Phương trình vô nghiệm khi là:                         

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can’t be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they’re ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, ‘The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they’ll be illuminating empty ice. Our challenge,’ he continues, ‘is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.’

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. ‘The only place you'll see certain skating moves is an ice show,’ he says, ‘because you’re not allowed to do them in competition. It’s not in the rules. So the ice show world has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can’t put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it”.' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it’s impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question: For Robin Cousins, the key point when rehearsing skating routines is         

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can’t be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they’re ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, ‘The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they’ll be illuminating empty ice. Our challenge,’ he continues, ‘is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.’

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. ‘The only place you'll see certain skating moves is an ice show,’ he says, ‘because you’re not allowed to do them in competition. It’s not in the rules. So the ice show world has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can’t put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it”.' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it’s impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question: The word "them" in paragraph 4 refers to _______.         

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can’t be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they’re ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, ‘The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they’ll be illuminating empty ice. Our challenge,’ he continues, ‘is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.’

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. ‘The only place you'll see certain skating moves is an ice show,’ he says, ‘because you’re not allowed to do them in competition. It’s not in the rules. So the ice show world has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can’t put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it”.' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it’s impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question: What does Cousins suggest in paragraph 5 about skating in shows?         

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can’t be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they’re ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, ‘The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they’ll be illuminating empty ice. Our challenge,’ he continues, ‘is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.’

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. ‘The only place you'll see certain skating moves is an ice show,’ he says, ‘because you’re not allowed to do them in competition. It’s not in the rules. So the ice show world has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can’t put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it”.' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it’s impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question: Cousins believes that he can meet the challenge of producing shows for different audiences         

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can’t be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they’re ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, ‘The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they’ll be illuminating empty ice. Our challenge,’ he continues, ‘is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.’

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. ‘The only place you'll see certain skating moves is an ice show,’ he says, ‘because you’re not allowed to do them in competition. It’s not in the rules. So the ice show world has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can’t put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it”.' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it’s impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question: What conclusion does the writer draw about Holiday on Ice?         

Read the following passage and mark the letters A, B, C or D on your answer sheet to indicate the correct answer to each of the questions: 

The biologist's role in society as well as his moral and ethical responsibility in the discovery and development of new ideas has led to a reassessment of his social and scientific value systems. A scientist can no longer ignore the consequences of his discoveries; he is as concerned with the possible misuses of his findings as he is with the basic research in which he is involved. This emerging social and political role of the biologist and all other scientists requires a weighing of values that cannot be done with the accuracy or the objectivity of a laboratory balance. As a member of society, it is necessary for a biologist now to redefine his social obligations and his functions, particularly in the realm of making judgments about such ethical problems as man's control of his environment or his manipulation of genes to direct further evolutionary development.

Probably the greatest biological problem of the future, as it is of the present, will be to find ways to curb environmental pollution without interfering with man's constant effort to improve the quality of his life. Many scientists believe that underlying the spectre of pollution is the problem of surplus human population. A rise in population necessitates an increase in the operations of modern industry, the waste products of which increase the pollution of air, water, and soil. The question of how many people the resources of the Earth can support is one of critical importance.

Question: What is the author's purpose in this passage?         

Read the following passage and mark the letters A, B, C or D on your answer sheet to indicate the correct answer to each of the questions: 

The biologist's role in society as well as his moral and ethical responsibility in the discovery and development of new ideas has led to a reassessment of his social and scientific value systems. A scientist can no longer ignore the consequences of his discoveries; he is as concerned with the possible misuses of his findings as he is with the basic research in which he is involved. This emerging social and political role of the biologist and all other scientists requires a weighing of values that cannot be done with the accuracy or the objectivity of a laboratory balance. As a member of society, it is necessary for a biologist now to redefine his social obligations and his functions, particularly in the realm of making judgments about such ethical problems as man's control of his environment or his manipulation of genes to direct further evolutionary development.

Probably the greatest biological problem of the future, as it is of the present, will be to find ways to curb environmental pollution without interfering with man's constant effort to improve the quality of his life. Many scientists believe that underlying the spectre of pollution is the problem of surplus human population. A rise in population necessitates an increase in the operations of modern industry, the waste products of which increase the pollution of air, water, and soil. The question of how many people the resources of the Earth can support is one of critical importance.

Question: Which of the following is closest in meaning to the word "ramifications" in paragraph 4?         

Read the following passage and mark the letters A, B, C or D on your answer sheet to indicate the correct answer to each of the questions: 

The biologist's role in society as well as his moral and ethical responsibility in the discovery and development of new ideas has led to a reassessment of his social and scientific value systems. A scientist can no longer ignore the consequences of his discoveries; he is as concerned with the possible misuses of his findings as he is with the basic research in which he is involved. This emerging social and political role of the biologist and all other scientists requires a weighing of values that cannot be done with the accuracy or the objectivity of a laboratory balance. As a member of society, it is necessary for a biologist now to redefine his social obligations and his functions, particularly in the realm of making judgments about such ethical problems as man's control of his environment or his manipulation of genes to direct further evolutionary development.

Probably the greatest biological problem of the future, as it is of the present, will be to find ways to curb environmental pollution without interfering with man's constant effort to improve the quality of his life. Many scientists believe that underlying the spectre of pollution is the problem of surplus human population. A rise in population necessitates an increase in the operations of modern industry, the waste products of which increase the pollution of air, water, and soil. The question of how many people the resources of the Earth can support is one of critical importance.

Question: According to the passage, to save our planet, biologists should work _______.  

Read the following passage and mark the letters A, B, C or D on your answer sheet to indicate the correct answer to each of the questions:

Scientists do not yet thoroughly understand just how the body of an individual becomes sensitive to a substance that is harmless or even wholesome for the average person. Milk, wheat, and egg, for example, rank among the most healthful and widely used foods. Yet these foods can cause persons sensitive to them to suffer greatly. At first, the body of the individual is not harmed by coming into contact with the substance. After a varying interval of time, usually longer than a few weeks, the body becomes sensitive to it, and an allergy has begun to develop. Sometimes it's hard to figure out if you have a food allergy, since it can show up so many different ways. Your symptoms could be caused by many other problems. You may have rashes, hives, joint pains, mimicking arthritis, headaches, irritability, or depression. The most common food allergies are to milk, eggs, seafood, wheat, nuts, seeds, chocolate, oranges, and tomatoes. Many of these allergies will not develop if these foods are not fed to an infant until her or his intestines mature at around seven months. Breast milk also tends to be protective. Migraines can be set off by foods containing tyramine, phenathylamine, monosodium glutamate, or sodium nitrate. Common foods which contain these are chocolate, aged cheeses, sour cream, red wine, pickled herring, chicken livers, avocados, ripe bananas, cured meats, many Oriental and prepared foods (read the labels!). Some people have been successful in treating their migraines with supplements of B-vitamins, particularly B6 and niacin. Children who are hyperactive may benefit from eliminating food additives, especially colorings, and foods high in salicylates from their diets. A few of these are almonds, green peppers, peaches, tea, grapes. This is the diet made popular by Benjamin Feingold, who has written the book “Why your Child is Hyperactive”. Other researchers have had mixed results when testing whether the diet is effective.

Question 38: The word "symptoms" is closest in meaning to______________.  

Read the following passage and mark the letters A, B, C or D on your answer sheet to indicate the correct answer to each of the questions:

Scientists do not yet thoroughly understand just how the body of an individual becomes sensitive to a substance that is harmless or even wholesome for the average person. Milk, wheat, and egg, for example, rank among the most healthful and widely used foods. Yet these foods can cause persons sensitive to them to suffer greatly. At first, the body of the individual is not harmed by coming into contact with the substance. After a varying interval of time, usually longer than a few weeks, the body becomes sensitive to it, and an allergy has begun to develop. Sometimes it's hard to figure out if you have a food allergy, since it can show up so many different ways. Your symptoms could be caused by many other problems. You may have rashes, hives, joint pains, mimicking arthritis, headaches, irritability, or depression. The most common food allergies are to milk, eggs, seafood, wheat, nuts, seeds, chocolate, oranges, and tomatoes. Many of these allergies will not develop if these foods are not fed to an infant until her or his intestines mature at around seven months. Breast milk also tends to be protective. Migraines can be set off by foods containing tyramine, phenathylamine, monosodium glutamate, or sodium nitrate. Common foods which contain these are chocolate, aged cheeses, sour cream, red wine, pickled herring, chicken livers, avocados, ripe bananas, cured meats, many Oriental and prepared foods (read the labels!). Some people have been successful in treating their migraines with supplements of B-vitamins, particularly B6 and niacin. Children who are hyperactive may benefit from eliminating food additives, especially colorings, and foods high in salicylates from their diets. A few of these are almonds, green peppers, peaches, tea, grapes. This is the diet made popular by Benjamin Feingold, who has written the book “Why your Child is Hyperactive”. Other researchers have had mixed results when testing whether the diet is effective.

Question: The phrase "set off" is closest in meaning to______________.