You should spend about 20 minutes on Questions 27-40 which are based on Reading Passage 3 below. Fierce, fabulous and fantastic A new exhibition traces the history of animal painting in Europe from the anatomically inaccurate to the highly sentimental. The first picture you see in the exhibition Fierce Friends: Artists and Animals 1750-1900 is of a giraffe — sort of. Painted in about 1785, the creature in it has the neck of a giraffe, but its back is too long, its haunches too developed, and its legs are out of proportion to its body. Like most Europeans in the 18th century, the anonymous French artist who painted it had never seen a real giraffe. He relied on eyewitness descriptions, and on the skin of a giraffe the scientist and adventurer Francois Levallard had recently brought back from South Africa Exotic animals shipped back to Europe at this time usually died soon after arrival, even supposing they survived the voyage. Until about 1900, taxidermy consisted of stuffing the carcass with straw, so the results fell apart after a few years. This meant that ordinary men and women had very few opportunities to see exotic animals at first hand until the establishment of the first zoos — in Paris in 1793, in London in 1818. For an accurate depiction of a giraffe, Europeans had to wait until 1827 and the arrival of the first living specimen, when the Swiss artist Jacques-Laurent Agasse painted his lovely study of the Nubian giraffe sent to King George IV by the Ottoman Viceroy of Egypt. For most people in the 18th century, animals meant farm animals, carriage horses, and food for the table. But the Enlightenment was an age both of exploration and of discovery, as more and more species of animals, birds, fish and insects were identified and brought back from the South Seas, Africa and India. In 1740, almost 600 species of animals were known to science. One hundred years later, the number had risen to 2,400, including many that are familiar to most children today as a matter of course — ostrich, rhino, orang-utan and buffalo. Kings and princes, to be sure, had their own menageries, and wealthy collectors added rare birds, fish and mammals (shown side-by-side with two-headed calves and fake dragons) to their cabinets of curiosities. In this way, the forerunners of modern zoos and museums developed along parallel lines. On special occasions an entrepreneur might exhibit a wild beast to the paying public, as was the case when the Venetian artist Pietro Longhi painted bored masqueraders at carnival time gawping at a pathetic rhinoceros. Out of such displays came another invention of the 19th century, the circus. Wider knowledge of the animal kingdom came with the publication of George-Louis Leclerc Comte de Buffon’s multi-volume Histoire Naturelle (1749-1788). Based on specimens studied in the royal menageries, this remarkable book is still treasured — not for its scientific accuracy, but for its glorious hand-coloured engravings. Far too expensive for most people to buy, it at least helped to make men and women aware of the beauty of certain animals, as we can see in a service of Sevres porcelain created in 1793, where the decorative motifs are taken from the birds drawn by de Buffon. Gradually, humans began to notice that dumb creatures have feelings. Man cannot afford to feel pity for an animal bred for food. When that wonderful artist Jean-Baptise Oudry shows a display of dead game in the 1740s, he is simply painting a luxury — fresh meat — available only to the well-off. Peasants ate bread. His lavish paintings were considered suitable for the dining rooms of the nobility because no one then expressed the slightest ethical or moral hesitation about hunting and killing rabbit, deer and boar for the table, or about slaughtering such vermin as foxes and wolves. Domestic animals were a different story. When Oudry depicts a hound with her newborn puppies, the simple picture has revolutionary undertones. The pretty white bitch, noticing that two of her pups have fallen asleep and are not getting the nourishment they need, is full of maternal solicitude. At a time when French noblewomen still sent their babes out to wet-nurses, even an animal is shown to display true maternal feeling. And in 1824, the year Delacroix shows two horses killed in battle, there is a new element in man’s attitude towards the wanton slaughter of beautiful creatures: compassion. Delacroix’s little masterpiece pierces the heart, whereas the grotesque memorial to animals killed in war unveiled in London recently leaves the viewer cold. But the moral impulse behind the creation of both works is exactly the same. Once animals can be loved for their innocence or good nature, it becomes more difficult to treat them cruelly. Almost 15 years before Jean-Baptise Greuze painted a picture of a young girl mourning her pet sparrow (1765), William Hogarth published his series of prints, the Stages of Cruelty, showing how the mistreatment of animals leads inexorably to the devaluing of all forms of life, including human. In this show, it is almost impossible to look at Emile Edouard Mouchy’s horrifying depiction of the vivisection of a dog (1832) without wincing. Though such experiments represent a necessary evil, our very squeamishness represents another rung upward in the moral evolution of mankind. This process started in the early 19th century, when men began to see in the animal kingdom a mirror image of their own feelings. In his portrayal of a horse frightened by lightning, Gericault lets us see the animal’s tensed body, foam-flecked mouth and brow furrowed in anxiety. In The Jealous Lioness of about 1880, the German artist Paul Meyerheim shows a caged lioness enraged at the attention her mate is paying to a beautiful lion tamer. Gradually, artists began to blur the distinctions between animal and human. When Edwin Landseer in High Life and Low Life contrasts a mongrel guard dog with a deer hound, the animals are surrogates for their absent masters, a butcher and a nobleman. All these artists emphasised the physical and emotional resemblances between animals and human beings. Questions 27-31 Choose the correct letter, A, B, C or D. Write the correct letter in boxes 27-31 on your answer sheet.

You should spend about 20 minutes on Questions 1-13 which are based on Reading Passage 1 below. Questions 1-6 Reading Passage 1 has seven sections, A-G. Choose the correct heading for sections A and B and D-G from the list of headings below. Write the correct number, i-vii, in boxes 1-6 on your answer sheet. List of Headings i Men getting better treatment than women in the job market ii Men’s persistent authority over women iii Variations in the amount women are paid iv The extent of women’s work v Low possibility of women to access to formal jobs vi More women in the labour force vii Young women gaining experience from work viii The effects of competition and quotas on women’s incomes ix Women’s benefit and lose from work opportunities Example Answer Section C v 1 Section A 2 Section B 3 Section D 4 Section E 5 Section F 6 Section G A WOMEN’S WORK IS NEVER DONE A More and more women are now joining the paid labour force worldwide. They represent the majority of the workforce in all the sectors which are expanding as a result of globalisation and trade liberalisation — the informal sector, including subcontracting; export processing or free trade zones; homeworking; and the ’flexible’, part-time, temporary, low-paid labour force. Even in countries which have low levels of women paid workers, such as the Arab countries, employment is rising. In South-East Asia, women represent up to 80 per cent of the workforce in the export processing zones, working mainly in the labour-intensive textile, toy, shoe and electronic sectors. In Latin America and the Caribbean, 70 per cent of economically-active women are employed in services. Many women in South-East Asia are moving from manufacturing into services. B Long excluded from many paid jobs and thus economically dependent on husbands or fathers, paid employment has undoubtedly brought economic and social gains to many women. For many previously inexperienced young women, the opportunity to gain financial independence, albeit limited and possibly temporary, has helped break down some of the taboos of their societies and proscriptions on women’s behaviour. Any gains, however, should be seen in a wider context. Declining economic and social conditions throughout the world, in particular declining household incomes, have compelled many women to take any kind of paid work to meet their basic needs and those of their families. The jobs available to them are, in the main, insecure and low-paid with irregular hours, high levels of intensity, little protection from health and safety hazards and few opportunities for promotion. C Women’s high participation in informal employment is partly due to the fact that many jobs in the formal economy are not open to them: they are actively excluded from certain kinds of work or lack access to education and training or have domestic commitments. The increase of women’s participation in the informal sector has been most marked in the countries of Sub-Saharan Africa where sharp economic decline and structural adjustment policies have reduced the official job market drastically. D Job gains for some women have meant losses for others. Female employment in export production is increasing in Bangladesh, Vietnam and El Salvador, for instance, while women in South Korea, Taiwan and Hong Kong are faced with redundancies as the industries which have relied on their labour for three decades (textile, clothing, shoe and electronics) relocate elsewhere. (In South Korea, industries which tend to employ men — steel, petrochemicals, electricity, automobiles, shipbuilding, machinery — have received government subsidies to stay put.) As domestic markets are opened up to international competition and quotas which restricted the quantity of imports from any one country are abandoned, cheap, subsidised foreign imports are threatening the livelihoods of many women, small producers and entrepreneurs in ’cottage industries’. In countries such as India and Bangladesh, for instance, more than 90 per cent of economically-active women work in the informal sector at jobs such as hand loom weaving. E Far from escaping patriarchal control, the industrial setting invariably replicates it, the head of the factory taking the place of husband or father. To attract investors, some Asian countries such as Malaysia and Thailand emphasise the ’dexterity of the small hands of the Oriental women and traditional attitude of submission’. Women workers are particularly exposed to sexual harassment, a form of violence which reflects the subordination they have to submit to to be allowed to work. Complaints often lead to dismissal. F In general, women are paid less than men are, and women’s jobs pay less than men’s jobs. On average, most women earn 50 to 80 per cent of men’s pay. But there are considerable variations. In Tanzania, which ranks first in the world for pay equality, women earn 92 per cent of what men earn; in Bangladesh, they earn 42 per cent. Women also have less job security and fewer opportunities for promotion. Higher status jobs, even in industries which employ mostly women, tend to be filled by men. G In addition, women usually have to continue their unpaid domestic and caring work, such as of children, the sick and the elderly, which is often regarded as women’s ’natural’ and exclusive responsibility. Even when they have full-time jobs outside the home, women take care of most household tasks, particularly the preparation of meals, cleaning and childcare. When women become mothers, they often have no option other than to work part-time or accept home work.

Reading Passage 2 has seven paragraphs, A-G. Which paragraph contains the following information? Write the correct letter, A-G in boxes 22-26 on your answer sheet.

Complete the summary below. Choose NO MORE THAN THREE WORDS from the passage for each answer. Write your answers in boxes 16-21 on your answer sheet. Evidence supporting Robertson’s theory The research was carried out using【R16】______ in London as subjects. It showed that their brains change, enabling them to create a【R17】______of London. Tests showed that their 【R18】______increased in size as they continued in their job. There is also evidence of a 【R19】______ kind. Students playing a certain game involving【R20】______ for a period of time every day achieved significantly higher attendance, better examination results and【R21】______.

You should spend about 20 minutes on Questions 14-26 which are based on Reading Passage 2 below. Giving your brain a workout Mental agility does not have to decline with age, as long as you keep exercising your mind, says Anna van Praagh. A Use your brain and it will grow — it really will. This is the message from neuropsychologist Ian Robertson, professor of psychology at Trinity College, Dublin and founding director of the university’s Institute of Neuroscience. His book, Puzzler Brain Trainer 90-Day Workout, contains puzzles which he devised to stretch, sharpen and stimulate the brain. The puzzles, from ’memory jogs’ to Sudoku to crosswords to number games are all-encompassing, and have been specially formulated to improve each and every part of the brain, from visual-spatial ability to perception, attention, memory, numerical agility, problem-solving and language. B Professor Robertson has been studying the brain for 57 years, in a career dedicated to changing and improving the way it works. During this time there has been a remarkable paradigm shift in the way scientists view the brain, he says. ’When I first started teaching and researching, a very pessimistic view prevailed that, from the age of three or four, we were continually losing brain cells and that the stocks couldn’t be replenished. That has turned out to be factually wrong. Now that we know that the brain is “plastic“ — it changes, adapts and is physically sharpened according to the experiences it has.’ C Robertson likens our minds to trees in a park with branches spreading out, connecting and intertwining, with connections increasing in direct correlation to usage. He says that the ’eureka’ moment in his career — and the reason he devised his ’brain trainer’ puzzles — was the realisation that the connections multiply with use and so it is possible to boost and improve our mental functions at any age. ’Now we know that it’s not just children whose brains are “plastic“,’ he says. ’No matter how old we are, our brains are physically changed by what we do and what we think.’ D Robertson illustrates his point by referring to Dr Eleanor McGuire’s seminal 2000 study of the brains of London taxi drivers. That showed that their grey matter enlarges and adapts to help them build up a detailed mental map of the city. Brain scans revealed that the drivers had a much larger hippocampus (the part of the brain associated with navigation in birds and animals) compared with other people. Crucially, it grew larger the longer they spent doing their job. Similarly, there is strong statistical evidence that, by stretching the mind with games and puzzles, brainpower is increased. Conversely, if we do not stimulate our minds and keep the connections robust and intact, these connections will weaken and physically diminish. A more recent survey suggested that a 20-minute problem-solving session on the Nintendo DS game called ’Dr Kawashima’s Brain Training’ at the beginning of each day dramatically improved pupils’ test results, class attendance and behaviour. Astonishingly, pupils who used the Nintendo trainer saw their test scores rise by 50 per cent more than those who did not. E Robertson’s puzzles have been designed to have the same effect on the brain, the only difference being that, for his, you need only a pencil to get started. The idea is to shake the brain out of lazy habits and train it to start functioning at its optimum level. It is Robertson’s belief that people who tackle the puzzles will see a dramatic improvement in their daily lives as the brain increases its ability across a broad spectrum. They should see an improvement in everything, from remembering people’s names at parties to increased attention span, mental agility, creativity and energy. F ’Many of us are terrified of numbers,’ he says, ’or under-confident with words. With practice, and by gently increasing the difficulty of the exercises, these puzzles will help people improve capacity across a whole range of mental domains.’ The wonderful thing is that the puzzles take just five minutes, but are the mental equivalent of doing a jog or going to the gym. ’In the same way that physical exercise is good for you, so is keeping your brain stimulated,’ Robertson says. ’Quite simply, those who keep themselves mentally challenged function significantly better mentally than those who do not.’ G The puzzles are aimed at all ages. Robertson says that some old people are so stimulated that they hardly need to exercise their brains further, while some young people hardly use theirs at all and are therefore in dire need of a workout. He does concede, however, that whereas most young people are constantly forced to learn, there is a tendency in later life to retreat into a comfort zone where it is easier to avoid doing things that are mentally challenging. He compares this with becoming physically inactive, and warns of comparable repercussions. ’As the population ages, people are going to have to stay mentally active longer,’ he counsels. ’We must learn to exercise our brains just as much as our bodies. People need to be aware that they have the most complex entity known to man between their ears,’ he continues, ’and the key to allow it to grow and be healthy is simply to keep it stimulated.’ Questions 14 and 15 Choose TWO letters, A-E. Write the correct letters in the boxes 14-15 on your answer sheet. Which TWO of the following are claims that Robertson makes about the puzzles in his book? A They will improve every mental skill. B They are better than other kinds of mental exercise. C They will have a major effect on people’s mental abilities. D They are more useful than physical exercise. E They are certain to be more useful for older people than for the young.

The main topic discussed in the passage is the social position of women. the situation of the working mother. the situation of women in the developing world. the situation of women as paid workers.

You should spend about 20 minutes on Questions 27-40 which are based on Reading Passage 3 below. Fierce, fabulous and fantastic A new exhibition traces the history of animal painting in Europe from the anatomically inaccurate to the highly sentimental. The first picture you see in the exhibition Fierce Friends: Artists and Animals 1750-1900 is of a giraffe — sort of. Painted in about 1785, the creature in it has the neck of a giraffe, but its back is too long, its haunches too developed, and its legs are out of proportion to its body. Like most Europeans in the 18th century, the anonymous French artist who painted it had never seen a real giraffe. He relied on eyewitness descriptions, and on the skin of a giraffe the scientist and adventurer Francois Levallard had recently brought back from South Africa Exotic animals shipped back to Europe at this time usually died soon after arrival, even supposing they survived the voyage. Until about 1900, taxidermy consisted of stuffing the carcass with straw, so the results fell apart after a few years. This meant that ordinary men and women had very few opportunities to see exotic animals at first hand until the establishment of the first zoos — in Paris in 1793, in London in 1818. For an accurate depiction of a giraffe, Europeans had to wait until 1827 and the arrival of the first living specimen, when the Swiss artist Jacques-Laurent Agasse painted his lovely study of the Nubian giraffe sent to King George IV by the Ottoman Viceroy of Egypt. For most people in the 18th century, animals meant farm animals, carriage horses, and food for the table. But the Enlightenment was an age both of exploration and of discovery, as more and more species of animals, birds, fish and insects were identified and brought back from the South Seas, Africa and India. In 1740, almost 600 species of animals were known to science. One hundred years later, the number had risen to 2,400, including many that are familiar to most children today as a matter of course — ostrich, rhino, orang-utan and buffalo. Kings and princes, to be sure, had their own menageries, and wealthy collectors added rare birds, fish and mammals (shown side-by-side with two-headed calves and fake dragons) to their cabinets of curiosities. In this way, the forerunners of modern zoos and museums developed along parallel lines. On special occasions an entrepreneur might exhibit a wild beast to the paying public, as was the case when the Venetian artist Pietro Longhi painted bored masqueraders at carnival time gawping at a pathetic rhinoceros. Out of such displays came another invention of the 19th century, the circus. Wider knowledge of the animal kingdom came with the publication of George-Louis Leclerc Comte de Buffon’s multi-volume Histoire Naturelle (1749-1788). Based on specimens studied in the royal menageries, this remarkable book is still treasured — not for its scientific accuracy, but for its glorious hand-coloured engravings. Far too expensive for most people to buy, it at least helped to make men and women aware of the beauty of certain animals, as we can see in a service of Sevres porcelain created in 1793, where the decorative motifs are taken from the birds drawn by de Buffon. Gradually, humans began to notice that dumb creatures have feelings. Man cannot afford to feel pity for an animal bred for food. When that wonderful artist Jean-Baptise Oudry shows a display of dead game in the 1740s, he is simply painting a luxury — fresh meat — available only to the well-off. Peasants ate bread. His lavish paintings were considered suitable for the dining rooms of the nobility because no one then expressed the slightest ethical or moral hesitation about hunting and killing rabbit, deer and boar for the table, or about slaughtering such vermin as foxes and wolves. Domestic animals were a different story. When Oudry depicts a hound with her newborn puppies, the simple picture has revolutionary undertones. The pretty white bitch, noticing that two of her pups have fallen asleep and are not getting the nourishment they need, is full of maternal solicitude. At a time when French noblewomen still sent their babes out to wet-nurses, even an animal is shown to display true maternal feeling. And in 1824, the year Delacroix shows two horses killed in battle, there is a new element in man’s attitude towards the wanton slaughter of beautiful creatures: compassion. Delacroix’s little masterpiece pierces the heart, whereas the grotesque memorial to animals killed in war unveiled in London recently leaves the viewer cold. But the moral impulse behind the creation of both works is exactly the same. Once animals can be loved for their innocence or good nature, it becomes more difficult to treat them cruelly. Almost 15 years before Jean-Baptise Greuze painted a picture of a young girl mourning her pet sparrow (1765), William Hogarth published his series of prints, the Stages of Cruelty, showing how the mistreatment of animals leads inexorably to the devaluing of all forms of life, including human. In this show, it is almost impossible to look at Emile Edouard Mouchy’s horrifying depiction of the vivisection of a dog (1832) without wincing. Though such experiments represent a necessary evil, our very squeamishness represents another rung upward in the moral evolution of mankind. This process started in the early 19th century, when men began to see in the animal kingdom a mirror image of their own feelings. In his portrayal of a horse frightened by lightning, Gericault lets us see the animal’s tensed body, foam-flecked mouth and brow furrowed in anxiety. In The Jealous Lioness of about 1880, the German artist Paul Meyerheim shows a caged lioness enraged at the attention her mate is paying to a beautiful lion tamer. Gradually, artists began to blur the distinctions between animal and human. When Edwin Landseer in High Life and Low Life contrasts a mongrel guard dog with a deer hound, the animals are surrogates for their absent masters, a butcher and a nobleman. All these artists emphasised the physical and emotional resemblances between animals and human beings. Questions 27-31 Choose the correct letter, A, B, C or D. Write the correct letter in boxes 27-31 on your answer sheet.

Do the following statements agree with the views of the writer in Reading Passage 3? In boxes 36-40 on your answer sheet, write YES if the statement agrees with the views of the writer NO if the statement contradicts the views of the writer NOT GIVEN if it is impossible to say what the writer thinks about this

Complete each sentence with the correct ending, A-F, below. Write the correct letter, A-F, in boxes 32-35 on your answer sheet. A makes a moral point about human behaviour. B contrasts animal behaviour with human behaviour. C shows a human’s feeling for a creature. D has an identical purpose to that of another work of art. E depicts similarities between creatures and people. F portrays the feelings creatures can have towards humans.

Do the following statements agree with the views of the writer in Reading Passage 1? In boxes 8-13 on your answer sheet, write YES if the statement agrees with the views of the writer NO if the statement contradicts the views of the writer NOT GIVEN if it is impossible to say what the writer thinks about this

The writer mentions the porcelain created in 1793 as an example of

Which of these is the writer doing in the fourth paragraph?

According to the writer, what happened in the Enlightenment was that

In the second paragraph, the writer explains why

The point the writer is making about the picture of a giraffe is that