ĐỀ THI THỬ THPTQG MÔN ANH ĐỀ SỐ 8

Mark the letter A, B, C or D on your answer sheet to indicate the word that differs from the rest in the position of the main stress in each of the following questions.

Question 1. A. contain B. purchase C. reflect D. suggest

Question 2. A. facilitate B. dimensional C. historical D. instrumental

Mark the letter A, B, C or D on your answer sheet to indicate the word whose underlined part differs from the other three in pronunciation in each of the following questions.

Question 3. A. change B. generous C. gear D. jealous

Question 4. A. lost B. post C. loan D. pole

Mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.

Question 5. The small, ______ farms of New England were not appropriate for the Midwest.

Question 6. The access __________ education and the change __________ economic status have given women more freedom.

A. in / in B. at / from C. to / in D. in / to

Question 7. He really deserved the award because he performed _________ what was expected of him.

Question 8. _______the phone rang later that night did Anna remember the appointment.

Question 9. Everything is __________ you. I cannot make __________ my mind yet.

A.out off / on B. up to /up C. away from / for D. on for / off

Question 10. ______ his brother, Mike is active and friendly.

Question 11. It was announced that neither the passengers nor the driver _________in the crash.

Question 12. I phoned the company, who ______ me that my goods had been dispatched.

Question 13. When the car was invented, I don’t think anyone could have predicted______it would change the world.

Question 14. Dry salt lakes _________ 70 kilometers long and 15 kilometers wide lie _________ long dunes __________ crests 20 meters high.

Question 15. He acted in an extremely__________ manner, which made him very unpopular.

Question 16. Have they __________ the "No Smoking" sign?

Mark the letter A, B, C, or D on your answer sheet to indicate the most suitable response to complete each of the following exchanges.

Question 17. Daisy: “What an attractive hair style you have got, Mary!” - Mary: “_______”

Question 18. Dick: “Sorry, Brian is not here.” - Peter: “_________”

Mark the letter A, B, C or D on your answer sheets to indicate the word (s) SIMILAR in meaning to the underlined word (s) in each of the following questions.

Question 19. By the end of the storm, the hikers had depleted even their emergency stores.

Question 20. Originally the builders have me a price of $5,000, but now they say they underestimated it, and now it’s going to be at least $8,000.

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct word or phrase for each of the blanks.

School exams are, generally speaking, the first kind of test we take. They find out how much knowledge we have gained. But do they really show how intelligent we are? After all, isn’t it a fact that some people who are very academically successful don’t have any common sense.

Intelligence is the speed ___(21)_____ which we can understand and react to new situations and it is usually tested by logic puzzles. Although scientist are now preparing ___(22)_____ computer technology that will be able to “read” our brains, for the present tests are still the most popular ways of measuring intelligence.

A person’s IQ is their intelligence as it is measured by a special test. The most common IT tests are ___(23)_____ by Mensa, an organization that was found in England in 1946. By 1976, it had 1,300 members in Britain. Today there are 44,000 in Britain and 100,000 worldwide largely in the US.

People taking the tests are judged in ___(24)_____ to an average score of 100, and those who score over 148 are entitled to join Mensa. This works out at 2 percent of the population. Anyone from the age of six can take tests. All the questions are straightforward and most people can answer them if allowed enough time. But that’s the problem; the whole ___(25)_____ of the test is that they’re against the clock.

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct word or phrase for each of the blanks.

School exams are, generally speaking, the first kind of test we take. They find out how much knowledge we have gained. But do they really show how intelligent we are? After all, isn’t it a fact that some people who are very academically successful don’t have any common sense.

Intelligence is the speed ___(21)_____ which we can understand and react to new situations and it is usually tested by logic puzzles. Although scientist are now preparing ___(22)_____ computer technology that will be able to “read” our brains, for the present tests are still the most popular ways of measuring intelligence.

A person’s IQ is their intelligence as it is measured by a special test. The most common IT tests are ___(23)_____ by Mensa, an organization that was found in England in 1946. By 1976, it had 1,300 members in Britain. Today there are 44,000 in Britain and 100,000 worldwide largely in the US.

People taking the tests are judged in ___(24)_____ to an average score of 100, and those who score over 148 are entitled to join Mensa. This works out at 2 percent of the population. Anyone from the age of six can take tests. All the questions are straightforward and most people can answer them if allowed enough time. But that’s the problem; the whole ___(25)_____ of the test is that they’re against the clock.

School exams are, generally speaking, the first kind of test we take. They find out how much knowledge we have gained. But do they really show how intelligent we are? After all, isn’t it a fact that some people who are very academically successful don’t have any common sense.

Intelligence is the speed ___(21)_____ which we can understand and react to new situations and it is usually tested by logic puzzles. Although scientist are now preparing ___(22)_____ computer technology that will be able to “read” our brains, for the present tests are still the most popular ways of measuring intelligence.

A person’s IQ is their intelligence as it is measured by a special test. The most common IT tests are ___(23)_____ by Mensa, an organization that was found in England in 1946. By 1976, it had 1,300 members in Britain. Today there are 44,000 in Britain and 100,000 worldwide largely in the US.

People taking the tests are judged in ___(24)_____ to an average score of 100, and those who score over 148 are entitled to join Mensa. This works out at 2 percent of the population. Anyone from the age of six can take tests. All the questions are straightforward and most people can answer them if allowed enough time. But that’s the problem; the whole ___(25)_____ of the test is that they’re against the clock.

School exams are, generally speaking, the first kind of test we take. They find out how much knowledge we have gained. But do they really show how intelligent we are? After all, isn’t it a fact that some people who are very academically successful don’t have any common sense.

Intelligence is the speed ___(21)_____ which we can understand and react to new situations and it is usually tested by logic puzzles. Although scientist are now preparing ___(22)_____ computer technology that will be able to “read” our brains, for the present tests are still the most popular ways of measuring intelligence.

A person’s IQ is their intelligence as it is measured by a special test. The most common IT tests are ___(23)_____ by Mensa, an organization that was found in England in 1946. By 1976, it had 1,300 members in Britain. Today there are 44,000 in Britain and 100,000 worldwide largely in the US.

People taking the tests are judged in ___(24)_____ to an average score of 100, and those who score over 148 are entitled to join Mensa. This works out at 2 percent of the population. Anyone from the age of six can take tests. All the questions are straightforward and most people can answer them if allowed enough time. But that’s the problem; the whole ___(25)_____ of the test is that they’re against the clock.

School exams are, generally speaking, the first kind of test we take. They find out how much knowledge we have gained. But do they really show how intelligent we are? After all, isn’t it a fact that some people who are very academically successful don’t have any common sense.

Intelligence is the speed ___(21)_____ which we can understand and react to new situations and it is usually tested by logic puzzles. Although scientist are now preparing ___(22)_____ computer technology that will be able to “read” our brains, for the present tests are still the most popular ways of measuring intelligence.

A person’s IQ is their intelligence as it is measured by a special test. The most common IT tests are ___(23)_____ by Mensa, an organization that was found in England in 1946. By 1976, it had 1,300 members in Britain. Today there are 44,000 in Britain and 100,000 worldwide largely in the US.

People taking the tests are judged in ___(24)_____ to an average score of 100, and those who score over 148 are entitled to join Mensa. This works out at 2 percent of the population. Anyone from the age of six can take tests. All the questions are straightforward and most people can answer them if allowed enough time. But that’s the problem; the whole ___(25)_____ of the test is that they’re against the clock.

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question 26. The writer describes the backstage area in order to show

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question 27. The word blares out in paragraph 4 is closest in meaning to

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question 28. What does the writer highlight about the show in the third paragraph?

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question 29. The word them in paragraph 5 refers to

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question 30. For Robin Cousins, the key point when rehearsing skating routines is

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question 31. Cousins believes that he can meet the challenge of producing shows for different audiences

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question 32. What is meant by 'the hard way'?

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question 33. What conclusion does the writer draw about Holiday on Ice?

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions

Before the 1500’s, the western plains of North America were dominated by farmers. One group, the Mandans, lived in the upper Missouri River country, primarily in present – day North Dakota. They had large villages of houses built close together. The tight arrangement enabled the Mandans to protect themselves more easily from the attacks of others who might seek to obtain some of the food these highly capable farmers stored from one year to the next.

The women had primary responsibility for the fields. They had to exercise considerable skill to produce the desired results, for their northern location meant fleeting growing seasons. Winter often lingered; autumn could be ushered in by severe frost. For good measure, during the spring and summer, drought, heat, hail, grasshoppers, and other frustrations might await the wary grower.

Under such conditions, Mandan women had to grow maize capable of weathering adversity. They began as early as it appeared feasible to do so in the spring, clearing the land, using fire to clear stubble from the fields and then planting. From this point until the first green corn could be harvested, the crop required labor and vigilance.

Harvesting proceeded in two stages. In August the Mandans picked a smaller amount of the crop before it had matured fully. This green corn was boiled, dried and shelled, with some of the maize slated for immediate consumption and the rest stored in animal – skin bags. Later in the fall, the people picked the rest of the corn. They saved the best of the harvest for seeds or for trade, with the remainder eaten right away or stored for alter use in underground reserves. With appropriate banking of the extra food, the Mandans protected themselves against the disaster of crop failure and accompany hunger.

The woman planted another staple, squash, about the first of June, and harvested it near the time of the green corn harvest. After they picked it, they sliced it, dried it, and strung the slices before they stored them. Once again, they saved the seeds from the best of the year’s crop. The Mandans also grew sunflowers and tobacco; the latter was the particular task of the older men.

Question 34. What is the main topic of the passage ?

Before the 1500’s, the western plains of North America were dominated by farmers. One group, the Mandans, lived in the upper Missouri River country, primarily in present – day North Dakota. They had large villages of houses built close together. The tight arrangement enabled the Mandans to protect themselves more easily from the attacks of others who might seek to obtain some of the food these highly capable farmers stored from one year to the next.

The women had primary responsibility for the fields. They had to exercise considerable skill to produce the desired results, for their northern location meant fleeting growing seasons. Winter often lingered; autumn could be ushered in by severe frost. For good measure, during the spring and summer, drought, heat, hail, grasshoppers, and other frustrations might await the wary grower.

Under such conditions, Mandan women had to grow maize capable of weathering adversity. They began as early as it appeared feasible to do so in the spring, clearing the land, using fire to clear stubble from the fields and then planting. From this point until the first green corn could be harvested, the crop required labor and vigilance.

Harvesting proceeded in two stages. In August the Mandans picked a smaller amount of the crop before it had matured fully. This green corn was boiled, dried and shelled, with some of the maize slated for immediate consumption and the rest stored in animal – skin bags. Later in the fall, the people picked the rest of the corn. They saved the best of the harvest for seeds or for trade, with the remainder eaten right away or stored for alter use in underground reserves. With appropriate banking of the extra food, the Mandans protected themselves against the disaster of crop failure and accompany hunger.

The woman planted another staple, squash, about the first of June, and harvested it near the time of the green corn harvest. After they picked it, they sliced it, dried it, and strung the slices before they stored them. Once again, they saved the seeds from the best of the year’s crop. The Mandans also grew sunflowers and tobacco; the latter was the particular task of the older men.

Question 35. The Mandans built their houses close together in order to ____________.

Before the 1500’s, the western plains of North America were dominated by farmers. One group, the Mandans, lived in the upper Missouri River country, primarily in present – day North Dakota. They had large villages of houses built close together. The tight arrangement enabled the Mandans to protect themselves more easily from the attacks of others who might seek to obtain some of the food these highly capable farmers stored from one year to the next.

The women had primary responsibility for the fields. They had to exercise considerable skill to produce the desired results, for their northern location meant fleeting growing seasons. Winter often lingered; autumn could be ushered in by severe frost. For good measure, during the spring and summer, drought, heat, hail, grasshoppers, and other frustrations might await the wary grower.

Under such conditions, Mandan women had to grow maize capable of weathering adversity. They began as early as it appeared feasible to do so in the spring, clearing the land, using fire to clear stubble from the fields and then planting. From this point until the first green corn could be harvested, the crop required labor and vigilance.

Harvesting proceeded in two stages. In August the Mandans picked a smaller amount of the crop before it had matured fully. This green corn was boiled, dried and shelled, with some of the maize slated for immediate consumption and the rest stored in animal – skin bags. Later in the fall, the people picked the rest of the corn. They saved the best of the harvest for seeds or for trade, with the remainder eaten right away or stored for alter use in underground reserves. With appropriate banking of the extra food, the Mandans protected themselves against the disaster of crop failure and accompany hunger.

The woman planted another staple, squash, about the first of June, and harvested it near the time of the green corn harvest. After they picked it, they sliced it, dried it, and strung the slices before they stored them. Once again, they saved the seeds from the best of the year’s crop. The Mandans also grew sunflowers and tobacco; the latter was the particular task of the older men.

Question 36. Why does the author believe that the Mandans were skilled farmers?

Before the 1500’s, the western plains of North America were dominated by farmers. One group, the Mandans, lived in the upper Missouri River country, primarily in present – day North Dakota. They had large villages of houses built close together. The tight arrangement enabled the Mandans to protect themselves more easily from the attacks of others who might seek to obtain some of the food these highly capable farmers stored from one year to the next.

The women had primary responsibility for the fields. They had to exercise considerable skill to produce the desired results, for their northern location meant fleeting growing seasons. Winter often lingered; autumn could be ushered in by severe frost. For good measure, during the spring and summer, drought, heat, hail, grasshoppers, and other frustrations might await the wary grower.

Under such conditions, Mandan women had to grow maize capable of weathering adversity. They began as early as it appeared feasible to do so in the spring, clearing the land, using fire to clear stubble from the fields and then planting. From this point until the first green corn could be harvested, the crop required labor and vigilance.

Harvesting proceeded in two stages. In August the Mandans picked a smaller amount of the crop before it had matured fully. This green corn was boiled, dried and shelled, with some of the maize slated for immediate consumption and the rest stored in animal – skin bags. Later in the fall, the people picked the rest of the corn. They saved the best of the harvest for seeds or for trade, with the remainder eaten right away or stored for alter use in underground reserves. With appropriate banking of the extra food, the Mandans protected themselves against the disaster of crop failure and accompany hunger.

The woman planted another staple, squash, about the first of June, and harvested it near the time of the green corn harvest. After they picked it, they sliced it, dried it, and strung the slices before they stored them. Once again, they saved the seeds from the best of the year’s crop. The Mandans also grew sunflowers and tobacco; the latter was the particular task of the older men.

Question 37. Which of the following processes does the author imply was done by both men and women?

Before the 1500’s, the western plains of North America were dominated by farmers. One group, the Mandans, lived in the upper Missouri River country, primarily in present – day North Dakota. They had large villages of houses built close together. The tight arrangement enabled the Mandans to protect themselves more easily from the attacks of others who might seek to obtain some of the food these highly capable farmers stored from one year to the next.

The women had primary responsibility for the fields. They had to exercise considerable skill to produce the desired results, for their northern location meant fleeting growing seasons. Winter often lingered; autumn could be ushered in by severe frost. For good measure, during the spring and summer, drought, heat, hail, grasshoppers, and other frustrations might await the wary grower.

Under such conditions, Mandan women had to grow maize capable of weathering adversity. They began as early as it appeared feasible to do so in the spring, clearing the land, using fire to clear stubble from the fields and then planting. From this point until the first green corn could be harvested, the crop required labor and vigilance.

Harvesting proceeded in two stages. In August the Mandans picked a smaller amount of the crop before it had matured fully. This green corn was boiled, dried and shelled, with some of the maize slated for immediate consumption and the rest stored in animal – skin bags. Later in the fall, the people picked the rest of the corn. They saved the best of the harvest for seeds or for trade, with the remainder eaten right away or stored for alter use in underground reserves. With appropriate banking of the extra food, the Mandans protected themselves against the disaster of crop failure and accompany hunger.

The woman planted another staple, squash, about the first of June, and harvested it near the time of the green corn harvest. After they picked it, they sliced it, dried it, and strung the slices before they stored them. Once again, they saved the seeds from the best of the year’s crop. The Mandans also grew sunflowers and tobacco; the latter was the particular task of the older men.

Question 38. The word “disaster” in paragraph 4 is closest in meaning to __________.

Before the 1500’s, the western plains of North America were dominated by farmers. One group, the Mandans, lived in the upper Missouri River country, primarily in present – day North Dakota. They had large villages of houses built close together. The tight arrangement enabled the Mandans to protect themselves more easily from the attacks of others who might seek to obtain some of the food these highly capable farmers stored from one year to the next.

The women had primary responsibility for the fields. They had to exercise considerable skill to produce the desired results, for their northern location meant fleeting growing seasons. Winter often lingered; autumn could be ushered in by severe frost. For good measure, during the spring and summer, drought, heat, hail, grasshoppers, and other frustrations might await the wary grower.

Under such conditions, Mandan women had to grow maize capable of weathering adversity. They began as early as it appeared feasible to do so in the spring, clearing the land, using fire to clear stubble from the fields and then planting. From this point until the first green corn could be harvested, the crop required labor and vigilance.

Harvesting proceeded in two stages. In August the Mandans picked a smaller amount of the crop before it had matured fully. This green corn was boiled, dried and shelled, with some of the maize slated for immediate consumption and the rest stored in animal – skin bags. Later in the fall, the people picked the rest of the corn. They saved the best of the harvest for seeds or for trade, with the remainder eaten right away or stored for alter use in underground reserves. With appropriate banking of the extra food, the Mandans protected themselves against the disaster of crop failure and accompany hunger.

The woman planted another staple, squash, about the first of June, and harvested it near the time of the green corn harvest. After they picked it, they sliced it, dried it, and strung the slices before they stored them. Once again, they saved the seeds from the best of the year’s crop. The Mandans also grew sunflowers and tobacco; the latter was the particular task of the older men.

Question 39. The word “them” in the last paragraph refers to _________.

Before the 1500’s, the western plains of North America were dominated by farmers. One group, the Mandans, lived in the upper Missouri River country, primarily in present – day North Dakota. They had large villages of houses built close together. The tight arrangement enabled the Mandans to protect themselves more easily from the attacks of others who might seek to obtain some of the food these highly capable farmers stored from one year to the next.

The women had primary responsibility for the fields. They had to exercise considerable skill to produce the desired results, for their northern location meant fleeting growing seasons. Winter often lingered; autumn could be ushered in by severe frost. For good measure, during the spring and summer, drought, heat, hail, grasshoppers, and other frustrations might await the wary grower.

Under such conditions, Mandan women had to grow maize capable of weathering adversity. They began as early as it appeared feasible to do so in the spring, clearing the land, using fire to clear stubble from the fields and then planting. From this point until the first green corn could be harvested, the crop required labor and vigilance.

Harvesting proceeded in two stages. In August the Mandans picked a smaller amount of the crop before it had matured fully. This green corn was boiled, dried and shelled, with some of the maize slated for immediate consumption and the rest stored in animal – skin bags. Later in the fall, the people picked the rest of the corn. They saved the best of the harvest for seeds or for trade, with the remainder eaten right away or stored for alter use in underground reserves. With appropriate banking of the extra food, the Mandans protected themselves against the disaster of crop failure and accompany hunger.

The woman planted another staple, squash, about the first of June, and harvested it near the time of the green corn harvest. After they picked it, they sliced it, dried it, and strung the slices before they stored them. Once again, they saved the seeds from the best of the year’s crop. The Mandans also grew sunflowers and tobacco; the latter was the particular task of the older men.

Question 40. Throughout the passage, the author implies that the Mandans _________.

Mark the letter A, B, C or D on your answer sheet to indicate the underlined part that needs correction in each of the following questions.

Question 41. Economists have tried to discourage the use of the phrase “underdeveloped nation and encouraging the more accurate phase “developing nation” in order to suggest an ongoing process.

Question 42. Being the biggest expanse of brackish water in the world, the Baltic Sea is of special interesting to scientists.

Question 43. It is time the government helped the unemployment to find some jobs.

Mark the letter A, B, C, or D on your answer sheet to indicate the word(s) OPPOSITE in meaning to the underlined word(s) in each of the following questions

Question 44. Why are you being so arrogant?

Question 45. Strongly advocating health foods, Jane doesn’t eat any chocolate.

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that best combines each pair of sentences in the following questions.

Question 46Nobody is helping me, so I can’t finish my science project on time.

Question 47. Although they taste nearly the same, both Sprite and Mountain Dew are two separate citrus – flavoured soft drinks made by different companies.

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that is CLOSEST in meaning to each of the following questions

Question 48. I had no idea Clark spoke French until we went to Bordeaux.

Question 49. One of the things I hate is noisy children.

Question 50. People who are unhappy sometimes try to compensate by eating too much.