Practice test (05.10.

23)
II. READING
Part 1: Read the following passage and choose the best answer. Write your answers in the corresponding
numbered boxes. (1.0 pt)
Ancient Egyptian Sculpture
In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians'
view of the world and the functions and contexts of the formal art produced for them. Without this knowledge
we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced
or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding
concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other
cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like
classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover
the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing
to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes
for which they were producing their art.
The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is
called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in
isolation, out of their original context and without knowledge of their function, it is easy to criticize them for
their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to
the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not
for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were
designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual
actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the
living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were
enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the
statue to display frontality. Other statues were designed to be placed within an architectural setting, for
instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where
they would be placed against or between pillars: their frontality worked perfectly within the architectural
context.
Statues were normally made of stone, wood, or metal. Stone statues were worked from single rectangular
blocks of material and retained the compactness of the original shape. The stone between the arms and the body
and between the legs In standing figures or the legs and the seat in seated ones was not normally cut away.
From a practical aspect this protected the figures against breakage and psychologically gives the images a sense
of strength and power, usually enhanced by a supporting back pillar. By contrast, wooden statues were carved
from several pieces of wood that were pegged together to form the finished work, and metal statues were either
made by wrapping sheet metal around a wooden core or cast by the lost wax process'. The arms could be held
away from the body and carry separate items in their hands; there is no back pillar. The effect is altogether
lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and
metal statues still display frontality.
1. The word "vital" in the passage is closest in meaning to _______
A. attractive B. essential C. usual D. practical
2. Paragraph 1 suggests that one reason ancient Egyptian art has been viewed less favorably than other art is
that ancient Egyptian art lacks_______
A. realistic sense of human body proportion
B. a focus on distinctive forms of varying sizes
C. the originality of European art
D. examples of formal art that show the human body in motion
3. In paragraph 1, the author mentions all of the following as necessary in appreciating Egyptian art EXCEPT
an understanding of _______
A. the reasons why the art was made

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B. the nature of aristocratic Egyptian beliefs
C. the influences of Egyptian art on later art such as classical Greek art
D. how the art was used
4. According to paragraph 2, why are Egyptian statues portrayed frontally?
A. to create a psychological effect of distance and isolation
B. to allow them to fulfill their important role in ceremonies of Egyptian life
C. to provide a contrast to statues with a decorative function
D. to suggest the rigid, unchanging Egyptian philosophical attitudes
5. The word "context" in the passage is closest in meaning to_______
A. connection B. influence C. environment D. requirement
6. The author mentions "an architectural setting" in the passage in order to_______
A. suggest that architecture was as important as sculpture to Egyptian artists
B. offer a further explanation for the frontal pose of Egyptian statues
C. explain how the display of statues replaced other forms of architectural decoration
D. illustrate the religious function of Egyptian statues
7. The word "they" in the passage refers to_______
A. statues B. gateways C. temples D. pillared courts
8. According to paragraph 3, why were certain areas of a stone statue left uncarved?
A. to prevent damage by providing physical stability
B. to emphasize that the material was as important as the figure itself
C. to emphasize that the figure was not meant to be a real human being
D. to provide another artist with the chance to finish the carving
9. The word "core" in the passage is closest in meaning to_______
A. material B. layer C. center D. frame
10. According to paragraph 3, which of the following statements about wooden statues is true?
A. Wooden statues were usually larger than stone statues
B. Wooden statues were made from a single piece of wood.
C. Wooden statues contained pieces of metal or stone attached to the front.
D. Wooden statues had a different effect on the viewer than stone statues.
Your answers:
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Part 2: Read the passage and do the tasks that follow. (1.0 pt)
Choose the correct heading for paragraphs B-H from the list of headings below. Write your answers in
the corresponding numbered boxes.
List of Headings Example Answer
I. Different methods of locating and identifying Paragraph A X
II. A better view of the constellations 1. Paragraph B _V_
III. Technological advances in research and development 2. Paragraph C _XII_
IV. Atmospheric weaknesses of telescopes in orbit 3. Paragraph D _VI_
V. Different interpretations of star groupings 4. Paragraph E _I_
VI. Common misconceptions 5. Paragraph F _II_
6. Paragraph G _VII_
VII. Bypassing terrestrial limitations
7. Paragraph H _VIII_
VIII. Renewed interest in the stars
IX. Ethnic differences in celestial mapping
X. Formal marking of constellations
XI. Universal myths of constellations
XII. Historical and modern reference

A. A constellation is a group of stars which when viewed collectively appear to have a physical proximity in
the sky. Constellation boundaries and definitions as used today in Western culture, and as defined by the
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International Astronomical Union (IAU), were formalised in 1930 by Eugene Delporte. There are 88 official
constellations as recognised by the IAU, those visible in the northern hemisphere being based upon those
established by the ancient Greeks, The constellations of the southern hemisphere – since invisible to the
Greeks due to geographical location – were not defined until later in the early modem era.
B. Arguably, the twelve constellations through which the sun passes – as used to represent the signs of the
zodiac to define birth characteristics – are the most culturally significant and well known of those established
by the ancient Greeks. Cultural differences in Interpretation and definition of star constellations mainly relate
to these zodiac interpretations, Chinese constellations, for example, which are different to those defined in
the western world due to the independent development of ancient Chinese astronomy, includes 28 ‘Xiu’ or
‘mansions’ instead of the 12 western zodiac counterparts. In Hindu/Vedic astronomy, in which constellations
are known as ‘rashis’, 12 rashi corresponding directly to the twelve western star signs are acknowledged;
these are however, divided again into 27 ‘Nakshatras’ or ’lunar houses’. Many cultures have an intricate
mythology behind the stars and their constellations. In Greek mythology, for example Pegasus, the winged
horse, is said to have sprung from the decapitated head of Medusa, and later was used by the God King Zeus
to carry thunder and lightning to Earth, before being put into a constellation. (V)
C. In Western astronomy, all modern constellation names derive from Latin, some stars within the
constellations are named using the genitive form of the Latin word by using the usual rules of Latin
grammar. For example the zodiac sign for the Fish constellation Pisces relates to Piscium. In addition, all
constellation names have a standard three-letter abbreviation as assigned by the IAU, under which, for
example, Pisces becomes PSC. (XII)
D. Some star patterns often wrongly considered constellations by laymen are actually ‘asterisms’ – a group
of stars that appear to form patterns in the sky - and are not in fact one of the 88 officially divided areas truly
defined as a constellation. A famous example of an asterism oft mistaken for a constellation is the Big
Dipper’ (as it is termed in North America) or the ‘Plough’ as it is known in the UK. In astronomical terms,
this famous star formation is in fact considered only part of the larger constellation known as Ursa Major.
(VI)
E. In order to identify the position of stars relative to the Earth, there are a number of different celestial
coordinate systems that cart provide a detailed reference point in space. There are many different systems, all
of which are largely similar with the exception of a difference in the position of the fundamental plane – the
division between northern and southern hemispheres. The five most common celestial systems are the
Horizontal system, the Equatorial system, the Ecliptical system, the Galactic system and the Supergalactic
system. (I)
F. The launch of the Hubble space telescope in April 1990 changed the way that astronomers saw the
universe, providing detailed digital images of constellations, planets and gas- clouds that had never been
seen before. Compared to ground-based telescopes, Hubble is not particularly large. With a primary mirror
diameter of 2.4 meters (94.5 inches). Hubble would be considered a medium-size telescope on the ground.
However, the combination of its precision optics, state-of-the-art instrumentation, and unprecedented pointing
stability and control, allows Hubble to more than make up for its lack of size, giving it a range of well over
12 billion light years. (II)
G. The telescope’s location above the Earth’s atmosphere also has a number of significant advantages over
land based telescopes. The atmosphere bends light due to a phenomenon known as diffraction (this is what
causes starlight to appear to twinkle and leads to the often blurred images seen through ground-based
telescopes). The Hubble Space Telescope can also observe infrared light that would otherwise be blocked by
the atmosphere as the wavelength (distance between successive wave crests) of ultraviolet light is shorter
than that of visible light. (VII)
H. Despite early setbacks – one of the reflective mirrors had to be replaced after finding that it had been
ground incorrectly and did not produce the images expected – the telescope has reignited interest in space
amongst the general public – a requirement, given that taxpayer funding paid for the research, deployment
and maintenance of the telescope. (VIII)

Complete the summary below using NO MORE THAN TWO WORDS.

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Despite an initial flaw in a reflective mirror the Hubble space telescope is superior to telescopes on land as it
can identify 8._______which would not normally reach the Earth’s surface. This is all the more impressive
given that Hubble is only classified as a medium-sized telescope. Being above the atmosphere, it also has the
advantages of not being affected by 9._______, which would otherwise lead to 10._______images.
Your answers:
1. 2. 3. 4. 5.
6. 7. 8. infrared light 9. diffraction 10. blurred
Part 3. Read the text, identify which section A–F each of the following is mentioned. Write ONE letter A–F
in the corresponding numbered space provided. Each letter may be used more than once. (1.5 pts)
In which extract _____
1.__A__ is a point of contention amongst scientists over the effects of something highlighted?
2.__E__ does the writer give an insight into their personal outlook on life?
3.__B__ is the difficulty in proving something likened to searching for an everyday object?
4.__D__ does the writer examine the different ways likeness can be interpreted?
5.__E__ does the writer hint at the inconveniences snowflakes can cause in everyday life?
6.__B__ is the composition of young snow crystals differentiated in some detail?
7.__C__ are the range of possible forms flakes can take defined as almost never-ending?
8.__C__ does the writer first explain that two developed snowflakes can rarely be the same?
9.__D__ does the writer suggest the closer something is inspected, the less likely an outcome is?
10._E__ does the writer suggest that simplification can have a positive impact on the world?
A.
Well, although you wouldn’t think it to glance at them, snow crystals are rather intricate. For that reason, the
answer is by no means clear-cut. For instance, scientists remain unsure as to how temperature and humidity
affect growth. Indeed, moving somewhat tangentially for a moment, nor are they yet certain of the wider
climactic effect flakes have. For example, they know that clouds of snow crystals reflect sunlight during the
day, producing a cooling affect; although at night they sort of blanket the planet, absorbing the heat it gives
off, doing the reverse. So whether such clouds contribute to global warming or not is up for debate on account
of these competing effects.
B.
As for snow crystals themselves, they undergo various stages of formation before they become fully
developed snowflakes. In the developmental stages, they are more simple structures, then they later branch
out and become complex. To start with, they resemble fairly plain and uniform six-sided prisms that are hard to
distinguish from one another. Such underdeveloped crystals do often fall to the ground prematurely as
precipitation. In this case, the probability of close likeness amongst different ones is quite high in relative
terms. So, hypothetically, it’s quite possible to find two more or less the same, but, in practice, this would be
like looking for a needle in a haystack – two, actually, so good luck trying to prove it.
C.
However, snowfall is typically comprised of crystals at a more advanced stage of development – true
snowflakes, if you will – and here the odds change considerably with the likelihood of very close resem-blance
dramatically reduced. This is because the ways in which fully developed crystals can arrange themselves are
almost infinite. Once crystals have branched out to form large flakes, then, the chances of finding identical
twins are, therefore, extremely remote.
D.
Another problem with this question is how you define ‘alike’. After all, to the naked eye, most flakes look more
or less indistinguishable, irrespective of size or shape. Indeed, even under a microscope, more simple crystal
formations are strikingly similar to one another, though the unique characteristics of fully formed snowflakes
will be revealed. However, an understanding of the science of physics confirms the extreme rarity of identical
twins even amongst superficially similar flakes. In other words, at a molecular level, likeness is a near
impossibility, so the more closely we examine a flake and the more strictly we define the notion of likeness, the
less probable it becomes to ever identify two crystals which are truly alike.

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E.
It is, in a way, somewhat reassuring, though, that something as seemingly simple as a snowflake which is in
actuality incredibly complex, can still be uniformly beautiful in another purer, more innocent sense. For, once
the flakes have made landfall and begun to amass, snow is, to a degree, just snow, and it takes on that kind of
magical, fairy-tale quality that only it can evoke in so many people, but particularly the young, who have less
need to worry about the logistical implications of it amassing in ever greater quantities, and, indeed, who
usually welcome the closure of facilities, particularly academic ones, that is normally commensurate with such
accumulations. For it is the way of the universe as a whole, is it not? Order springs from chaos, beauty is born
from the most unlikely, disordered and chance set of circum- stances. Indeed, as a self-proclaimed glass-half-
full person, I like to think that we, human beings, are not all that dissimilar to snowflakes, actually. After all,
each one of us is, on some level, utterly unique, and yet, remove all the complexities of life and the over-
analysis, and, on another, we are all precisely the same; hopeful, flawed, loving, caring, jealous and imperfect;
perfectly so. The sooner we understand that, the better for both our species and the wider world we inhabit,
snow-covered or otherwise.
Your answers:
1. 2. 3. 4. 5.
6. 7. 8. 9. 10.

*NEW WORDS*
- constell’ation (n): a group of stars forming into patterns and often given names (chòm sao).
- un’precedented (a): never having happened or existed in the past (không có tiền lệ).
- ‘intricate (a): = complicated
- tan’gentially (adv) – tan’gential (a): something that is not related to the talking or the doing (…)
- branch out (ph.v): to grow out of and spread from a larger part (mở rộng ra).
- precipi’tation (n): + a way of behaving too quickly or without thinking (vội vã, không thấu đáo)
+ (Chemistry) a solid substanced produced from a liquid (kết tủa)
- a needle in a haystack (idiom): something that is impossible/extremely difficult to find (mò kim đáy bể)
- mo’lecular (a): ở cấp độ phân tử

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