Quặng boxit được dùng để sản xuất kim loại nào sau đây?

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

Simply being bilingual doesn’t qualify someone to interpret. Interpreting is not only a mechanical process of converting one sentence in language A into the same sentence in language B. Rather, it’s a complex art in which thoughts and idioms that have no obvious counterparts from tongue to tongue or words that have several meanings must be quickly transformed in such a way that the message is clearly and accurately expressed to the listener.         At one international conference, an American speaker said, “You can’t make a silk purse out of a sows ear”, which meant nothing to the Spanish audience. The interpretation was, “A monkey in a silk dress is still a monkey” -an idiom the Spanish understood and that expressed the same idea. There are 2 kinds of interpreters, simultaneous and consecutive. The former, sitting in a separated booth, usually at a large multilingual conference, speaks to listeners wearing headphones, interpreting what a foreign language speaker says actually a sentence behind. Consecutive interpreters are the ones most international negotiations use. They are employed for smaller meetings without sound booths and headphones. Consecutive interpretation also requires two-person teams. A foreign speaker says his piece while the interpreter, using a special shorthand, takes notes and during a pause, tells the client what was said.

Question 46: A precondition of being a translator is ______.         

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

Simply being bilingual doesn’t qualify someone to interpret. Interpreting is not only a mechanical process of converting one sentence in language A into the same sentence in language B. Rather, it’s a complex art in which thoughts and idioms that have no obvious counterparts from tongue to tongue or words that have several meanings must be quickly transformed in such a way that the message is clearly and accurately expressed to the listener.         At one international conference, an American speaker said, “You can’t make a silk purse out of a sows ear”, which meant nothing to the Spanish audience. The interpretation was, “A monkey in a silk dress is still a monkey” -an idiom the Spanish understood and that expressed the same idea. There are 2 kinds of interpreters, simultaneous and consecutive. The former, sitting in a separated booth, usually at a large multilingual conference, speaks to listeners wearing headphones, interpreting what a foreign language speaker says actually a sentence behind. Consecutive interpreters are the ones most international negotiations use. They are employed for smaller meetings without sound booths and headphones. Consecutive interpretation also requires two-person teams. A foreign speaker says his piece while the interpreter, using a special shorthand, takes notes and during a pause, tells the client what was said.

Question 47: Which of the following would a consecutive interpreter be used for?         

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

Simply being bilingual doesn’t qualify someone to interpret. Interpreting is not only a mechanical process of converting one sentence in language A into the same sentence in language B. Rather, it’s a complex art in which thoughts and idioms that have no obvious counterparts from tongue to tongue or words that have several meanings must be quickly transformed in such a way that the message is clearly and accurately expressed to the listener.         At one international conference, an American speaker said, “You can’t make a silk purse out of a sows ear”, which meant nothing to the Spanish audience. The interpretation was, “A monkey in a silk dress is still a monkey” -an idiom the Spanish understood and that expressed the same idea. There are 2 kinds of interpreters, simultaneous and consecutive. The former, sitting in a separated booth, usually at a large multilingual conference, speaks to listeners wearing headphones, interpreting what a foreign language speaker says actually a sentence behind. Consecutive interpreters are the ones most international negotiations use. They are employed for smaller meetings without sound booths and headphones. Consecutive interpretation also requires two-person teams. A foreign speaker says his piece while the interpreter, using a special shorthand, takes notes and during a pause, tells the client what was said.

Question 50: What is a difference mentioned between a simultaneous interpreter and a consecutive interpreter?         

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

Most languages have several levels of vocabulary that may be used by the same speakers. In English, at least three have been identified and described. Standard usage includes those words and expressions understood, used, and accepted by a majority of the speakers of a language in any situation regardless of the level of formality. As such, these words and expressions are well defined and listed in standard dictionaries. Colloquialisms, on the other hand, are familiar words and idioms that are understood by almost all speakers of a language and used in informal speech or writing, but not considered acceptable for more formal situations. Almost all idiomatic expressions are colloquial language. Slang, however, refers to words and expressions understood by a large number of speakers but not accepted as appropriate formal usage by the majority. Colloquial expressions and even slang may be found in standard dictionaries but will be so identified. Both colloquial usage and slang are more common in speech than in writing. Colloquial speech often passes into standard speech. Some slang also passes into standard speech, but other slang expressions enjoy momentary popularity followed by obscurity. In some cases, the majority never accepts certain slang phrases but nevertheless retains them in their collective memories. Every generation seems to require its own set of words to describe familiar objects and events. It has been pointed out by a number of linguists that three cultural conditions are necessary for the creation of a large body of slang expressions. First, the introduction and acceptance of new objects and situations in the society; second, a diverse population with a large number of subgroups; third, association among the subgroups and the majority population. Finally, it is worth nothing that the terms “standard”, “colloquial”, and “slang” exist only as abstract levels for scholars who study language. Only a tiny number of the speakers of any language will be aware that they are using colloquial or slang expressions. Most speakers of English will, during appropriate situations, select and use all three types of expressioins.

Question 46: The author mentions all of the following as requirements for slang expressions to be created EXCEPT ___________.           

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

During the seventeenth and eighteenth centuries, almost nothing was written about the contributions of women during the colonial period and the early history of the newly formed United States. Lacking the right to vote and absent from the seats of power, women were not considered an important force in history. Anne Bradstreet wrote some significant poetry in the seventeenth century, Mercy Otis Warren produced the best contemporary history of the American Revolution,  and Abigail Adams penned important letters showing she exercised great political influence over her husband, John, the second President of the United States. But little or no notice was taken of these contributions. During these centuries, women remained invisible in history books.Throughout the nineteenth century, this lack of visibility continued, despite the efforts of female authors writing about women. These writers, like most of their male counterparts, were amateur historians. Their writings were celebratory in nature, and they were uncritical in their selection and use of sources. During the nineteenth century, however, certain feminists showed a keen sense of history by keeping records of activities in which women were engaged. National, regional, and local women's organizations compiled accounts of their doings. Personal correspondence, newspaper clippings, and souvenirs were saved and stored. These sources from the core of the two greatest collections of women's history in the United States one at the Elizabeth and Arthur Schlesinger Library at  Radcliffe College, and the other the Sophia Smith Collection at Smith College. Such sources have provided valuable materials for later Generations of historians. Despite the gathering of more information about ordinary women during the nineteenth Century, most of the writing about women conformed to the "great women" theory of History, just as much of mainstream American history concentrated on "great men." To demonstrate that women were  making significant contributions to American life, female authors singled out women leaders and wrote biographies, or else important women produced their autobiographies. Most of these leaders were involved in public life as reformers, activists working for women's right to vote, or authors, and were not representative at all of the great of ordinary woman. The lives of ordinary people continued, generally, to be untold in the American histories being published.

Question 5: The word "they" in the 2nd paragraph refers to ________.         

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

During the seventeenth and eighteenth centuries, almost nothing was written about the contributions of women during the colonial period and the early history of the newly formed United States. Lacking the right to vote and absent from the seats of power, women were not considered an important force in history. Anne Bradstreet wrote some significant poetry in the seventeenth century, Mercy Otis Warren produced the best contemporary history of the American Revolution, and Abigail Adams penned important letters showing she exercised great political influence over her husband, John, the second President of the United States. But little or no notice was taken of these contributions. During these centuries, women remained invisible in history books.Throughout the nineteenth century, this lack of visibility continued, despite the efforts of female authors writing about women. These writers, like most of their male counterparts, were amateur historians. Their writings were celebratory in nature, and they were uncritical in their selection and use of sources. During the nineteenth century, however, certain feminists showed a keen sense of history by keeping records of activities in which women were engaged. National, regional, and local women's organizations compiled accounts of their doings. Personal correspondence, newspaper clippings, and souvenirs were saved and stored. These sources from the core of the two greatest collections of women's history in the United States one at the Elizabeth and Arthur Schlesinger Library at  Radcliffe College, and the other the Sophia Smith Collection at Smith College. Such sources have provided valuable materials for later Generations of historians. Despite the gathering of more information about ordinary women during the nineteenth Century, most of the writing about women conformed to the "great women" theory of History, just as much of mainstream American history concentrated on "great men." To demonstrate that women were  making significant contributions to American life, female authors singled out women leaders and wrote biographies, or else important women produced their autobiographies. Most of these leaders were involved in public life as reformers, activists working for women's right to vote, or authors, and were not representative at all of the great of ordinary woman. The lives of ordinary people continued, generally, to be untold in the American histories being published.

Question 4: In the last paragraph, the author mentions all of the following as possible roles of nineteenth-century "great women" EXCEPT ________.         

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

In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures. Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best-selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language. Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce (but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgoods in the Bathtub and The Napping House. Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words. U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.

Question: What is the main idea of the reading passage?

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

In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures. Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best-selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language. Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce (but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgoods in the Bathtub and The Napping House. Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words. U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.

Question: “Sunshine” is given in the passage as an example of a book that ________.         

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

In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures. Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best-selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language. Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce (but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgoods in the Bathtub and The Napping House. Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words. U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.

Question: Leo Lionni, Feodor Rojankovsky, and Taro Yashimi are mentioned in the passage to show that ________.         

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

In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures. Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best-selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language. Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce (but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgoods in the Bathtub and The Napping House. Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words. U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.

Question: According to the passage, pictures help make children’s books ________.