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Megalopolis is the sociologist' s name for a .
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Part A
Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D . Mark your answers on ANSWER SHEET 1.
Marion Brando is the overwhehningly outstanding creative artist among contemporary American film actors. Kirk Douglas can sometimes match Brando in force, but he lacks Brando's subtlety and pathos'; Burt Lancaster has comparable ambition but small talent. Brando begins with a good actor's instrument -- his body. Not a huge man, he is both solid and lithe. We are, perhaps, too much aware of the basic physical effect of his chest partially covered by a torn undershirt. But, more to the point, Marlon Brando seems to carry in him a silently humming dynamo of energy, bridled and instantly ready. Whenever he moves, something seems to impend. Indisputably, there is in acting an element that is often called star quality; in Brando, it is this constant hint of possible lightning.
Actors, even more than most artists, are restricted by their personalities, but Brando strives to expand as far as possible, to use himself in playing other people rather than to bring those people to himself. In The Young Lions, for instance, we can see at once that he has caught perfectly the stiff cordiality, the slightly declamatory speech, the somewhat angular movements, the charm and the consciousness of charm that create another man -- Diestl -- for us. Yet, Brando shows us that paradox which is part of the fascination of acting because he is also always and unmistakably Brando, not some flavorless hack with a wig and a putty nose and a laboriously disguised voice.
Brando has evolved a personal style. which relies largely on understatement and the liberal use of pauses. Often the effect is heartbreaking; remember the poignancy he evoked from the vapid monosyllabic "Wow" in On the Waterfront, when he realized that his brother was threatening his life. Occasionally, his style. lapses out of meaning and into mannerism; some of Sayonara could have used compression.
But in essence, Brando reflects in his style. -- as actors often do -- the prevalent artistic vein of his day. Kemble exemplified the classic, elegant 18th century; Kean, the wild, torrential romantics of the early 19th century; Irving, the elaborate majesty of the late Victorians. I compare Brando to these luminaries only to draw a parallel. He is a taciturn realist: an epitome not of that joyous, realistic revolution which swept away the humbug that had obscured the contours of the world, but of that generation, born into realism, which has seen its world with harsh clarity, and whose work is to reconcile itself to that world's revealed boundaries and to find its triumphs inwardly.
The author suggests that Brando's success as an actor is due, in part, to ______.
A．aboutB．ofC．forD．on
Last year, however, I took my husband with me to the sales at the large shop in the center of London. We both needed some new clothes and were hoping to find a television set. When we got to Oxford Street, it was so crowded that we decided to split up and meet again at the underground station. So I left my husband and started looking around the shops. Unfortunately all the clothes were in very large sizes and so they were not suitable for me. But I did buy a television at a very cheap price, so I felt quite pleased with myself.
When I arrived at the station, my husband was not there. So I sat down in a nearby cafe to have a cup of tea. I quickly finished my tea when I saw my husband and went out to meet him. He looked very happy. Then I saw he was carrying a large and heavy cardboard box. "Oh, dear!" I thought. Yes, we had no new clothes but two televisions. We shall not be going to the sales again.
In January
The selection says that trends are towards the
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