Section Ⅰ Use of English
Directions:
Read the following text. Choose the best word(s) for each numbered blank and mark [A], [B], [C] or [D] on Answer Sheet 1. (10 points)
Most worthwhile careers require some kind of specialized training. Ideally, therefore, the choice of an 1 should be made even before choice of a curriculum in high school.
Actually, 2 , most people make several job choices during their working lives, 3 because of economic and industrial changes and partly to improve their position. The "one perfect job" does not exist. Young people should 4 enter into a broad flexible training program that will fit them for a 5 of work rather than for a single job.
Unfortunately many young people have to make career plans 6 benefit of help from a competent vocational counselor or psychologist. Knowing 7 about the occupational world, or themselves for that matter, they choose their lifework on a hit-or-miss 8 . Some drift from job to job. Others 9 to work in which they are unhappy and for which they are not fitted.
One common mistake is choosing an occupation for its real or 10 prestige. Too many high瞫chool students or their parents for them choose the professional field, 11 both the relatively small proportion of workers in the professions and the extremely high educational and personal 12 . The prestige that people tend to 13 to a profession or a white-collar job is no good reason for choosing it as life's work.
14 , these occupations are not always well paid. Since a large 15 of jobs are in mechanical and manual work, the majority of young people should give serious 16 to these fields.
Before making an occupational choice, a person should have a general idea of what he wants 17 life and how hard he is willing to work to get it. Some people desire social prestige, others intellectual 18 . Some want security; others are willing to take 19 for financial gain. Each occupational choice has its demands as well as its 20 .
1. [A] identification [B] entertainment [C] accommodation [D] occupation
2. [A] however [B] therefore [C] though [D] thereby
3. [A] entirely [B] mainly [C] partly [D] his
4. [A] since [B] therefore [C] furthermore [D] forever
5. [A] place [B] chance [C]field [D] opening
6. [A] to [B] for [C] without [D] with
7. [A] little [B] few [C] much [D] a lot
8. [A] chance [B] basis [C] purpose [D] opportunity
9. [A] apply [B] appeal [C] stick [D] turn
10. [A] imagined [B] substantial [C] acquired [D] demanded
11. [A] concerning [B] following [C] considering [D] disregarding
12. [A] preferences [B] requirements [C] tendencies [D] ambitions
13. [A] contribute [B] attach [C] attribute [D] allot
14. [A] Therefore [B] However [C] Nevertheless [D] Moreover
15. [A] proportion [B] part [C] quanitity [D] batch
16. [A] proposal [B] suggestion [C] consideration [D] appraisal
17. [A] towards [B] against [C] out of [D] without
18. [A] knowledge [B] satisfaction [C] culture [D] sensitivity
19. [A] turns [B] parts [C] choices [D] risks
20. [A] awards [B] requirements [C] results [D] needs
Section Ⅱ Reading Comprehension
Part A
Directions:
Read the following four texts. Answer the questions below each text by choosing [A], [B], [C] or [D]. Mark your answers on Answer Sheet 1. (40 points)
Text 1
It is said that people buy contemporary art when they are confident about the future and old art when they are not. Conventional wisdom has it that older art holds its value, while contemporary stuff is for risk-lovers. William Goetzmann, a professor at Yale, estimates that during the last art-market depression, which set in after 1990, impressionist and contemporary works fell by most (51% and 40% respectively), while Old Masters suffered least (down by 16%). Yet despite the ups and downs, contemporary works have been rewarding for those who are prepared to hang on: according to Jianping Mei and Michael Moses, professors at New York University (NYU) since 1970 the returns on contemporary art have far exceeded those on Old Masters and 19th-century paintings.
Since the late 1980s, more sophisticated analysis of the art market and a growing interest in alternative investments have spurred the creation of several new investment funds focused on art. At a recent conference organised by one of these, the Fine Art Fund, Rachel Campbell of Maastricht University pointed out the low correlation between returns on art and on those other investments. Given that it usually pays to diversify, that is a good argument for investing in art, whatever your taste. The Fine Art Fund, which began buying this April (and has 36% of its money in cash), advises that investors spread their art allocation fairly evenly between Impressionists, Old Masters, modern art and contemporary works.
Contemporary art, in particular, has served rich investors well in the past few years. Prices stayed stable when stock markets fell. Nevertheless, one recent academic study has found a correlation with another asset class: during the last world art boom, in the late 1980s, prices were closely tied to property values, specifically Japanese land prices. After 1990, art and property fell together. Now property prices in several countries are once again at frightening heights.
Investing in art will always be a risky business. Works of art by definition belong to different categories; holding periods vary; the market is illiquid; art yields no income, producing only capital gain or loss; transaction costs are high. As for contemporary art in particular, it is a sobering thought that, according to Mr Moses, each year an average of only two artists emerge whose work increases in value over time. All this speaks against a big commitment to speculating in art; better, maybe, simply to buy what you like, if you can: treat your money, in other words, not as invested but as consumed.
21. By saying that the market is illiquid (Line 2, Para. 4), the author suggests that .
[A] art works seldom lose their value in the market
[B] investment in art does not have guaranteed return of profits
[C] the difficulty to trade art works is obvious and evident
[D] the art market tends to be responsive to the economic situation
22. The Fine Art Fund advise that investors need to spread their art allocation because .
[A] Old Masters always promise a high return of profits
[B] different art works are valued differently in the market
[C] buying art works is always a good way of investment
[D] people should be aware of the risks of investment in art
23. The returns on contemporary art indicate .
[A] people have come to see the value of contemporary art
[B] the economic prospects are positively assessed
[C] there is a growing interest in alternative art investments
[D] investors have learned to spread their art allocation
24. We can learn from the text that .
[A] the two NYU professors advise people against buying Old Masters
[B] cautious investors are advised to stay away from the art market
[C] the real estate market is a good indicator of the art market
[D] art investors should not speculate in the art market
25. What is the possible attitude of Mr Moses toward investing in contemporary art?
[A] Investors in contemporary art should be more patient.
[B] A supplicated analysis of the art market is always a must.
[C] Contemporary art seems to promise greater returns of profits.
[D] It is dangerous to speculate in the contemporary art market.