. Another aspect of the study was a drilling of the
sediment that had collected on the estuary bed, which showed that over
the last six decades DDT and other hazardous waste had collected due
to agricultural runoff. Although DDT is no longer used by farmers, these
sedimentary collections still pose a danger to sh living today, since the
DDT becomes part of the food chain by being transported by sedimentary
microorganisms, which are consumed by aquatic animals and mollusks,
which eventually are consumed by larger sh.

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Now, the second problem, you may not be aware of, but I think it'll
make sense. The other thing that happens besides pollution with
chemicals is what's called biological invasion. Biological invasion is
what happens when foreign species come into an area, they come
into an ecosystem, and they start competing with native wildlife for
food. You know, the way you describe an army as being a group
of invaders if it goes to a foreign country and tries to conquer the
locals. It's like that. The invading species come in on the ships, of course;
most of the time, they're in the water that's used for ballast. Ballast is
the water…well, it can be any material, but it's water in this case…that a
ship uses to keep itself bottom-heavy. That way, it's hard to tip over—
right?—it'll stay right side-up. Anyway, a ship will take on ballast water
at its original location, and then it dumps some when it arrives in the San
Francisco Bay estuary. That's because the amount of cargo is different,
so the ship needs a different balance. But of course, the sea water that
was used for ballast has marine life from that original location in it. Those
organisms, now that they're here, they escape into the local marine
system, and they start competing with native species. So here in San
Francisco, in the San Francisco Bay estuary, scientists have counted species
of everything from crabs to seaweed to parasitic worms that are invasive.
They aren't from here originally, but they came in on ships and they've
thrived. And the bad thing is that, because they can compete so well, the
actual local wildlife…well, some species…have become rarer and rarer. It
can be hard to nd a species of native crab, but crabs that came in from
Europe and Asia are all over the place. So that's the other major problem.

Set A
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N: Listen to a conversation between two students:
M: I'm glad I ran into you, Kate. Mind if I ask you something?
W: Ask away, if you don't mind walking with me toward the student center; I'm
just barely going to be in time for my psychology study group as it is.
M: Fine. You know how Professor Cox was talking about the review session for
economics tonight?
W: Uh-huh.
M: I wrote down what he said we needed to prepare for it, but then I tore
it out of my notebook and threw it away with some papers I didn't need
anymore.
W: Oh, got it. Well, you don't actually have to prepare anything.
M: You don't?
W: Well, no. It isn't an ofcial class meeting. It's for people who have been
studying for the nal and realize that there are still things they don't
understand. You know Jamie, our teaching assistant?
M: Of course.
W: She'll be running it, not Professor Cox. If you have specic questions from
any of the assignments…
M: Do I ever!
W: I know, right? Or if there are any important concepts that you'd like her to
review, you can ask her.
M: Oh.
W: Even if you don't have any questions, Professor Cox said that it's a good
idea to go.
M: Yeah, it probably is. You can review things for yourself by listening to
Jamie answer other people's questions.
W: Also bear in mind, you can check out the transcripts of the professor's
lectures—they're all on reserve at the library, right? So if you miss
anything in class, you can look it up.
M: Won't the review session just cover the same things the professor did—I
mean and other stuff we already have in the textbook?
W: Well, yeah, but what if Jamie explains something in a way that's more clear
than the professor—you know, so everyone actually gets it? Since the
review session's just an informal meeting…
M: …there won't be anything to check out of the library if you miss it. I see.
And, um, didn't Professor Cox say something about using a different room?
W: Yeah, it's lecture room A114 in the economics building—the big one, you
know?—because all the different sections of the course will be having the
session together.
M: A114--got it. If I remember correctly, it's at 7:30, right?
W: Right. Look, I really should get to my study group, but if you've got a little
time before the review session, why don't we get together?
M: Ooh, good idea.
W: The way I gure it…well, everyone's worried about the nal, huh? That's
why they moved it to the big room. There may not be enough time for
some people to get all their questions answered.
M: Probably.
W: So, well, if we have any overlapping questions, maybe we can ask them in
a general enough way that we can get Jamie to cover most of them.
M: Sounds great. How's A114 at 7:00?

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N: Listen to a conversation between a professor and a student:
M: There's the bell. See everyone Thursday! Oh, Julie, could I have a word
with you?
W: Sure, Professor. What is it?
M: It's about the conference coming up, the Border Resource Planning
Conference.
W: Next month, right? I was planning to attend. I bet a lot of the papers will
be really interesting.
M: Well, Julie, I was hoping you'd do more than just attend and listen.
W: Really? Did you want me to help with…I mean, I guess there's, like,
reception to be done, right? Handing out nametags and stuff? Since we're
hosting it here at the university this year?
M: Actually, I was going to ask you whether you were interested in interpreting
at one of the workshops. There will be some Mexican ofcials there who
would rather not present in English, and we need someone to interpret.
W: Well…as long as I only have to translate from Spanish to English, there
shouldn't be any problem.
M: That's exactly how we have it planned.
W: What will the workshop be about?
M: It's about waste water management. There's been a dispute recently about
runoff with agricultural pesticides in some rivers.
W: Oh I'd love to help out at that workshop!
M: Really? Well, there you go.
W: You know, I'm writing my thesis on the harmful effects of pesticide use, and
my data is on migrant farm workers. I mean, I'm focusing on groundwater
and irrigation, not on rivers, but I'm sure I'll be able to get some new ideas
for my project.
M: That's why I thought of you.
W: Well, thanks. I just hope I remember all my Spanish.
M: Well, see, here's the thing. The papers have already been submitted, of
course, so you can start looking at them and getting your translations
ready before the conference.
W: Oh, that's okay, then!
M: Just remember, though, I expect the speakers will add some…you know,
remarks off the top of their head. You should be prepared with your
version of the paper, but you'll have to improvise some while actually
interpreting.
W: Yeah, I gured that. That's okay. As long as I don't have to, you know,
sight translate the whole thing, I think I can manage.
M: There's an ofcial I'd like you to meet, from the Environmental Protection
Commission. He works very closely with agricultural workers.
W: Wow.
M: I was thinking that you could…you can serve as his interpreter, and then
perhaps you'll have a chance to interview him. He has to get back quickly,
but there should be time for you to talk for a half-hour or so.
W: Thanks.
M: Let's get together after class next week to organize some of the details.
In the meantime, here is a copy of two of the papers—let's see, do I have
both of them?—that are going to be presented at the workshop.
W: All right. I'll get cracking right away!

Set A
/PUFT

N: Listen to a conversation between two students:
M: I see you and your friends have been decorating the dormitory lounge.
W: The walls looked so stark and dreary. It didn’t feel like home, you know?
What we wanted was for the lounge to look as if people really lived there—
not that we live in the lounge, but it's like the living room of our house. So
anyway, we used posters.
M: I like the one over the sofa now. Did you buy it on campus? I mean,
assuming it's one of yours.
W: The one of the view out the window? No, I bought it in New York City. The
art history department recently sponsored a special museum tour there,
and I went.
M: So it's from a gift shop?
W: Yeah. There were lots of posters I wanted, but the ones that are good
quality are kind of expensive, so I was only able to choose one of my
favorites. It's of a modern painting. Uh, the painting is by Georgia O’
Keeffe, called Lake George Window.
M: It looks more like a photograph. You almost feel as if you could
open the window and reach through it.
W: I thought the same thing when I rst saw the original painting. But the art
history teacher pointed out how the painting is, in fact, very stylized.
M: What do you mean? I see that word all the time, but I always just assume
it means…like the artist has a recognizable style, or something.
W: No, that's not exactly it. Stylized means that the artist is following the
rules of a particular style in painting…so it's of a particular type of painting
—um, instead of trying to make it look natural. But the style doesn't have
to be…it doesn't have to be really distinctive or unique.
M: Now you have me interested. What kind of style was O'Keeffe using in
making this painting that makes it different from if she just wanted to make
it look life-like?
W: Uh, rst—this is what the professor said—by choosing a frontal view of
the window, she was able to make it symmetrical and at. It doesn't look
three-dimensional.
M: It does look almost at. The shutters on the window seem to have no depth
at all.
W: Right. Well, that's part of the style she was using. She wanted surfaces to
look like smooth planes, so she eliminated details of texture. Like on the
shutters.
M: Mm-hmm. They look as smooth as the glass of the window pane.
W: So even though she created a realistic painting of a window, O’Keeffe
stylized and simplied the shapes to resemble an abstract design.
M: It sounds as though you learned a lot, and you got this great poster, too.
Are the art history department tours limited to art majors?
W: Oh, no. Anyone from the university is welcome. In fact, the next one is to
the Museum of Fine Arts in Boston. You want me to sign you up?

Set A
/PUFT

N: Listen to a conversation about a eld trip:
W: How was that trip your physics class took to the water treatment plant?
For some odd reason, you were really…you really seemed to be looking
forward to it.
M: Oh, it was fascinating. Actually, I think you might have thought it was
interesting, too.
W: Okay, if you say so. What was so fascinating about it?
M: Well, the city gets its water from Cedar Lake, right? But you can't just let
the water run right from the lake into people's houses. The treatment plant
makes sure the water is clean enough to use.
W: Didn't you already know that before you visited? I doubt most people think
the water is pumped right from the lake into their kitchens. It would have…
I don't know, stuff oating in it. You know, mud, maybe.
M: Of course. But the process is really thorough. There are three steps.
W: So it's three kinds of lters they use?
M: No, ltering's only part of it. See, you are going to learn something
interesting. Actually, the rst thing they do is called coagulation.
W: Coagulation? Like what happens when you get cut and use a drug that
stops bleeding, right? When you have a cut, to keep it from bleeding…to,
uh, thicken the blood so the bleeding stops.
M: Yeah, that's exactly what the coagulation chemical does. They use this
chemical—I forget the name—to make the particles of mud and dirt from
the lake stick together. Because, of course, the more stuff you have
sticking together, the heavier it gets. And then it sinks.
W: Oh! It sinks to the bottom, and then they sort of pour the clean water off
the top of it?
M: Uh-huh. Basically. The water is held in a tank, and as the particles get
bigger and heavier, they sink to the bottom and out of the water.
W: And then the water can be ltered?
M: Uh-huh, that's the second step. Although, actually, there are kind of a few
different phases there, too. It's not just one big lter. There were layers of
…I think sand, gravel, and coal. The coal part surprised me, but they said
that carbon makes a good lter. It helps to get out some things that make
the water taste bad. Apparently there's charcoal in a lot of water lters
people use at home.
W: Oh, you know, you're right! We have a ltering pitcher at my apartment
that uses it. My roommate bought it because—well, you know what the tap
water tastes like here. It really does make the water taste better.
M: Well, there you go. Anyway, the last step is disinfection. They add chlorine
to the water to kill any germs. That's why it smells a little bit like bleach,
or a swimming pool.
W: I hate that smell.
M: But it's better than having water that could make you sick!

Set A
/PUFT


Set A
Reading

READING DRILL 1
1. What happened to Julia Morgan's 6. The word shunned in the passage is

papers? closest in meaning to
(A) They were donated to a (A) avoided

university. (B) spoke to
(B) They were sold to an (C) embraced
engineering rm. (D) misunderstood
(C) They were destroyed.
(D) They were stored in a vault.
7. According to the passage, which of
the following contributed to Morgan's
2. The phrase speak for itself in the shyness?
passage is closest in meaning to
(A) The many fans who followed her
(A) communicate verbally everywhere
(B) have a loudspeaker system (B) Her negative reputation with the
(C) demonstrate its own qualities press
(D) advertise its own builder (C) The results of a failed surgery
(D) The re that destroyed her
papers
3. Which of the following does the
passage imply about most architects?
8. The word object in the passage is
(A) They were more innovative than closest in meaning to
Morgan.
(B) They have also emulated the (A) process
medieval masters in their (B) material
designs. (C) goal
(C) They have also burned their (D) sensitivity
personal papers upon
retiring.
(D) They think too little about the 9. It can be inferred from the passage
practical needs of clients. that Morgan
(A) collaborated with many other

4. It can be inferred from paragraph 4 architects
that Julia Morgan paid little attention (B) made a lot of money
to which of the following? (C) had a distinctive personal style
of design
(A) the wishes of her clients (D) wanted her buildings to be
(B) the quality of her buildings useful
(C) her income
(D) her privacy
10. The author quotes Walter Steilberg in
order to
5. Click on the sentence in paragraph 5
that refers to Julia Morgan's attitude (A) disprove a theory
toward the people for whom she built (B) describe his work
houses. (C) support a previous statement
(D) give detail about one of
Morgan's projects

Set A
Julia Morgan, American Architect
1 Julia Morgan is regarded by some as the United States' most successful

female architect, but few people outside architectural circles have heard of
her. She loathed personal publicity and did everything in her power to avoid
celebrity. When she retired, she ordered all of her papers burned, believing that
5 an architect should be like the anonymous medieval master builders who created
Europe's vast monasteries, cathedrals, and castles. In Morgan's view, a building
should speak for itself. The structures she designed—notably the Hearst Greek
Theater, theBaptist Divinity School and Hearst Memorial Mining Building at the
University of California, Bekeley, along with a number of other college facilities
10 and residential houses—are elegant testimony to her architectural vision.
In 1894, she was the rst woman to complete the University of California's
Civil Engineering program. After she received her undergraduate degree, one of
her professors recommended that she travel to the Ecole des Beaux-Arts in Paris
to continue her education in architecture. When she arrived in Paris, Morgan
15 was initially refused entry to the school, as no woman had been accepted there
before. Undeterred, Morgan entered and won several prestigious architectural
competitions in Europe.
Armed with newfound recognition, and with letters of recommendation from
several prominent gures in the eld of architecture, Morgan applied again
20 to the Ecole des Beaux-Arts and was accepted in 1898. Four years later she
completed her studies and returned home to begin immediate work on several
projects at the University of California, Berkeley. The rst woman to receive a
state architect's license in California, she opened her own ofce in San Francisco
just two years later, beginning an illustrious career that was to span almost fty
25 years, until the ofce's closing in 1950.
Known as a rare architect with little ego (she never rejected a project because
it had a small budget), Morgan was interested neither in innovation for its own
sake nor in developing a style readily identiable as her own. She shunned the
press and refused to allow her name to be posted at construction sites. Constant
30 battles with ear infections that affected her balance and made it difcult for her
to walk evenly. Tragically, in the 1920's complications resulting from surgery on
her inner ear left her face asymmetrical. The resulting physical awkwardness
only encouraged her innate reclusive tendencies and pushed her further from the
public eye.
35 Morgan focused on the insides of her buildings instead of the public
repuatation they might gain for her. She designed interiors that were elegantly
simple, while her exteriors were sober and carefully balanced. In keeping with
the philosophy of the Beaux-Arts movement that architecture should focus on
and cater to the individual, Morgan strove to build structures that were practical
40 to live and work in. Accordingly, a large percentage of her work consisted of
residential commissions. She frequently collaborated with the Walter Steilberg, a
respected architect himself who served as her structural engineer. Steilberg once
commented that Morgan's "object was rst of all to build a home." Her house
designs demonstrated respect for the everyday needs of residents.
45 And in a eld still dominated by men over a hundred years after her birth,
Morgan's lifetime of achievement—a record of over 700 completed projects—
stands as an aspiration to young women entering careers in architecture. An
honorary Doctor of Laws degree she received from the University of California,
Berkeley, in 1929 well summarizes her mark on the American cultural landscape:
50 "Designer of simple dwellings and stately homes, of great buildings nobly planned
to further the centralized activities of her fellow citizens; Architect in whose works
harmony and admirable proportions bring pleasure to the eye and peace to the
mind." With its pleasing straightforwardness and lack of waste, Morgan's style
warrants more attention than it sometimes receives in the world of contemporary
55 architecture, which values extravagance.

11. Which of the sentences below best 12. Which of the following would most
expresses the essential information probably be discussed in a paragraph
in the highlighted sentence in the following this passage?
passage? Incorrect choices change
the meaning in important ways or (A) a survey of American historical
leave out essential information. sites
(B) benets of studying Julia
(A) Many of Morgan's buildings Morgan's work
could not be built today (C) an analysis of medieval
because they would be too architecture
expensive. (D) the friendships between
(B) The simplicity of Morgan's Julia Morgan and noted
buildings is currently celebrities
undervalued, but she
deserves a higher
reputation.
(C) Contemporary architects are
rediscovering Morgan's
designs as an inuence on
their own buildings.
(D) Morgan was very honest about
her dislike for most
contemporary architecture.
13. Directions: An introductory sentence for a brief summary of the passage is

provided below. Complete the summary by selecting the THREE answer choices that
express the most important ideas in the passage. Some sentences do not belong in
the summary because they express ideas that are not presented in the passage or
are minor details in the passage. This question is worth 2 points.
Julia Morgan built a long career as a pioneering and accomplished architect

despite avoiding public fame.
y
y
y
Answer choices
Morgan believed that function Some of the buildings ofcially
was more important than visual credited to Walter Steilberg were
beauty in the design of a good probably actually designed by
building. Morgan.
In receiving certication from Morgan’s buildings had simple
the University of California and but beautiful designs to suit the
Paris's Ecole des Beaux-Arts, everyday needs ofpublic and
Morgan achieved educational private users.
rsts for women architects.
Morgan did not judge projects As Morgan’s physical

by budget or prestige, which awkwardness worsened, it
allowed her complete an became difcult for her to do
unusually large number of the work of designing and
buildings over her lifetime. supervising building projects.

Set A
Julia Morgan, American Architect
1 Julia Morgan is regarded by some as the United States' most successful

female architect, but few people outside architectural circles have heard of
her. She loathed personal publicity and did everything in her power to avoid
celebrity. When she retired, she ordered all of her papers burned, believing that
5 an architect should be like the anonymous medieval master builders who created
Europe's vast monasteries, cathedrals, and castles. In Morgan's view, a building
should speak for itself. The structures she designed—notably the Hearst Greek
Theater, theBaptist Divinity School and Hearst Memorial Mining Building at the
University of California, Bekeley, along with a number of other college facilities
10 and residential houses—are elegant testimony to her architectural vision.
In 1894, she was the rst woman to complete the University of California's
Civil Engineering program. After she received her undergraduate degree, one of
her professors recommended that she travel to the Ecole des Beaux-Arts in Paris
to continue her education in architecture. When she arrived in Paris, Morgan
15 was initially refused entry to the school, as no woman had been accepted there
before. Undeterred, Morgan entered and won several prestigious architectural
competitions in Europe.
Armed with newfound recognition, and with letters of recommendation from
several prominent gures in the eld of architecture, Morgan applied again
20 to the Ecole des Beaux-Arts and was accepted in 1898. Four years later she
completed her studies and returned home to begin immediate work on several
projects at the University of California, Berkeley. The rst woman to receive a
state architect's license in California, she opened her own ofce in San Francisco
just two years later, beginning an illustrious career that was to span almost fty
25 years, until the ofce's closing in 1950.
Known as a rare architect with little ego (she never rejected a project because
it had a small budget), Morgan was interested neither in innovation for its own
sake nor in developing a style readily identiable as her own. She shunned the
press and refused to allow her name to be posted at construction sites. Constant
30 battles with ear infections that affected her balance and made it difcult for her
to walk evenly. Tragically, in the 1920's complications resulting from surgery on
her inner ear left her face asymmetrical. The resulting physical awkwardness
only encouraged her innate reclusive tendencies and pushed her further from the
public eye.
35 Morgan focused on the insides of her buildings instead of the public
repuatation they might gain for her. She designed interiors that were elegantly
simple, while her exteriors were sober and carefully balanced. In keeping with
the philosophy of the Beaux-Arts movement that architecture should focus on
and cater to the individual, Morgan strove to build structures that were practical
40 to live and work in. Accordingly, a large percentage of her work consisted of
residential commissions. She frequently collaborated with the Walter Steilberg, a
respected architect himself who served as her structural engineer. Steilberg once
commented that Morgan's "object was rst of all to build a home." Her house
designs demonstrated respect for the everyday needs of residents.
45 And in a eld still dominated by men over a hundred years after her birth,
Morgan's lifetime of achievement—a record of over 700 completed projects—
stands as an aspiration to young women entering careers in architecture. An
honorary Doctor of Laws degree she received from the University of California,
Berkeley, in 1929 well summarizes her mark on the American cultural landscape:
50 "Designer of simple dwellings and stately homes, of great buildings nobly planned
to further the centralized activities of her fellow citizens; Architect in whose
works harmony and admirable proportions bring pleasure to the eye and peace
to the mind." With its pleasing straightforwardness and lack of waste,
Morgan's style warrants more attention than it sometimes receives in
55 the world of contemporary architecture, which values extravagance.

READING DRILL 2
1. With which factor in suburbanization 6. The traction line mentioned in

is the passage primarily concerned? paragraph 3 enabled travel by
(A) manufacturing (A) automobile

(B) transportation (B) cart
(C) job markets (C) horse-drawn trolley
(D) economic problems (D) electric streetcar
2. Areas along the edges of cities have 7. The word mobility in the passage
grown in response to refers to the ability to
(A) the building of factories (A) travel

(B) new goods (B) buy a house
(C) new building materials (C) nd work
(D) city policies (D) enjoy life
3. The word emergence in the passage 8. The phrase went up in the passage is
is closest in meaning to closest in meaning to
(A) spreading (A) were built

(B) history (B) were bought
(C) problems (C) increased in size
(D) formation (D) attracted interest
4. The word acceleration in the 9. The word Most in the passage refers
passage is closest in meaning to to
(A) construction (A) city row houses

(B) understanding (B) suburban tract houses
(C) increase (C) sizable yards
(D) transportation (D) winding streets
6. Which of the following is NOT 10. The passage implies that before the
mentioned in the passage as electric streetcar
a factor in nineteenth-century
suburbanization? (A) only a few major urban areas
had horse-drawn cars
(A) cheaper housing (B) few mill towns were incorporated
(B) urban crowding into cities
(C) the advent of an urban middle (C) city transportation was slow and
class difcult
(D) the invention of the electric (D) city crowding was not a problem
streetcar
11. Click on the paragraph in the passage
that discusses how city governments
reacted to the growth of surrounding
areas.

Set A
Suburbanization in the United States
1 The term suburb commonly refers to an urban district on the outskirts of a

city that grows more rapidly than its interior. The process of suburbanization
began with in the second quarter of the nineteenth century. The emergence
of the industrial city at that time was spurred largely be developments in
5 transportation. Until then the typical city had been a compact cluster of small
buildings. People traveled primarily on foot, and goods were moved by horse and
cart.
The early factories of the industrial age, built in the 1830's and 1840's, were
located along waterways and near railheads at the edges of cities. Housing was
10 needed for the thousands of people drawn by the prospect of employment, so
within a short time, the factories were surrounded by mill towns of apartments
and row houses that abutted the older, central cities. In response, many cities
annexed these suburbs. In 1854, for example, the city of Philadelphia legally took
over most of the county around it, and the governments of Chicago and New York
15 followed suit. Indeed, most great cities of the United States grew as they did only
by incorporating the suburban communities along their borders.
With the acceleration of industrial growth came crowding and social
stresses. When the rst commercially successful electric traction line was
developed in Boston, it revolutionized urban transportation by alleviating these
20 problems. Transportation had previously been provided by a large network of
horse-drawn lines that had many disadvantages. First, caring for the horses
was expensive and labor-intensive. Additionally, the large amounts of waste
left on the roads were a public health hazard. The benets of a new form of
transportation based not on horsepower but electric power were immediately
25 obvious.
Not only were electric streetcars cleaner, cheaper, and more efcient, but
they were also much faster than horse-drawn cars, averaging 10-15 miles per
hour (compared to 5-6 miles per hour). Moreover, cities were able to offer cheap
fares, since each car was capable of holding more people than a horse-drawn
30 car. Finally, businesses were quick to support local lines in their area because of
increased business prospects; and local governments were eager to support the
development of such lines, because long-term maintenance costs were very low
once the initial expenditures had been made. Within a few years every major
urban area had an electric streetcar network, which made quick, easy movement
35 between distant points possible for large numbers of people. This new mobility
encouraged people to look for housing farther out from the crowded urban core.
By the end of the 1950's, the American landscape had been completely
transformed. The development of suburban tract houses had brought even more
former city-dwellers outward into the suburbs. Like the streets of identical row
40 houses that went up as cities expanded, suburban tract houses tended to be
similar in design. This standardization made the houses low in cost. However,
unlike city row houses, suburban tract houses were detached, often with sizable
yards and on winding streets.
The post-war prosperity of the 1950's had given the urban middle class the
45 desire and means to own single-family houses, and detached, suburban tract
houses met this desire nicely. Most also had garages. Storage space for the
family automobile had become a necessity as the car rapidly became the primary
mode of transportation. Both because of and as a result of this shift towards
private transportation, public facilities were built farther from each other and from
50 public transportation. In an ironic twist of fate, the suburbs, which had originally
been spawned by advances in public transportation, effectively killed it off in
many major cities as people became almost entirely reliant on the private car to
get around.

12. The word spawned in the passage is

closest in meaning to
(A) signaled
(B) renewed
(C) restricted
(D) begun

Suburbanization, the phenomenon of rapid growth from the edges of a city

outward, has been helped by several factors.
y
y
y
Answer choices
The introduction of electric rail Some suburbs were incorporated
lines made it easier for people into the cities they adjoined as
to travel long distances between they grew.
work and home.
Some cities are experiencing a Open land outside urban cores
movement back toward their allowed for the development of
centers. affordable and attractive tract
housing.
The automobile has made it Some suburbs have public
possible for people to travel facilities that are superior to
quickly even without relying on those in cities.
public transportation networks.

Set A
Suburbanization in the United States
1 The term suburb commonly refers to an urban district on the outskirts of a

city that grows more rapidly than its interior. The process of suburbanization
began with in the second quarter of the nineteenth century. The emergence
of the industrial city at that time was spurred largely be developments in
5 transportation. Until then the typical city had been a compact cluster of small
buildings. People traveled primarily on foot, and goods were moved by horse and
cart.
The early factories of the industrial age, built in the 1830's and 1840's, were
located along waterways and near railheads at the edges of cities. Housing was
10 needed for the thousands of people drawn by the prospect of employment, so
within a short time, the factories were surrounded by mill towns of apartments
and row houses that abutted the older, central cities. In response, many cities
annexed these suburbs. In 1854, for example, the city of Philadelphia legally took
over most of the county around it, and the governments of Chicago and New York
15 followed suit. Indeed, most great cities of the United States grew as they did only
by incorporating the suburban communities along their borders.
With the acceleration of industrial growth came crowding and social stresses.
When the rst commercially successful electric traction line was developed in
Boston, it revolutionized urban transportation by alleviating these problems.
20 Transportation had previously been provided by a large network of horse-drawn
lines that had many disadvantages. First, caring for the horses was expensive
and labor-intensive. Additionally, the large amounts of waste left on the roads
were a public health hazard. The benets of a new form of transportation based
not on horsepower but electric power were immediately obvious.
25 Not only were electric streetcars cleaner, cheaper, and more efcient, but
they were also much faster than horse-drawn cars, averaging 10-15 miles per
hour (compared to 5-6 miles per hour). Moreover, cities were able to offer cheap
fares, since each car was capable of holding more people than a horse-drawn
car. Finally, businesses were quick to support local lines in their area because of
30 increased business prospects; and local governments were eager to support the
development of such lines, because long-term maintenance costs were very low
once the initial expenditures had been made. Within a few years every major
urban area had an electric streetcar network, which made quick, easy movement
between distant points possible for large numbers of people. This new mobility
35 encouraged people to look for housing farther out from the crowded urban core.
By the end of the 1950's, the American landscape had been completely
transformed. The development of suburban tract houses had brought even more
former city-dwellers outward into the suburbs. Like the streets of identical row
houses that went up as cities expanded, suburban tract houses tended to be
40 similar in design. This standardization made the houses low in cost. However,
unlike city row houses, suburban tract houses were detached, often with sizable
yards and on winding streets.
The post-war prosperity of the 1950's had given the urban middle class the
desire and means to own single-family houses, and detached, suburban tract
45 houses met this desire nicely. Most also had garages. Storage space for the
family automobile had become a necessity as the car rapidly became the primary
mode of transportation. Both because of and as a result of this shift towards
private transportation, public facilities were built farther from each other and from
public transportation. In an ironic twist of fate, the suburbs, which had originally
50 been spawned by advances in public transportation, effectively killed it off in
many major cities as people became almost entirely reliant on the private car to
get around.

READING DRILL 3
1. Scientists no longer believe volcanic 6. Compared to most pieces of cosmic

activity formed the craters of the matter that strike Earth, most that
moon because of their strike the moon are probably
(A) color (A) larger
(B) shape (B) traveling more slowly
(C) contents (C) less destructive
(D) age (D) less frequent
2. The author of the passage compares a 7. The gure above best represents the
lunar crater to a basic shape of which of the following?
(A) sports stadium (A) a crater on the moon
(B) cone (B) a volcanic crater on earth
(C) meteorite (C) the Arizona crater
(D) mountain (D) a meteorite crater on earth
3. The word velocity in the passage is 8. The immediate effect of the collision
closest in meaning to that caused the formation of the
Chicxulub crater would have been
(A) distance
(B) size (A) the blotting out of the Sun by
(C) cold dust
(D) speed (B) the attening of a large area of
land
(C) the death of most living things in
4. According to the passage, when a the oceans
meteorite strikes land at 10 miles per (D) the irradiation of the Earth's
second it surface
(A) catches re
(B) forms a sharply rising cone 9. The word conagrations in the
(C) melts passage is closest in meaning to
(D) disappears
(A) problems
(B) materials
5. Scientists most probably determined (C) res
the size and weight of the meteorite (D) situations
that made the Arizona crater by
measuring the
(A) area of the meteorite

(B) velocity of the meteorite
(C) amount of heat produced upon
impact
(D) width and depth of the crater

Set A
Craters
1 Until a few decades ago it was generally believed that the craters on the moon
were due to volcanic activity. There was a common-sense reason for this: the
craters we are familiar with here on Earth, such as those of Mt. Vesuvius and
Mt. Fuji, are volcanic.
5 But further study has shown that this moon craters cannot be explained the
same way. One key difference between terrestrial and lunar craters (those of the
Earth and moon, respectively) is in their shape. Craters on Earth usually have
the shape of a sharply rising cone with a comparatively small depression on the
top, as we might expect of landforms produced by volcanoes. By contrast, a
10 lunar crater looks more like a sports stadium. It tends to have a wide, at central
"arena" from which a ring of stairstep-patterned "stands" rises up to its rim.
Volcanic activity does not make sense as the origin of such a formation.
However, there is a remarkable similarity between these lunar craters
and a certain crater in Arizona. That terresrial crater is unusual in that it
15 was proved to have been created not by a volcano but by the impact of a
meteorite. A massive object traveling at a velocity of about 10 miles per
second would release a tremendous amount of heat when it struck the ground.
The meteorite and the surrounding earth would dissolve. It would also, like a
stone striking the surface of a pond, throw liqueed material upward and outward
20 in a large circle. Some material would simply evaporate because of the extreme
temperatures. By measuring the dimensions of the Arizona crater, scientists have
determined that the meteorite that produced it must have weighed about 200,000
tons and had a diameter of about 100 feet.
On the moon, craters of a size comparable to that in Arizona occur in
25 large number, and researchers now believe that they were produced by similar
collisions. Obviously, the largest craters must have been made by meteorites
much larger than the one that struck Arizona. For example, the giant crater
Archimedes (40 miles in diameter) was probably produced by an object of about
25 billion tons. Clavius (at 146 miles in diameter, the largest lunar crater), must
30 have been formed by the impact of an object of at least 200 billion tons. Such
a meteorite would be about four miles in diameter, comparable to a fairly large
mountain on the earth. The collision of an object of this size with the Earth
would have dramatic consequences for the entire planet and all life on it.
In fact, scientists now believe that a slightly larger meteorite (six miles in
35 diameter) actually did strike the Earth 65 million years ago. This collision would
have created the recently discovered Chicxulub crater buried deep within the
Yucatan Peninsula and the Gulf of Mexico. The impact created a crater 112 miles
wide in the crust below the ocean. Almost immediately an area the size of Europe
would have been attened and scoured of virtually all life. Massive earthquakes
40 and tsunamis would have quickly followed, and as the rock thrown upward into
space began to rain back down on the planet. The heat generated by its re-entry
into the atmosphere would have irradiated the Earth's surface, starting great
conagrations that reduced most of the world's great forests and grasslands to
ash.
45 Even after the immediate effects of the strike had subsided, smoke and dust
in the atmosphere would have blotted out the Sun and dramatically lowered
temperatures over the following weeks. Surviving plant life quickly would wilt
and die, and even most marine life would perish, killed by sulfur and other
poisons that spilled into the seas as a result of forest res and acid rain. It is
50 remarkable that such a clear picture of a cataclysmic event that occurred 65
million years has been put together by studying an impact crater that is not even
visible at the surface.

10. Which of the sentences below best 11. The passage suggests that the
expresses the essential information ndings gained from studying the
in the highlighted sentence in the Chicxulub crater are remarkable
passage? Incorrect choices change because
the meaning in important ways or
leave out essential information. (A) many fossils of plants and
animals were recovered
(A) The drop in temperatures that (B) the crater is very large
killed much life would have (C) the crater is buried
occurred gradually after the (D) the remaining poisons make the
initial meteorite crash. area dangerous to study
(B) The drop in temperatures would
have happened slowly
enough for many animals 12. Which of the following questions
to take shelter in warm CANNOT be answered on the basis of
places underground. the information in the passage?
(C) The smoke and dust raised by
the meteorite crash may (A) What distinguishes volcanic
have dispersed before they craters from moon craters?
had a signicant effect on (B) What occurs when a fast-moving
the Earth's temperature. mass hits the ground?
(D) The drop in temperatures would (C) How large was the meteorite
have been the rst effect of that landed in Arizona?
the meteorite crash felt by (D) How many moon craters have
living things. been identied?

Scientists are studying craters on Earth to determine how meteorite

impacts affected the development of the Earth's surface.
y
y
y
Answer choices
A newly discovered crater may A crater in Arizona is shaped like
also have been created by the a sports stadium, indicating that
impact of a large meteor, with it was created by a meteorite
the ocean millions of years ago. crash and not by a volcano.
Most craters on the moon are More research will be needed to
larger than comparable craters determine the exact extent of
on Earth. the damage the meteorite that
crashed into Mexico would have
caused.
If a large meteorite struck the Studying the new crater has
Earth today, it would cause given scientists reason to believe
earthquakes, tsunamis, and that much life on Earth was
forest res. destroyed when it was formed.

Set A
Craters
1 Until a few decades ago it was generally believed that the craters on the moon
were due to volcanic activity. There was a common-sense reason for this: the
craters we are familiar with here on Earth, such as those of Mt. Vesuvius and Mt.
Fuji, are volcanic.
5 But further study has shown that this moon craters cannot be explained the
same way. One key difference between terrestrial and lunar craters (those of the
Earth and moon, respectively) is in their shape. Craters on Earth usually have
the shape of a sharply rising cone with a comparatively small depression on the
top, as we might expect of landforms produced by volcanoes. By contrast, a
10 lunar crater looks more like a sports stadium. It tends to have a wide, at central
"arena" from which a ring of stairstep-patterned "stands" rises up to its rim.
Volcanic activity does not make sense as the origin of such a formation.
However, there is a remarkable similarity between these lunar craters
and a certain crater in Arizona. That terresrial crater is unusual in that it
15 was proved to have been created not by a volcano but by the impact of a
meteorite. A massive object traveling at a velocity of about 10 miles per
second would release a tremendous amount of heat when it struck the ground.
The meteorite and the surrounding earth would dissolve. It would also, like a
stone striking the surface of a pond, throw liqueed material upward and outward
20 in a large circle. Some material would simply evaporate because of the extreme
temperatures. By measuring the dimensions of the Arizona crater, scientists have
determined that the meteorite that produced it must have weighed about 200,000
tons and had a diameter of about 100 feet.
On the moon, craters of a size comparable to that in Arizona occur in
25 large number, and researchers now believe that they were produced by similar
collisions. Obviously, the largest craters must have been made by meteorites
much larger than the one that struck Arizona. For example, the giant crater
Archimedes (40 miles in diameter) was probably produced by an object of about
25 billion tons. Clavius (at 146 miles in diameter, the largest lunar crater), must
30 have been formed by the impact of an object of at least 200 billion tons. Such
a meteorite would be about four miles in diameter, comparable to a fairly large
mountain on the earth. The collision of an object of this size with the Earth
would have dramatic consequences for the entire planet and all life on it.
In fact, scientists now believe that a slightly larger meteorite (six miles in
35 diameter) actually did strike the Earth 65 million years ago. This collision would
have created the recently discovered Chicxulub crater buried deep within the
Yucatan Peninsula and the Gulf of Mexico. The impact created a crater 112 miles
wide in the crust below the ocean. Almost immediately an area the size of Europe
would have been attened and scoured of virtually all life. Massive earthquakes
40 and tsunamis would have quickly followed, and as the rock thrown upward into
space began to rain back down on the planet. The heat generated by its re-entry
into the atmosphere would have irradiated the Earth's surface, starting great
conagrations that reduced most of the world's great forests and grasslands to
ash.
45 Even after the immediate effects of the strike had subsided, smoke
and dust in the atmosphere would have blotted out the Sun and
dramatically lowered temperatures over the following weeks. Surviving
plant life quickly would wilt and die, and even most marine life would perish,
killed by sulfur and other poisons that spilled into the seas as a result of forest
50 res and acid rain. It is remarkable that such a clear picture of a cataclysmic
event that occurred 65 million years has been put together by studying an impact
crater that is not even visible at the surface.

READING DRILL 4
1. The word warranted in the passage 6. The word it in the passage refers to
is closest in meaning to
(A) the oldest surviving American
(A) decreasing quilt
(B) controversial (B) a newspaper backing
(C) justied (C) recent evidence
(D) unclear (D) the Saltonstall quilt
2. The word extensively in the passage 7. The word anchor in the passage is
is closest in meaning to closest in meaning to
(A) increasingly (A) reveal
(B) traditionally (B) detach
(C) practically (C) hold still
(D) thoroughly (D) push in
3. The word intermingled in the 8. Quilting bees became possible in the

passage is closest in meaning to nineteenth century because
(A) reported (A) pioneer communities had more
(B) mixed women
(C) studied (B) the price of fabric decreased
(D) related (C) more imported fabric was
available
(D) more women made their
4. The author mentions sunburst or families' clothing
pinwheel patterns as examples of
designs that
9. Unlike quilting bees, the indoor
(A) were invented at quilting bees gatherings mentioned in paragraph 5
(B) are still popular today
(C) are not made of whole cloth (A) made pieced quilts instead of
(D) do not actually exist quilts from whole cloth
(B) involved a select number of
participants
5. It can be inferred from the passage (C) were held away from home
that the Saltonstall quilt (D) did not affect women's social
status
(A) is not as old as it was once
thought to be
(B) is the only surviving quilt with a
newspaper backing
(C) was discovered recently
(D) was made at a community
quilting bee

Set A
Quilting in American History
1 The amount of attention paid to quilting history is warranted. Researchers

of American social history rightly emphasize the role that quilt making played
among women in pioneer communities. In their emerging narrative, a quilt maker
sewed a cloth covering made of scraps around an insulating layer of wool stufng.
5 The resulting blanket kept out the winter cold. At an extensively studied
gathering called a "quilting bee," women from the entire community would work
throughout the day at a neighbor's house to nish several frames' worth of quilts.
At the same time, a number of ctions are frequently intermingled with the
facts. The popular image of an early American quilt is one made of patches of
10 colored fabric in a design, especially blocks lled with sunburst or pinwheel
patterns; however, most early quilts were rather crude in design, made as they
were from two large sheets of whole cloth sewn together. Another popular myth
is that quilting emerged in early America and is thus a purely American craft.
In reality, the history of quilting can be traced back to ancient Egypt. In the
15 Egyptian Museum in Cairo, a canopy quilt dating back to 980 BC can be found,
and experts suspect that the very rst quilted fabric was probably made still
earlier.
Finally, quilting was not actually a common task in most women's lives
in colonial America. It was primarily the province of those women who were
20 wealthy enough to afford imported fabric. Most other women in early America
spent their days spinning, weaving and sewing with their own home-made fabric
just to keep their families clothed. It wasn't until the production of affordable
textiles in 1840 that the average woman had the time and resources to devote to
making a quilt.
25 There is physical as well as sociological evidence to complicate the picture.
It was previously thought that the Saltonstall quilt—a pieced quilt with a
newspaper backing—dated to 1704 and was the oldest surviving American quilt.
Researchers assigned this early date based on newspaper sewn inside the quilt in
the process of being used as a guide for the quiltmaker. New evidence suggests,
30 however, that it actually used very old newspaper and was made a century
later. This is consistent with the historical record: the surface stitching on the
Saltonstall quilt is not a design element; it simply serves to anchor and stabilize
the wool stuffed inside. It was after 1776 that making quilts in that fashion
became common.
35 The more famous pieced quilts became popular in the mid-nineteenth century.
Textiles from new American mills were less expensive and stronger than the
imported cloth of a century earlier. Struggling pioneer families could buy fabric
for piece quilting to add to the scraps they recycled from making clothing. This
allowed, for the rst time, the widespread use of intricate designs sewn together
40 from pieces of different colors and patterns of cloth.
Although the romantic image of the community-wide quilting bee is now xed
in the popular imagination, the historical reality is that the majority of women still
sewed their own quilts at home or worked as a part of a small church or other
civic group. Furthermore, there is reason to believe that, even where community
45 quilting bees were customary, more selective gatherings were also common.
Some women were more skilled at quilt making than others, whether through
experience or natural dexterity. A woman with one quilt to work might consider
that its frame could accommodate fewer than ten women at once, and thus invite
only her most skilled neighbors for a discreet party indoors. Researchers making
50 inquiries in this suggestive direction are exploring the ways a woman's quilting
skill could have been a measure of status.

10. Which of the sentences below best 11. The word dexterity in the passage is
expresses the essential information closest in meaning to
in the highlighted sentence in the
passage? Incorrect choices change (A) talent
the meaning in important ways or (B) preference
leave out essential information. (C) imagination
(D) concentration
(A) Many women avoided quilting
bees because they
preferred to work in the 12. Which of the following is NOT an
quiet of their own homes. aspect of quilt making mentioned in
(B) Quilting bees were rst the passage as being of interest to
organized by women who historians?
belonged to churches or
civic groups. (A) resourceful use of materials
(C) Most women sewed quilts for (B) possible effect on social status
their own families or in (C) community activity
small, organized gatherings (D) improved fabric colors and
rather than participating in patterns
quilting bees.
(D) Quilting bees were rst
organized by women who
felt bored and lonely from
long days of household
work.

Quilting is an important facet of American social history about which there

are many popular misconceptions.
y
y
y
Answer choices
Many early American quilts Many quilt patterns thought to
were very simple and were not be distinctively American were in
decorated with many colors and fact invented in ancient Egypt.
patterns.
Many old quilts contain Quilting did not become popular
newspaper linings that help among all classes of women
historians to date them. until inexpensive textiles were
mass-produced.
Bedding was not the only Many quilts were produced in
household item for which quilted the home or at small gatherings
material was used. rather than at community-wide
gatherings.

Set A
Quilting in American History
1 The amount of attention paid to quilting history is warranted. Researchers of

American social history rightly emphasize the role that quilt making played among
women in pioneer communities. In their emerging narrative, a quilt maker sewed
a cloth covering made of scraps around an insulating layer of wool stufng. The
5 resulting blanket kept out the winter cold. At an extensively studied gathering
called a "quilting bee," women from the entire community would work throughout
the day at a neighbor's house to nish several frames' worth of quilts.
At the same time, a number of ctions are frequently intermingled with the
facts. The popular image of an early American quilt is one made of patches
10 of colored fabric in a design, especially blocks lled with sunburst or pinwheel
patterns; however, most early quilts were rather crude in design, made as they
were from two large sheets of whole cloth sewn together. Another popular myth
is that quilting emerged in early America and is thus a purely American craft. In
reality, the history of quilting can be traced back to ancient Egypt. In the Egyptian
15 Museum in Cairo, a canopy quilt dating back to 980 BC can be found, and experts
suspect that the very rst quilted fabric was probably made still earlier.
Finally, quilting was not actually a common task in most women's lives
in colonial America. It was primarily the province of those women who were
wealthy enough to afford imported fabric. Most other women in early America
20 spent their days spinning, weaving and sewing with their own home-made fabric
just to keep their families clothed. It wasn't until the production of affordable
textiles in 1840 that the average woman had the time and resources to devote to
making a quilt.
There is physical as well as sociological evidence to complicate the picture. It
25 was previously thought that the Saltonstall quilt—a pieced quilt with a newspaper
backing—dated to 1704 and was the oldest surviving American quilt. Researchers
assigned this early date based on newspaper sewn inside the quilt in the process
of being used as a guide for the quiltmaker. New evidence suggests, however,
that the quilt actually used very old newspaper and was made a century
30 later. This is consistent with the historical record: the surface stitching on the
Saltonstall quilt is not a design element; it simply serves to anchor and stabilize
the wool stuffed inside. It was after 1776 that making quilts in that fashion
became common.
The more famous pieced quilts became popular in the mid-nineteenth century.
35 Textiles from new American mills were less expensive and stronger than the
imported cloth of a century earlier. Struggling pioneer families could buy fabric
for piece quilting to add to the scraps they recycled from making clothing. This
allowed, for the rst time, the widespread use of intricate designs sewn together
from pieces of different colors and patterns of cloth.
40 Although the romantic image of the community-wide quilting bee is
now xed in the popular imagination, the historical reality is that the
majority of women still sewed their own quilts at home or worked as a
part of a small church or other civic group. Furthermore, there is reason to
believe that, even where community quilting bees were customary, more selective
45 gatherings were also common. Some women were more skilled at quilt making
than others, whether through experience or natural dexterity. A woman with
one quilt to work might consider that its frame could accommodate fewer than
ten women at once, and thus invite only her most skilled neighbors for a discreet
party indoors. Researchers making inquiries in this suggestive direction are
50 exploring the ways a woman's quilting skill could have been a measure of status.

READING DRILL 5
1. Which of the following is the best title 6. The author uses the word
for the passage? plainspoken in the passage to
emphasize that Ruth Law
(A) A Long Flight
(B) Recent Women in Flight (A) was very famous
(C) Dangers Faced by Pilots (B) did not like speaking in public
(D) Women at the Beginning of (C) was glad her achievement was
Aviation rewarded
(D) expressed herself simply
2. The primary purpose of paragraph 2 is
to 7. The word strictly in the passage is
(A) illustrate why few women were
interested in ying (A) famously
(B) indicate how women contributed (B) only
to improved airplane (C) with difculty
technology (D) without help
(C) show the dangers early iers
dealt with
(D) describe an early model of 8. The author quotes Amelia Earhart
airplane in paragraph 4 to show that women
pilots
3. The word richly in the passage is (A) often ew in pairs
closest in meaning to (B) had little access to airplanes
(C) were unaware of the hazards of
(A) eagerly ying
(B) technically (D) could not easily gain respect
(C) greatly
(D) historically
9. In using the phrase old attitudes
died hard in the passage, the author
4. Which of the following is NOT indicates that
mentioned as a danger experienced
by early pilots (A) many women pilots were killed
in plane crashes
(A) bad weather (B) changing beliefs about women
(B) faulty equipment pilots took time
(C) lack of radio beacons (C) few women were interested in
(D) inability to communicate with ying
ground personnel (D) most early ight records were
set by women
5. In their efforts to compete with men,
early women pilots had difculty in 10. Ruth Law set a record in 1916 for
(A) getting publicity (A) the longest nonstop ight
(B) taking lessons (B) ying across the ocean
(C) setting records (C) being a woman pilot
(D) getting equipment (D) ying in a twin-engine aircraft

Set A
Early Women Aviators
1 Aviation was an important element of the evolution in women's status in the

early twentieth century. It seemed that no sooner had the rst male aviators
returned to Earth than women, too, were smitten by an urge to y. Women went
from watching men take thrilling risks to becoming willing passengers and nally
5 pilots in their own right.
The risks were great. Airplane technology progressed through trial and error,
so engines frequently failed in ight. There were no standard radio beacons
until 1929, so early pilots had to navigate by sight and their only outside
source of information was from communication with ground personnel. Because
10 sight was so critical in the operation of the planes, poor visibility on cloudy or
rainy days was a frequent cause of crashes. Despite these numerous hazards,
women aviators were soon taking to the air. In doing so, they won a new sense
of competence and achievement, and contributed richly to the progress of
mechanical ight.
15 Conventional wisdom that women were unsuited for ying made it difcult for
them to raise money for the up-to-date equipment they needed to contend on an
equal basis with men. Yet they still found ways to compete and often triumphed
despite the odds against them. Ruth Law, for example, in 1916 ew 590-miles
from Chicago to Hornell, New York, and set a new nonstop distance record. She
20 was so successful that in 1917 she was earning as much as $9,000 per week
for exhibition and stunt ights. Ruth Law, as much as any woman of her day,
exemplied the resourcefulness and determination demanded of a woman who
wanted to y. When she addressed the Aero Club of America after completing
her historic journey, her plainspoken words testied to a motivation that was
25 independent of gender. She had, she said, undertaken the ight strictly for the
love of accomplishment and had "no expectation of reward."
Recognition of women aviators' abilities did not always come easily. "Men
do not believe us capable," the famed aviator Amelia Earhart once remarked
to a friend. "Because we are women, seldom are we trusted to do an efcient
30 job." Indeed, old attitudes died hard. Charles and Anne Lindbergh, both
famous, record-setting pilots, visited the Soviet Union in 1938. There they were
astonished to discover both men and women ying in the Soviet Air Force, a
phenomenon that was still unthinkable in America. Women had been grudgingly
accepted as commercial pilots, but they were deemed unt to y in a military
35 capacity.
Earlier, in 1917, Ruth Law had actually been the rst woman authorized to
wear a NCO military uniform, but despite her manifest talent she had been denied
permission to y in combat. The military informed her that she could do more
good by teaching others to y. In competitions with male pilots, Ruth Law had
40 always insisted on equal and non-preferential treatment, so she was incensed
by the army's refusal to let her y. Indignant, she wrote a famous article for the
magazine Air Travel entitled "Let Women Fly!" that has served as inspiration for
many subsequent generations of female pilots.
Ironically, when Ruth Law, one of the early twentieth century's most
45 recognized symbols of female independence, announced her sudden retirement
from ight in 1922, she cited traditional concerns: she wanted to settle down
and have a family. Additionally, and perhaps just as importantly, her husband
and promoter Charles Oliver had grown so anxious about the dangers of her
ying that he lost weight every time she took to the air. In this way, a worried
50 husband's concerns for his wife's welfare put an end to the illustrious career of
America's foremost female aviator of the time.

11. The phrase took to the air in the

(A) retired
(B) ew
(C) set a record
(D) contacted her family
12. Click on the sentence in bold text

that gives an example of women
pilots and men pilots receiving equal
treatment.

Early women pilots overcame many obstacles to achievement.
y
y
y
Answer choices
The number of famous women Women raised money for ight
pilots increased greatly after the despite the belief that they could
1930's. not compete with men.
Women were not regarded as t Concern about her family caused
to y in military combat. at least one famous aviator to
give up ying.
Some exhibition and stunt ights Charles and Anne Lindbergh
paid as much as $9000. ew to the Soviet Union and saw
women pilots there.

Set A
Early Women Aviators
1 Aviation was an important element of the evolution in women's status

in the early twentieth century. It seemed that no sooner had the rst male
aviators returned to Earth than women, too, were smitten by an urge to y.
Women went from watching men take thrilling risks to becoming willing
5 passengers and nally pilots in their own right.
The risks were great. Airplane technology progressed through trial and error,
so engines frequently failed in ight. There were no standard radio beacons
until 1929, so early pilots had to navigate by sight and their only outside source
of information was from communication with ground personnel. Because sight
10 was so critical in the operation of the planes, poor visibility on cloudy or rainy
days was a frequent cause of crashes. Despite these numerous hazards,
women aviators were soon taking to the air. In doing so, they won a new
sense of competence and achievement, and contributed richly to the progress of
mechanical ight.
15 Conventional wisdom that women were unsuited for ying made it difcult for
them to raise money for the up-to-date equipment they needed to contend on an
equal basis with men. Yet they still found ways to compete and often triumphed
despite the odds against them. Ruth Law, for example, in 1916 ew 590-miles
from Chicago to Hornell, New York, and set a new nonstop distance record. She
20 was so successful that in 1917 she was earning as much as $9,000 per week
for exhibition and stunt ights. Ruth Law, as much as any woman of her
day, exemplied the resourcefulness and determination demanded of a
woman who wanted to y. When she addressed the Aero Club of America after
completing her historic journey, her plainspoken words testied to a motivation
25 that was independent of gender. She had, she said, undertaken the ight strictly
for the love of accomplishment and had "no expectation of reward."
Recognition of women aviators' abilities did not always come easily. "Men
do not believe us capable," the famed aviator Amelia Earhart once remarked
to a friend. "Because we are women, seldom are we trusted to do an efcient
30 job." Indeed, old attitudes died hard. Charles and Anne Lindbergh, both famous,
record-setting pilots, visited the Soviet Union in 1938. There they were
astonished to discover both men and women ying in the Soviet Air
Force, a phenomenon that was still unthinkable in America. Women had
been grudgingly accepted as commercial pilots, but they were deemed unt to y
35 in a military capacity.
Earlier, in 1917, Ruth Law had actually been the rst woman authorized to
wear a NCO military uniform, but despite her manifest talent she had been denied
permission to y in combat. The military informed her that she could do more
good by teaching others to y. In competitions with male pilots, Ruth Law had
40 always insisted on equal and non-preferential treatment, so she was incensed
by the army's refusal to let her y. Indignant, she wrote a famous article for the
magazine Air Travel entitled "Let Women Fly!" that has served as inspiration for
many subsequent generations of female pilots.
Ironically, when Ruth Law, one of the early twentieth century's most
45 recognized symbols of female independence, announced her sudden retirement
from ight in 1922, she cited traditional concerns: she wanted to settle down
and have a family. Additionally, and perhaps just as importantly, her husband
and promoter Charles Oliver had grown so anxious about the dangers of her
ying that he lost weight every time she took to the air. In this way, a worried
50 husband's concerns for his wife's welfare put an end to the illustrious career of
America's foremost female aviator of the time.

READING DRILL 6
1. The author quotes the farmer’s letter 4. Which of the sentences below best
in paragraph 1 of the passage to expresses the essential information
indicate in the highlighted sentence in the
(A) how frequently hordes of locusts passage? Incorrect choices change
caused damage in the the meaning in important ways or
Midwest and West leave out essential information.
(B) how far away from their place of
origin the locusts traveled (A) The revisions to the Nebraska
(C) the amount of plant life constitution were
destroyed by the locusts insufcient to deal with the
(D) the season in which locust economic problems caused
swarms were most by locust plagues.
frequent (B) Nebraska was the only state
to suffer signicantly
from locust plagues, as
2. The word altered in the passage is is recorded in its revised
closest in meaning to constitution.
(C) The Nebraska constitution was
(A) created rewritten to provide ways
(B) recognized to deal with future locust
(C) studied plagues.
(D) changed (D) Nebraska suffered so much
damage from locusts that
its constitution had to be
3. The author uses the phrase darken rewritten to deal with it.
the skies in the passage to indicate
that
5. The phrase reckon with in the
(A) locusts tended to migrate in passage is closest in meaning to
rainy weather
(B) migrations of locusts moved (A) publicize
quickly (B) nd the total
(C) there were many locusts in a (C) take money from
swarm (D) solve
(D) locust swarms moved up the
mountains
6. Click on the sentence in paragraph 3
that states when the last outbreak of
migratory locusts occurred.
7. The phrase lay waste in the passage

(A) destroy
(B) control
(C) y over
(D) view
8. The word astonishing in the passage

(A) wasteful
(B) unexpected
(C) theoretical
(D) recorded

Set A
Locust Invasions
1 In the United States, before the agricultural development of the Midwest and
West altered the natural balance of wildlife, there were frequent migrations of
Rocky Mountain locusts (Melanoplus spretus) that caused terrible damage to local
agricultural economies. Great hordes of these insects used to darken the skies
5 on the plains east of the Rocky Mountains, often destroying crops. The following
letter written by a Missouri farmer in 1875 graphically demonstrates the severity
of the problem: "The locusts are taking every green thing as fast as it appears
above the ground in this part of the county, say ten or twelve miles from the river.
Beyond that I am told there is little small grain, vegetables and corn. Most of the
10 county shows as little sign of vegetation as it did in March, except the trees. All
the small fruit is gone, they have even eaten the weeds."
The worst period of locust migrations was from 1874 to 1877, and 1875 was
the peak of the disaster. The seriousness of damage from the locusts in
Nebraska is indicated by The Grasshopper Constitution, a revision of the
15 original state constitution to include policies to reckon with the economic
problems. Similarly, the state of Missouri passed legislation in 1877 to stop the
grasshopper crisis by authorizing a bounty on locusts and grasshoppers: anyone
collecting a bushel of eggs was to be paid ve dollars, while a bushel of young
grasshoppers was worth one dollar. Such measures, as could easily be predicted,
20 were in vain, for at that time some swarms consisted of over 100 billion individual
insects. In Missouri alone, the estimate of the amount of damage to crops and
land exceeded 15 million dollars. In addition to grain, fruit, and vegetables,
farmers were also losing livestock every day because of the lack of feed. This led
to problems for the settlers themselves, who were starving and trying to survive
25 merely with bread and water. Whole families of settlers were often discovered
starved to death in their farmhouses.
The migratory locust swarms that cause that sort of devastation arise under
extreme environmental pressures, such as overcrowding and climate changes.
These forms of locusts are apparently natural adaptations, designed to spread
30 locust populations out when they become too crowded. Fortunately for farmers
today, the migratory locust, the so-called "spretus" species, no longer seems
to occur regularly. Even so, there was a serious outbreak as late as 1938 in the
Midwest of the United States and Canada. In fact, there is no reason to assume
that the destructive migratory form would not appear again if circumstances
35 became favorable.
Locust swarms are large and can lay waste to everything in their path,
but despite the difculties humans have in combating them, they are not
unstoppable. Nature usually has ways of controlling the population of any
given species, and locusts are no exception. For locusts, the primary control
40 mechanisms are weather and natural predators. For example, the Rocky Mountain
locust is native to regions of high altitude and low rainfall. When a swarm of
Rocky Mountain locusts migrates into a different climate in search of food, it can
be wiped out with astonishing speed by a few weeks of extreme temperatures
and rain.
45 Locusts also have many natural predators. A special type of mite that likes to
feed off young locusts by lodging under their wings is among the most signicant.
Spiders, dragonies, and hair worms are other invertebrates that prey on locusts,
and the chief vertebrate enemies of the Rocky Mountain locust are birds. Some
researchers have found that there are birds in moist lowlands that live almost
50 entirely on locusts during seasons of invasion.

9. The passage implies that Rocky 11. The passage supports which of the
Mountain locusts cannot easily survive following conclusions?
(A) high altitude (A) Nebraska has never recovered
(B) extreme temperatures from the economic
(C) seasons of invasion problems caused by
(D) crowding locusts.
(B) Migratory locusts have no
vertebrate enemies.
10. The author mentions spiders, (C) Climate is a factor that
dragonies, and hair worms in the inuences locust
passage as invertebrates that migrations.
(D) There is no articial way to
(A) compete with locusts for food control damage from locust
(B) are eaten by birds that eat migrations.
locusts
(C) help to control locust populations
(D) are preyed on by locusts 12. Click on the sentence in bold text
in the passage where the author
explains the main purpose of locust
migrations.

Locust plagues have caused major problems in farming communities of the American
plains, but they are not unstoppable.
y
y
y
Answer choices
The last serious outbreak of one Birds and several species of
species of locusts was in 1938. invertebrates control locusts by
eating them.
The migration of locust swarms Problems caused by locusts were
can be stopped by a decrease in so great that at least two states
temperature and increase in rain. passed laws in response.
Locusts and grasshoppers are Swarms of locusts are very
not the only insects that can threatening-looking because they
cause catastrophic crop damage can darken the entire sky.
on the plains.

Set A
Locust Invasions
1 In the United States, before the agricultural development of the Midwest and
West altered the natural balance of wildlife, there were frequent migrations of
Rocky Mountain locusts (Melanoplus spretus) that caused terrible damage to local
agricultural economies. Great hordes of these insects used to darken the skies
5 on the plains east of the Rocky Mountains, often destroying crops. The following
letter written by a Missouri farmer in 1875 graphically demonstrates the severity
of the problem: "The locusts are taking every green thing as fast as it appears
above the ground in this part of the county, say ten or twelve miles from the
river. Beyond that I am told there is little small grain, vegetables and corn. Most
10 of the county shows as little sign of vegetation as it did in March, except the
trees. All the small fruit is gone, they have even eaten the weeds."
The worst period of locust migrations was from 1874 to 1877, and 1875 was
the peak of the disaster. The seriousness of damage from the locusts in Nebraska
is indicated by The Grasshopper Constitution, a revision of the original state
15 constitution to include policies to reckon with the economic problems. Similarly,
the state of Missouri passed legislation in 1877 to stop the grasshopper crisis by
authorizing a bounty on locusts and grasshoppers: anyone collecting a bushel of
eggs was to be paid ve dollars, while a bushel of young grasshoppers was worth
one dollar. Such measures, as could easily be predicted, were in vain,
20 for at that time some swarms consisted of over 100 billion individual
insects. In Missouri alone, the estimate of the amount of damage to crops and
land exceeded 15 million dollars. In addition to grain, fruit, and vegetables,
farmers were also losing livestock every day because of the lack of feed. This led
to problems for the settlers themselves, who were starving and trying to survive
25 merely with bread and water. Whole families of settlers were often discovered
starved to death in their farmhouses.
The migratory locust swarms that cause that sort of devastation arise under
extreme environmental pressures, such as overcrowding and climate changes.
These forms of locusts are apparently natural adaptations, designed to
30 spread locust populations out when they become too crowded. Fortunately
for farmers today, the migratory locust, the so-called "spretus" species, no
longer seems to occur regularly. Even so, there was a serious outbreak as late
as 1938 in the Midwest of the United States and Canada. In fact, there is no
reason to assume that the destructive migratory form would not appear again if
35 circumstances became favorable.
Locust swarms are large and can lay waste to everything in their path,
but despite the difculties humans have in combating them, they are not
unstoppable. Nature usually has ways of controlling the population of any
given species, and locusts are no exception. For locusts, the primary control
40 mechanisms are weather and natural predators. For example, the Rocky
Mountain locust is native to regions of high altitude and low rainfall. When a
swarm of Rocky Mountain locusts migrates into a different climate in search of
food, it can be wiped out with astonishing speed by a few weeks of extreme
temperatures and rain.
45 Locusts also have many natural predators. A special type of mite that likes to
feed off young locusts by lodging under their wings is among the most signicant.
Spiders, dragonies, and hair worms are other invertebrates that prey on
locusts, and the chief vertebrate enemies of the Rocky Mountain locust are birds.
Some researchers have found that there are birds in moist lowlands that
50 live almost entirely on locusts during seasons of invasion.

READING DRILL 7
1. The phrase impart to in the passage 5. Which of the sentences below best
is closest in meaning to which of the expresses the essential information
following? in the highlighted sentence in the
passage? Incorrect choices change
(A) enjoy with the meaning in important ways or
(B) fulll leave out essential information.
(C) distinguish from
(D) deliver to (A) Because Koshari Kachina act
out unacceptable conduct,
children are not permitted
2. The phrase attend to in the passage to watch them perform.
could best be replaced by (B) The Koshari Kachina are used
to teach children which
(A) are unrelated with behavior is considered bad
(B) warn about by the community.
(C) are responsible for (C) The Koshari Kachina are
(D) add humor to clown-like gures
who comically imitate
misbehaving children.
3. The purpose of paragraph 2 is to list (D) Children whose conduct is
unacceptable are frequently
(A) the kinds of kachina dolls that sent to Koshari Kachina for
are commonly made lessons.
(B) the tribe members who
participate in kachina
ceremonies 6. Click on the answer choice to which it
(C) the roles of kachina characters in the passage refers.
(D) the lessons tribal chiefs learn
from the kachina (A) doll
(B) cottonwood tree
(C) image of a particular kachina
4. The author uses the phrase comic (D) small bit of the kachina
relief in the passage to refer to
(A) a lesson not normally attended 7. The word motifs in the passage is
to by the kachina closest in meaning to
(B) issues of discipline and behavior
(C) a short break from the (A) symbols
seriousness of the rest of (B) ceremonies
the ceremonies (C) characters
(D) the way modern tribespeople (D) foods
view the tradition of the
kachina
8. Click on the sentence in paragraph
3 that describes the function of the
masks worn in ceremonies.
9. Which of the following is closest in

meaning to intricate in the passage?
(A) carved
(B) detailed
(C) wooden
(D) colored

Set A
The Kachina of the Native Americans
1 According to traditional beliefs of the Hopi and Pueblo tribes of the American
Southwest, their villages are visited by kachina every year on the winter solstice.
These kachina are thought to be the spirits of dead ancestors who have come
down from their residences on the peaks of the San Francisco mountain range to
5 spend half the year watching over the living.
Each kachina is said to possess not only a specic personality but also a
lesson to impart to the members of the village. These personalities include chiefs
who bring lessons of wisdom, women who teach motherly values, and demons
or ogres who attend to serious issues of discipline and behavior. There are,
10 however, also clown-like characters who bring comic relief to ceremonies that
would otherwise be entirely solemn. Named the Koshari Kachina, or sometimes
just clown or glutton, these gures act in outrageous ways that are meant to
amuse the crowds. However, their presence also serves another more serious
function. By breaking various taboos and transgressing boundaries set
15 up by society, the Koshari Kachina provide examples to the younger
members of the tribe of unacceptable conduct.
The Hopi and Pueblo incorporate representations of the kachina into both
ceremonial and daily life for the duration of these visits. Ceremonial dance is a
major display of their role. On the night of the winter solstice, dancers welcome
20 the kachina back to human settlements by donning masks, each of which
represents a particular spirit. This spirit possesses power, which it grants to the
wearer of the mask. After their welcome by the tribespeople, the kachina are
thought to stay with the village through the winter and spring months. Over this
half-year period, many ceremonies are held in which the masked dancers assume
25 the powers of the kachina and instruct the members of the village.
The kachina are also represented among the the Southwestern tribes through
the use of dolls. Each doll, traditionally made from the root of the cottonwood
tree, is carved in the image of a particular kachina and is believed to have a
small bit of the kachina residing within it. The dolls represent stock characters
30 in the kachina tradition and are easily identiable by typical motifs. The Koshari
Kachina, for example, is usually portrayed holding a slice of watermelon, a symbol
of the clown's gluttonous nature. The Angak'China, or Long-Haired Kachina, is a
common gure among almost all the Hopi and Pueblo tribes. He is considered a
bringer of gentle rains, and the long hair running down his back is supposed to
35 resemble falling rain. Other kachinas actually take the shape of plants or animals.
The Patung Kachina, or Squash Kachina, is a humanoid form in the shape of a
squash plant, a symbol of food. Mongwu, the Great Horned Owl Kochina, is an
owl with an elaborately carved headdress of feathers. This kachina plays an
important role in the dance ceremonies. His duty is to punish the clowns when
40 their behavior becomes too outrageous and to bring order back from the chaos.
Nowadays, the most common practice for many doll-makers is to use
long-lasting acrylic paints, but some have begun to return to traditional mineral
and plant pigments. The dolls are made with great care. They are incised with
intricate symbols and often carry accessories, such as arrows or baskets, and
45 are highly valued by collectors. They have a special place of honor in Hopi and
Pueblo homes, but the original role of the dolls is not precisely known. Some
historians say that the rst dolls were given to women and children merely as
representatives of the spirits, while others believe that they were aids in teaching
children about the kachina.

10. The decorations of kachina dolls 12. The passage does NOT provide
mentioned in the passage do NOT information to answer which of the
include following questions?
(A) baskets (A) What kind of wood is used in

(B) leaves making kachina dolls?
(C) incised symbols (B) What colors are used in painting
(D) painting kachina dolls?
(C) During what time of year do
the kachina live with the
11. Which of the following can be inferred villages?
about the rst kachina dolls? (D) Where do the kachina live when
they are not with the
(A) Most were used to teach villages?
children.
(B) They were not given to women.
(C) They did not have a place of
honor in the home.
(D) Historians disagree over their
use.

The kachina are representations of spirits that are an important element of

a winter festival for the Hopi and Pueblo peoples.
y
y
y
Answer choices
The original function of kachina The signicance of the kachina
dolls is not known to historians. is indicated by the care given to
kachina dolls by their makers
and owners.
The kachina are represented The job of the Owl Kachina is to
both by costumed dancers and discipline the Clown Kachina.
by special dolls.
The different kachina are Kachina dolls made traditionally
categorized according to their are more highly valued than
personality type and the lesson those made with mass-produced
they teach. materials and paints.

Set A
The Kachina of the Native Americans
1 According to traditional beliefs of the Hopi and Pueblo tribes of the American
Southwest, their villages are visited by kachina every year on the winter solstice.
These kachina are thought to be the spirits of dead ancestors who have come
down from their residences on the peaks of the San Francisco mountain range to
5 spend half the year watching over the living.
Each kachina is said to possess not only a specic personality but also a
lesson to impart to the members of the village. These personalities include chiefs
who bring lessons of wisdom, women who teach motherly values, and demons or
ogres who attend to serious issues of discipline and behavior. There are, however,
10 also clown-like characters who bring comic relief to ceremonies that would
otherwise be entirely solemn. Named the Koshari Kachina, or sometimes just
clown or glutton, these gures act in outrageous ways that are meant to amuse
the crowds. However, their presence also serves another more serious function.
By breaking various taboos and transgressing boundaries set up by society,
15 the Koshari Kachina provide examples to the younger members of the tribe of
unacceptable conduct.
The Hopi and Pueblo incorporate representations of the kachina into both
ceremonial and daily life for the duration of these visits. Ceremonial dance is a
major display of their role. On the night of the winter solstice, dancers welcome
20 the kachina back to human settlements by donning masks, each of which
represents a particular spirit. This spirit possesses power, which it grants to the
wearer of the mask. After their welcome by the tribespeople, the kachina are
thought to stay with the village through the winter and spring months. Over this
half-year period, many ceremonies are held in which the masked dancers assume
25 the powers of the kachina and instruct the members of the village.
The kachina are also represented among the the Southwestern tribes through
the use of dolls. Each doll, traditionally made from the root of the cottonwood
tree, is carved in the image of a particular kachina and is believed to have a
small bit of the kachina residing within it. The dolls represent stock characters
30 in the kachina tradition and are easily identiable by typical motifs. The Koshari
Kachina, for example, is usually portrayed holding a slice of watermelon, a
symbol of the clown's gluttonous nature. The Angak'China, or Long-Haired
Kachina, is a common gure among almost all the Hopi and Pueblo tribes. He
is considered a bringer of gentle rains, and the long hair running down his back
35 is supposed to resemble falling rain. Other kachinas actually take the shape of
plants or animals. The Patung Kachina, or Squash Kachina, is a humanoid form in
the shape of a squash plant, a symbol of food. Mongwu, the Great Horned Owl
Kochina, is an owl with an elaborately carved headdress of feathers. This kachina
plays an important role in the dance ceremonies. His duty is to punish the clowns
40 when their behavior becomes too outrageous and to bring order back from the
chaos.
Nowadays, the most common practice for many doll-makers is to use
long-lasting acrylic paints, but some have begun to return to traditional mineral
and plant pigments. The dolls are made with great care. They are incised with
45 intricate symbols and often carry accessories, such as arrows or baskets, and
are highly valued by collectors. They have a special place of honor in Hopi and
Pueblo homes, but the original role of the dolls is not precisely known. Some
historians say that the rst dolls were given to women and children merely as
representatives of the spirits, while others believe that they were aids in teaching
50 children about the kachina.

READING DRILL 8
1. Which of the following is NOT 5. Which of the following is a reason

mentioned in the passage as a reason given for the invention of the
that steel used to be expensive? Bessemer furnace?
(A) The process of making it was (A) the expense of mining iron ore
slow. (B) the risks involved in producing
(B) It had to be made in small steel
quantities. (C) Bessemer's desire for fame
(C) Some readily accessible supplies (D) the high cost of steel
of iron had not been
discovered.
(D) Bessemer's machine was costly 6. According to the passage, how did
to operate. the Bessemer method make the mass
production of steel possible?
2. The author mentions Ships, bridges, (A) It removed impurities efciently.

railroad rails, and axles to indicate (B) It slowly heated large quantities
that steel of iron.
(C) It made iron into a substitute for
(A) was superior to wrought iron in steel.
versatility (D) It located deposits of iron ore.
(B) could be shipped efciently to
buyers
(C) made mass transportation 7. The word independently in the
possible passage is closest in meaning to
(D) was too expensive to use in
large items (A) cleverly
(B) separately
(C) quickly
3. The phrase a matter of minutes in (D) ofcially
the passage indicates that steel
(A) was converted in small amounts 8. The Bessemer process of making steel
(B) was difcult to make from iron involved
(C) was manufactured for the rst
time (A) steam shovels
(D) could be produced quickly (B) repeated stirring
(C) hot air
(D) a chemical solution
4. According to the passage, the railroad
industry preferred steel to iron
because steel was 9. The prospectors referred to in the
passage were
(A) cheaper
(B) lighter (A) owners of businesses that used
(C) cleaner steel
(D) sturdier (B) people who searched for sources
of ore
(C) inventors who wanted to make
the manufacture of steel
easier
(D) owners of shipping companies

Set A
The Expansion of the Steel Industry
1 The railroad industry could not have grown as large as it did without the
development of the steel industry. The rst rails were made of iron, but iron
rails were not strong enough to support heavy trains running at high speeds.
Railroad executives wanted to replace them with steel rails because steel was
5 ten or fteen times as strong and lasted twenty times longer. Before the 1870's,
however, steel was made using a slow and arduous process. Bars of Swedish
wrought iron were typically heated together with charcoal over a period of six
weeks, during which time the iron absorbed carbon from the charcoal. The bars
were then broken into smaller pieces and melted down in relatively small-sized
10 crucibles. Because of the costs and difculties inherent in this drawn-out method
of production, steel found only limited application. Ships, bridges, railroad
rails, and axles were still constructed with wrought iron, while steel was only
used for smaller items, such as cutlery, tools, and springs.
Given the superior performance of steel, it is not surprising that a number
15 of inventors in Great Britain, the United States, and Germany were working to
nd a less expensive method of making it. Although several of them arrived
independently at the same solution, it was Henry Bessemer who took credit
in 1856 for discovering that directing a blast of heated air at melted iron in a
furnace burned out the impurities that made the iron brittle, a process he named
20 the Acid Bessemer process. When the re cooled, the metal had been converted
to steel. His machine, called the Bessemer converter, made possible the mass
production of steel. The differences between the new and old processes were
enormous. The cost of producing steel fell ten-fold, and whereas it had been
made previously in blocks of 40 or 50 pounds each, three to ve tons of iron
25 could now be changed into steel in a matter of minutes. The effect on the
railroads was immediate and enormous: all-steel rails, called Bessemer rails,
quickly replaced those of hardened-head iron as the industry standard.
Just when the demand for more steel developed among manufacturers
and transportation companies, its costs was driven down still further when
30 prospectors discovered huge new deposits of iron ore in the mountains of
the Mesabi Range in Minnesota near Lake Superior. The Mesabi deposits were
so near the surface that they could be mined with steam shovels. Barges and
steamers carried the iron ore across Lake Superior to depots on the southern
shores of Lake Michigan and Lake Erie. With dizzying speed, disparate spots such
35 as Gary, Indiana, and Toledo, Youngstown, and Cleveland, Ohio became major
steel-manufacturing centers. Pittsburgh, at the conuence of the Allegheny and
Monongahela rivers in Western Pennsylvania, became the greatest steel city of
all.
Steel rapidly became the basic building material of the industrial age, and
40 railroads laid down with Bessemer rails helped shape the industrial development
of the nation, as manufacturers east of the Mississippi River became connected
at all times to the growing markets in the West. Before the nation became
connected via railroad, transportation routes had depended heavily upon weather
and season. In this regard, steel helped eliminate natural barriers to the progress
45 of economic growth, and the economies of cities like Chicago grew prodigiously.
Not only was steel used in crisscrossing the territory with railways, but also in
punctuating the urban landscape with structures taller than what was previously
thought possible.
Total production gures graphically illustrate the rapid proliferation of steel
50 in the last three decades of the nineteenth century. In 1870 only 77,000 tons of
steel were produced in America, but by the turn of the century thirty years later,
annual production had mushroomed to over eleven million tons.

10. It can be inferred from the passage 12. Look at the four squares [ ] that
that the mass production of steel indicate where the following sentence
caused could be added to the passage.
(A) a decline in the auto industry Later, it was also used in

(B) a revolution in the industrial producing automobiles, which
world would decrease demand for rail
(C) an increase in the price of steel transport.
(D) a feeling of discontent among
steel workers Where would the sentence best t?
Click on a square [ ] to add the

11. The word mushroomed in the sentence to the passage.
which of the following?
(A) became efcient

(B) increased greatly
(C) was calculated
(D) was planned

The invention of a new method of steelmaking caused a rapid increase in its

use.
y
y
y
Answer choices
The Swedish method of New deposits of iron ore were
steelmaking involved heating found in the Mesabi Range in
wrought iron with charcoal. Minnesota.
Rails made of steel were more The Acid Bessemer process
durable than rails made of iron allowed steel to be produced
but cost too much to use widely. more quickly and at one-tenth
the previous cost.
Use of steel rails to connect Pittsburgh became a major
many cities freed nationwide steelmaking city.
transportation from dependence
on the weather.

Set A
The Expansion of the Steel Industry

1 The railroad industry could not have grown as large as it did without the
development of the steel industry. The rst rails were made of iron, but iron
rails were not strong enough to support heavy trains running at high speeds.
Railroad executives wanted to replace them with steel rails because steel was
5 ten or fteen times as strong and lasted twenty times longer. Before the 1870's,
however, steel was made using a slow and arduous process. Bars of Swedish
wrought iron were typically heated together with charcoal over a period of six
weeks, during which time the iron absorbed carbon from the charcoal. The bars
were then broken into smaller pieces and melted down in relatively small-sized
10 crucibles. Because of the costs and difculties inherent in this drawn-out method
of production, steel found only limited application. Ships, bridges, railroad rails,
and axles were still constructed with wrought iron, while steel was only used for
smaller items, such as cutlery, tools, and springs.
Given the superior performance of steel, it is not surprising that a number
15 of inventors in Great Britain, the United States, and Germany were working to
nd a less expensive method of making it. Although several of them arrived
independently at the same solution, it was Henry Bessemer who took credit
in 1856 for discovering that directing a blast of heated air at melted iron in
a furnace burned out the impurities that made the iron brittle, a process he
20 named the Acid Bessemer process. When the re cooled, the metal had been
converted to steel. His machine, called the Bessemer converter, made possible
the mass production of steel. The differences between the new and old processes
were enormous. The cost of producing steel fell ten-fold, and whereas it had
been made previously in blocks of 40 or 50 pounds each, three to ve tons of
25 iron could now be changed into steel in a matter of minutes. The effect on the
railroads was immediate and enormous: all-steel rails, called Bessemer rails,
quickly replaced those of hardened-head iron as the industry standard.
Just when the demand for more steel developed among manufacturers
and transportation companies, its costs was driven down still further when
30 prospectors discovered huge new deposits of iron ore in the mountains of the
Mesabi Range in Minnesota near Lake Superior. The Mesabi deposits were
so near the surface that they could be mined with steam shovels. Barges and
steamers carried the iron ore across Lake Superior to depots on the southern
shores of Lake Michigan and Lake Erie. With dizzying speed, disparate spots
35 such as Gary, Indiana, and Toledo, Youngstown, and Cleveland, Ohio became
major steel-manufacturing centers. Pittsburgh, at the conuence of the Allegheny
and Monongahela rivers in Western Pennsylvania, became the greatest steel city
of all.
Steel rapidly became the basic building material of the industrial age, and
40 railroads laid down with Bessemer rails helped shape the industrial development
of the nation, as manufacturers east of the Mississippi River became connected
at all times to the growing markets in the West. Before the nation became
connected via railroad, transportation routes had depended heavily upon weather
and season. In this regard, steel helped eliminate natural barriers to the progress
45 of economic growth, and the economies of cities like Chicago grew prodigiously.
Not only was steel used in crisscrossing the territory with railways, but also in
punctuating the urban landscape with structures taller than what was previously
thought possible.
Total production gures graphically illustrate the rapid proliferation of steel
50 in the last three decades of the nineteenth century. In 1870 only 77,000 tons of
steel were produced in America, but by the turn of the century thirty years later,
annual production had mushroomed to over eleven million tons.


Set A
Answer key

Academic lecture 1 Academic lecture 5

1, A 1, A
2, C 2, B
3, BCD 3, D
4, B 4, B
5. B 5. C
6. D 6. D

1, B 1, D
2, BD 2, D
3, B 3, D
4, AD 4, C
5. D 5. B
6. C 6. C

1, C 1, C
2, A 2, BC
3, BD 3, C
4, D 4, C
5. B 5. D
6. ACD 6. C

1, B 1, C
2, A 2, C
3, B 3, B
4, C 4, D
5. D 5. C
6. C 6. B

Set A
Campus conversation 1
1, A
2, A
3, B
4, B
5. C
1, C
2, A
3, C
4, D
5. A
1, C
2, D
3, C
4, AD
5. A
1, C
2, D
3, D
4, C
5. C

Note that in answers to Summary questions, the answer choices in each chart are deemed to be
numbered as follows:
Answer choices
1 4
2 5
3 6
Reading Drill 1 Reading Drill 3

1. C 1. B
2. C 2. A
3. D 3. D
4. C 4. C
5. Her house designs.... 5. D
6. A 6. A
7. C 7. B
8. C 8. B
9. D 9. C
10. C 10. A
11. B 11. C
12. B 12. D
13. Yes 1, 2, 4 13.Yes 1, 4, 6

1. B 1. C
2. A 2. D
3. D 3. B
4. C 4. C
5. C 5. A
6. D 6. D
7. A 7. C
8. A 8. B
9. B 9. B
10. C 10. C
11. 2 11. A
12. D 12. A
13.Yes 1, 3, 5 13.Yes 1, 5, 6

Set A
Reading Drill 5
1. D
2. C
3. C
4. D
5. D
6. D
7. B
8. D
9. B
10. A
11. B
12. There they were....
13.Yes 2, 3, 4
Reading Drill 6
1. C
2. D
3. C
4. D
5. D
6. Even so, there....
7. A
8. B
9. B
10. C
11. C
12. Migratory forms of....
13.Yes 1, 2, 4
Reading Drill 7
1. D
2. C
3. C
4. C
5. B
6. A
7. A
8. The dancers don....
9. B
10. B
11. D
12. B
13.Yes 2, 3, 4
Reading Drill 8
1. D
2. D
3. D
4. D
5. D
6. A
7. B
8. C
9. B
10. B
11. B
12. ...previously thought possible.
13.Yes 2, 3, 4


Listening
and Reading
Set B
Practice for the

TOEFL
VERSION 2.0
TOEFL is a registered trademark of the Educational Testing Service.
Practice B Feb3.indd 111 2/11/05 12:38:33 PM

ACKNOWLEDGMENTS
Thanks to the following for their many contributions to this course manual:
Sei Isomine, Sean Kinsell, Taichi Kono, Russell Moench, the staff and students of The Princeton Review.
All rights reserved. No part of this manual may be reproduced or transmitted in any form or by any
means, electronic or mechanical, including photocopying, recording, or any information storage or
retrieval system, without the prior express written consent of the publisher, The Princeton Review.
This manual is for the exclusive use of Princeton Review course students and is not legal for resale.
The Princeton Review is not affiliated with Princeton University or the Educational Testing Service.
There is no endorsement by the Educational Testing Service of this publication as a whole or of any
sample questions or testing information it contains.
Copyright © 2005 by The Princeton Review, Inc. All rights reserved.
Version 2.0

Set B
TABLE OF CONTENTS
Listening 115
QUESTIONS 117
TRANSCRIPTS 139

Reading 181
Reading drill 1 182
Reading drill 2 186
Reading drill 3 190
Reading drill 4 194
Reading drill 5 198
Reading drill 6 202
Reading drill 7 206
Reading drill 8 210
Answer key 215

Listening 216
Reading 218

Set B
LISTENING


Set B
QUESTIONS

ACADEMIC LECTURE 1
1. What is the main topic of the lecture?
(A) Similarities in human and animal play

(B) How young animals escape from predators
(C) Types and functions of animal play
(D) The development of cooperation in social animals

What is the professor about to do?
(A) Review a reading assignment

(B) Give a special denition
(C) Have the students guess what the word means
(D) Look at the students' notes
3. Why have scientists begun to study animal play?

(A) They have identied new categories of play.
(B) Animals learn adult survival skills through play.
(C) Young animals are easier to observe than adult
animals.
(D) No one yet knows what purposes play serves.

Set B
4. On what basis do scientists distinguish the different types

of play?
Click on 2 answers.
Type of object
Species of animal
Type of movement
Long-term purpose
5. What adult skills does the professor say can be learned

through object play?
Click on 2 answers.
Catching food
Escaping attack
Forming group relationships
Nest building
6. What does the professor imply about gazelles?
(A) They never engage in object play.

(B) They sometimes injure each other during rough
play.
(C) They are rarely attacked in groups.
(D) They benet from more than one type of play.

ACADEMIC LECTURE 2
1. What do the students mainly discuss?
(A) A close relative of the cobra

(B) Ways snakes use poison to protect themselves
(C) How snakes react to threats
(D) Two kinds of poison used by snakes
2. According to the students, what do snakes mainly use

their venom for?
(A) To keep prey from escaping

(B) To prevent prey from struggling
(C) To respond to threats from predators
(D) To start digesting food before eating it

What do the students imply?
(A) The professor categorized snakes according to
region.
(B) They will be tested on the types of snake venom.
(C) They were absent for the same class session.
(D) The professor did not specify what would appear on
the test.

Set B
4. Why is the coral snake not very dangerous to humans?
Click on 2 answers.
It is not found in populated areas.

Its poison is weak.
Its bite contains little poison.
It tries to escape if threatened.
5. What is a fang?
(A) A treatment used for rattlesnake bites

(B) A toxin that attacks the nerves
(C) A type of snake in the viper family
(D) A tooth through which venom ows
6. Why are some rattlesnakes considered dangerous to

humans?
(A) Their venom affects the nervous system.

(B) They bite many times in one attack.
(C) They inject a lot of venom at once.
(D) Their bites cause a lot of bleeding.

ACADEMIC LECTURE 3
1. What is the main topic of the talk?
(A) Industries that use cardboard boxes

(B) A famous inventor
(C) The design features of the cardboard box
(D) How manufactured goods are distributed

What did the professor imply?
(A) The students will need the design described to them.

(B) The students will be surprised.
(C) She thinks the students are familiar with the
transportation industry.
(D) She assumes the students have studied history.


(A) To give a sense of how important the cardboard box
is
(B) To show which inventions led to the cardboard box
(C) To indicate that the cardboard box is technologically
simple
(D) To suggest why people pay little attention to
cardboard boxes

Set B
4. According to the professor, what are some advantages of

the shape of a cardboard box?
Click on 2 answers.
It can be manufactured by many types of

companies.
It uses little wood.
It lowers shipping costs.
It prevents damage to the contents.
5. What is a characteristic of corrugated cardboard?
(A) It is stronger than wood.

(B) It has only one layer of material.
(C) It is similar to the paper in grocery bags.
(D) It is strong and relatively inexpensive.
6. What is the professor's attitude toward the lack of change

to the design of the cardboard box?
(A) The design needs to be adjusted to modern

transportation methods.
(B) The lack of change demonstrates the usefulness of
the design.
(C) The advantages of the wooden crate should be
integrated into the design.
(D) Cardboard boxes should be made in a greater
variety of shapes.

ACADEMIC LECTURE 4
1. What is the main topic of the lecture?
(A) Why certain fruits ripen quickly

(B) The nutrients in ripe fruit
(C) How starch is broken down
(D) A chemical that helps ripen fruit

Why does the professor say this?

(A) to distinguish between two chemicals
(B) to correct a previous sentence
(C) to draw an analogy
(D) to introduce a counter-example

What does the professor imply by saying this?
(A) Scientists don't know which fruits contain ethylene.
(B) Scientists are unsure how the process works.
(C) There are many scientists who disagree.
(D) The other chemicals have all been identied.

Set B
4. How does the breakdown of starch contribute to fruit

ripening?
(A) It causes ethylene to be produced.

(B) It increases the amount of juice in the fruit.
(C) It makes the fruit softer.
(D) It produces sweet simple sugars.
5. How does the professor recommend ripening fruits?
(A) Keeping them away from sources of ethylene

(B) Leaving the stem on when picking them
(C) Storing them with a banana
(D) Picking them after no green is left on their skin
6. According to the professor, why is it impossible to ripen a

pineapple off the plant?
(A) It spoils if stored together with bananas.

(B) Starches are broken down outside the fruit.
(C) A picked pineapple stops producing ethylene.
(D) A pineapple becomes more sour after being picked.

ACADEMIC LECTURE 5
1. What aspect of Yellowstone National Park is the lecture
mainly about?
(A) Rocks and minerals

(B) Water formations
(C) Volcanic activity
(D) Rainfall
2. What does the professor say about Yellowstone's volcanic

activity?
(A) It produces rock of different colors.

(B) It stays below the ground.
(C) It makes the water unsafe to drink.
(D) It has recently increased.

What did the professor mean when he said this?
(A) He just remembered something she wanted to
mention.
(B) He wanted the student to repeat what she said.
(C) He was looking for a different answer.
(D) He wanted to expand on the student's point.

Set B
4. What is a fumarole?
(A) Hot solid rock beneath the surface of the ground

(B) A narrow space that forms bubbles of steam
(C) A layer of silica or limestone
(D) An opening from which clouds of steam emerge
5. What conditions produce the hot springs at Yellowstone?
Click on 2 answers.
Superheated water rises toward the surface under

low pressure.
Superheated water passes through a layer of
minerals.
Cool rainwater hits a bubble of rising superheated
water.
The channel through which superheated water rises
decreases in size.
6. How does the professor chiey distinguish the features of

Yellowstone from each other in his discussion?
(A) The minerals dissolved in the water
(B) The pressure the water is under
(C) The temperature to which the water is heated below
ground
(D) The type of rock that heats the water

ACADEMIC LECTURE 6
1. What is the talk mainly about?
(A) Changes in piano design

(B) The evolution of electronic instruments
(C) Technology used to produce traditional instruments
(D) Recent electronic performances of classical music


(A) She will devote more time to the topic.
(B) The topic deserves a longer discussion.
(C) They will not discuss many long pieces of music.
(D) She wants the students to start doing their own
research.


(A) She prefers music played on electronic instruments.
(B) Classical music will continue to ourish.
(C) The best classical music was written long ago.
(D) The new instruments are very expensive.

Set B
4. What does the professor indicate in mentioning the

replacement of the harpsichord by the piano?
(A) People prefer instruments that make natural sounds.

(B) Instruments generally become less expensive as
they evolve.
(C) Electronic instruments are not the rst revolutionary
change in music.
(D) Electronic instruments have to imitate a wide variety
of sounds.
5. According to the professor, what advantages does an

electric keyboard have over a piano?
Click on 2 answers.
Lower cost
Creative stimulation
Longer lifespan
Purer sound
6. Why does the professor believe electronic instruments will

not replace traditional instruments?
(A) Some traditional instruments cannot be imitated

electronically.
(B) Electronic instruments are not popular among
composers.
(C) Acoustic instruments sound more natural.
(D) Electronic instruments can feel articial.

ACADEMIC LECTURE 7
1. What is the main purpose of the talk?
(A) To describe how free jazz developed

(B) To encourage students to take an interest in jazz
(C) To explore why some listeners dislike free jazz
(D) To describe an unsuccessful experiment in music
2. How does the professor describe big band jazz?
Click on 2 answers.
Performances were carefully rehearsed.

The audience was relatively small.
Bandleaders encouraged individual expressiveness.
The melodies were entertaining.
3. What was the goal of the rst free jazz musicians?
(A) To play by pure inspiration

(B) To gain as large an audience as big band jazz
(C) To make unattractive sounds
(D) To respond to the audience as they played

Set B

Why does the professor ask this?

(A) The reports of what happened at Coleman's concerts
may not be true.
(B) Some of the students have probably seen Coleman
perform.
(C) Coleman's performances are no longer considered
shocking.
(D) He thinks the musicians' reaction was
understandable.
5. How does the professor say free jazz beneted other

types of jazz?
(A) Jazz artists began playing more enjoyable music.

(B) Jazz performers became more expressive.
(C) The total audience for jazz grew larger.
(D) Free jazz artists mastered other types of jazz.
6. What will the class do next?
(A) Look at an instrument

(B) Discuss a free jazz artist
(C) Listen to recorded jazz
(D) Hear a lecture on conventional jazz

ACADEMIC LECTURE 8
1. Why is the professor discussing pottery?
(A) The pottery industry in the colonies was highly

developed.
(B) The class is about to visit an archaeological site.
(C) Some traditional pottery making methods are still
used.
(D) Pottery provides useful information about its
owners.

What is the professor about to explain?

(A) Methods researchers use to avoid damaging old
pieces of pottery
(B) The ways researchers select colonial sites for
digging
(C) The ways the colonists used different types of
pottery in daily life
(D) The kinds of information archaeologists get from
household objects
3. What sort of information can pottery reveal about a

colonial household?
(A) The work its members did

(B) Its native country
(C) Its wealth
(D) Its size

Set B
4. According to the professor, what characteristics identify

pottery from rich households?
Click on 3 answers.
Its painted designs

Complex shapes
Colored or gold glazes
Raised surface decorations
How well it was cared for
5. Why did the British government limit pottery making in

the colonies?
(A) Clay from the colonies was difcult to work with.

(B) Pottery was difcult to ship back to England.
(C) Redware was not popular in England.
(D) England could sell pottery to the colonists.
6. What is redware?
(A) Color-glazed pottery popular among wealthy

households
(B) Pottery made in the colonies from local clay
(C) A pottery making technique copied from Holland and
Portugal
(D) Pottery that was strong enough not to break when
shipped

1. What does the professor warn the student not to do?
(A) Gather irrelevant material

(B) Steal other people's ideas
(C) Share notes with other students
(D) Use few sources for his paper
2. Who does the professor say is likely to plagiarize?
(A) A researcher with few notes

(B) A magazine publisher
(C) A writer who is in a hurry
(D) A student with little experience
3. Why does the professor recommend taking notes in

paraphrases?
(A) They take up little space.

(B) They are easy to read.
(C) Students don't need to identify the source.
(D) Students can put ideas together better.
4. Listen again to part of the conversation.

What did the man imply in saying this?

(A) He thinks the professor is misunderstanding the
rule.
(B) He is not sure what the professor is trying to say.
(C) He is surprised at how many students fail papers.
(D) He did not think unintentional errors would affect
grades.
5. Why does the professor warn against using too many

direct quotations?
(A) The paper may not contain enough of the student's

own ideas.
(B) The paper may not read smoothly.
(C) It is difcult to quote sources accurately.
(D) The paper may contain too much specic
information.

Set B
1. What will the man do tomorrow afternoon?
(A) Start his internship

(B) Take an economics exam
(C) Go to an interview
(D Look at the woman's notes
2. Why was the woman surprised to hear about the

internship?
(A) She did not think the man would be paid.

(B) She thought the man's interview was already over.
(C) Most internships do not require commuting.
(D) It did not sound related to the man's eld.
3. Why does the man mention a train line?
(A) To show how long it will take to get to the interview

(B) To indicate an alternative to bus systems
(C) To show that expensive projects are rarely
worthwhile
(D) To explain what his work as an intern will involve
4. Why did the woman choose this course to audit?
(A) The material it covers is easy to understand.

(B) She was bored with her anthropology courses.
(C) She thought the man could help her understand the
contents.
(D) It was recommended by her professor.


(A) She and the man should compare notes.
(B) Her notes are usually not very good.
(C) Her notes may not suit the man's needs.
(D) She can help the man prepare for his interview.

1. Why is the man in a hurry?
(A) The play is about to begin.

(B) He is late for an interview.
(C) The newspaper ofce is about to close.
(D) He has to develop his lm.
2. Why does the man like working at the campus

newspaper?
(A) Many people see his photographs.

(B) He has access to good equipment.
(C) He can see campus performances for free.
(D) He can accompany reporters on interviews.

What did the woman mean by this?

(A) The man should take photographs before the event.
(B) She didn't like most of the pictures.
(C) The man should take fewer photographs.
(D) The man's problem should not be hard to solve.
4. What does the man say is his main concern in taking

good photographs?
(A) The quality of the equipment

(B) Whether there is enough lighting
(C) Whether his subjects are expressive
(D) How many photographs he is allowed to take at a
time
5. What will the woman do later?
(A) Help the man choose good photographs

(B) Help the man develop the photographs
(C) See the play
(D) Look at the newspaper

Set B
1. Where did the woman nd the plant?
(A) On campus
(B) In a residential neighborhood
(C) Downtown
(D) The university garden

Why did the woman ask this?

(A) The professor may know where the plant came
from.
(B) The plant seemed unusually small.
(C) She wondered whether it was all right to take the
plant.
(D) There were not many plants available.
3. What did the woman mistakenly believe about the plant?
(A) It took nutrients from the tree.

(B) It was part of the tree.
(C) It had few relatives.
(D) It was not a type of moss.

What can be inferred about the woman?
(A) She didn't know Spanish moss was a parasite.

(B) She is familiar with local plants.
(C) She has heard of the plant name.
(D) She thought she had found Spanish moss.
5. How could Spanish moss harm a tree?
Click on 2 answers.
Stealing nutrients
Blocking the sun
Clinging strongly
Growing thickly


Set B
TRANSCRIPTS

ACADEMIC LECTURE 1
N: Listen to part of a lecture in a biology class.
P: Right. We're going to shift away from some of the dry topics we've been
talking about over the last few days and look at something a bit more…
something I hope will be more fun and interesting. We've been discussing
how baby animals grow into adults and take on adult roles, and, well, this
may surprise you, but humans are not the only animals that play when
they're young. In fact, though the subject has only received serious
attention recently, biologists have observed play in many other species of
birds and mammals.
If I'm talking about play as a biologist, I suppose…before
continuing, I should be clear about what I mean. You all have your
notebooks out, right? Okay, here we go. Play is any activity that does not
perform a function directly related to the animal's survival. So if an animal
is engaged in nding food, or building a nest, or eeing from an attacker,
even if it seems to be making a game out of it, it isn't play. Biologists
have begun to realize that different types of play, while they don't serve
immediate functions, are a kind of practice for things that a young mammal
or bird will need to learn to do as it reaches adulthood. They're like a
rehearsal.
Okay, so play performs a function, but it's a long-term, sort of
indirect function. Scientists have identied three categories of play, based
on the movements it involves and the purposes it serves. So here we go
…the rst kind is the simplest: locomotor play. Locomotor play consists,
basically, of moving around: running, jumping, spinning in place, or
apping body parts. Simple stuff. But if you think about what life is like
for, say, an adult gazelle, which might have to escape from predators such
as lions, you can see…right?...you've got this lion running toward you full
tilt, you can see how developing skills for running, jumping, and turning
midair as a child could make the difference between life and death. Right,
so that's locomotor play.

Set B
/PUFT

Object play is the second category, and as you might surmise, it

involves manipulating objects—whatever's available. Animals use rocks,
sticks, feathers, leaves, whatever else is in their habitat. So it's a step up
from just moving their bodies around, now they're actually playing with
another object. Well, that's useful in the long-term because animals will
eventually have to catch fast-moving insects to eat—you know how quickly
some insects can jump or y away, right? Well, if you're an animal that
has to eat those insects to live, you need the ability to identify and grasp
objects quickly. Or birds also use object play. Or birds that will need
to build nests later in life will need to arrange small scraps into precise
shapes. Play with objects can help the young of such species to learn these
things before they fail at their rst attempt to nd food or build a home.
Makes sense, doesn't it? It's better to make mistakes when you're just
piling up sticks for fun—well, they don't think of it as fun the way people
do, but you know—it's better to learn through trial and error when you're
just fooling around than when you actually have to build a nest to live in.
The last kind of play…that was object play, so this is the next kind…
is social play. Social play involves interactions between several members
of a group. So what's important about social play is that it reinforces
group relationships. The interactions in social play can range from simple
touching of heads to very lively wrestling…some animals are pretty rough
with each other…but it is identiable as play because the young animals
involved are careful not to cause injury, as they might to an attacker.
Social play seems to reinforce the sense of togetherness among young
animals of the same group, which can be useful later, like, for a rat colony
that needs to nd a food source. The members of the colony depend on
each other to perform different tasks so they can all survive, and so they
need to be able to trust each other and feel…well, feel like a team. Or,
remember that gazelle we talked about a minute ago? The one that could
escape the lion as an adult because it learned as a child to run fast and
turn very suddenly? Well, at the level of social play, if it's formed bonds
with other members of its herd through playing, they can all work together
effectively to escape attack by a whole group of lions.

Set B
/PUFT

ACADEMIC LECTURE 2
N: Listen to part of a discussion in a zoology class. The class has been
discussing characteristics of snakes and other reptiles.
P: So Jeff and Linda are scheduled to present to us today about venomous

snakes and the main varieties of poison they use. Why don't we get
started, if you're ready?
M: Okay, the reading said that being venomous is an advantage for the snake,
but not because they can defend themselves against attack the way people
think.
W: Right. Most venom starts digesting the prey in advance, before the snake
eats it.
M: So it's most useful to snakes because it keeps their prey from struggling. A
lot of animals snakes eat have claws.
W: Yeah, if you're a snake…well, I guess you can wrap yourself around the
prey like a boa constrictor…but they're not poisonous, right?
M: We aren't really ready to talk about boa constrictors, since they're not
poisonous. As for the snakes we did study, since they don't have arms to
grab with—only their mouths—it's easy for their jaws and ribs to be injured
in a ght.
W: So the poison keeps prey from ghting back.
M: Exactly.
W: Okay, and everyone, what the professor really told us to emphasize
were the chemicals in the poison they use.
M: Oh, right.
W: So we'll go over that, because for the exam we'll need to have that
part down cold.
M: Okay? There are two different basic types of poison that venomous snakes
secrete, and we have snakes with both varieties here in North America.
W: Nerves versus blood, right?
M: Yeah. The variety of toxin that's generally considered more deadly is the
one that affects the nervous system. That's the main kind that the cobras
in Asia and Africa produce.
W: The dangerous kind. I mean, cobras are…well, the bites are really
dangerous, and it must be because of the type of poison.
M: My notes say that the coral snake is the only relative of the cobra in North
America.

Set B
/PUFT

W: Uh-huh, but I have written down here that even though it makes the kind
of poison that can paralyze the central nervous system, the coral snake
isn't very dangerous to people.
M: Even though the nerve poison is more dangerous than the other kind? You
just said yourself, the coral snake is related to the cobra, so…if it's not as
dangerous, I must have missed something. Why's that?
W: We talked about this last night when we were getting ready. Two reasons
the reading mentioned. For one thing, the coral snake is shy. It tends to
coil up and hide its head if it feels threatened. In fact, if it thinks it has a
clear exit route, it'll just crawl away.
M: So if you see one, it probably doesn't really want to bite you. Got it.
Makes sense.
W: And the bigger reason is that the coral snake usually doesn't inject enough
poison in a single bite to kill the average person.
M: So it's the amount of poison that makes it dangerous or not.
W: Kind of. Of course, bites do need to be treated and can cause a lot of
damage, even if they aren't fatal.
P: You're doing great so far, though Jeff, you seem to be having some
difculties with your notes.
M: No, I'm ne, Professor. As long as we get off the coral snakes. Anyway,
the other toxin. That one's the toxin that breaks down the blood and body
tissues. On average, it's supposedly less life-threatening than the toxin
that affects the nerves. That toxin is the main type manufactured by the
viper family. The book said the three types of North American vipers were
the copperhead, the water moccasin, and the rattlesnake.
W: So along with the coral snake, they're the four poisonous snakes we have.
M: And, getting back to what I was just talking about, rattlesnakes? They're
statistically the most dangerous snakes on the continent. Some species are
aggressive when they feel threatened, and the larger types can inject a lot
of poison at once.
W: Unlike the coral snake. So rattlesnakes are more dangerous. And vipers
have longer fangs, too. That's something we didn't talk about with the
coral snake. It's got teeth that aren't as long.
M: Oh, yeah—the fangs—the teeth that the poison ows from. So they
penetrate deeply when they bite.
W: Uh, the rattlesnake's do…
M: Uh-huh, I'm talking about the rattlesnake.
W: Right. So even though rattlesnake poison is less potent than the coral
snake's nerve toxin, it's more likely to pose a danger to human beings.
P: Okay, you two, that should do it. Why don't we take some questions.

Set B
/PUFT

ACADEMIC LECTURE 3
N: Listen to part of a lecture in an economics class.
P: Distribution of goods from centers of mass production to the dispersed

places where consumers live is so efcient in the modern world that you
probably rarely pay attention to it. I mean, think about all the things we
can buy for ourselves today that people used to have to make at home
not long ago: You have clothes, food items such as bread and things,
um, furniture. Right? Long ago, people used to have to make those
themselves, and then as societies got more advanced, you had specialists.
There would be someone…well, someone, who's job was just making
furniture. But it was still mostly for people in the same town or village.
International trade directly affected relatively few people. Nowadays, of
course, even people deep in the countryside have access to things that are
brought in from far away. And, uh, what's amazing about that isn't just the
way we can produce things in large amounts. What's also important is that
we have the means to move them efciently over long distances. To get
a sense of how complicated it really is, consider this for a second:
the collapsible cardboard box we now see everywhere was not
invented until 1890.
Think about that! Think about all the things that are shipped
safely—fragile glass lightbulbs, and fresh fruits that bruise easily, all kinds
of things we need—because they can be transported in ordinary cardboard
boxes. Unlike other technological innovations of the nineteenth
century—the telephone, say, or photography—the cardboard box
doesn't seem very glamorous, of course. But it has many qualities
that are indispensable for efcient distribution. For one thing, the square
shape of cardboard boxes means they can be packed very tightly into a
warehouse or truck or cargo plane. You know what I mean, right? All the
sides are at right angles to each other, so you can pack them in with no
space at all in between. That's important for two reasons. One is that the
more merchandise we can t into a single shipment, the less it costs to ship
each item. The other is that boxes packed right up against each other can't
slide around in transit, so the risk of damaging what's inside is minimized.

Set B
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Okay? So we can t more things in a shipment, and at the same time, we

can make them less likely to move around and break each other.
That leads us to another advantage: the reason delicate things like
television sets can be safely shipped in cardboard boxes is that the boxes
are very sturdy. The corrugated cardboard used in boxes, with that special
wavy middle layer sandwiched between two at layers, is light but difcult
to dent or bend. You've probably been surprised when you were moving
—if you brought some of your stuff to college in boxes to move it into the
dorm—you probably noticed that you can put really, really heavy things
inside cardboard boxes, you can pile things on top of them, and they don't
collapse. Well, because corrugated cardboard has that middle layer, it's
strong enough to substitute for wooden or metal crates but costs a fraction
as much to manufacture. Cardboard boxes are cheap, right? In fact, most
of us throw away boxes with as little thought as when we throw away
grocery bags.
And, as you've probably also discovered when moving between
houses, cardboard boxes are easy to store when empty. When you break
down a cardboard box by opening the top and bottom aps, you can atten
it out to less than an inch thick. Yet the same box might be big enough to
hold, say, a television set of two cubic meters in volume when opened out.
You can't really do that with traditional wooden crates, huh? A crate takes
up the same amount of space when it's empty as it does when it's full. If
you're a manufacturer or shipping company, you have to waste valuable
space, valuable real estate, to keep crates on hand to use. Cardboard
boxes can be folded up and squeezed into very tight spaces. So—still
not convinced that the cardboard box is an impressive invention? Then
consider this: the basic design hasn't changed since it was invented, but
it's still used by producers of everything from glass vases to fresh tomatoes
to basketballs. How many of your favorite gizmos can you say that about?

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ACADEMIC LECTURE 4
N: Listen to part of a lecture in a botany class. The professor will discuss the
biological chracteristics of fruit.
P: We’ve talked about the different types of fruits plants bear, and one of you
raised an interesting question before class: Exactly how does fruit ripen
—especially after it has fallen from a tree or vine? The answer is actually
relatively simple, given all the complex steps in the growth of plants from
seeds that we've been discussing. In most fruits, the ripening process is
started by a single chemical called ethylene. Ethylene is produced by the
fruit itself, you know, inside the fruit. When the fruit produces increased
amounts of ethylene, the ethylene affects the fruit physically—its texture,
its weight, its color—everything. Scientists believe ethylene triggers
the genes in the fruit that cause it to produce other chemicals…uh,
somehow. These genes stimulate the fruit to make these other chemicals,
and together, they get certain processes going that make the fruit ripe.
One of these chemicals breaks down chlorophyll. We all know
what chlorophyll is, right? We've talked about chlorophyll plenty already.
Chlorophyll is, of course, a key chemical in the process of photosynthesis,
the way the plant converts light into energy. Well, chlorophyll's also the
chemical that gives plants their green color, and if you've seen unripened
fruit, you know that it's green, too. The reason most ripening fruit turns
from green to red, yellow, or orange is that the chemical ethylene…that
we were just talking about…stimulates the production of a special enzyme
that breaks chlorophyll down, and another that causes the production of
red and yellow pigments. So the green gradually disappears, and its place
is taken by shades of red and yellow. That’s where ripe fruit’s appealing
color comes from: green chlorophyll breaks down, and it's replaced by red
and yellow. Think about the fruits you know—almost none of them is green
when it's ripe. Sure, an orange or banana or apple can have a few spots of
green left on the skin even after ripening, but for the most part, greenness
in a fruit indicates that it's still immature.
Ethylene also stimulates the production of chemicals that change
the structure of the fruit inside. The main effect is that the esh of the
fruit becomes softer and juicier. One such chemical is pectinase, which
breaks down the pectins that keep the cells of unripened fruit
fastened together—you might think of pectin as a glue or adhesive.
Anyway, the enzyme pectinase breaks pectin down, and so ripened fruit
softens and has more juice in it than underripe fruit.

Set B
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But the most important change, at least from our point of view as
people who enjoy eating fruit, is in avor. Ethylene signals the fruit to
produce enzymes such as amylase. That's an enzyme that breaks down
starches into simpler sugars. Starch doesn't have much avor—think about
potatoes, right? They're full of starch, and their avor is very mild, you
need to season them well, and so on. But simpler sugars are, as you might
guess, sweet. So when simple sugars result from the breakdown of starch,
the fruit becomes sweeter. Ethylene also triggers chemical reactions that
change the pH balance within the fruit, whether it's an acid or a base. The
acidic juices of the underripe fruit are converted to more neutral juices. As
you've probably seen in chemistry class, acids tend to taste pretty sour, but
neutral chemicals like distilled water are mild.
Okay, so one last thing. All of this that I've just said about the
effects of ethylene explains why you may have been told that you can
speed up the ripening of other fruits if you put them into a paper bag with
a ripe banana. Has anyone ever wondered why they say that? Ripeness
shouldn't be something that's contagious, or anything, right? Well, if it's
ripe, the banana gives off ethylene that the other fruits absorb; when they
soak it up, it starts their ripening process. So that's why it works. But I
should warn you that some of the most luscious fruits do not ripen once
they’ve been picked, no matter how many bananas you store with them.
For example, in the pineapple, the conversion of starch into sugars actually
occurs at the end of the stem, and they ow up into the fruit from there.
The part of the process that sweetens the fruit doesn't happen inside the
pineapple itself, in other words. If you cut off the fruit too early, you’ve cut
it off from its source of sweetening, and we all know there's nothing worse
than sour pineapple.

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ACADEMIC LECTURE 5
N: Listen to part of a discussion in a geology class. The class will focus on
geological formations at Yellowstone National Park.
P: I've chosen Yellowstone National Park as our focus for today both because
it's a famous place most of you will have heard of—uh, many of you may
have even visited—and because it'll help to esh out what we've been
talking about this week in terms of geological activity. What makes
Yellowstone so fascinating is that its ages of literal volcanic activity…you
know, where lava actually erupts and spreads over the ground…are over.
But you've still got molten rock under the surface, and it heats up the
solid rock above it. That hot solid rock has cracks leading to the surface.
And through those cracks, water from rain and snow ows down from the
ground above. When that water hits the layer of hot rock—this is about
10000 feet down from the surface, by the way—the processes that produce
all that spectacular geological activity you can see at Yellowstone begin.
See, what happens is this: the water ows down far below the
surface, and even though the rock there is solid—it's above the melted rock
closer to the Earth's core, right?—well, the rock is solid, but it's extremely
hot. It's far above the boiling point of water. Now, normally, you heat
water above the boiling point, what happens?
M: It turns to steam.
P: Of course. Heating water to the boiling point turns it to water vapor, or
steam. But when water turns to steam, what happens to it?
W: Well, it evaporates…it rises.
P: Okay, yes, that's true. But hold that thought for a moment.
Remember chemistry. When water turns from liquid to gas….
W: Oh, I get it. It expands.
P: Right. The water expands. But we're talking about somewhere 10000 feet
below the surface of the Earth, buried under rock and water that's owing
in. What all that pressure means is that, though the temperature of the
water rises far beyond the point at which it would usually turn to steam, it
remains liquid because of the pressure. We call that "super-heated water."
That's not hard to remember: super-heated water is extremely hot but still
in a liquid state.
All right. Um, one of you also pointed out that steam rises. Let's
go back to that idea now. See, this super-heated water also wants to rise.
When it nds some escape route through which rainwater is not running
in, it comes to the surface, and that's where it makes those breathtaking
effects. What's the most famous thing you can see at Yellowstone?

Set B
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M: Old Faithful. The geyser.

P: Right. A geyser is a sort of natural fountain. It forms when the
superheated water nds a path toward the surface that gets narrow in
some places. Of course, the pressure increases as the water is forced
through a narrow space, and that uneven pressure, higher in some places
and lower in others, causes bubbles of steam. The bubbles—it's like when
you turn on a faucet and air has mixed with the water, you know, it kind of
chokes and coughs coming out. Well the steam bubbles mixed in the water
approaching the surface produce that same effect. When the water gets to
the surface, it erupts like a fountain. Now at other places, the water takes
a path toward the surface that doesn't keep it under much pressure. When
that happens, all the water can turn to steam easily, and it comes up from
the ground in big clouds. These places are called fumaroles; again, they're
where water comes out in clouds of vapor, not as a spray of hot liquid.
And in some places…you know, the super-heated water starts
out under pressure far below the surface, but if its way upward becomes
wide enough, the pressure by the time it gets to the surface isn't enough
to make it pour out. If there's somewhere for it to collect, it becomes a
hot spring, a pool of hot water fed from below. If it goes through layers
of minerals, like silica or limestone, those minerals dissolve in the water.
When you dissolve things in water, they tend to thicken it, right? So spots
where this hot, thickened water comes to the surface…they look like boiling
cauldrons of water and mud, like big kettles set into the ground and heated
from below by hot rock.
So those are some of the major ways the volcanic rock far below the
ground at Yellowstone National Park…those are some ways the water comes
back to the surface and produces those amazing visual effects. All of these
things are made possible by the characteristics of the rock formations at
Yellowstone.

Set B
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ACADEMIC LECTURE 6
N: Listen to part of a lecture in a music theory class. The professor has been
discussing the history of classical music.
P: We are rapidly nearing the end of this course in the history of classical
music. We have covered several centuries in a very short time.
Much too short to do the music justice, of course, but then this is a
survey course. Okay, so, uh, we're going to switch gears a little. Well,
more than a little. From now until the end of the term, we’ll be talking
about and listening to electronic music. Some of you may wonder what
electronic instruments are doing in a course about classical music. When
you think of classical music, you probably imagine an orchestra with violins
and an acoustic piano, you know, rows of woodwind and brass players.
Instruments where the sounds are produced by parts made of wood and
metal. But a lot of modern composers write for electronic instruments, so
to show that continuity—to show how classical music has been transformed,
in the work of certain composers, through the use of electronic sound—I
want to look at electronic music.
You probably already know that it was in the 1950’s that musical
computers and sound synthesizers rst appeared in universities. The
rst commercial synthesizers were sold about this time, too. The original
instruments were a little clumsy. The rst version of any technology
is, huh? To our ears today, those original electronic instruments sound
very crude, very primitive. But of course, the sophistication of electronic
instruments has now increased to the point that they can produce almost
any kind of sound, and you can make them sound almost identical to
traditional instruments of all kinds. Alternatively, you can make sounds
with electronic instruments that traditional instruments, with their moving
parts made of natural materials, actually can't produce. You know what I
mean, those bleeps and pings we associate with electronics. Some people
believe these new instruments will be the death of classical music.
But to my mind, they're alarmists. I do agree, though, we are in the
midst of a revolution in instrument design.

Set B
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The reason I don't worry that the use of electronic instruments

will spell the end of "real" classical music is that this is not the rst
such revolution in musical history, and probably not the last one either.
Remember, we’ve already studied a similar case in the early 19th century.
That's when the piano replaced the harpsichord as the most common
keyboard instrument. Also, modern brass and wind instruments came into
being. You know, things like the clarinet and the trumpet, which we think
of as being old, only date back a few centuries. Well, okay, there have
been very simple horns that people have blown through to produce sound
for thousands of years, but the modern form of the trumpet and clarinet,
with all those moving parts and the very precise craftsmanship and the
standard form…you know, those are only a few hundred years old. That's
nothing in historical terms. And of course, a lot of those instruments
have to be made by hand, at least through part of the manufacturing
process. That costs a lot of money, as anyone who's ever wanted to buy a
high-quality orchestral instrument can attest! One of the most important
reasons for the great popularity of electronic instruments is, on the other
hand, their relatively cheap price. Well, just look—only about 400 dollars
for an electronic keyboard compared to nearly three thousand dollars
for a regular piano. This has done a lot to increase sales of electronic
instruments and to encourage composers to nd ways to write for them.
Electronic instruments stimulate the creativity of musicians. We may not
be used to the way their compositions sound, but they're still directly in
the line of music…the line of composing that comes down from the great
classical composers.
So that's why I don't think that making music with electronic
instruments necessarily signals the end of making music by traditional
means. But there's another reason, too. Electronic instruments are often
inexpensive, but there’s something about feeling the ivory of a keyboard,
or the smooth wood of a violin and bow, or the polished metal ttings
of a clarinet—all those pleasing surfaces of traditional instruments that
musicians love. Even if an electronic instrument can reproduce the sound
of such an instrument perfectly, that contact between human artists and
natural surfaces cannot be imitated. Simply put, not everyone who writes
and performs is going to be attracted to electronic instruments. Traditional
instruments will always have their own appeal. So I don’t think even
the most ardent supporters of electronic instruments expect them to
completely replace acoustic instruments.

Set B
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ACADEMIC LECTURE 7
N: Listen to part of a lecture in a music theory class.
P: We tend to think of jazz as a music of improvisation. Improvisation means

the performers kind of ad-lib. They don't rehearse everything exactly as
they're going to play it. They go with the ow while performing, so how
they play depends partially on their mood, on the reaction of the audience
maybe, on…you know, on the other musicians they're performing with.
But in the late 1950’s and early 1960’s, some jazz performers felt that
the music had already become too rigid and formalized. Big band jazz
used very specic rhythms and melodies. The music was still lively and
enjoyable, but of course, to get those big band effects, there was a lot
of planning…literally, a lot of orchestration…that kept things from feeling
loose and spontaneous. You had all these instruments, and the director—
the bandleader—wanted them to play together, like an orchestra, so they
needed to practice and practice. So there was a feeling that the direct
connection to the spirit associated with jazz had been lost, because it was
expressed by responding to inspiration moment-by-moment. However nice
the new melodies and things were in big band music, you certainly couldn't
call them spontaneous.
Okay? So that context, that feeling was the inspiration for the
invention of free jazz. Free jazz responded to that environment by…well,
by saying, hey, let's just do the opposite. Completely the opposite. To play
their music well, free jazz musicians don’t really need to know a lot about
the rules of harmony and rhythm. Of course, they might in reality have
expert knowledge of both harmony and rhythm, but that kind of knowledge
—the formal training that tells you what certain notes or beats are called
by academic musicologists, and so on—that isn’t what makes them good
free jazz musicians. What makes them good is having an intuitive feeling
for how to turn their raw emotions into sounds. The music comes naturally.
The original free jazz players began by experimenting: they rejected the
rules of rhythm and melody that they thought had begun to make jazz too
formal. And when I say "rejected," I mean, really rejected. Their musical
performance was not planned in advance, and they deliberately used
sounds that were not conventionally attractive. They were trying to break
through all the little rules that had grown up around the making of jazz and
just have pure inspiration coming out in their performances.

Set B
/PUFT

Think of the pianist Cecil Taylor: he banged on his instrument and

used crushed glass as an accent. The idea was to use harsh, unpleasant
sounds expressively. It's not that he just wanted to make noise—he was
trying to get at feelings and inspiration that couldn't be expressed with, you
know, nice-sounding music. Besides Taylor, there's the saxophonist
Ornette Coleman: his solos were often so random and unmelodic
that other musicians would walk off the stage in protest. And,
really, can you blame them? Right in the middle of the performance,
musicians were walking off-stage rather than keeping on playing, because
they were used to a certain structure, and what Coleman was playing was
so random. Or I should say that it sounded random to many people, but
in Coleman's terms, he was producing the sounds that he was inspired to
make, without trying to squeeze them into a preexisting music theory. In
fact, "free jazz," the term itself, comes from the title of one of Coleman's
albums.
As you might expect, however "spontaneous" or "expressive" fans
of free jazz may justiably nd it, most performers will not want to play
it, and—needless to say—most listeners won’t be keen on listening to it.
So except for a few undisputed masters of the form, free jazz remains
important today largely because of its inuence on conventional jazz. That
is, great artists such as John Coltrane were inspired by free jazz to include
experimental touches into their more conventional compositions and
performances. The free jazz inuence loosened things up a bit: jazz went
back to being a natural expression of the moods and feelings of the artists
themselves, and also of feelings that transcended the self. So even those
who normally wouldn't touch the stuff—listeners who like their jazz with
attention to form and structure in the conventional sense—they beneted
from the innovations of free jazz, too.
Now, you’re in for a treat. I brought some recordings of my favorite
jazz artists. We’ll spend some time listening to some examples of really
good jazz.

Set B
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ACADEMIC LECTURE 8
N: Listen to part of a lecture in an archaeology class. The professor will
discuss the archaeological study of the American colonial period.
P: All right, so we're discussing the culture of the North American colonies that
became the United States. And—you know, before we go any further, it's
probably good for me to explain the way our evidence…the evidence we use
to get a sense of what life was like in the colonies…the kinds of evidence
we'll use. A lot of what we look at will be from documents and records
of what the colonists did. But we'll also be relying on physical evidence
collected by archaeologists. Like, old things that actually date back to the
colonial period, that have been dug up and catalogued so we can learn
more about how the colonists lived. Researchers dig up things from old
households…mostly objects used in daily life…and use those to get
a sense of what life was like when there were people living there.
So I’d like to take a few minutes to talk about how that works.
It's easiest to start with one of the most useful archaeological nds:
pottery. A student of cultural anthropology can learn a lot from the pottery
excavated from an old settlement. Now, of course, it helps to know a little
about what was going on from having looked at the documents and reading
the histories and things, too, so you have a context…so you have some
idea what you're looking at when you look at the pottery. But some things
you can learn from pottery are fairly simple and straightforward. Like,
for example, if all the fragments of pottery from a certain household have
a little decoration. If they're from vessels and dishes with very simple
shapes—you know, you can tell by the way a fragment of pottery curves
the kind of shape it was originally a part of. Or, well, at least, you can get
an idea what the shape was. So it's not that hard to understand, if there
are only simple shapes with little decoration, a researcher can conclude
that the household that owned and used the pottery had little extra money.
On the other hand, if the fragments also include highly decorated pieces—
it could be paints, or colored glazes, or patterns in the surface made with
extra pieces of clay…or if the household was really rich, you might have
gold leaf painted around the edges—and, uh, if you have more elaborate
shapes than just regular round bowls and jars and things, well, that, of
course, is evidence that the household could afford expensive items that
were not necessary for basic survival.

Set B
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So now that's something you can get a sense of without knowing all
that much about the colonies specically. Where having an understanding
of the historical record—uh, the historical record in the written sense—
comes in handy is when you're looking at other things. That's because
the pottery found would also reect on the overall economic circumstances
of the colonies, not just whether the family was rich or not so rich. See,
England governed according to a mercantilist system, which meant in part
that the colonies were restricted from developing local industries. That
way, they would be forced to buy goods through England itself, so England
would get the money and keep its people working at home, right? Well,
pottery-making was one such restricted industry. If you chemically tested
the fragments found on a colonial site, you would nd that most of the
clay originated in Europe—England especially, but also renowned centers
of pottery production such as Holland and Portugal. You would, though,
nd one kind of pottery produced from local clays: redware, a low-grade
pottery not suitable for use in anything except daily objects like butter
crocks. It cost more to ship from England than it could be sold for on
the market, so redware was the one kind of pottery that colonists were
permitted to make themselves. Right? Because England wouldn't make
any money from forcing the colonists to buy its redware. So you might
nd redware—as you might guess, it's made from red clay, by the way—
in either rich or poor people's houses, because everyone used it for daily
stuff around the kitchen. But it reects on the position of the colonies in
relation to England, that it was the only kind of pottery made locally. Um,
okay, why don’t we stop here for a moment, and we can all look at a tray of
samples of these various types of pottery that have been found at colonial
sites right here in our county.

Set B
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N: Listen to a conversation between a student and his professor.
M: Professor? You told me to stop by about that class I missed last week?
P: Yes, Dave. I told the class about this semester's assignments, and I just
wanted to make sure you understood what I wanted.
M: Fine. Was there a handout or something for me to look at?
P: I'll be making one this weekend, but I explained everything in person so
there'd be no misunderstandings.
M: Okay. Is now, uh, a good time to explain it to me?
P: Sure, if you have time.
M: Yeah.
P: All right. Your assignments this term will be to write two major research
papers—you know that already.
M: Sure.
P: One of the most important things about writing a research paper is giving
proper credit for your sources of information. Failure to do so is called
plagiarism, which is a form of intellectual dishonesty.
M: Oh, that. I think there's a part of the honor code we all had to sign that
talks about plagiarism. It doesn't seem like something most people would
think they could get away with.
P: Possibly, but sometimes inexperienced students will plagiarize
unintentionally, and then be surprised when the teacher won't
accept their papers, or gives them a failing grade.
M: We can fail a paper for something we didn't mean to do?
P: Well, in a word, yes. But you can avoid unintentional plagiarizing by
being very careful. As you read books and magazine articles about the
topic you've selected, write the important information down in your own
words. That's called paraphrasing. Most of your notes should probably be
paraphrases.
M: That's a lot more work than just making copies and highlighting them.
P: Everyone says that, but paraphrasing doesn't just help you avoid
plagiarism. It also…you know, you'll capture the main idea from your
source without actually using any phrases from it, and then you'll be able
to integrate it into your own writing from there. You should always include
your source, because you might need to go back and double check whether
your paper accurately represents what you read.
M: Isn't it safer just to quote people if you want to use their ideas?
P: Well, occasionally, you may nd something you wish to quote directly
in your research paper. But most of the time, quoting people too much
breaks up the ow of your writing.
M: I see.
P: Direct quotations often, you know, interrupt the progress of your argument.
When you do want to quote someone, be sure that you copy the quotation
precisely and enclose it in quotation marks. Even in your notes, I mean.
M: Got it.
P: That way, when you're nalizing your paper, you'll be able to remember
which of your notes are direct quotes, and which are your own summaries.
M: Wow. Sounds like your rules are pretty specic. Good thing I stopped by.

Set B
/PUFT

N: Listen to a conversation between two students.
M: Grace, may I ask you a favor?

W: Sure, Jason. What is it?
M: I have this summer internship I'm applying for.
W: Great…is it something to do with economics?
M: Yeah, actually, it sounds pretty exciting. It's with the city planning
commission.
W: City planning? Sounds great for your resume, but isn't that more…I don't
know…architecture and engineering and stuff?
M: Yeah, not really my elds, but, you know, the money has to come from
somewhere. I'll be in the planning department that…it kind of looks at
what return you're supposed to get from projects.
W: Return? Oh, you mean, like with an investment. You invest money and
then you earn things…you get the benets or prots back.
M: That's exactly it. So if they're going to build something…say, a new train
line, they have to gure out how many people will use it. You know, if
the train goes downtown, you may get a lot of people commuting to their
ofces. But then, depending on all the factors in play, people may prefer
their cars, or the bus, so the money spent to build the train line—
W: —may not be worth it. I get it. I should have gured that was what you'd
be doing. So that's the economics angle.
M: Uh-huh, but the deal is, the only time I can interview for the internship is
tomorrow afternoon.
W: During economics class?
M: Yeah, I have to go downtown and I just can't be sure I'll be back before
class is more or less over.
W: So what's the favor?
M: Well, I'm sure that there are going to be some important things covered in
class. Could I borrow your notes?
W: Of course. But you know that I'm just auditing the course, right?
M: No. I had no idea.
W: Well, economics isn't…I decided to take it because it's good for some of the
things I'm doing in my major…to have some kind of understanding of that
particular aspect of economics.
M: Why didn't you take something easier, like, you know, rst-year economics?
W: I thought about that, but my professor said it'd be better for my
specialization—I'm in anthropology, yeah?—if I took this course. It's better
for my major. I audited it because it's kind of specialized.
M: I see.
W: So what it means is, I take thorough notes because I'm interested in the
material, but it may not be clear from what I write down what's going to be
important for the midterm and the nal.
M: Got it.
W: Since, you know, I'm not going to have to take them.
M: Well, that's okay. As long as you take good notes, I'm sure they'll
have all the information I need.
W: That depends on your denition of good, but as I said, you're
welcome to them if you think they'll help.

Set B
/PUFT

N: Listen to a conversation on a university campus.
W: Where are you off to in such a hurry?

M: The campus newspaper ofce. I've got these photographs that I took at
the drama club play over the weekend. I need to develop them tonight
so the editors can choose the exposures they want to use with the article
tomorrow.
W: I didn't know you were taking pictures for the newspaper now. Sounds like
something you'd enjoy.
M: Taking the pictures is fun, and the newspaper has a great darkroom. The
equipment's way better than anything else I've ever used.
W: Lucky for you, then, huh? You get to play around with stuff you wouldn't
normally be able to get your hands on.
M: But the downside—or maybe I should say, the hard part—is, because it's a
daily newspaper, I have to make time to develop everything the same day I
take the pictures.
W: With your heavy course load? That must be a pain.
M: Denitely. And there's another problem. If you're covering a
campus event and the pictures don't turn out well, you can't go
back and do it over.
W: Don't you just have to take a lot of pictures, you know, from
different angles and stuff? I mean, how often can it happen that
not a single picture out of twenty is usable?
M: But a lot of events, especially the ones that are outdoors or at night, have
really bad lighting.
W: I didn't think of that.
M: And sometimes the university asks you not to use a ash, so there's no
way to make things bright enough to get a good picture of the speaker, or
whatever.
W: Was that a problem with your pictures from the play?
M: I thought it might be. But I think the stage lights were bright enough in
the scenes I photographed to get good images. It's all going to depend
on the glare and things, but we only need to be able to use a few of them,
anyway.
W: That's good.
M: And I was able to take pictures of the lead actor and actress while they
were interviewed before the Saturday performance--you know, by the
woman who's writing the article that the pictures will accompany.
W: Well, that must have been kind of exciting.
M: Truthfully? It wasn't fun—backstage was really hot. But as I always say,
the most important thing is to have good light, even if it means you're
uncomfortable. And if I'm lucky, I got some good shots of them talking
expressively about how much they like acting.
W: Well, good for you. I know you're in a hurry, so I'll let you go. Can't wait
to see the pictures in tomorrow's paper, though.

Set B
/PUFT

N: Listen to a conversation between a student and her professor.
M: Hello, Lana. What do you have there?

W: I brought this to show you, Dr. Stross. It's a really interesting plant
specimen. Tillandsia recurvata, I believe.
M: Not quite, Lana. Actually, this is an excellent sample of another species:
Tillandsia usneoides.
W: Well, I guess at least I got part of the name right. But I thought I'd nally
identied something without help.
M: Oh, it just takes time. Where was it?
W: Well, I got sick of looking at the specimens in the university garden. I went
just off campus to one of the residential neighborhoods; it's easier to nd
plants there than downtown.
M: Sure.
W: And in this neighborhood…I didn't want to take anything off the lawn of
some house…you know, then it's like, a plant someone owns.
M: Probably a good idea. So where was it growing?
W: There was a street…one of the major streets, with a few lanes of trafc.
I don't remember the name, but it was off Maple Boulevard. Anyway,
there's a median in the middle of the street with grass and trees and a few
benches.
M: I think I know the neighborhood you're talking about.
W: Really? Looked like a nice place to live, actually. But, well, this was
growing on some of the trees there. I thought if I just took one of
them, you know, just one of the plants…now I'm maybe thinking
it wasn't a good idea. You don't think someone was growing it, do
you? I just didn't see the harm at the time.
M: It was probably okay. And you wouldn't be able to put it exactly where you
found it now even if you wanted to, right?
W: Probably not. I was so relieved to nd something that looked like a worthy
specimen that I forgot to mark down exactly where I was. Uh, I did want
to ask, though…
M: What?
W: …isn't this a parasite? I mean, it was growing right on the branches of the
tree, and it seemed to be clinging pretty hard. It is a parasite, isn't it? If
not, why wouldn't it be growing on the ground like other plants?
M: You seem to have been paying attention to only half of what I've said in
class. You, uh, remember that a parasite takes nutrition from its host?
W: Okay, yeah.

Set B
/PUFT

M: But you've forgotten that Tillandsia plants…the plants in the same family as
this one…aren't parasites.
W: But it was growing all over the tree.
M: Sure, okay…yes, it probably was. This particular species is often called
Spanish moss. Sound familiar?
W: Really? So this is what Spanish moss looks like. I wouldn't have
known, because, you know, I didn't grow up around here.
M: Well, this is what it looks like. And it's not a parasite. It just uses the tree
branches to keep itself spread out to catch the sunlight and rain. It doesn't
steal nutrients from the tree in a way…I mean, that's what would make it a
parasite, right?
W: Wow. So it doesn't hurt the tree.
M: Well, you know, actually, it can hurt the tree, but not by being a parasite.
What happens is…look, you probably saw that it was growing over some of
the leaves of the tree, right?
W: Yeah. It was pretty thick.
M: Well, if it blocks the leaves from getting sun and rain, then the tree can be
hurt, because it needs them as much as the Spanish moss does. And if the
Spanish moss gets too heavy, it sometimes pulls branches down.
W: Wow. The tree could die, huh?
M: No, not usually. It's not good for the tree, but it usually doesn't kill it.
Anyway, let's keep your specimen to talk about in class tomorrow. Maybe
some other people have also forgotten about the characteristics of these
plants.

Set B
READING

READING DRILL 1
1. It can be inferred from paragraph 1 6. The word crucial in the passage is

that closest in meaning to
(A) the rst humans to use re did (A) necessary

not live in caves (B) exible
(B) scientists have discovered the (C) new
site where humans rst (D) likely
used re
(C) the oldest known res were
natural in origin 7. The word roughly in the passage
(D) humans have been using re for could best be replaced by
one and a half million years
(A) unevenly
(B) approximately
2. The word them in the passage refers (C) crudely
to (D) irregularly
(A) early humans

(B) Pygmies 8. The word afforded in the passage is
(C) lit branches closest in meaning to
(D) hearths
(A) preserved
(B) limited
3. The phrase at their disposal in the (C) made possible
passage is closest in meaning to (D) suggested
(A) on the ground

(B) with understanding 9. Click on the sentence in paragraph
(C) available 5 that indicates how humans
(D) naturally communicated before re.
4. The word enemies in the passage 10. Fire may have helped complex
refers to communication to develop by
(A) trees (A) allowing humans to

(B) predators communicate by pointing at
(C) group members night
(D) humans (B) keeping all animals away from
the camp
(C) giving humans time to relax
5. The author implies that which of (D) making more complex hunting
the following was the reaction of methods necessary
predators to re?
(A) indifference
(B) hunger
(C) fear
(D) curiosity

Set B
The Discovery of Fire
1 Undoubtedly one of the most important contributions to the formation of

human culture was the discovery of the means to control re. We know that
some cave dwellers used re as long as 750,000 years ago, and we are relatively
certain that humans acquired this skill at an even earlier date. However the
5 oldest traces of re found, which date back nearly one and a half million years,
are thought to have been the result of natural res.
Early hominids would have certainly encountered such phenomena often.
Sparks or intense heat from sources such as lightening, volcanic eruptions, and
dry, dense underbrush regularly produce ames without human assistance. Still,
10 the question remains: how were natural res rst captured and tamed for
domestic use? One common theory is that one resourceful member of a tribe
introduced the use of re to his people by bringing a lit branch from a natural
re back to the campsite. Of course, the ame would have had to be carefully
maintained: if it went out, there would have been no understanding at this early
15 date in human history of how to start it again. For this reason, it is plausible
to assume that hearths were closely watched day and night. Similarly, the
hypothesis that early hominids carried lit branches with them when they moved
from place to place makes sense, especially since this practice is still followed
by Pygmy groups today. After early humans learned to harness re for their own
20 needs, the next step logical step would have been to attempt to create their
own re whenever it was needed. Early man could have done this in several
ways, such as rubbing together sticks, chipping int stones, or striking a piece of
iron pyrite with int stone. Any of these methods could have produced a spark
that, if it fell onto dry grass or hair, would have bloomed into a useable re.
25 Unfortunately, however, anthropologists have been unable to determine which
way mankind rst used.
Fire extended both mental and physical boundaries for early man. With a
portable source of heat and light, humans could travel into regions that were
previously too cold for exploration. In so doing, they could increase their
30 knowledge as well as nd new resources to exploit. Fire also allowed humans to
sleep together as a group in a centralized location. Before they had re at their
disposal, humans probably slept in trees to avoid attacks by ground-dwelling
predators. However, with a campre to keep these enemies away, they could
sleep soundly and securely on the ground. The cohesion and group identity of
35 the rst tribes may have originated in this re-enabled pattern. Examination of
pre-historic sites, which reveals that the immediate, warm, circular area around
hearths tends to be clear of any artifacts, bone remains or trash, supports this
theory.
Fire was used for a number of other purposes, some of them just as crucial
40 to survival. Cooking was obviously impossible before re, but the hunting of
animals itself also became easier with a controllable source of light and heat.
Probably the most important benet, though, was the way re changed the
rhythms of daily life. Before re, the human daily cycle coincided with the rising
and setting of the Sun: roughly twelve hours of activity and twelve hours of rest.
45 Fire lengthened the day. It allowed the human more time to think and talk about
the day's events and to prepare strategies for coping with the next day. The
campre afforded the opportunity to exercise the mind in a relaxed atmosphere,
away from the routine pressures of survival.
This new opportunity to think and plan, often regarding events that were
50 removed from the present time and place, meant that human ideas became
more sophisticated. It also meant that communication could not rely as much
on pointing at or imitating nearby objects and animals. The need to convey these
more complex ideas created pressure for an increasingly structured system of
expression.

11. According to paragraph 6 of the 12. Look at the ve squares [ ] that
passage, one effect of the longer indicate where the following sentence
period of daily activity made possible could be added to the passage.
by re was
This new arrangement for
(A) the ability to see objects and sleeping encouraged interaction
animals that only appeared by allowing group members to
at night spend nighttime closer to one
(B) a greater understanding of the another.
natural environment
(C) greater effectiveness in hunting Where would the sentence best t?
animals
(D) thought about things that Click on a square [ ] to add the
could not be gestured at sentence to the passage.
physically

The rst human use of re progressed in several stages.
•
•
•
Answer choices
A method for human production Learning to use re safely in
of re with rocks or sticks was caves probably required many
discovered. years of experimenting.
Scientists are not sure when Natural re was brought to
early humans discovered how to campsites and kept going
cook meat. because there was no way to
restart it.
The light and heat derived from One person had to stay awake
re changed the way humans to keep the campre going while
hunted, ate, and interacted with others slept.
each other.

Set B
The Discovery of Fire
1 Undoubtedly one of the most important contributions to the formation of

human culture was the discovery of the means to control re. We know that
some cave dwellers used re as long as 750,000 years ago, and we are relatively
certain that humans acquired this skill at an even earlier date. However the
5 oldest traces of re found, which date back nearly one and a half million years,
are thought to have been the result of natural res.
Early hominids would have certainly encountered such phenomena often.
Sparks or intense heat from sources such as lightening, volcanic eruptions, and
dry, dense underbrush regularly produce ames without human assistance. Still,
10 the question remains: how were natural res rst captured and tamed for
domestic use? One common theory is that one resourceful member of a tribe
introduced the use of re to his people by bringing a lit branch from a natural
re back to the campsite. Of course, the ame would have had to be carefully
maintained: if it went out, there would have been no understanding at this early
15 date in human history of how to start it again. For this reason, it is plausible
to assume that hearths were closely watched day and night. Similarly, the
hypothesis that early hominids carried lit branches with them when they moved
from place to place makes sense, especially since this practice is still followed
by Pygmy groups today. After early humans learned to harness re for their own
20 needs, the next step logical step would have been to attempt to create their
own re whenever it was needed. Early man could have done this in several
ways, such as rubbing together sticks, chipping int stones, or striking a piece of
iron pyrite with int stone. Any of these methods could have produced a spark
that, if it fell onto dry grass or hair, would have bloomed into a useable re.
25 Unfortunately, however, anthropologists have been unable to determine which
way mankind rst used.
Fire extended both mental and physical boundaries for early man. With a
portable source of heat and light, humans could travel into regions that were
previously too cold for exploration. In so doing, they could increase their
30 knowledge as well as nd new resources to exploit. Fire also allowed humans to
sleep together as a group in a centralized location. Before they had re at their
disposal, humans probably slept in trees to avoid attacks by ground-dwelling
predators. However, with a campre to keep these enemies away, they could
sleep soundly and securely on the ground. The cohesion and group identity of
35 the rst tribes may have originated in this re-enabled pattern. Examination of
pre-historic sites, which reveals that the immediate, warm, circular area around
hearths tends to be clear of any artifacts, bone remains or trash, supports this
theory.
Fire was used for a number of other purposes, some of them just as crucial to
40 survival. Cooking was obviously impossible before re, but the hunting of animals
itself also became easier with a controllable source of light and heat.
Probably the most important benet, though, was the way re changed the
rhythms of daily life. Before re, the human daily cycle coincided with the rising
and setting of the Sun: roughly twelve hours of activity and twelve hours of rest.
45 Fire lengthened the day. It allowed the human more time to think and talk about
the day's events and to prepare strategies for coping with the next day. The
campre afforded the opportunity to exercise the mind in a relaxed atmosphere,
away from the routine pressures of survival.
This new opportunity to think and plan, often regarding events that were
50 removed from the present time and place, meant that human ideas became
more sophisticated. It also meant that communication could not rely as much
on pointing at or imitating nearby objects and animals. The need to convey these
more complex ideas created pressure for an increasingly structured system of
expression.

READING DRILL 2
1. The word colorful in the passage is 6. According to the passage, bandannas

used to indicate that cowboys were used as all of the following
EXCEPT
(A) are famous
(B) wore bright clothes (A) towels
(C) were interesting (B) napkins
(D) liked their work (C) bandages
(D) trousers
2. The author mentions factory workers

in the passage to indicate that 7. The word They in the passage refers
to
(A) cowhands' work was not the
most difcult (A) overalls
(B) cowhands made little money (B) cowhands
(C) some cowhands changed to (C) chaps
better jobs (D) horses
(D) equipment for cowhands was
machine-made
8. According to the passage, what did
cowhands wear to protect themselves
3. The passage states that cowhands from cactus?
injured their eyes by
(A) chaps
(A) falling into thorny plants (B) hats
(B) looking toward the sun (C) handkerchiefs
(C) keeping them open during sand (D) saddles
storms
(D) wiping them with dirty
bandannas 9. Which of the sentences below best
expresses the essential information
4. It can be inferred that the cowhands passage? Incorrect choices change
mentioned in the passage worked the meaning in important ways or
primarily leave out essential information.
(A) in the mountains (A) The job of the cook could be

(B) in the forests lled by people who had
(C) on the beaches been trained in other areas.
(D) on the plains (B) The role of the cook involved
taking care of the cowboys
in ways that went beyond
5. The author uses the term countless making their meals.
in the passage to illustrate that the (C) The cook was often so busy
cattle attending to cowboys'
personal needs that he had
(A) were numerous little time to prepare food.
(B) were few (D) The cook supervised a staff
(C) were unrestrained of several people who
(D) were difcult to control oversaw the health and
welfare of the cowboys.

Set B
Cowboys
1 The cowhand or cowboy, a famed and colorful gure, was the master of the
long drive and the roundup. The rst cowhands originally hailed from Mexico.
These vaqueros, the Spanish term for cowboy, invented almost all the tools of the
cowhand's trade, from the distinctive hat and rope lariat to the special saddle.
5 The debt owed by American cowboys to the early Mexican innovators is apparent
in such Spanish-derived terms as lasso, corral, and ranch. Even the famed rodeo
is derived from the Spanish charreada.
The cowhand's life was an arduous one. Cowhands worked sunup to sundown
and received lower wages than most factory workers. Their legs became
10 bowed from long days in the saddle, and many developed permanent squints
from looking into the glaring sunlight of the treeless plains. Wind, rain, sand, and
strong sunlight toughened the skin over time but also caused injury. Because the
job took such a physical toll on the body, most cowboys were young men in their
teens and 20's, and it was unusual for a cowboy to last more than ten years in
15 the job.
Given the rapid travel and physical exertion required of cowhands in these
conditions, every item worn or carried served a necessary function. The wide
brim of the "ten-gallon hat" could be turned down to shade the eyes or drain off
rain that collected during rides over open terrain. Cowboys also could use their
20 hats to carry water from a stream or to fan a slow-starting re. The bandanna, a
large handkerchief, could be tied over the nose and mouth to keep out the dust
raised by the running of countless cattle or it could used to protect the neck
from sunburn. It also served as a towel, a napkin, and a bandage. Cowhands
sometimes wore leather trousers, chaps, over regular overalls. They protected
25 the legs from injury if a rider fell from a horse or had to ride through cactus,
sagebrush, or other thorny plants.
On a long drive, the central gure who planned the route and led the cowboys
was the trail boss. The trail boss also selected his team of riders, so he to be both
a good judge of character and a good handler of various personalities. The gure
30 with the second highest pay after the trail boss, and above the average cowboy,
was the cook. The cook was sometimes a veteran cowboy who had been injured
and who could no longer ride, or who had simply gotten old and grown weary
of the long days in the saddle. A good cook was essential to a successful
drive, as the morale of the men often depended on him, and he was
35 called upon to play doctor, nurse, and even barber.
The cook rode in a wagon called the "chuckwagon," an innovation attributed
to Charles Goodnight. In 1866, Goodnight rebuilt an army wagon and placed a
cupboard in its rear. It was usually stocked with non-perishable food items, such
as cornmeal, smoked bacon, pinto beans, molasses, and coffee. In addition to
40 transporting food supplies, the chuckwagon also carried a large water barrel,
rewood for cooking, and much of the cowboys' gear.
Today, much of a cowboy's – or cowgirl's – work is done from the safety
and comfort of a pickup truck, where the danger of injury is low and access to
supplies is easy. But although the life of a cowhand is less picturesque and less
45 romantic than it once was, it still involves the solitude that is so much a part of
its traditional image.

10. It can be inferred from the passage 12. The passage implies that the pickup
that cowhands did all of the following truck fullls some of the functions
as part of their jobs EXCEPT formerly performed by
(A) work in factories (A) res
(B) round up cattle (B) chaps
(C) ride horses (C) trail bosses
(D) drive cattle (D) rope
11. Which of the following can be inferred

from the passage?
(A) Cattle came to the United States

from Mexico.
(B) United States cowhands did not
invent all the equipment
they used.
(C) Many cowhands had previously
worked in factories.
(D) Women have always worked as
cowhands.

The cowboy deserves his reputation for doing difcult work under harsh
conditions.
•
•
•
Answer choices
Some words for cowboy The trail boss was in charge of
equipment were adopted from choosing both the route and the
the Spanish used by Mexican employees for a long drive.
cowboys.
Cowboys required items of Long drives were conducted with
protective clothing to avoid the a minimum of equipment and
damaging effects of weather and few workers to take care of the
desert plants. cowboys.
Cowboys' work was so physically More people are interested in
demanding that it damaged their becoming cowhands now that
legs and skin. modern equipment can be used.

Set B
Cowboys
1 The cowhand or cowboy, a famed and colorful gure, was the master of the
long drive and the roundup. The rst cowhands originally hailed from Mexico.
These vaqueros, the Spanish term for cowboy, invented almost all the tools of the
cowhand's trade, from the distinctive hat and rope lariat to the special saddle. The
5 debt owed by American cowboys to the early Mexican innovators is apparent in
such Spanish-derived terms as lasso, corral, and ranch. Even the famed rodeo is
derived from the Spanish charreada.
The cowhand's life was an arduous one. Cowhands worked sunup to sundown
and received lower wages than most factory workers. Their legs became bowed
10 from long days in the saddle, and many developed permanent squints from
looking into the glaring sunlight of the treeless plains. Wind, rain, sand, and
strong sunlight toughened the skin over time but also caused injury. Because the
job took such a physical toll on the body, most cowboys were young men in their
teens and 20's, and it was unusual for a cowboy to last more than ten years in
15 the job.
Given the rapid travel and physical exertion required of cowhands in these
conditions, every item worn or carried served a necessary function. The wide
brim of the "ten-gallon hat" could be turned down to shade the eyes or drain off
rain that collected during rides over open terrain. Cowboys also could use their
20 hats to carry water from a stream or to fan a slow-starting re. The bandanna,
a large handkerchief, could be tied over the nose and mouth to keep out the
dust raised by the running of countless cattle or it could used to protect the neck
from sunburn. It also served as a towel, a napkin, and a bandage. Cowhands
sometimes wore leather trousers, chaps, over regular overalls. They protected
25 the legs from injury if a rider fell from a horse or had to ride through cactus,
sagebrush, or other thorny plants.
On a long drive, the central gure who planned the route and led the cowboys
was the trail boss. The trail boss also selected his team of riders, so he to be both
a good judge of character and a good handler of various personalities. The gure
30 with the second highest pay after the trail boss, and above the average cowboy,
was the cook. The cook was sometimes a veteran cowboy who had been injured
and who could no longer ride, or who had simply gotten old and grown weary of
the long days in the saddle. A good cook was essential to a successful drive, as
the morale of the men often depended on him, and he was called upon to play
35 doctor, nurse, and even barber.
The cook rode in a wagon called the "chuckwagon," an innovation attributed
to Charles Goodnight. In 1866, Goodnight rebuilt an army wagon and placed a
cupboard in its rear. It was usually stocked with non-perishable food items, such
as cornmeal, smoked bacon, pinto beans, molasses, and coffee. In addition to
40 transporting food supplies, the chuckwagon also carried a large water barrel,
rewood for cooking, and much of the cowboys' gear.
Today, much of a cowboy's – or cowgirl's – work is done from the safety
and comfort of a pickup truck, where the danger of injury is low and access to
supplies is easy. But although the life of a cowhand is less picturesque and less
45 romantic than it once was, it still involves the solitude that is so much a part of its
traditional image.

READING DRILL 3
1. The passage is primarily concerned 5. The word but in the passage is

with Mercy Otis Warren's closest in meaning to
(A) contribution to writing the (A) less than
Constitution (B) literarily
(B) reasons for opposing the (C) alternatively
Constitution (D) only
(C) different jobs in the early United
States government
(D) contribution to writing the Bill of 6. Warren feared that the new Judicial
Rights branch of the government would
(A) compete with the other two

2. According to the passage, Warren's branches
main topic as a writer was (B) prevent term limits from being
enacted
(A) term limits (C) deny freedom of the press
(B) the federal government (D) become difcult to control
(C) liberty
(D) politics
7. It can be inferred that a term limit
3. The word drafted in the passage is (A) specically denes the power of
closest in meaning to a branch of government
(B) prevents people from spending
(A) discussed too long in government
(B) criticized jobs
(C) written (C) applies only to members of the
(D) rejected Legislative branch
(D) keeps out new candidates for
government jobs
4. Which of the sentences below best
in the highlighted sentence in the 8. The author uses the phrase add her
passage? Incorrect choices change voice in the passage to indicate that
the meaning in important ways or Warren
leave out essential information.
(A) wrote ction as well as
(A) Warren had to struggle with her non-ction
lack of education when (B) helped to write a document
writing about her ideal of (C) agreed with other critics
American independence. (D) had mixed feelings about the
(B) Writing was Warren's tool in Constitution
working for American
independence, which she
believed was a task for all 9. The word concentrating in the
citizens. passage is closest in meaning to
(C) Warren believed that she and
Thomas Paine were ideal (A) taking away
partners in addressing (B) thinking carefully
the problem of women's (C) working hard
education in the colonies. (D) combining
(D) Warren believed that American
independence could only be
achieved by providing more
educational opportunities
for women.

Set B
1 Mercy Otis Warren's Views of the Constitution
The Constitution has remained the foundation of the United States

government for over two centuries, but it was not greeted with universal
5 enthusiasm when it was rst drafted. The writer Mercy Otis Warren was among
those opposed the Constitution because he believed it provided insufcient
protection of freedoms.
Mercy Otis Warren, sometimes known as the First Lady of the American
Revolution, began her career as a writer when in 1772, four years before the
10 Declaration of Independence, she published The Adulateur, a satire that featured
the British governor as a rapacious villain named Rapatio. She shortly thereafter
published two more works, The Defeat (1773) and The Group (1775), just as
the rebellion was beginning to turn violent. These early works were all were
thinly disguised attacks on specic public ofcials, a dangerous endeavor for
15 any writer at this politically charged time, and she targeted not only the British
political administrators of the colonies but also local members of the Boston
Loyalist community. Mercy Otis Warren believed the ideal of American
independence was a cause that citizens both male and female should risk
ghting for, and like her compatriot Thomas Paine, she fought with the
20 pen, despite never having received a formal education. Even after American
independence was achieved, she altered her style little, realizing that liberty could
never be fully guaranteed.
No matter what literary form Warren employed, she had but one theme:
liberty. In her farces and history, her focus was national and political liberty.
25 In her poems, it was intellectual liberty. In her anti-Federalist pamphlet, it was
individual liberty. Thus, it was natural that Warren would add her voice to those
who viewed the new Constitution as taking too many powers from the states and
dangerously concentrating them in the federal government. Her monograph
Observations on the New Constitution, and On the Federal and State Conventions
30 (1788) laid out nineteen specic points of concern with the new document. Her
wide-ranging and detailed criticism covered many potential areas of danger, but
her primary fear was that the Constitution would allow a despotic leader to usurp
power and seize control of the nation. This position put her at odds with staunch
Federalists such as John Hancock, Samuel Adams and John Adams, former
35 Massachusetts Patriot contemporaries of hers who were now advocating a more
centralized form of governmental authority.
Several points were related to the three branches of the federal government.
Warren held that the powers given to the Judicial branch (the court system)
had "no well dened limits" and were difcult to interpret. She therefore feared
40 that the courts might dangerously overextend their power over citizens. Of the
Executive and Legislative branches, Warren believed that their powers were not
clearly divided. These two branches of government might also gain excessive
power in cooperation with each other. She also pointed out that, because the
Constitution set no term limits, members of the government could serve for years
45 and keep out new and more capable candidates.
Many of the problems Warren and like-minded patriots predicted were
addressed in later amendments to the Constitution. The Bill of Rights, a sequence
of ten amendments that specied some of the rights of the individual citizen, was
added to the existing Constitution immediately. It addressed potential areas of
50 danger with the armed forces and granted freedom of the press, both of which
were of great concern to Warren. The terms of senators and congresspersons,
elected members of the Legislative branch, were not limited in the Bill of Rights,
and they remain unlimited today. The President, however, was limited to two
terms in ofce by an amendment passed in the twentieth century.

10. The word excessive in the passage is 12. The primary purpose of paragraph 5 is
closest in meaning to to show
(A) too much (A) what an amendment is

(B) too political (B) who wrote the Bill of Rights
(C) secret (C) how the branches of the
(D) shared government work
(D) how some problems were solved
11. Warren thought the Executive and

Legislative branches might work
together because
(A) they were interested in national

unity
(B) the Constitution commanded
them to do so
(C) they held similar kinds of power
(D) the Judicial branch was gaining
too much power

Mercy Otis Warren was one of the most articulate defenders of liberty in the
American colonies before independence.
•
•
•
Answer choices
Politicians made it illegal to Warren's concerns were justied
publish Warren's writings when the problems she identied
for several years before the were later addressed by The Bill
Declaration of Independence. of Rights.
Warren's book about the aws Warren was eventually convinced
of the new Constitution sold well that a strong central government
and made her famous. was necessary to respond to
the threats from the British
government.
Warren's writings courageously Warren attacked the new
accused individual government Constitution for giving power to
ofcials of violating liberty. the federal government rather
than the states.

Set B
Mercy Otis Warren's Views of the Constitution
1 The Constitution has remained the foundation of the United States government
for over two centuries, but it was not greeted with universal enthusiasm when
it was rst drafted. The writer Mercy Otis Warren was among those opposed the
Constitution because he believed it provided insufcient protection of freedoms.
5 Mercy Otis Warren, sometimes known as the First Lady of the American
Revolution, began her career as a writer when in 1772, four years before the
Declaration of Independence, she published The Adulateur, a satire that featured
the British governor as a rapacious villain named Rapatio. She shortly thereafter
published two more works, The Defeat (1773) and The Group (1775), just as the
10 rebellion was beginning to turn violent. These early works were all were thinly
disguised attacks on specic public ofcials, a dangerous endeavor for any writer
at this politically charged time, and she targeted not only the British political
administrators of the colonies but also local members of the Boston Loyalist
community. Mercy Otis Warren believed the ideal of American independence was
15 a cause that citizens both male and female should risk ghting for, and like her
compatriot Thomas Paine, she fought with the pen, despite never having received
a formal education. Even after American independence was achieved, she altered
her style little, realizing that liberty could never be fully guaranteed.
No matter what literary form Warren employed, she had but one theme:
20 liberty. In her farces and history, her focus was national and political liberty.
In her poems, it was intellectual liberty. In her anti-Federalist pamphlet, it was
individual liberty. Thus, it was natural that Warren would add her voice to those
who viewed the new Constitution as taking too many powers from the states
and dangerously concentrating them in the federal government. Her monograph
25 Observations on the New Constitution, and On the Federal and State Conventions
(1788) laid out nineteen specic points of concern with the new document. Her
wide-ranging and detailed criticism covered many potential areas of danger, but
her primary fear was that the Constitution would allow a despotic leader to usurp
power and seize control of the nation. This position put her at odds with staunch
30 Federalists such as John Hancock, Samuel Adams and John Adams, former
Massachusetts Patriot contemporaries of hers who were now advocating a more
centralized form of governmental authority.
Several points were related to the three branches of the federal government.
Warren held that the powers given to the Judicial branch (the court system)
35 had "no well dened limits" and were difcult to interpret. She therefore feared
that the courts might dangerously overextend their power over citizens. Of the
Executive and Legislative branches, Warren believed that their powers were not
clearly divided. These two branches of government might also gain excessive
power in cooperation with each other. She also pointed out that, because the
40 Constitution set no term limits, members of the government could serve for years
and keep out new and more capable candidates.
Many of the problems Warren and like-minded patriots predicted were
addressed in later amendments to the Constitution. The Bill of Rights, a sequence
of ten amendments that specied some of the rights of the individual citizen, was
45 added to the existing Constitution immediately. It addressed potential areas of
danger with the armed forces and granted freedom of the press, both of which
were of great concern to Warren. The terms of senators and congresspersons,
elected members of the Legislative branch, were not limited in the Bill of Rights,
and they remain unlimited today. The President, however, was limited to two
50 terms in ofce by an amendment passed in the twentieth century.

READING DRILL 4
1. Which aspect of ladybugs does the 6. Paragraph 4 answers which of

passage mainly discuss? the following questions about the
California trial?
(A) life cycle
(B) habitats (A) How long did the vedalia beetle
(C) feeding habits eggs take to hatch?
(D) body structure (B) What types wildlife are native to
California citrus groves?
(C) Did most of the California
2. The phrase nothing new in the trees improve in health
passage is closest in meaning to immediately?
(D) Does the cottony cushion scale
(A) recent have natural defenses
(B) uncommon against the vedalia beetle?
(C) traditional
(D) agricultural
7. The word maturing in the passage is
3. The word voraciously in the passage
is closest in meaning to (A) developing
(B) eating
(A) slowly (C) recovering
(B) exclusively (D) spreading
(C) hungrily
(D) secretly
8. In paragraph 5, the author implies
that releasing ladybug larvae is a
4. The word Heavily in the passage is more effective method of pest control
closest in meaning to because
(A) fruitful (A) larvae eat more plant pests than
(B) for a long time adults
(C) seriously (B) larvae do not need a plentiful
(D) on farms supply of prey to survive
(C) the larvae cannot y away
before feeding
5. The passage suggests that the vedalia (D) the release of larvae is easy to
beetle time well
(A) is not native to California
(B) eats only cottony cushion scales 9. Which of the following is true of the
(C) destroyed all the cottony cushion ladybug family?
scales in one season
(D) is not susceptible to most (A) They are the only insects that
insecticides eat aphids.
(B) They are no longer used for
biological control.
(C) Farmers regard them as plant
pests.
(D) They feed during more than one
phase of their life cycle.

Set B
The Ladybug and Biological Control
1 Human appreciation for the ladybug is nothing new, particularly among

farmers. According to one Christian account, the lady in its name refers to the
mother of Jesus, Mary ("Our Lady"). In the Middle Ages, huge swarms of insects
were devouring farmers' crops, and people prayed to Mary for help. The insect
5 that subsequently arrived to eat the pests came to be known as the "beetle of
Our Lady." Around the world, the labybug is known by many different names, but
most names express similar appreciation or respect for it: Flower Lady (China),
Water Carrier's Daughter (Iraq), Indra's Cowherd (India), Crop Picker (Africa),
and Good News (Iran).
10 Such gratitude is not misplaced, for most species of the ladybug family feed
voraciously on insect pests, especially aphids. Like all beetles, ladybugs go
through a complete metamorphosis with distinct egg, larval, pupal and adult
stages. In the larval and the adult stages of this four-phase life cycle, an average
ladybug can consume more than 5000 aphids. One adult female ladybug can
15 consume up to 75 aphids a day, and the smaller male, 40. The adults spend
the winter in protected hiding places, such as logs and buildings, where many
hundreds of individuals may cluster together. With the onset of spring, the
adults leave their winter homes and y to elds and yards where mating takes
place. The females deposit their eggs in clusters of 10 to 20 in a mass under the
20 underside of leaves. The eggs hatch in three to ve days, and the larvae also feed
on aphids and other food until they pupate in two to four weeks. The pupal period
lasts about one week, when the adults emerge. As adults, the labybugs, like
their parents, feed on aphids, and some species also feed on other pests such as
scales and mealybugs. Thus, ladybug populations are a self-perpetuating system
25 for keeping down insect pests.
Because of their appetite for these pests, ladybugs are an efcient agent
for biological control. For example, researchers turned to a ladybug species
called the vedalia beetle for the rst successful experiment in biological control
through inoculation. Inoculation involves the introduction of a predator into a
30 new environment to destroy pests. The cottony cushion scale, a sucking insect
brought to California from New Zealand, had infested citrus orchards. Not
being susceptible to the insecticides available, it spread quickly. Scales drained
nutritious sap from trees and secreted a substance that encouraged mold
invasions. Heavily infested trees stopped producing harvestable fruit altogether.
35 However, introducing two of their natural predators—the vedalia beetle and
a type of parasitic y—reduced the number of cottony cushion scales without
interfering with native wildlife. Adult vedalia beetles ate scale eggs, nymphs, and
adults. In addition, female vedalia beetles laid their own eggs on the large egg
sacs of female scales. Once hatched, the larvae fed on young scales, preventing
40 them from maturing into destructive adults. Some farmers saw their citrus trees
improve in health within one season, though two or three years passed before the
overall scale population was rmly brought under control.
Subsequent attempts to release ladybugs as a form of natural pest-killer have
had varying degrees of success, partially due to their capricious nature. Adult
45 ladybugs have a tendency to y off to other locations before beginning to feed,
sometimes even when prey is plentiful at the release site. If their introduction
is timed well, however, they will lay eggs before leaving, and the newly hatched
larvae will eat plant pests. An even more effective method is to release larvae
themselves. Being wingless, the larvae have no alternative but to search for food
50 nearby.

10. Click on the sentence in bold text 12. Which of the following is NOT a
that gives an example of plant characteristic that makes ladybugs
damage caused by insect pests. useful for biological control?
(A) A single ladybug can eat

11. The passage mentions all of the thousands of insects.
following as plant pests controlled by (B) They consume several kinds of
ladybugs EXCEPT plant pests.
(C) Adult ladybugs can leave in
(A) aphids search of food.
(B) mealybugs (D) They can be introduced without
(C) scales harming local wildlife.
(D) parasitic ies

Humans can use ladybugs to control insects that are harmful to crops.
•
•
•
Answer choices
The larvae of ladybugs do not A single ladybug can eat
have wings. thousands of plant pests over its
lifetime.
Ladybugs can be introduced into Ladybugs eliminated all the
new ecosystems without harming cottony cushion scales from
native wildlife. California citrus-producing areas.
Ladybugs cluster together in Researchers are learning how
sheltered places for the winter. to inoculate given areas with
ladybugs in a way that increases
the chances of success.

Set B
The Ladybug and Biological Control
1 Human appreciation for the ladybug is nothing new, particularly among

farmers. According to one Christian account, the lady in its name refers to the
mother of Jesus, Mary ("Our Lady"). In the Middle Ages, huge swarms of insects
were devouring farmers' crops, and people prayed to Mary for help. The insect
5 that subsequently arrived to eat the pests came to be known as the "beetle of
Our Lady." Around the world, the labybug is known by many different names, but
most names express similar appreciation or respect for it: Flower Lady (China),
Water Carrier's Daughter (Iraq), Indra's Cowherd (India), Crop Picker (Africa),
and Good News (Iran).
10 Such gratitude is not misplaced, for most species of the ladybug family feed
voraciously on insect pests, especially aphids. Like all beetles, ladybugs go
through a complete metamorphosis with distinct egg, larval, pupal and adult
stages. In the larval and the adult stages of this four-phase life cycle, an
average ladybug can consume more than 5000 aphids. One adult female
15 ladybug can consume up to 75 aphids a day, and the smaller male, 40. The
adults spend the winter in protected hiding places, such as logs and buildings,
where many hundreds of individuals may cluster together. With the onset of
spring, the adults leave their winter homes and y to elds and yards where
mating takes place. The females deposit their eggs in clusters of 10 to 20 in a
20 mass under the underside of leaves. The eggs hatch in three to ve days, and the
larvae also feed on aphids and other food until they pupate in two to four weeks.
The pupal period lasts about one week, when the adults emerge. As adults,
the labybugs, like their parents, feed on aphids, and some species also feed on
other pests such as scales and mealybugs. Thus, ladybug populations are a
25 self-perpetuating system for keeping down insect pests.
Because of their appetite for these pests, ladybugs are an efcient agent
for biological control. For example, researchers turned to a ladybug species
called the vedalia beetle for the rst successful experiment in biological control
through inoculation. Inoculation involves the introduction of a predator into
30 a new environment to destroy pests. The cottony cushion scale, a sucking
insect brought to California from New Zealand, had infested citrus orchards.
Not being susceptible to the insecticides available, it spread quickly. Scales
drained nutritious sap from trees and secreted a substance that encouraged
mold invasions. Heavily infested trees stopped producing harvestable fruit
35 altogether.
However, introducing two of their natural predators—the vedalia beetle and
a type of parasitic y—reduced the number of cottony cushion scales without
interfering with native wildlife. Adult vedalia beetles ate scale eggs, nymphs,
and adults. In addition, female vedalia beetles laid their own eggs on
40 the large egg sacs of female scales. Once hatched, the larvae fed on young
scales, preventing them from maturing into destructive adults. Some farmers saw
their citrus trees improve in health within one season, though two or three years
passed before the overall scale population was rmly brought under control.
Subsequent attempts to release ladybugs as a form of natural pest-killer have
45 had varying degrees of success, partially due to their capricious nature. Adult
ladybugs have a tendency to y off to other locations before beginning
to feed, sometimes even when prey is plentiful at the release site. If their
introduction is timed well, however, they will lay eggs before leaving, and the
newly hatched larvae will eat plant pests. An even more effective method is to
50 release larvae themselves. Being wingless, the larvae have no alternative but to
search for food nearby.

READING DRILL 5
1. Hughes’s writings about Harlem were 5. Which of the sentences below best
inuenced by expresses the essential information
(A) the culture of its former Dutch passage? Incorrect choices change
inhabitants the meaning in important ways or
(B) other Black people's reports leave out essential information.
about life there
(C) his experience living in other (A) Conicts between black
cities intellectuals and artists
(D) its isolation from the rest of nearly prevented the
Black America Harlem Renaissance from
happening.
(B) Many artists of the Harlem
2. The word heart in the passage is Renaissance were active in
closest in meaning to politics and religion.
(C) Political organizations and
(A) suburban area churches used their
(B) center inuence to publicize the
(C) most loved area new works of artists of the
(D) business section Harlem Renaissance.
(D) The Harlem Renaissance was
made possible by an
3. The word color in the passage most atmosphere in which
closely means creative people in many
elds encountered each
(A) bias other.
(B) liveliness
(C) darkness
(D) problems 6. The poetry of Langston Hughes
primarily deals with
4. By referring to Harlem as a Mecca, (A) nightclub singers
the author means that it was like (B) life in the city
(C) foreign travel
(A) a gathering place (D) intellectual themes
(B) a school
(C) a foreign country
(D) a museum 7. According to the passage, for
Langston Hughes Harlem was
(A) as lovely as Paris

(B) a historic neighborhood
(C) a source of inspiration
(D) a place with many languages

Set B
Langston Hughes
1 In a very real sense, Langston Hughes was the poet laureate of Harlem during
its famous Renaissance; having coime there after living in cities such as Paris,
he was able to view Harlem against a backdrop of broad experience. His signal
contribution to the Harlem Renaissance was to further the development of a
5 poetic language that recorded the voices he heard around him in all their variety.
He was concerned with the Black metropolis--that is, with those elements that
unied Black urban communities despite the differences in the specic places they
were found. Returning to this theme again and again, he wrote about Harlem
more often and more fully than any other poet. As Hughes wrote about himself,
10 "I live in the heart of Harlem." He said of its people, "I love the color of their
language and, being a Harlemite myself, their problems and interests are my
problems and interests." Despite the many places he had lived, Hughes came to
be associated almost exclusively with Harlem as his career developed.
When Hughes's rst publication, The Weary Blues (1926), appeared, the
15 New Negro Movement was in full swing; Harlem, as the intellectual center of
the movement, had became the Mecca of all aspiring young Black writers and
artists. In the early 1920s, Harlem was a newly created Manhattan suburb
north of Central Park where thousands of African-American families had settled.
Settlements there had riginally founded by the Dutch, but a real estate bust there
20 created openings for new residents just as a huge black population was migrating
from the South. By 1925 there were around 200,000 African-Americans living in
Harlem. Black political organizations and churches opened next door to
black theaters and dance halls, which led to a fantastic melting pot of
poets, musicians, intellectuals, and entrepreneurs, a development that
25 in turn gave rise to the Harlem Renaissance. This so-called Renaissance
not only encouraged and inspired the Black creative artist, but it served also to
focus as never before the attention of America upon the Black artist and scholar.
As a result of this new interest, Harlem became a gathering place for downtown
intellectuals and bohemians—many of them honestly seeking knowledge of Black
30 art and culture.
For a period of about ten years, the most obvious and sensational aspect of
the New Negro Movement for downtown New York was the nightlife of Harlem,
and in particular the cabaret scene. In fact, Langston Hughes was rst drawn
to New York by the massive success of the rst all-black musical, Shufe Along,
35 composed by Eubie Blake and Noble Sissle. One of Hughes's favorite methods
of composition—whether in New York, Washington, DC, or Paris—was to write
poetry while sitting in a club listening to jazz or the blues. In Washington in
1925, he wrote, "I tried to write poems like the songs they sang on Seventh
Street...(these songs) had the pulse beat of the people who keep on going."
40 The 1925 Renaissance, of course, was not just a cabaret boom, and it would
be decidedly unfair to give the impression that it was. But the Harlem cabaret
life of the period was denitely an important by-product of the new interest in
Afro-American culture created by the movement, and this life strongly inuenced
the early poetry of Langston Hughes.
45 Langston Hughes died in 1967 at the end of a prolic career that saw the
publication of sixteen books of poems, two novels, three collections of short
stories, four volumes of "editorial" and "documentary" ction, twenty plays,
children's poetry, musicals and operas, three autobiographies, a dozen radio
and television scripts, and dozens of magazine articles, in addition to seven
50 anthologies of poetry that he edited.

8. The author uses the term honestly 10. According to the passage, Hughes's
in the passage to imply that the early poetry was greatly inuenced by
downtown intellectuals
(A) other Black poets
(A) wanted to understand Black art (B) European Renaissance writers
and culture (C) New York professors of literature
(B) were truly ignorant about (D) the cabaret life
anything related to Blacks
(C) were not ashamed of their
afnity for Black culture 11. According to the passage, the New
(D) did not patronize illegal casinos Negro Movement was signicant
or brothels because it
(A) never focused on scholars

9. Click on the [bracketed] word or (B) improved living conditions of
phrase in the passage that it refers Black artists
to. (C) brought notice to Black artists
(D) did not take place in Harlem

Langston Hughes was both an extraordinary gure and a representative participant

in the Harlem Renaissance.
•
•
•
Answer choices
Hughes sought to capture the As a poet, Langston Hughes
various expressive "voices" of could be part of a Harlem
Harlem in his poetry. mixture of intellectuals and
artists who inspired each other.
Hughes lived in and visited many Harlem was originally founded
places besides Harlem. by the Dutch and only settled by
blacks later.
Like Harlem, other cities of the The number of works Hughes left
time had black neighborhoods behind when he died indicates
that were home to innovative how great the accomplishments
artists. of the Harlem Renaissance were.

Set B
Langston Hughes
1 In a very real sense, Langston Hughes was the poet laureate of Harlem during
its famous Renaissance; having coime there after living in cities such as Paris,
he was able to view Harlem against a backdrop of broad experience. His signal
contribution to the Harlem Renaissance was to further the development of a poetic
5 language that recorded the voices he heard around him in all their variety. He
was concerned with the Black metropolis--that is, with those elements that unied
Black urban communities despite the differences in the specic places they were
found. Returning to this theme again and again, he wrote about Harlem more
often and more fully than any other poet. As Hughes wrote about himself, "I live
10 in the heart of Harlem." He said of its people, "I love the color of their language
and, being a Harlemite myself, their problems and interests are my problems and
interests." Despite the many places he had lived, Hughes came to be associated
almost exclusively with Harlem as his career developed.
When Hughes's rst publication, The Weary Blues (1926), appeared, the
15 New Negro Movement was in full swing; Harlem, as the intellectual center of
the movement, had became the Mecca of all aspiring young Black writers and
artists. In the early 1920s, Harlem was a newly created Manhattan suburb
north of Central Park where thousands of African-American families had settled.
Settlements there had riginally founded by the Dutch, but a real estate bust there
20 created openings for new residents just as a huge black population was migrating
from the South. By 1925 there were around 200,000 African-Americans living
in Harlem. Black political organizations and churches opened next door to black
theaters and dance halls, which led to a fantastic melting pot of poets, musicians,
intellectuals, and entrepreneurs, a development that in turn gave rise to the
25 Harlem Renaissance. This so-called Renaissance not only encouraged and inspired
the Black creative artist, but it served also to focus as never before the attention
of America upon the Black artist and scholar. As a result of this new interest,
Harlem became a gathering place for downtown intellectuals and bohemians—
many of them honestly seeking knowledge of Black art and culture.
30 For a period of about ten years, the most obvious and sensational aspect of
the New Negro Movement for downtown New York was the nightlife of Harlem,
and in particular the cabaret scene. In fact, Langston Hughes was rst drawn
to New York by the massive success of the rst all-black musical, Shufe Along,
composed by Eubie Blake and Noble Sissle. One of Hughes's favorite methods
35 of composition—whether in New York, Washington, DC, or Paris—was to write
poetry while sitting in a club listening to jazz or the blues. In Washington in
1925, he wrote, "I tried to write poems like the songs they sang on Seventh
Street...(these songs) had the pulse beat of the people who keep on going." [The
1925 Renaissance], [of course], [was] [not] [just] [a cabaret boom], [and] [it]
40 [would be] [decidedly unfair] [to give] [the impression] [that] it [was]. But the
Harlem cabaret life of the period was denitely an important by-product of the
new interest in Afro-American culture created by the movement, and this life
strongly inuenced the early poetry of Langston Hughes.
Langston Hughes died in 1967 at the end of a prolic career that saw the
45 publication of sixteen books of poems, two novels, three collections of short
stories, four volumes of "editorial" and "documentary" ction, twenty plays,
children's poetry, musicals and operas, three autobiographies, a dozen radio
and television scripts, and dozens of magazine articles, in addition to seven
anthologies of poetry that he edited.

READING DRILL 6
1. The author is primarily concerned with 5. According to the passage, Thomas

the relationship between landscape Cole is noted for
painting and
(A) emphasizing the beauty of trees
(A) portrait painting (B) using the landscape to portray
(B) philosophical ideals nationalistic themes
(C) the Civil War (C) selling his paintings primarily in
(D) railroad companies Europe
(D) painting American subjects
instead of European ones
2. Which of the sentences below best
in the highlighted sentence in the 6. Which of the following is NOT
passage? Incorrect choices change mentioned as an element painted by
the meaning in important ways or landscape painters?
leave out essential information.
(A) water
(A) The mass audience saw in (B) railroads
landscape paintings a (C) cliffs
reection of their views of (D) birds
America as an open and
optimistic place.
(B) Landscape painters changed 7. The word this in the passage refers to
their style to make their
works appeal to the (A) the nineteenth century
greatest possible number (B) American landscape art
of people. (C) an abundance of natural
(C) Many of the images depicted resources
in landscape painting (D) the nation
were not as unique as the
popular audience believed
them to be. 8. The word conveyed in the passage is
(D) American landscape painting closest in meaning to
was the rst of its kind to
be used to express national (A) understood
identity. (B) disguised
(C) expressed
(D) considered
3. The author uses the phrase the
popular imagination in the passage
to refer to 9. The Lackawanna Valley is mentioned
as an example of a painting that
(A) the mood of the public
(B) the creativity of landscape (A) had complex meanings
painters (B) was very popular
(C) paintings that were widely liked (C) had only one element
(D) a new kind of painting (D) was destroyed soon after being
painted
4. The word prominent in the passage
is closest in meaning to 10. The tree stumps in The Lackawanna
Valley are a symbol of
(A) famous
(B) early (A) tradition
(C) academic (B) expansion
(D) organized (C) death
(D) religion

Set B
American Landscape Painting
1 The rst colonial paintings to show American landscapes focused on things

other than their beauty. Some were designed to illustrate land for people in
Europe who wanted to buy it. Other paintings were commissioned portraits of
individuals or families that simply used the outdoors as a background.
5 However, by the early years of the nineteenth century, American landscape art
was closely associated with the system of republican ideals of the new nation. It
had become a potent force in the popular imagination because landscape
painters used images to suggest limitless possibilities, which resonated
with the view of America as occupying a unique role in world history.
10 The Hudson River school of painters, commonly viewed as the rst coherent
school of American painting, played an important role in shaping the myth of the
American landscape in people's minds. Thomas Cole (1801-1848), the rst of
the Hudson River painters, was the most prominent painter who followed the
great essayist, poet, and philosopher Ralph Waldo Emerson's call to "ignore the
15 courtly muses of Europe" and establish a wholly American form of art. In striking
opposition to the traditional habit of painting European subjects, Thomas Cole
claimed early in his career that the American landscape, "is a subject that every
American ought to be of surpassing interest."
Cole's painting The Course of Empire: The Pastoral or Arcadian State (1834)
20 demonstrates his use of wilderness elements—trees, grass, sunlight, water—to
express the innite potential of the natural state of the world. Cole also employed
religious symbols in his paintings to articulate his philosophical and religious
convictions. One of Cole's central beliefs, one that can be found expressed in
most of his paintings, is that man can become closer to God by viewing natural
25 scenes untouched by the hands of man, and his goal was to capture, in the
words of James Fennimore Cooper, "all that is glorious around us." Of course, in
the early nineteenth century, the American landscape teemed with grand, virgin
vistas that provided a limitless source of inspiration.
When faced with the immensity of the American terrain, the painters of
30 the Hudson River reacted not with nationalistic pride, but with humility and
awe. The American continent offered seemingly unlimited natural resources
on a scale scarcely imagined in history, and this instilled in the artists a great
sense of optimism and potential. Their paintings managed to convey a powerful
yet subliminal message: nature's plan was sweeping in its majesty, and man,
35 although a minor player, did have a role to play in the divine scheme of things.
As Cole and other painters continued to rene their work, themes of American
expansion and promise were often conveyed with great complexity. George
Inness's painting The Lackawanna Valley was commissioned by a railroad
company and depicts in the distance new railway facilities, the means by which
40 America would expand westward. The painting's central element, a tall green
tree, reinforces this message of hope. However, there are several tree stumps
also visible (including a large one in the foreground) that vaguely hint both at the
destruction required for economic growth and the fragility and impermanence of
human life, a symbol initially popularized by Thomas Cole. Cole referred to the
45 symbol of the stump as a memento mori, a Latin phrase meaning "remember you
must die."
Events of the second half of the nineteenth century, such as the Civil War,
exercised notable inuence on American art. But equally important were natural
developments as the American population and economy expanded. The crowded
50 cities of the East fostered in their residents a romantic liking for sweeping views
of unpeopled plains, cliffs, and forests. Painters who traveled to the West and
Southwest happily obliged by providing the public what it desired.

11. The audience for paintings in the 12. The paragraph after the passage most
second half of the nineteenth century probably discusses
was inuenced by
(A) other paintings by Cole and
(A) religion Inness
(B) city life (B) landscape painting before the
(C) railroads Civil War
(D) colonial paintings (C) cities of the West and Southwest
(D) characteristics of paintings by
painters who went to the
West

Landscape painting of the nineteenth century evolved as America

developed.
•
•
•
Answer choices
The Hudson River school made Some critics complained that
paintings that expressed innite landscape paintings were
potential in the undeveloped idealized and not realistic.
landscape.
Not all landscape paintings As industry expanded, subtle
included trees. images of destruction were
worked into paintings.
Crowding and stress in Eastern Landscapes in portrait paintings
cities fed a desire for natural, generally did not emphasize the
unpopulated landscapes from the limitless potential of nature.
West.

Set B
American Landscape Painting
1 The rst colonial paintings to show American landscapes focused on things

other than their beauty. Some were designed to illustrate land for people in
Europe who wanted to buy it. Other paintings were commissioned portraits of
individuals or families that simply used the outdoors as a background.
5 However, by the early years of the nineteenth century, American landscape
art was closely associated with the system of republican ideals of the new nation.
It had become a potent force in the popular imagination because landscape
painters used images to suggest limitless possibilities, which resonated with the
view of America as occupying a unique role in world history.
10 The Hudson River school of painters, commonly viewed as the rst coherent
school of American painting, played an important role in shaping the myth of
the American landscape in people's minds. Thomas Cole (1801-1848), the rst
of the Hudson River painters, was the most prominent painter who followed the
great essayist, poet, and philosopher Ralph Waldo Emerson's call to "ignore the
15 courtly muses of Europe" and establish a wholly American form of art. In striking
opposition to the traditional habit of painting European subjects, Thomas Cole
claimed early in his career that the American landscape, "is a subject that every
American ought to be of surpassing interest."
Cole's painting The Course of Empire: The Pastoral or Arcadian State (1834)
20 demonstrates his use of wilderness elements—trees, grass, sunlight, water—to
express the innite potential of the natural state of the world. Cole also employed
religious symbols in his paintings to articulate his philosophical and religious
convictions. One of Cole's central beliefs, one that can be found expressed in
most of his paintings, is that man can become closer to God by viewing natural
25 scenes untouched by the hands of man, and his goal was to capture, in the
words of James Fennimore Cooper, "all that is glorious around us." Of course, in
the early nineteenth century, the American landscape teemed with grand, virgin
vistas that provided a limitless source of inspiration.
When faced with the immensity of the American terrain, the painters of
30 the Hudson River reacted not with nationalistic pride, but with humility and
awe. The American continent offered seemingly unlimited natural resources
on a scale scarcely imagined in history, and this instilled in the artists a great
sense of optimism and potential. Their paintings managed to convey a powerful
yet subliminal message: nature's plan was sweeping in its majesty, and man,
35 although a minor player, did have a role to play in the divine scheme of things.
As Cole and other painters continued to rene their work, themes of American
expansion and promise were often conveyed with great complexity. George
Inness's painting The Lackawanna Valley was commissioned by a railroad
company and depicts in the distance new railway facilities, the means by which
40 America would expand westward. The painting's central element, a tall green
tree, reinforces this message of hope. However, there are several tree stumps
also visible (including a large one in the foreground) that vaguely hint both at the
destruction required for economic growth and the fragility and impermanence of
human life, a symbol initially popularized by Thomas Cole. Cole referred to the
45 symbol of the stump as a memento mori, a Latin phrase meaning "remember you
must die."
Events of the second half of the nineteenth century, such as the Civil War,
exercised notable inuence on American art. But equally important were natural
developments as the American population and economy expanded. The crowded
50 cities of the East fostered in their residents a romantic liking for sweeping views
of unpeopled plains, cliffs, and forests. Painters who traveled to the West and
Southwest happily obliged by providing the public what it desired.

READING DRILL 7
1. The purpose of paragraph 1 is to 5. The phrase only one of implies that

demonstrate that the process just described in the
passage
(A) the Rocky Mountains have not
been fully explored until (A) was completely unique
recently (B) was a single example among
(B) most of the Rocky Mountains are many
not very high (C) was the most dramatic one
(C) there are many types of (D) was like a wrinkle in the carpet
mountains in the Rocky
Mountains
(D) human inhabitants are 6. The word ate in the passage is closest
destroying the natural in meaning to
beauty of the Rocky
Mountains (A) raised
(B) buried
(C) erased
2. The word They in the passage refers (D) dug
to
(A) sediments 7. The upward growth of the Rocky
(B) eras Mountains began to occur for the rst
(C) years time during which period?
(D) mountain ranges
(A) Pre-Cambrian
(B) Paleozoic
3. According to the passage, all of the (C) Eocene
following types of rock would be found (D) Cretaceous
at the core of the Rocky Mountains
EXCEPT
8. The plains and plateaus that surround
(A) gneiss the Rocky Mountains were covered
(B) circque with
(C) slate
(D) granite (A) material washed down from the
mountains
(B) hard core rocks such as slate
4. What happened when oceans covered (C) densely packed volcanic deposits
the Rocky Mountain region? (D) soil rich in organic matter
(A) The mountains were washed

away. 9. The passage indicates that some of
(B) Quartzite rocks were formed. the most dramatic-looking parts of
(C) Erosion shifted the rocks. the Rocky Mountains were formed by
(D) Deep sediment covered the land. (A) volcanic eruptions
(B) rivers
(C) glaciers
(D) the ocean

Set B
Formation of the Rocky Mountains
1 The Rocky Mountains of North America extend 5,000 kilometers from New
Mexico all the way up through Canada. Elevations along the range are about
1,500 meters along the lower plains to 4,399 meters at the highest peak, and
widths range from 120 to 650 kilometers. The natural beauty, abundant wildlife,
5 and fresh water of the ranges have attracted human inhabitants for the last
10,000 to 12,000 years.
The history of the Rocky Mountains begins in the pre-Cambrian era, a
half-billion years ago. While this is long before the Rocky Mountains themselves
began forming, their hard core rocks—consisting of granites, schists, gneisses,
10 quartzites, and slates—were produced in ancient ranges. Erosion eventually
leveled these mountain ranges, and during the Paleozoic and Mesozoic eras,
about 75 to 540 million years ago, the ocean invaded the land and deposited
sediments some 20,000 feet deep. They included layers of sandstones, shales,
and limestones.
15 At the close of the Mesozoic era, during the Cretaceous period about 75
million years ago, the growth of the Rockies began. There was a tremendous
squeezing that uplifted the region in a great series of folds, like wrinkles in a
carpet. After the arching, erosion carved away at the mountains. Some 10,000
feet of sedimentary rock were washed off the top of the arch, exposing the hard
20 rock core. The erosional resistance of these hard, crystalline rocks led to the
formation of the high peaks that still exist today. On the anks of the core the
sedimentary beds sloped outward. Great quantities of sand and clay were spread
out on the bordering plains and plateaus. This was only one of the cycles of
upheaval and erosion that occurred in the region.
25 Near the end of the Eocene period, about 40 million years ago, the Rockies
again rose several thousand feet. Volcanoes erupted, most extensively in the
Yellowstone Plateau and the Absaroka Range. As the mountains were formed,
streams eroded their sides, and thousands of feet of sediment spread out on
plains and plateaus. Just before the Pleistocene period, about one million years
30 ago, the region again uplifted. Streams owed faster and began to cut canyons,
and rivers ate deep gorges through the ranges.
The most recent geological event of note was the "Ice Age" during the
Pleistocene Epoch, 1 million to 10,000 years ago. The high peaks of the Sangre
de Cristo Mountains supported numerous small glaciers and snows accumulated
35 on the sides of the mountains. These glaciers carved a typical collection of alpine
landforms, such as cirques, horns, aretes, and cols. Lower down in the glaciated
valleys, various kinds of till and stratied sediments accumulated to form
moraines. Most of the glacial deposits and landforms present today date from
the last glacial phase, known in the Rocky Mountains as the Pinedale Glaciation
40 or Pinedale Stage. During this stage, over 90% of the Yellowstone National Park
was covered in ice. The glaciated terrains formed in this era are among the most
picturesque in the high alpine Rockies today, as glaciers formed and moved down
the valleys, thereby further eroding the mountains into bold and dramatic forms.
There was even a "little ice age" from about 1550 to 1860—a few centuries of
45 glacial advance—that made its mark on the mountains recently. For example, the
Agassiz and Jackson glaciers in Glacier National Park reached their most forward
positions by around 1860. The incessant sculpturing of the Rockies by rain, wind,
and ice continues even today.

10. Which of the following best describes 12. Look at the ve squares [ ] that
the organization of the passage as a indicate where the following sentence
whole? could be added to the passage.
(A) A mountain range serves to But once again, the mountains

illustrate a widespread began to be worn away as soon as
geological process. they rose.
(B) The history of a geological
feature is discussed in Where would the sentence best t?
chronological order.
(C) Two time periods in the history Click on a square [ ] to add the
of a mountain range are sentence to the passage.
contrasted.
(D) The effects of a number of
geological periods on North
America are compared.
11. The phrase of note in the passage is

(A) catastrophic
(B) distinct
(C) important
(D) ancient

The Rocky Mountains formed through a combination of geological

processes.
•
•
•
Answer choices
The Rocky Mountains are actually The earth squeezed together and
made up of many smaller pushed up folds of sedimentary
ranges. rock that washed away.
What is now Yellowstone Erupting volcanoes pushed the
National Park was affected by area up further.
the same processes as the Rocky
Mountains.
Snow and glaciers cut valleys in Many types of rock make up
the upraised mountains. the area that became the Rocky
Mountains.

Set B
Formation of the Rocky Mountains
1 The Rocky Mountains of North America extend 5,000 kilometers from New
Mexico all the way up through Canada. Elevations along the range are about
1,500 meters along the lower plains to 4,399 meters at the highest peak, and
widths range from 120 to 650 kilometers. The natural beauty, abundant wildlife,
5 and fresh water of the ranges have attracted human inhabitants for the last
10,000 to 12,000 years.
The history of the Rocky Mountains begins in the pre-Cambrian era, a
half-billion years ago. While this is long before the Rocky Mountains themselves
began forming, their hard core rocks—consisting of granites, schists, gneisses,
10 quartzites, and slates—were produced in ancient ranges. Erosion eventually
leveled these mountain ranges, and during the Paleozoic and Mesozoic eras,
about 75 to 540 million years ago, the ocean invaded the land and deposited
sediments some 20,000 feet deep. They included layers of sandstones, shales,
and limestones.
15 At the close of the Mesozoic era, during the Cretaceous period about 75
million years ago, the growth of the Rockies began. There was a tremendous
squeezing that uplifted the region in a great series of folds, like wrinkles in a
carpet. After the arching, erosion carved away at the mountains. Some 10,000
feet of sedimentary rock were washed off the top of the arch, exposing the hard
20 rock core. The erosional resistance of these hard, crystalline rocks led to the
formation of the high peaks that still exist today. On the anks of the core the
sedimentary beds sloped outward. Great quantities of sand and clay were
spread out on the bordering plains and plateaus. This was only one of the
cycles of upheaval and erosion that occurred in the region.
25 Near the end of the Eocene period, about 40 million years ago, the Rockies
again rose several thousand feet. Volcanoes erupted, most extensively in the
Yellowstone Plateau and the Absaroka Range. As the mountains were formed,
streams eroded their sides, and thousands of feet of sediment spread out
on plains and plateaus. Just before the Pleistocene period, about one million
30 years ago, the region again uplifted. Streams owed faster and began to cut
canyons, and rivers ate deep gorges through the ranges.
The most recent geological event of note was the "Ice Age" during the
Pleistocene Epoch, 1 million to 10,000 years ago. The high peaks of the Sangre
de Cristo Mountains supported numerous small glaciers and snows accumulated
35 on the sides of the mountains. These glaciers carved a typical collection of alpine
landforms, such as cirques, horns, aretes, and cols. Lower down in the glaciated
valleys, various kinds of till and stratied sediments accumulated to form
moraines. Most of the glacial deposits and landforms present today date from
the last glacial phase, known in the Rocky Mountains as the Pinedale Glaciation
40 or Pinedale Stage. During this stage, over 90% of the Yellowstone National Park
was covered in ice. The glaciated terrains formed in this era are among the most
picturesque in the high alpine Rockies today, as glaciers formed and moved down
the valleys, thereby further eroding the mountains into bold and dramatic forms.
There was even a "little ice age" from about 1550 to 1860—a few centuries of
45 glacial advance—that made its mark on the mountains recently. For example, the
Agassiz and Jackson glaciers in Glacier National Park reached their most forward
positions by around 1860. The incessant sculpturing of the Rockies by rain, wind,
and ice continues even today.

READING DRILL 8
1. The author of the passage uses the 6. The author states that the moon's
phrase worlds apart to imply that "seas" look
the Earth and moon are
(A) thick
(A) moving away from each other (B) deep
(B) farther from each other than (C) dark
most people think (D) cratered
(C) different in composition
(D) comparable in origin
7. The lithosphere of the moon is
described in the passage as
2. The author refers to the moon as
dead in the passage to indicate that it (A) holding heat inside
(B) eroding slowly
(A) does not spin very quickly (C) moving continuously
(B) is geologically inactive (D) changing little
(C) used to have surface water
(D) used to sustain life
8. The word effaced in the passage is
3. The problem with the three theories
mentioned in paragraph 2 is that (A) sharpened
(B) returned
(A) the Earth is farther from the (C) erased
moon than is usually (D) frozen
thought
(B) they do not t the composition
of the moon 9. The passage suggests that the ways
(C) the moon did not develop the the moon and Earth developed were
ability to support life most inuenced by differences in their
(D) the solar system was less active
than previously thought (A) temperatures
(B) ages
(C) surfaces
4. The phrase account for in the (D) sizes
(A) enlarge 10. Which of the following terms is

(B) explain dened in the passage?
(C) compose
(D) destroy (A) atmosphere
(B) palimpsest
(C) lithosphere
5. What caused the craters on the (D) mantle
Moon's surface?
(A) meteors
(B) lunar eclipses
(C) atmospheric erosion
(D) owing lava

Set B
Origin of the Earth and Moon
1 Although the moon and Earth are close together in space, in other respects
they are worlds apart. The moon has no atmosphere, no surface water, and
of course no forms of life. Neither is there evidence of surface activity of the
type that makes the Earth's crust tremble. It is a dead sphere of stone, its face
5 a palimpsest of volcanic activity and collisions with other bodies, both of which
ceased long ago.
Up until the Apollo landings in 1969, there were three main competing
theories of the formation of the moon. The earliest theory, the so-called "ssion
theory," was rst proposed by Charles Darwin's son, George Howard Darwin, in
10 1878. Darwin theorized that in its early days the earth spun so quickly that a
part of it was literally ripped from its surface by the graviational pull of the sun,
and this part formed the moon. In 1909, an America scientist named Thomas
Jefferson Jackson See came up with an alternative idea, the "capture theory."
He supposed that the moon rst formed elsewhere in the solar system and was
15 later captured in orbit about the earth. The third theory, the "co-accretion" or
"double planet" theory, hypothesized that the earth and moon simply formed
independently and side-by-side out of the same material. However, when
confronted with the evidence of lunar rocks gathered in the Apollo mission, none
of these three theories made any sense. Most importantly, none of the theories
20 could explain the fact that that the moon has no substantial metallic iron core
and that the composition of its rocks are similar to the earth's (its oxygen isotopic
ratios are identical to the earth's), with the exception of differing amounts of
volatiles.
In 1984, a new theory of the moon's origin that was consistent with the
25 Apollo data nally emerged. The new theory, the "giant impact" hypothesis,
arose from the realization that the early solar system of 4,500 million years ago
was lled with numerous large objects in closely spaced orbits. Scientists began
to theorize that large planetary bodies crashing into each other at high speeds
might have formed some of the solar system's current planets. A giant impact of
30 the earth with another planet approximately the size of Mars would account for
the moon's peculiar composition. According to computer simulations, the crash
would have destroyed the impactor (that is, the other planet), sending most of its
remains, along with huge amounts of the Earth's mantle, into an Earth-orbiting
debris cloud that eventually coalesced into the moon. This would explain the
35 reduced density of the moon, which is thought to consist of two-thirds impactor
and one-third Earth mantle, and it would also explain the moon's tiny iron core.
Since the models suggest that all of the impactor's original core was transferred
to the Earth's core, the moon must have got its core iron from later impacts.
In the same way, the Earth would have got its additional volatile elements from
40 later impacts from comets and meteors. Finally, the giant impact hypothesis
can account for the Earth-moon's unusually strong angular momentum and the
earth's odd, 23.5-degree tilt on its axis.
After the Earth and its satellite were formed, both bodies would have
appeared very similar, and impacts from small meteors would have left countless
45 craters on the surface of both the earth and moon; however, the moon, with a
mass less than one-eightieth that of the Earth, quickly cooled down. As it did, a
thick outer shell of inert rock, known as its lithosphere, formed. As a result, apart
from some later outows of lava that formed the "seas" that we now see as fairly
smooth dark patches, the moon's ancient craters have been mostly preserved.
50 The Earth, on the other hand, was larger and retained its interior heat far
longer. Even today, the core and mantle of the Earth are very hot, so a thick and
immobile lithosphere has not developed. Continued movements of the crust and
erosion caused by atmospheric activity have effaced almost all traces of Earth's
ancient craters.

11. The passage most probably continues 12. The author mentions that the core
with a discussion of and mantle of the Earth are very hot
in order to indicate
(A) erosion on Earth
(B) new craters forming on the (A) why Earth and moon craters are
moon similar
(C) the origin of the Earth's (B) why scientists believe there was
lithosphere never life on the moon
(C) atmospheric activity on the (C) why the moon has more craters
moon than they Earth
(D) why the surface of the Earth is
still active

A new theory of how the moon formed ts the evidence of the Apollo
mission.
•
•
•
Answer choices
The moon has a very small Before the Apollo landings, there
metallic core were three theories of how the
moon had formed.
Computer models have further The "giant impact" hypothesis
illustrated how the collision of says that a planet the size of
the moon with other bodies could Mars split off a piece of the
have added iron to its mass. Earth's mantle after colliding
with it.
The piece of mantle cooled Some scientists remain
rapidly because it was much unconvinced by the new theory.
smaller than the Earth and had
very little hot material from the
core.

Set B
Origin of the Earth and Moon
1 Although the moon and Earth are close together in space, in other respects
they are worlds apart. The moon has no atmosphere, no surface water, and of
course no forms of life. Neither is there evidence of surface activity of the type
that makes the Earth's crust tremble. It is a dead sphere of stone, its face a
5 palimpsest of volcanic activity and collisions with other bodies, both of which
ceased long ago.
Up until the Apollo landings in 1969, there were three main competing
theories of the formation of the moon. The earliest theory, the so-called "ssion
theory," was rst proposed by Charles Darwin's son, George Howard Darwin, in
10 1878. Darwin theorized that in its early days the earth spun so quickly that a
part of it was literally ripped from its surface by the graviational pull of the sun,
and this part formed the moon. In 1909, an America scientist named Thomas
Jefferson Jackson See came up with an alternative idea, the "capture theory."
He supposed that the moon rst formed elsewhere in the solar system and was
15 later captured in orbit about the earth. The third theory, the "co-accretion" or
"double planet" theory, hypothesized that the earth and moon simply formed
independently and side-by-side out of the same material. However, when
confronted with the evidence of lunar rocks gathered in the Apollo mission, none
of these three theories made any sense. Most importantly, none of the theories
20 could explain the fact that that the moon has no substantial metallic iron core
and that the composition of its rocks are similar to the earth's (its oxygen isotopic
ratios are identical to the earth's), with the exception of differing amounts of
volatiles.
In 1984, a new theory of the moon's origin that was consistent with the
25 Apollo data nally emerged. The new theory, the "giant impact" hypothesis,
arose from the realization that the early solar system of 4,500 million years ago
was lled with numerous large objects in closely spaced orbits. Scientists began
to theorize that large planetary bodies crashing into each other at high speeds
might have formed some of the solar system's current planets. A giant impact of
30 the earth with another planet approximately the size of Mars would account for
the moon's peculiar composition. According to computer simulations, the crash
would have destroyed the impactor (that is, the other planet), sending most of its
remains, along with huge amounts of the Earth's mantle, into an Earth-orbiting
debris cloud that eventually coalesced into the moon. This would explain the
35 reduced density of the moon, which is thought to consist of two-thirds impactor
and one-third Earth mantle, and it would also explain the moon's tiny iron core.
Since the models suggest that all of the impactor's original core was transferred
to the Earth's core, the moon must have got its core iron from later impacts.
In the same way, the Earth would have got its additional volatile elements from
40 later impacts from comets and meteors. Finally, the giant impact hypothesis
can account for the Earth-moon's unusually strong angular momentum and the
earth's odd, 23.5-degree tilt on its axis.
After the Earth and its satellite were formed, both bodies would have appeared
very similar, and impacts from small meteors would have left countless craters
45 on the surface of both the earth and moon; however, the moon, with a mass less
than one-eightieth that of the Earth, quickly cooled down. As it did, a thick outer
shell of inert rock, known as its lithosphere, formed. As a result, apart from some
later outows of lava that formed the "seas" that we now see as fairly smooth
dark patches, the moon's ancient craters have been mostly preserved. The Earth,
50 on the other hand, was larger and retained its interior heat far longer. Even today,
the core and mantle of the Earth are very hot, so a thick and immobile lithosphere
has not developed. Continued movements of the crust and erosion caused by
atmospheric activity have effaced almost all traces of Earth's ancient craters.


Set B
ANSWER KEY

Academic Lecture 1 Academic Lecture 5

1, A 1, A
2, C 2, B
3, BCD 3, D
4, B 4, B
5. B 5. C
6. D 6. D

1, B 1, D
2, BD 2, D
3, B 3, D
4, AD 4, C
5. D 5. B
6. C 6. C

1, C 1, C
2, A 2, BC
3, BD 3, C
4, D 4, C
5. B 5. D
6. ACD 6. C

1, B 1, C
2, A 2, C
3, B 3, B
4, C 4, D
5. D 5. C
6. C 6. B

Set B
Campus Conversation 1
1, A
2, A
3, B
4, B
5. C
1, C
2, A
3, C
4, D
5. A
1, C
2, D
3, C
4, AD
5. A
1, C
2, D
3, D
4, C
5. C

Note that in answers to Summary questions, the answer choices in each chart are deemed to be
numbered as follows:
Answer choices
1 4
2 5
3 6

1. C 1. B
2. A 2. C
3. C 3. C
4. B 4. B
5. C 5. D
6. A 6. D
7. B 7. B
8. C 8. C
9. C 9. D
10. D 10. A
11. D 11. C
12. ...securely on the ground. 12. D
13. Yes 1, 3, 5 13.Yes 3, 4, 6

1. C 1. C
2. B 2. C
3. B 3. C
4. D 4. C
5. A 5. A
6. D 6. C
7. C 7. A
8. A 8. C
9. B 9. D
10. A 10. Heavily infested trees....
11. B 11. D
12. B 12. C
13.Yes 2, 3, 5 13.Yes 2, 4, 6

Set B
Reading Drill 5
1. C
2. B
3. B
4. A
5. D
6. B
7. C
8. A
9. The 1925 Renaissance
10. D
11. C
12. Yes 1, 4, 6
Reading Drill 6
1. A
2. B
3. A
4. A
5. B
6. D
7. C
8. C
9. A
10. C
11. B
12. D
13.Yes 1, 3, 5
Reading Drill 7
1. C
2. A
3. B
4. D
5. B
6. D
7. D
8. A
9. C
10. B
11. C
12. ...region again uplifted.
13.Yes 3, 4, 5
Reading Drill 8
1. C
2. B
3. B
4. B
5. A
6. C
7. D
8. C
9. D
10. C
11. A
12. D
13. Yes 2, 3, 5

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Listening

Practice for the

Practice A Feb3.indd 1 2/11/05 12:37:37 PM

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Practice A Feb3.indd 2 2/11/05 12:37:38 PM

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Practice A Feb3.indd 3 2/11/05 12:37:40 PM

Answer key 105

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Practice A Feb3.indd 4 2/11/05 12:37:42 PM

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Practice A Feb3.indd 5 2/11/05 12:37:43 PM

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Practice A Feb3.indd 6 2/11/05 12:37:43 PM

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Practice A Feb3.indd 7 2/11/05 12:37:44 PM

(A) Health benets of exercise

2. Listen again to part of the lecture.

Why did the professor say this?

3. What does the professor say are effects of

8 | © The Princeton Review Management, Inc.

Practice A Feb3.indd 8 2/11/05 12:37:44 PM

4. In the study the professor discussed, when was

(A) After stopping exercise

5. According to the professor, what healthful effect does

(A) It lowers blood pressure.

6. What is the primary purpose of the lecture?

(A) To encourage the students to exercise

© The Princeton Review Management, Inc. | 9

Practice A Feb3.indd 9 2/11/05 12:37:44 PM

(A) To illustrate how plants invade new territory

2. How did the passage of a motorcycle alter surface soil in

It raised large clouds of dust.

3. Listen again to part of the lecture.

What does the professor mean by this?

10 | © The Princeton Review Management, Inc.

Practice A Feb3.indd 10 2/11/05 12:37:45 PM

4. How did soil compacting lead to erosion in the area

Plants that held the soil in place died.

5. What made it possible for non-native plants to invade

(A) Erosion uncovered the loose soil they preferred.

6. What does the professor say could require a hundred

(A) Cataloguing the types of plants native to the desert.

© The Princeton Review Management, Inc. | 11

Practice A Feb3.indd 11 2/11/05 12:37:45 PM

(A) How its digestive system processes leaves

2. What does the professor say scientists have discovered

(A) It is not the only tree the sloth feeds on.

3. How does its diet of leaves cause the sloth to be inactive?

Its predators are often found near sources of leaves.

12 | © The Princeton Review Management, Inc.

Practice A Feb3.indd 12 2/11/05 12:37:45 PM

4. Listen again to part of the lecture.

(A) Explain how scientists have changed their methods

5. Why does the sloth not move far to nd food?

(A) A single tree supplies all the leaves it needs.

6. How does the sloth avoid being eaten by predators?

Wrapping itself in vines

© The Princeton Review Management, Inc. | 13

Practice A Feb3.indd 13 2/11/05 12:37:46 PM

(A) Nutrient levels in foods

2. How does the professor say the researchers have

(A) They use on-site research from other scientists.

3. Why are scientists particularly interested in Chinese rice