Thi thử VSTEP Đại học Ngân Hàng – Reading Test 2

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

READING PAPER 2
Time permitted: 60 minutes
Number of questions: 40

Directions: In this section of the test, you will read FOUR different passages, each followed by 10 questions about it. For questions 1-40, you are to choose the best answer A, B, C, or D. Then, on your answer sheet, find the number of the question and fill in the space that corresponds to the letter of the answer you have chosen. Answer all questions following a passage on the basis of what is stated or implied in that passage.

You have 60 minutes to answer all the questions, including the time to transfer your answers to the answer sheet.

PASSAGE 1 – Questions 1-10

Mount Rushmore is a well-known monument in the Black Hills of South Dakota that features the countenances of four United States presidents: Washington, Jefferson, Roosevelt, and Lincoln. What is not so well known is that the process of creating this national treasure was not exactly an uneventful one. Mount Rushmore was the project of the visionary sculptor John Gutzen de la Mothe Borglum, who was born in Idaho but studied sculpture in Paris in his youth and befriended the famous French sculptor Auguste Rodin.

In 1927 Borglum was granted a commission by the federal government to create the sculpture on Mount Rushmore. Though he was nearly sixty years old when he started, he was undaunted by the enormity of the project and the obstacles that it engendered. He optimistically asserted that the project would be completed within five years, not caring to recognize the potential problems that such a massive project would involve, the problems of dealing with financing, with government bureaucracy, and with Mother Nature herself. An example of what Mother Nature had to throw at the project was the fissure—or large crack—that developed in the granite where Jefferson was being carved. Jefferson had to be moved to the other side of Washington, next to Roosevelt because of the break in the stone. The work that had been started on the first Jefferson had to be dynamited away.

Mount Rushmore was not completed within the five years predicted by Borglum and was in fact not actually completed within Borglum's lifetime, although it was almost finished. Borglum died on March 6, 1941, at the age of seventy-four, after fourteen years of work on the presidents. His son, Lincoln Borglum, who had worked with his father throughout the project, completed the monument within eight months of his father's death.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 2 – Questions 11-20

Narcolepsy is a disease characterized by malfunctioning sleep mechanics. It can consist of a sudden and uncontrollable bout of sleep during daylight hours and disturbed sleep during nighttime hours. It occurs more often in men than in women, and it commonly makes its appearance during adolescence or young adulthood.

At least a half million Americans are believed to be affected by narcolepsy. Narcolepsy can take a number of forms during daylight hours. One common symptom of the disease during daytime hours is a sudden attack of REM (rapid-eye movement) sleep during normal waking hours. This occurs in some people hundreds of times in a single day, while others only have rare occurrences. During a sleep attack, narcoleptics may experience automatic behavior; even though asleep, they may continue automatically performing the activity they were involved in prior to falling asleep. They may, for example, continue walking, or driving, or stirring a pot until the activity is interrupted by external forces. Others experience cataplexy during daytime hours; cataplexy involves a sudden loss of muscle tone that may cause the head to droop or the knees to wobble in minor attacks or a total collapse in more serious attacks. Cataplexy seems to occur most often in conjunction with intense emotion or excitement.

During sleep hours, narcolepsy can also manifest itself in a variety of ways. During the transitional phase that precedes the onset of sleep, it is common for hallucinations to occur. These hallucinations, known as hypnagogic phenomena, consist of realistic perceptions of sights and sounds during the semi-conscious state between wakefulness and sleep. Narcoleptics may also suffer from night wakening during sleep, resulting in extremely fragmented and restless sleep. Then, upon waking, a narcoleptic may experience sleep paralysis, the inability to move, perhaps for several minutes, immediately after waking.

PASSAGE 3 – Questions 21-30

EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose.

Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10to$15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine — a projector — from him instead of several.

[A] Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. [B] About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. [C] These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. [D]

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public — an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

PASSAGE 3 – Questions 21-30

EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose.

Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10to$15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine — a projector — from him instead of several.

[A] Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. [B] About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. [C] These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. [D]

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public — an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

PASSAGE 3 – Questions 21-30

EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose.

Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10to$15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine — a projector — from him instead of several.

[A] Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. [B] About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. [C] These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. [D]

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public — an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

PASSAGE 3 – Questions 21-30

EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose.

Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10to$15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine — a projector — from him instead of several.

[A] Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. [B] About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. [C] These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. [D]

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public — an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

PASSAGE 3 – Questions 21-30

EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose.

Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10to$15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine — a projector — from him instead of several.

[A] Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. [B] About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. [C] These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. [D]

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public — an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

PASSAGE 3 – Questions 21-30

EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose.

Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10to$15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine — a projector — from him instead of several.

[A] Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. [B] About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. [C] These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. [D]

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public — an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

PASSAGE 3 – Questions 21-30

EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose.

Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10to$15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine — a projector — from him instead of several.

[A] Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. [B] About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. [C] These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. [D]

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public — an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

PASSAGE 3 – Questions 21-30

EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose.

Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10to$15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine — a projector — from him instead of several.

[A] Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. [B] About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. [C] These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. [D]

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public — an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

PASSAGE 3 – Questions 21-30

EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose.

Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10to$15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine — a projector — from him instead of several.

[A] Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. [B] About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. [C] These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. [D]

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public — an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens

PASSAGE 4 – Questions 31-40

DESERT FORMATION

The deserts, which already occupy approximately a fourth of the Earth's land surface, have in recent decades been increasing at an alarming pace. The expansion of desert-like conditions into areas where they did not previously exist is called desertification. It has been estimated that an additional one-fourth of the Earth's land surface is threatened by this process.

Desertification is accomplished primarily through the loss of stabilizing natural vegetation and the subsequent accelerated erosion of the soil by wind and water. In some cases the loose soil is blown completely away, leaving a stony surface. In other cases, the finer particles may be removed, while the sand-sized particles are accumulated to form mobile hills or ridges of sand.

Even in the areas that retain a soil cover, the reduction of vegetation typically results in the loss of the soil's ability to absorb substantial quantities of water. The impact of raindrops on the loose soil tends to transfer fine clay particles into the tiniest soil spaces, sealing them and producing a surface that allows very little water penetration. Water absorption is greatly reduced, consequently runoff is increased, resulting in accelerated erosion rates. The gradual drying of the soil caused by its diminished ability to absorb water results in the further loss of vegetation, so that a cycle of progressive surface deterioration is established.

In some regions, the increase in desert areas is occurring largely as the result of a trend toward drier climatic conditions. Continued gradual global warming has produced an increase in aridity for some areas over the past few thousand years. The process may be accelerated in subsequent decades if global warming resulting from air pollution seriously increases.

There is little doubt, however, that desertification in most areas results primarily from human activities rather than natural processes. The semiarid lands bordering the deserts exist in a delicate ecological balance and are limited in their potential to adjust to increased environmental pressures. Expanding populations are subjecting the land to increasing pressures to provide them with food and fuel. In wet periods, the land may be able to respond to these stresses. During the dry periods that are common phenomena along the desert margins, though, the pressure on the land is often far in excess of its diminished capacity, and desertification results. Four specific activities have been identified as major contributors to the desertification processes: over-cultivation, over-grazing, firewood gathering, and over-irrigation. The cultivation of crops has expanded into progressively drier regions as population densities have grown. These regions are especially likely to have periods of severe dryness, so that crop failures are common. Since the raising of most crops necessitates the prior removal of the natural vegetation, crop failures leave extens