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  PART 4 READING COMPREHENSION (60minutes, 30 points)

  Directions: Below each of the following passages you will find some questions or incomplete statements. Each question or statement is followed by four choices marked A, B, C and D. Read each passage carefully, and then select the choice that best answers the question or completes the statement. Mark the letter of your choice with a single bar across the square brackets on your Machine-scoring Answer Sheet.


  The man who invented Coca-cola was not a native Atlantan, but on the day of his funeral every drugstore in town testimonially shut up shop. He was John Styth Pemberton, born in 1833 in Knoxville, Georgia, eighty miles away. Sometimes known as Doctor, Pemberton was a pharmacist who, during the Civil War, led a cavalry troop under General Joe Wheelrer. He settled in Atlanta in 1869, and soon began brewing such patent medicines as Triplex Liver Pills and Globe of Flower Cough Syrup. In 1885, he registered a trademark for something called French Wine Coca-Ideal Nerve and Tonic Stimulant, a few months later he formed the Pemberton Chemical Company, and recruited the services of a bookkeeper named Frank M. Robinson, who not only had a good head for figures but, attached to it, so exceptional a nose that he could audit the composition of a batch of syrup merely by sniffling it. In 1886-a year in which, as contemporary Coca-Coca officials like to point our, Conan Doyle unveiled Sherlock Holmes and France unveiled the Statue of Liberty-Pemberton unveiled a syrup that he called Coca-Coca. It was a modification of his French Wine Coca. He had taken our the wine and added a pinch of caffeine, and, when the end product tasted awful, had thrown in some extract of cola nut and a few other oils, blending the mixture in a three-legged iron pot in his back yard and swishing it around with an oar. He distributed it to soda fountains in used beer bottles, and Robinson, with his glowing bookkeeper’s script, presently devised a label, on which “Coca-Cola” was written in the fashion that is still employed. Pemberton looked upon his mixture less as a refreshment than as a headache cure, especially for people whose headache could be traced to over-indulgence.

  On a morning late in 1886,one such victim of the night before dragged himself into an Atlanta drugstore and asked for a doolop of Cola-Cola. Druggists customarily stirred a teaspoonful of syrup into a glass of water, but in this instance the man on duty was too lazy to walk to the fresh-water tap, a couple of feet off. Instead, he mixed the syrup with some soda water, which was closer at hand. The suffering customer perked up almost at once, and word quickly spread that the best Coca-Cola was a fizzy one.

  64. What dose the passage tell us about John Styth Pemberton?

  A. He was highly respected by Atlantans

  B. He ran a drug store that also sells wine.

  C. He had been a doctor until the Civil War.

  D. He made a lot of money with his pharmacy.

  62. Which of the following was unique to Frank M. Robinson, working with the Pemberton’s Company?

  A. Skills to make French wine

  B. Talent for drawing pictures

  C. An acute sense of smell.

  D. Ability to work with numbers.

  63.Why was the year 1886 so special to Pemberton?

  A. He took to doing a job like Sherlock Holmes’s

  B. He brought a quite profitable product into being.

  C. He observed the founding ceremony of Statue of Liberty.

  D. He was awarded by Coca-Cola for his contribution

  64.One modification made of French Wine Coca formula was__________

  A. used beer bottles were chosen as containers

  B. the amount of caffeine in it was increased

  C. it was blended with oils instead of water

  D. Cola nut extract was added to taste

  65. According to the passage, Coca-Cola was in the first place prepared especially for ________

  A. the young as a soft drink

  B. a replacement of French Wine Coca

  C. the relief of a hangover

  D. a cure for the common headache

  66. The last paragraph mainly tells___________

  A. the complaint against the lazy shop-assistant

  B. a real test of Coca-cola as a headache cure

  C. the mediocre service of the drugstore

  D. a happy accident that gave birth to Coca-Cola

  Passage 2

  Between 1833 and 1837, the publishers of a “penny press” proved that a low-priced paper, edited to interest ordinary people, could win what amounted to a mass circulation for the times and thereby attract an advertising volume that would make it independent. These were papers for the common citizen and were not tied to the interests of the business community, like the mercantile press, or dependent for financial support upon political party allegiance. It did not necessarily follow that all the penny papers would be superior in their handing of the news and opinion functions. But the door was open for some to make important journalistic advances.

  The first offerings of a penny paper tended to be highly sensational; human interest stories overshadowed important news, and crime and sex stories were written in full detail. But as the penny paper attracted readers from various social and economic brackets, its sensationalism was modified. The ordinary reader came to want a better product, too. A popularized style of writing and presentation of news remained, but the penny paper became a respectable publication that offered significant information and editorial leadership. Once the first of the successful penny papers had shown the way, later ventures could enter the competition at the higher level of journalistic responsibility the pioneering papers had reached.

  This was the pattern of American newspapers in the years following the founding of the New York Sun in 1833. The sun, published by Benjamin Day, entered the lists against 11 other dailies. It was tiny in comparison; but it was bright and readable, and it preferred human interest features to important but dull political speech reports. It had a police reporter writing squibs of crime news in the style already proved successful by some other papers. And, most important, it sold for a penny, whereas its competitors sold for six cents. By 1837 the sun was printing 30,000 copies a day, which was more than the total of all 11 New York daily newspapers combined when the sun first appeared. In those same four years James Gordon Bennett brought out his New York Herald (1835), and a trio of New York printers who were imitating Day’s success founded the Philadelphia Public ledger (1836) and the Baltimore sun (1837).The four penny sheets all became famed newspapers.

  67. What does the first paragraph say about the “penny press?”

  A. It was known for its in-depth news reporting

  B. It had an involvement with some political parties.

  C. It depended on the business community for survival.

  D. It aimed at pleasing the general public.

  68. In its early days, a penny paper often ___________--

  A. paid much attention to political issues

  B. provided stories that hit the public taste

  C. offered penetrating editorials on various issues

  D. covered important news with inaccuracy

  69. As the readership was growing more diverse, the penny paper____________

  A. improved its content

  B. changed its writing style

  C. developed a more sensational style

  D. became a tool for political parries

  70. The underlined word “ventures” in Paragraph 2 can best be replaced by ___________

  A. editors

  B. reporters

  C. newspapers

  D. companies

  71. What is true about the Philadelphia Public Ledger and the Baltimore sun.?

  A. They turned out to be failures.

  B. They were later purchased by James Gordon Bennett.

  C. They were also founded by Benjamin Day.

  D. They became well-known newspapers in the U.S.

  72. This passage is probably taken from a book on ___________

  A. the work ethics of the American media

  B. the techniques in news reporting

  C. the history of sensationalism in American media

  D. the impact of mass media on American society

  Passage 3

  Forget what Virginia Woolf said about what a writer needs—a room of one’s own. The writer she had in mind wasn’t at work on a novel in cyberspace, one with multiple hypertexts, animated graphics and downloads of trancey, chiming music. For that you also need graphic interfaces, RealPlayer and maybe even a computer laboratory at Brown University. That was where Mark Amerika—his legally adopted name; don’t ask him about his birth name—composed much of his novel Grammatron. But Grammatron isn’t just a story. It’s an online narrative (Grammatron.com) that uses the capabilities of cyberspace to tie the conventional story line into complicate knots. In the four year it took to produce—it was completed in 1997—each new advance in computer software became anther potential story device. “I became sort of dependent on the industry,” jokes Amerika, who is also the author of two novels printed on paper. “That’s unusual for a writer, because if you just write on paper the ‘technology’ is pretty stable.”

  Nothing about Grammatron is stable. At its center, if there is one, is Abe Golam, the inventor of Nanoscript, a quasi—mystical computer code that some unmystical corporations are itching to acquire. For much of the story, Abe wanders through Prague-23, a virtual “city” in cyberspace whare visitors indulge in fantasy encounters and virtual sex, which can get fairly graphic, The reader wanders too, because most of Grammatron’s 1,000-puls text screens contain several passages in hypertext. To reach the next screen, just double-click. But each of those hypertexts is a trapdoor that can plunge you down a different pathway of the story. Choose one and you drop into a corporate-strategy memo. Choose another and there’s a XXX-rated sexual rant. The story you read is in some sense the story you make.

  Amerika teaches digital art at the University of Colorado, where his students develop works that straddle the lines between art, film and literature. “I tell them not to get caught up in mere plot,” he says. Some avant-garde writers—Julio Cortazar, Italo Calvino—have also experimented with novels that wander out of their author’s control. “But what makes the Net so exciting, “says Amerika, “is that you can add sound, randomly generated links, 3-D modeling, animaion.” That room of one’s own is turning into a fun house.

  73. The passage is mainly to tell __________________.

  A. differences between conventional and modern novels

  B. how Mark Amerika composed his novel Grammatron

  C. common features of all modern electronic novels

  D. why Mark Amerika took on a new way of writing

  74. Why does the author ask the reader to forget what Virginia Woolf said about the necessities of a writer?

  A. Modern writers can share rooms to do the writing.

  B. It is not necessarily that a writer writes inside a room.

  C. Modern writers will get nowhere without a word processor

  D.It is no longer sufficient for the writing in cyberspace.

  75.As an on-line narrative, Grammatron is anything but stable because it ______________.

  A. provides potentials for the story development

  B. is one of the novels at

  C. can be downloaded free of charge

  D. boasts of the best among cyber stories

  76.By saying that he became sort of dependent on the industry, Mark Amerika meant that _________.

  A. he could not help but set his Grammatron and thers in Industrial Revolution

  B. conventional writers had been increasingly challenged by high technology

  C. much of his Grammatron had proved to be cybernetic dependent

  D. he couldn’t care less about new advance in computer software

  77. As the passage shows , Grammatron makes it possible for readers to _____________-

  A. adapt the story for a video version

  B. “walk in” the story and interact with it

  C. develop the plots within the author’s control

  D. steal the show and become the main character

  78. Amerika told his students not to ____________

  A.immerse themselves only in creating the plot

  B. be captivated by the plot alone while reading

  C. be lagged far behind in the plot development

  D. let their plot get lost in the on-going story


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