Tập nghiệm của bất phương trình  l o g 2 ( x + 1 ) < 1 là

A.  ( - 1 ; + ∞ ) .

B.  ( - ∞ ; 1 ) .

C. (-1;2).

D. (-1;1).

Tính gia tốc hướng tâm của Mặt Trăng chuyển động xung quanh Trái Đất. Biết khoảng cách giữa tâm Trái Đất và tâm Mặt Trăng là 3 , 84 . 10 8 m và chu kì là 27,32 ngày đêm.

A. 2 , 7 . 10 - 3   m / s 2

B.  5 , 4 . 10 - 3   m / s 2

C.  4 , 5 . 10 - 3   m / s 2

D.  7 , 3 . 10 - 3   m / s 2

Một tế bào con người chứa 22 nhiễm sắc thể thường và một nhiễm sắc thể Y là

A. một tinh trùng.

B. một quả trứng.

C. một hợp tử.

D. một tế bào soma của nam.

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 from 53 to 62.

History books recorded that the first film with sound was The Jazz Singer in 1927. But sound films, or talkies, did not suddenly appear after years of silent screenings. From the earliest public performances in 1896, films were accompanied by music and sound effects. These were produced by a single pianist, a small band, or a full-scale orchestra; large movie theatres could buy sound-effect machines. Research into sound that was reproduced at exactly at the same time as the pictures – called “synchronized sound” – began soon after the very first films were shown. With synchronized sound, characters on the movie screen could sing and speak. As early as 1896, the newly invented gramophone, which played a large disc carrying music and dialogue, was used as a sound system. The biggest disadvantage was that the sound and pictures could become unsynchronized if, for example, the gramophone needle jumped or if the speed of the projector changed. This system was only effective for a single song or dialogue sequence.

In the “sound-on-film” system, sound was recorded as a series of marks on celluloid which could be read by an optical sensor. These signals would be placed on the film alongside the image, guaranteeing synchronization. Short feature films were produced in this way as early as 1922. This system eventually brought us “talking pictures”.

According to the passage, films using sound effects were screened_________ .

A. before 1896              

B. as early as 1896        

C. as early as 1922        

D. in 1927

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 “it” in line 13 refers to

A. the picture 

B. perspective 

C. angle

D. the object