V. Fill each blank with one suitable word. 

BEE KEEPING

Honey, the sweetest …1… natural foods, was the main source of …2… in ancient times. It was highly prized both as a foodstuff …3… a medicine, …4… those days, the art of bee keeping was known only …5… a select few members of secret societies, who were treated …6… great respect. Nowadays, of course, bee-keeping is not surrounded by such mystique. It is a popular pastime …7…can be taken up by anyone with a …8… money to spend and some space in their garden.

It …9… be wrong to say that bees are domestic creatures, farmed …10… the same way as cows or sheep. The beekeeper provides a home for the bees, and …11… care of them, but the bees …12… with. In a sense, the relationship …13… bee and beekeeper is one of mutual exploitation. Both benefit …14… the relationship, and …15… one is a slave to the other.

Many people …16… an irrational fear of bees. Their anxiety is usually based …17… an ignorance of …18… true nature of these adorable insects. They are not naturally aggressive creatures. True, their sting is rather painful, but it is seldom …19… serious for the victim as it is for the bee, who dies soon …20…

Taj Mahal is the most famous of all India's ancient buildings and a price monument of Mughl Art. It was built as the mausoleum of Arjumand Banu Bagam , known as Mumtaz Mahal , wife of Shan Jahan. The Taj Mahal was built on the Yamuna river in 1630. It took 22 years to construct ; 20,000 men was said to have been involved in the project . The tomb is over 73 meters high , and is lavishly decorated with Koranic inscriptions and carved relidefs 

True of False 

1. Taj Mahal is an ancient mausoleum ..........

2. Taj Mahal was built for Mughal ........

3. Taj Mahal was completed in 1652 .....

4. Taj Mahal is decorated with words in the Korean 

5. What does this passage say about ? 

A. Taj Mahal 

B. India 

C. Shan Jahan 

D. Yamuna 

6. What does ''it'' in line 3 refer to ? 

A. mausoleum 

B. river 

C. house 

D. temple  

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

What does paragraph 1 mainly discuss?

A. Design elements in the Art Nouveau style

B. The popularity of the Art Nouveau style

C. Production techniques for art glass

D. Color combinations typical of the Art Nouveau style

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

Para.1 mentions that Art Nouveau glass was sometimes similar to which aspect of ancient buried glass______.

A. The distortion of the glass

B. The appearance of the glass surface

C. The shapes of the glass objects

D. The size of the glass objects

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

The word “one” refers to______.

A. century.

B. development.

C. style.

D. coloration.

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

It can be inferred from the passage that one reason Functionalism became popular was that it______.

A. clearly distinguished between art and design

B. appealed to people who liked complex painted designs

C. reflected a common desire to break from the past

D. was easily interpreted by the general public

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

According to the passage, an object made in the Art Nouveau style would most likely include ______.

A. a flowered design.

B. bright colors.

C. modern symbols.

D. a textured surface.

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

The word “overtaken” in line 19 is closest in meaning to______.

A. surpassed

B. inclined

C. expressed

D. applied

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

Paragraph 3 supports which of the following statements about Functionalism?

A. Its design concept avoided geometric shapes.

B. It started on a small scale and then spread gradually.

C. It was a major force in the decorative arts before the First World War.

D. It was not attractive to architects all designers.