SECTION D NOTE-TAKING AND GAP-FILLING

　　Directions: In this section you will hear a mini-lecture. You will hear the lecture ONLY ONCE. While listening to the lecture, take notes on the important points. Your notes will not be marked, but you will need them to complete a 15-minute gap-filling task on ANSWER SHEET ONE after the mini lecture. Use the blank sheet for note-taking.

　　ANSWER SHEET ONE

　　Fill in each of the gaps with ONE suitable word. You may refer to your notes. Make sure the word you fill in is both grammatically and semantically acceptable.

　　In business, many places adopt a credit system, which dates back to ancient times. At present, purchases can be made by using credit cards. They fall into two categories: one has (16) use, while the other is accepted almost everywhere. The application for the use of the latter one must be made at a (17).

　　Once the customer starts using the card, he will be provided with a monthly statement of (18) by the credit company. He is required to pay one quarter to half of his credit (19) every month.

　　Advantages. 1. With a card, it is not (20) to save up money before an actual purchase. 2. If the card is lost, its owner is protected. 3. A (21) and complete list of purchase received from the credit company helps the owner to remember the time and (22) of his purchase. 4. The cards are accepted in a(n) (23)    by professional people like dentists, etc.

　　Major disadvantage. The card owner is tempted to (24) his money. If this is the case, it will become increasingly difficult for the user to keep up with the required (25), which will result in the credit card being cancelled by the credit company.

　　PART II PROOFREADING & ERROR CORRECTION

　　Directions: The following passage contains ten errors. Each line contains a maximum of one error. In each case only one word is involved. You should proofread the passage and correct it in the following way:

　　For a wrong word, underline the wrong word and write the correct one in the blank provided at the end of the line.

　　For a missing word, mark the position of the missing word with a "^" sign and write the word you believe to be missing in the blank provided at the end    of the line.

　　For an unnecessary word, cross the unnecessary word with a slash "/" and put the word in the blank provided at the end of the line.

　　EXAMPLE

　　When ^ art museum wants a new exhibit,

　　(1) an

　　it (never/) buys things in finished form and hangs

　　(2) never

　　them on the wall. When a natural history museum

　　wants an exhibition, it must often build it.

　　(3)exhibit

　　Classic Intention Movement

　　In social situations, the classic Intention Movement is

　　"the chair-grasp". Host and guest have been talking

　　for some time, but now the host has an appointment

　　to keep and can get away. His urge to go is

　　[26]

　　held in check by his desire not be rude to his guest.

　　[27]

　　If he did not care of his guests feelings he would

　　[28]

　　simply get up out of his chair and to announce his

　　[29]

　　departure. This is what his body wants to do, therefore

　　[30]

　　his politeness glues his body to the chair and refuses

　　to let him raise. It is at this point that he

　　[31]

　　performs the chair-grasp Intention Movement. He continues

　　to talk to the guest and listen to him, but leans forward

　　and grasps the arms of the chair as about to push

　　[32]

　　himself upwards. This is the first act he would

　　make if he were rising. If he were not hesitating,

　　[33]

　　it would only last a fraction of the second. He would

　　[34]

　　lean, push, rise, and be up. But now, instead, it lasts

　　much longer. He holds his "readiness-to-rise" post and

　　[35]

　　keeps on holding it. It is as if his body had frozen

　　at the get-ready moment.

　　PART III READING COMPREHENSIONS

　　SECTION A: READING COMPREHENSION (30 MIN.)

　　Directions: In this section there are four reading passages followed by a total of fifteen multiple-choice questions. Read the passages carefully and then mark your answers on your Coloured Answer Sheet.

　　TEXT A A magazines design is more than decoration, more than simple packaging. It expresses the magazines very character. The Atlantic Monthly has long attempted to provide a design environment in which two disparate traditions —— literary and journalistic —— can co-exist in pleasurable dignity. The redesign that we introduce with this issue —— the work of our art director, Judy Garlan —— represents, we think, a notable enhancement of that environment. 　 Garlan explains some of what was in her mind as she began to create the new design: "I saw this as an opportunity to bring the look closer to matching the elegance and power of the writing which the magazine is known for." The overall design has to be able to encompass a great diversity of styles and subjects —— urgent pieces of reporting, serious essays, lighter pieces, lifestyle-oriented pieces, short stories, poetry. We dont want lighter pieces to seem too heavy, and we dont want heavier pieces to seem too pretty. We also use a broad range of art and photography, and the design has to work well with that, too. At the same time, the magazine needs to have a consistent feel, needs to underscore the sense that everything in it is part of one Atlantic world. 　 The primary typefaces Garlan chose for this task are Times Roman, for a more readable body type, and Bauer Bodoni, for a more stylish and flexible display type (article titles, large initials, and so on). Other aspects of the new design are structural. The articles in the front of the magazine, which once flowed into one another, now stand on their own, to gain prominence. The Travel column, now featured in every issue, has been moved from the back to the front. As noted in this space last month, the word "Monthly" rejoins "The Atlantic" on the cover, after a decade-long absence. 　 Judy Garlan came to the Atlantic in 1981 after having served as the art director of several other magazines. During her tenure here The Atlantic has won more than 300 awards for visual excellence, from the Society of illustrators, the American Institute of Graphic Arts, the Art Directors Club, Communication Arts, and elsewhere. Garlan was in various ways assisted in the redesign by the entire art-department staff: Robin Gilmore, Barnes, Betsy Urrico, Gillian Kahn, and Lisa Manning. 　 The artist Nicholas Gaetano contributed as well: he redrew our colophon (the figure of Neptune that appears on the contents page) and created the symbols that will appear regularly on this page (a rendition of our building), on the Puzzler page, above the opening of letters, and on the masthead. Gaetano, whose work manages to combine stylish clarity and breezy strength, is the cover artist for this issue.

　　36. Part of the new design is to be concerned with the following EXCEPT ____.

　　A) variation in the typefaces.

　　B) reorganization of articles in the front.

　　C) creation of the travel column.

　　D) reinstatement of its former name.

　　37. According to the passage, the new design work involves ____.

　　A) other artists as well.

　　B) other writers as well.

　　C) only the cover artist.

　　D) only the art director.

　　38. This article aims to ____.

　　A) emphasize the importance of a magazine's design.

　　B) introduce the magazine's art director.

　　C) persuade the reader to subscribe to the magazine.

　　D) inform the reader of its new design and features.

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