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.

If we believe that clothing has to do with covering the body, and costume with the choice of a particular form of garment for a particular use, then we can say that clothing depends primarily on such physical conditions as climate, health, and textile manufacture, whereas costume reflects social factors such as religious beliefs, aesthetics, personal status, and the wish to be distinguished from or to emulate our fellows.

The ancient Greeks and the Chinese believed that we first covered our bodies for some physical reasons such as protecting ourselves from the elements. Ethnologists and psychologists have invoked psychological reasons: modesty in the case of the ancients, and taboo, magical influence and the desire to please for the moderns.

In early history, costume must have fulfilled a function beyond that of simple utility, perhaps through some magical significance, investing primitive man with the attributes of other creatures. Ornaments identified the wearer with animals, gods, heroes or other men. This identification remains symbolic in more sophisticated societies. We should bear in mind that the theater has its distant origins in sacred performances, and in all periods children at play have worn disguises, so as to adapt gradually to adult life.

Costume helped inspire fear or impose authority. For a chieftain, costume embodied attributes expressing his power, while a warrior’s costume enhanced his physical superiority and suggested he was superhuman. In more recent times, professional or administrative costume has been devised to distinguish the wearer and to express personal or delegated authority; this purpose is seen clearly in the judge’s robes and the police officer’s uniform. Costume denotes power, and since power is usually equated with wealth, costume came to be an expression of social caste and material prosperity. Military uniform denotes rank and is intended to intimidate, to protect the body and to express membership in a group. At the bottom of the scale, there are such compulsory costumes as the convict’s uniform. Finally, costume can possess a religious significance that combines various elements: an actual or symbolic identification with a god, the desire to express this in earthly life, and the desire to enhance the wearer’s position of respect.

Why does the author mention the police officer’s uniform in the last paragraph?

A. To show how costume signifies authority

B. To illustrate the aesthetic function of costume

C. To suggest that police are superhuman

D. To identify the wearer with a hero

\(A=x^2-3x\sqrt{y}+2,25y-0,25y\)

\(A=\left(x-1,5\sqrt{y}\right)^2-0,5^2\)

\(A=\left(x-1,5\sqrt{y}+0,5\right)\left(x-1,5\sqrt{y}-0,5\right)\)

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

The word “he” in line 25 refers to

A. Crivelli

B. Cezanne  

C. Picasso 

D. Van Gogh