Read the following passage and mark the letter (A, B, C or D) on your answer sheet to indicate the correct answer to each for the questions.
During the Middle Ages, societies were based on military relationships, as landowners formed their own foot armies into which they drafted their tenants and hired hands. The infantry that fought its way forward against the opposition engaged in heavy ground battles that proved costly in the ratio of losses to wins. These soldiers carried darts, javelins, and slings to be used before closing ranks with the enemy, although their swords and halberds delivered crushing blows on contact. Such armed forces were active for limited periods of time and had a predominantly defensive function, displayed in hand-to-hand combat.
Because this sporadic and untrained organization was ineffective, the ruling classes began to hire mercenaries who were generously compensated for their tasks and subject to contractual terms of agreement. The greatest idiosyncrasy of a hired military force was that the troops sometimes deserted their employers if they could bank on a higher remuneration from the opposition. The Swiss pikemen became the best-known mercenaries of the late Middle Ages. In the 1300s, they practically invented a crude body armor of leather and quilted layered head gear with nose and skull plates, ornamented with crests. Their tower shields proved indispensable against a shower of arrows, and their helmets progressed from cone cups to visors hinged at the temples. As their notoriety increased, so did their wages, and eventually they were rounded into military companies that later grew into the basic units in almost all armies. During the same period, the first full-size army of professional soldiers emerged in the Ottoman Empire. What set these troops apart from other contemporary armies was that these soldiers remained on duty in peacetime.
Companies of mercenaries were employed on a permanent basis in 1445, when King Charles VII created a regular military organization, complete with a designated hierarchy.. Gunpowder accelerated the emergence of military tactics and strategy that ultimately affected the conceptualization of war on a broad scale. Cannons further widened the gap between the attacking and the defending lineups, and undermined the exclusivity of contact battles.
On a permanent basis, companies of mercenaries were taken on in.............




A.1300
B.1440
C.1445
D.1335

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Read the following passage and mark the letter (A, B, C or D) on your answer sheet to indicate the correct answer to each for the question from 61 to 70.
The Mayo Clinic in Rochester, Minnesota, where staff physicians practice a special integrated approach to patient care, is one of the lasgest medical facilities in the world. The clinic staff consists of a 12-member, committee-based of governors and 900 physicians and medical personnel whose records are updated by approximately 200 auxiliary personnel. About 800 resident doctors assist the full-time physicians as a phase of their training in medicine and surgery while they acquire their specializations. The Mayo approach to treatment has been hailed for its almost miraculous patient recovery rate.
William Worral Mayo was born in Manchester, England, immigrated to the United States in 1845, and immediately began his medical training. In 1860, he took an active part in organizing the Minnesota Territory and accepted the position of an Army surgeon during a Sioux Indian outbreak. This appointment became a stepping stone for his advancement to the post of provost surgeon for the southern portion of the state in 1863. His personal dedication and courage became legendary when a cyclone struck Rochester, and he was placed in charge of an emergency hospital.
William Worral Mayo provided crucial assistance to his sons in launching their team practice in 1889, while they were holding positions at St. Mary’s Hospital. William James became recognized for his surgical skill in gallstone, cancer, and abdominal operations. He and his brother, Charles Horace, founded the Mayo Graduate School of Medicine and donated $1.5 million to establish the foundation for contributions. Charles William, the son of Charles Horace Mayo, became a member of the board of governors at the Mayo Graduate School and an alternate delegate to the United Nations General Assembly before retiring from the clinic in 1963.
William James Mayo presided in the American Medical Association and served in the Army military corps as a brigadier general in the medical reserve. Charles Horace was a professor of surgery and a health officer of Rochester subsequent to serving in the armed forces between 1914 and 1918. The Mayo practice became known far and wide for its success in surgical procedures. In 1914, the practice moved into its own medical center, and today the number of patients equals approximately 280,000 per annum. Since the clinic opened in 1907, 4.5 million patients have been treated there.
According to the passage, who were the first physicians in the clinic?




A.William Worral Mayo and Charles Horace Mayo
B.William James Mayo and Charles Horace Mayo
C.William Worral Mayo and William James Mayo
D.William James Mayo and Charles William Mayo

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.
Source (TOEFL reading)
What does Cousins suggest in paragraph 5 about skating in shows?




A.It can be as competitive as other forms of skating
B.It enables skaters to visit a variety of places
C.It is particularly well paid
D.It allows skaters to try out a range of ideas

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.
Source (TOEFL reading)
The word blares out in paragraph 3 is closest in meaning to




A.seeps out
B.sounds beautifully
C.resounds loudly
D.rings