READING PASSAGE 1
You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1.
The life and work of Marie Curie
Question | Answer | Keywords | Location | Text |
1 | FALSE | Nobel Prize, Physics, Chemistry, first woman | Para 1, last 5 lines | "Prize. With her husband, Pierre Curie, and Henri Becquerel, she was awarded the 1903 Nobel Prize for Physics, and was then sole winner of the 1911 Nobel Prize for Chemistry. She was the first woman to win a Nobel Prize." |
2 | NOT GIVEN | - | - | - |
3 | TRUE | bad investment, teacher, Paris, Sorbonne | Para 2, last 3 lines; Para 3, first 2 lines | "bad investment, she then had to take work as a teacher. From her earnings she was able to finance her sister Bronia’s medical studies in Paris, on the understanding that Bronia would, in turn, later help her to get an education. In 1891 this promise was fulfilled and Marie went to Paris and began to study at the Sorbonne (the University of Paris). She often worked far into the night and lived on little more" |
4 | FALSE | daughters, scientific work, lecturer, École Normale Supérieure | Para 6, first 2 lines | "The births of Marie’s two daughters, Irene and Eve, in 1897 and 1904 failed to interrupt her scientific work. She was appointed lecturer in physics at the École Normale Supérieure for" |
5 | TRUE | scientific work, professorship, husband's death | Para 7, line 3-4 | "the scientific work that they had undertaken. On May 13, 1906, she was appointed to the professorship that had been left vacant on her husband’s death, becoming the first woman to" |
6 | NOT GIVEN | - | - | - |
7 | Thorium | radioactivity, uranium, other elements | Para 4, last 2 lines | "Marie later called 'radioactivity,' Marie Curie decided to find out if the radioactivity discovered in uranium was to be found in other elements. She discovered that this was true for thorium" |
8 | Pitchblende | minerals, pitchblende | Para 5, first line | "Turning her attention to minerals, she found her interest drawn to pitchblende, a mineral" |
9 | Radium | teach, Sorbonne, Nobel Prize for Chemistry | Para 7, last 2 lines | "teach at the Sorbonne. In 1911 she was awarded the Nobel Prize for Chemistry for the isolation of a pure form of radium" |
10 | Soldiers | World War I, X-radiography, Little Curies, Radium Institute | Para 8, first 3 lines | "During World War I, Marie Curie, with the help of her daughter Irene, devoted herself to the development of the use of X-radiography, including the mobile units which came to be known as 'Little Curies,' used for the treatment of wounded soldiers. In 1918 the Radium Institute" |
11 | Illness | fame, Academy of Medicine, researched, medical applications | Para 8, last 3 lines | "physics and chemistry. Marie Curie, now at the highest point of her fame and, from 1922, a member of the Academy of Medicine, researched the chemistry of radioactive substances and their medical applications" |
12 | Neutron | abundant supply, Radium |
Question | Answer | Keywords | Location | Text |
12 | Neutron | abundant supply, Radium Institute, 1930 | Para 10, line 3-6 | "abundant supply for research. The existence in Paris at the Radium Institute of a stock of 1.5 grams of radium made a decisive contribution to the success of the experiments undertaken in the years around 1930. This work prepared the way for the discovery of the neutron by Sir James Chadwick and, above all, for the discovery in 1934 by Irene and Frederic Joliot" |
13 | Leukaemia | exposure to radiation, test tubes, pocket | Para 10, last 3 lines | "Curie of artificial radioactivity. A few months after this discovery, Marie Curie died as a result of leukaemia caused by exposure to radiation. She had often carried test tubes containing radioactive isotopes in her pocket, remarking on the pretty blue-green light they gave off" |
READING PASSAGE 2
You should spend about 20 minutes on Questions 14–26, which are based on Reading Passage 2 .
Young Children Sense of Identity
Question | Answer | Keywords | Location | Text |
14 | G | touched their noses, red mark, surprised | Para G, line 6-8 | "observed how often they touched their noses. The psychologists reasoned that if the children knew what they usually looked like, they would be surprised by the unusual red mark and would start touching it." |
15 | C | movements in the mirror, distinct from other people | Para C, last 3 lines | "developing understanding that the movements they see in the mirror are contingent on their own, leads to a growing awareness that they are distinct from other people." |
16 | G | recognize themselves visually, second birthday | Para G, line 2-4 | "reached when children become able to recognize themselves visually without the support of seeing contingent movement. This recognition occurs around their second birthday." |
17 | D | self-as-subject, difficulties of communication | Para D, last 4 lines | "understanding of his- or herself emerges. Empirical investigations of the self-as-subject in young children are, however, rather scarce because of difficulties of communication: even if young infants can reflect on their experience, they certainly cannot express this aspect of the self directly." |
18 | H | ownership disputes, ages 1 and 2 years | Para H, line 5-8 | "increased sharply between the ages of 1 and 2 years. Often, the children's disagreements involved a struggle over a toy that none of them had played with before or after the tug-of-war: the children seemed to be disputing ownership rather than wanting to play with it." |
19 | E | social roles, characteristics influenced by comparison or interaction | Para E, last 4 lines | "been seen by many to be the aspect of the self which is most influenced by social elements, since it is made up of social roles (such as student, brother, colleague) and characteristics which derive their meaning from comparison or interaction with other people." |
20 | D | self arising in social experience | Para F, last 4 lines | "reflected in others. Mead (1934) went even further, and saw the self and the social world as inextricably bound together: 'The self is essentially a social structure, and it arises in social experience it is impossible to conceive of a self arising outside of social experience.'" |
21 | B | sense of self-as-subject, explore world and interact with caregivers | Para B, line 6-7 | "explore their world and interact with caregivers. Cooley (1902) suggested that a sense of the self-as-subject was primarily concerned with being able to exercise." |
22 | E | intensity of frustration and anger, ages 1 and 2 years | Para H, line 3-5 | "years of age. In a longitudinal study of groups of three or four children, Bronson (1975) found that the intensity of the frustration and anger in their disagreements increased sharply between the ages of 1 and 2 years. Often, the children's" |
23 | C | movements in the mirror, growing awareness of being distinct | Para C, line 7-9 | "development). However, Lewis and Brooks-Gurm (1979) suggest that infants' developing understanding that the movements they see in the mirror are contingent on their own, leads to a growing awareness that they are distinct from other people." |
24 | 'mirror' |
Question | Answer | Keywords | Location | Text |
24 | 'mirror' | vocalizations, reflection dependent on own movements | Para C, line 4-7 | "vocalizations and expressions. In addition, young children enjoy looking in mirrors, where the movements they can see are dependent upon their own movements. This is not to say that infants recognize the reflection as their own image (a later development). However, Lewis and Brooks-Gurm (1979) suggest that infants'" |
25 | 'communication' | difficulties of communication | Para D, last 4 lines | "understanding of his- or herself emerges. Empirical investigations of the self-as-subject in young children are, however, rather scarce because of difficulties of communication: even if young infants can reflect on their experience, they certainly cannot express this aspect of the self directly." |
26 | 'ownership' | link between self and ownership, notable feature of childhood | Para H, last 3 lines | "than wanting to play with it. Although it may be less marked in other societies, the link between the sense of 'self' and of 'ownership' is a notable feature of childhood in Western societies." |
READING PASSAGE 3
You should spend about 20 minutes on Questions 27–40, which are based on Reading Passage 3 .
Museums of Fine Art and Their Public
Here is the rewritten content in the requested format:
Question No. | Answer | Keywords | Location | Explanation |
27 | B (mass production) | museums, novels | Paragraph 2, Lines 5-10 | The writer explains that novels have evolved due to technological developments allowing mass production. Therefore, people do not need to visit museums to read manuscripts. |
28 | H (underlying ideas) | novels, most important | Paragraph 2, Lines 13-16 | The writer states that readers focus mainly on the meaning of words rather than how they are printed, meaning the underlying ideas are most important. |
29 | L (assistants) | artists, instruct, copies | Paragraph 3 | The writer mentions that in the 16th century, artists assigned reproduction work to their apprentices. Here, "apprentices" means assistants. |
30 | G (size) | excellent replication, colour, surface relief | Paragraph 3 | The writer describes modern reprographic techniques that allow copies to be made exactly to the original scale, meaning size. |
31 | D (public) | promote, original works, not in the interests of | Paragraph 5 | The writer states that museums' emphasis on original works limits the experience of visitors, meaning it is not in the public’s best interest. |
32 | C | London’s National Gallery | Paragraph 6 | The writer explains that visitors may feel inferior in an environment where the value of art is far greater than their own possessions, showing the negative effect of museums. |
33 | D | unwilling, criticise a work | Paragraph 7 | The writer explains that viewers may feel their opinions do not matter because artworks have already been assigned high value by powerful institutions. |
34 | A | displacement effect, caused by | Paragraph 8 | The writer states that the displacement effect occurs when diverse works are placed in an environment different from where they were originally created. |
35 | D | unlike other forms of art, a painting does not | Paragraph 9 | The writer explains that paintings, unlike other art forms, have no set beginning or end when being viewed. |
36 | NOT GIVEN | art history, meaning of art, media | Paragraph 10 | The writer mentions that art historians study the meaning of art but does not state whether they should focus on it using different media. |
37 | NO | approach, art historians, conflicts, art museums | Paragraph 10, Lines 5-6 | The writer states that the art historian's approach is in "perfect harmony" with the museum’s function, meaning there is no conflict. |
38 | YES | should be encouraged, give, opinions openly | Last Paragraph, Lines 4-7 | The writer explains that audiences experience art more rewardingly when encouraged to express their views, meaning they should be encouraged to share opinions. |
39 | NOT GIVEN | reproductions, should only be sold, high quality | Last Paragraph | The writer discusses making fine art accessible through reproductions but does not mention selling them. |
40 | NO | future, power, encourage, enjoy art | Last Paragraph, Last Line | The writer states that those in power may not want to make art more accessible, meaning they are unlikely to encourage people to enjoy it. |
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