TRUONG DAI HQC NGAN HANG TP HO CHi MINH KHOA NGOAINGU
BAI THI KET THUC HOC PHAN
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Trang 2DE THI KET THUC HQC PHAN
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Thời gian làm bài: 60 phút PASSAGE 1
COLOUR IN ART
A There are no ‘real’ colours in nature — only the various wavelengths that make up light, which are absorbed and reflected by all the objects around us The reflected wavelengths enter the eye, which, in turn, sends signals to the brain: only then do we ‘see’ the impact of all these wavelengths on the eye This white light contains the colours of the rainbow, which can be seen when the rays are separated by a glass prism Each colour has its own wavelength: violet has the shortest, and red the longest When these colours are combined with nature’s pigments — the chlorophyll in grass, for instance — millions of shades can be created Painters have reproduced these using the powdered colours of natural or artificial pigments which are themselves only the colour of the light they reflect
B However, before we can adequately explore what colour means to the artist, we must ask what we mean by the word ‘colour’ This may seem straightforward enough, but is my ‘red’ the same as your ‘red’? Linguistic considerations are often central to an interpretation of the historical use of colour in
art The Japanese awo can mean ‘green’, ‘blue’ or ‘dark’, depending on the context; Vietnamese also declines to distinguish green from blue The indigenous Australians, the Aborigines, only have two colour terms — white and black — even though they use other colours in their paintings English uses 11 colour words — black, white, red, orange, yellow, green, blue, purple, pink, grey and brown — and
thousands of other ‘borrowed’ names — apricot, avocado, gold, peach and so on
C Before the 19th century, when artists were deciding which colour paint to use, they generally had to use ‘natural products’, which is to say organic substances derived from animals and plants The earliest cave paintings were made using red from iron oxides, black from charcoal and white from chalk and ground bones Later, Tyrian purple, the imperial colour of ancient Rome, was extracted from a
particular shellfish — just under half a kilo of royal purple dye required the crushing of four million
molluscs Cochineal red, discovered by the Aztecs, was made using the female cochineal beetle
D Interestingly, however, the blue pigment known as Egyptian frit or Egyptian blue, which has been
identified in artefacts dating from around 2500 BC, is not a naturally occurring product It was made
by die ancient Egyptians who needed to first of all mix different compounds together and then heat them This resulted in the oldest synthetic pigment, a Bronze Age blue This use of nature’s materials reveals ancient Egypt as a civilisation with a genuine command of chemistry
E The cost and quality of the colours used were factors to be born in mind by both artist and patron when a painting was commissioned The dramatic red, made from a substance called cinnabar, used to paint wall panels in Pompeii, Italy, around 60 BC, was mined in Spain and was so expensive that a law was passed setting a ceiling price Another colour, ultramarine blue, was extracted from the lapis lazuli stone, which had to be quarried and shipped from Afghanistan The expense of this meant that, in western art, ultramarine blue was reserved for paintings of very special or important people
F A new technique in the early 15th century expanded the range of colours that could be portrayed with oil paint In this technique, the powdered pigment is mixed with a slow-drying oil — such as linseed or
Trang 3walnut — which absorbs oxygen from the air, forming a transparent skin that locks the colour in This meant that oil paint could be built up in layers and so only three or four pigments could be used to create over 20 different shades of, say, red In the 19th century, the invention of collapsible tin paint- tubes to replace pigs’ bladders made paint much more portable
G So, where will artists get their colour inspiration from next? Perhaps more metallic or fluorescent colours will be used, or perhaps artists will use liquid crystals that change colour with temperature or that offer an iridescent rainbow all at once One thing is certain: technology will always open new doors for artists
Questions I-10
Which paragraph contains the following information? You may use any letter more than once
_ why there was a need for state intervention an account of how humans perceive colour the reason why the use of a colour was limited
details of the first known production of an artificial colour
areference to different living organisms used in the production of colours
the part played by two important technical developments
different ways of putting the idea of colour into words the way in which a colour could be made lighter or darker
Pe
IAN
pm
an example of languages using the same word for more than one colour
10 where raw materials had to be dug out of the ground
PASSAGE 2
CHARITABLE TRUSTS
Charities have become a multi-billion-pound concern in Britain When the first charity law was introduced in 1601 charities simply helped the poor people in the local area Now there are 187,000 registered charities in England and Wales, with an annual income of more than £30 billion As the average person gives £12.90 a month to charity, the voluntary sector is now as competitive as big business, and as
desperate to create brand loyalty as any supermarket giant The charitable sector is in fact very similar to the retail food industry in the huge differences between the smallest and biggest charities At the smaller end, nearly a quarter of charities have an income of less than £1,000 a year, or less than 1 per cent of the
total income But at the other extreme, 460 organisations, which represent just 0.28 per cent of the entire
sector, have an annual income of more than £10 million, or 45 per cent of the total income
The difference between the richest and poorest charities is not necessarily wrong, according to the Charities Aid Foundation They say that the charitable sector is made up of a huge number of small, community-based groups that really don’t need large amounts of money They believe that the smaller charities are set up for a specific purpose, like building a village hall They then fold up when they have completed the job The charities which have millions of pounds have a huge responsibility for providing services in the public sector, which is why they have such a big slice of the funding
The Arts Council of England is the country’s wealthiest charity in terms of income, generating almost
£500 million a year The Arts Council, the British Council, Cancer Research UK, Oxfam and the National
Trust are among the top income-generating charities As well as attracting millions of pounds in public
Trang 4donations, they also receive large government grants for the work they do For the first time last year, charities received more money from government grants than from public donations This is not because individual giving is decreasing — it has increased in the past couple of years to more than £7 billion — but because government funding has grown since the government gave more public services to charities to
operate
The voluntary sector is unsure about whether the shift in income from individual donations to government funding is a good or bad development A spokesperson who represents the National Council for Voluntary Organisations, said: ‘In a way it is good because it shows that the government clearly trusts the charitable sector to deliver high-quality public services The concern is that the political funding could compromise the independence of charities to speak out and protest when they don’t agree with government policy.” The charity World is now rallying after a decade that saw their funding drop due to the popularity of the National Lottery, which gives a lot of money to charities, and damaging stories about their management Some charities were accused of spending too much money on administration costs and staff Today more than a quarter of people say they do not give to charity because they do not believe their money will go directly to the cause they want to support
Questions 11-15
Do the statements reflect the claims of the writer? Write:
YES if the statement reflects the claims of the writer NO if the statement contradicts the claims of the writer NOT GIVEN if it is impossible to say what the writer thinks about this
11 The world of charities is very similar to the wor|d of supermarkets
12 The gap between rich and poor charities should be reduced
13 Charities with millions of pounds have fewer social responsibilities 14 Charities are receiving more money from businesses
15 Charities think that more nionev from the government is both good and bad
Questions 16—20
Now complete the summary Choose one or two words from the reading passage for each space
The charity world is a multi-billion-pound sector with organisations competing with each other to create
(16) There are (17) between the largest and smallest charities, but this is not
(8) Smaller charities are often founded for a (19) Large charities receive the biggest amount of money from (20) as they provide services to society However, money
from the political system could affect the independence of charities when they do not agree with
government policy PASSAGE 3
IMMIGRATION: AN INTRODUCTION
Trang 5history from the earliest times, but it has grown in volume and significance, and may be one of the most important factors in global change
- No single cause can explain why people choose to leave their country and settle in another It is hardly ever a simple individual action, in which a person decides to move in search of a better life, leaves the home country and quickly becomes assimilated in the new country Much more often, the process of migration and settlement stretches over a long period, affecting the rest of the migrant’s life and also later generations It is a collective action, caused by social change and affecting the whole society of
both countries
- While some theories about migration emphasise individual choice, and others focus on the influence of governments and business, it is more realistic to understand migration in terms of a complex interaction among all these elements Large-scale institutional factors, such as international relations, political economy and government policies, play a part in any decision to emigrate, as do the informal social networks, practices and beliefs of the migrants themselves
Migration generally arises from the existence of previous links between home and new countries,
based on colonisation, political influence, trade, investment or cultural ties For instance, migration
from some North and West African countries to France is linked to earlier French colonisation, leaving French as a major language of the countries concerned
- Typically, migration is started by an external factor, such as a shortage of labour in the new country Often the initial movement is by young people, usually men Once a path has been established, relatives and friends follow, and are assisted by those already there Social networks based on family or a common place of origin help to provide housing, work, assistance in coping with bureaucratic procedures and support in personal difficulties These social networks make the process of migration safer and more manageable for the migrants and their families
Migrant groups develop their own social and economic infrastructure: places of worship, associations, shops, cafés, lawyers, doctors, and other services This is linked to families being reunited: the longer the original migrants stay, the more likely they are to bring their partners and children in, or to start new families People begin to see their life as being based in the new country This is particularly true of migrants’ children: once they go to school in the new country, learn the language and make friends, it becomes more and more difficult for the parents to return to their homelands
- While the links between immigrant community and area of origin may sometimes be weakened, they
are more likely to continue over generations Family and cultural links remain, new business links may
be developed
Although each migration has its specific historical patterns, certain generalisations can be made on the way migrations evolve For example, most start with young, economically active people going abroad temporarily They want to save enough in a higher-wage economy to improve conditions at home, to buy land, build a house, set up a business, or pay for education After a period in the new country,
some of these migrants return home, but others stay on
This may be because they find living and working conditions in the new country better than in their homeland But it may also be because of relative failure: migrants may find it hard to save as much as
they require, and stay on in the hope of succeeding eventually As time passes, many of them are
Trang 6J This can be summed up in a four-stage model First, young workers move in order to work abroad temporarily, and send money home Secondly, the stay is lengthened, and social networks are developed, providing mutual help Thirdly, the original migrants’ families join them, there is an increasing orientation towards the new country, and ethnic communities emerge with their own associations, shops, professions, and so on And finally settlement becomes permanent
Questions 21-26
The passage has ten paragraphs labelled A-J Which paragraph contains the following information? 21 likely effects of being brought up in the new country
22 a reference to alternative, less likely, explanations of migration 23 how not achieving an objective may lengthen a stay abroad 24 some ways in which existing immigrants may help newcomers
25 ‘large-scale’ reasons why migrants have moved from certain areas to a particular country 26 a description of a pattern of migration that rarely occurs
Questions 27-30
Complete the flow chart below using words from the box
assistance belonging citizenship
earnings employment friendship
residence reunion
Model of migration process