PART III READING COMPREHENSIONS

　　In this section there are four reading passages followed by fifteen multiple-choice questions. Read the passages and then mark your answers on your Answer Sheet.

　　TEXT A

　　Some people have drawn the conclusion from Bowlbys work that children should be subjected to day care before the age of three because of the parental separation it entails, and many people do believe this. But there are also arguments against such a strong conclusion. It has been argued that an infant under three who is care for outside the home may suffer because of the separation from his parents. The British psychoanalyst John Bowlby maintains that separation from the parents during the sensitive "attachment" period from birth to three may scar a childs personality and predispose to emotional problems in later life. But traditional societies are so different from modern societies that comparisons based on just one factor are hard to interpret. Firstly anthropologists point out that the secluded love affair between children and parents found in modern societies does not usually exist in traditional societies. For example, we saw earlier that among the Ngoni the father and mother of a child did not rear their infant alone —— far from it. But bowlbys analysis raises the possibility that early day care had delayed effects. The possibility that such care might lead to, say, more mental illness or crime 15 or 20 years later can only be explored by the use of statistics. Statistical studies of this kind have not yet been carried out, and even if they were, the results would be certain to be complicated and controversial. Secondly, common sense tells that day care would not be so widespread today if parents, caretakers or pediatricians found that children had problems with it. But tests that have had to be used to measure this development are not widely enough accepted to settle the issue. Thirdly, in the last decade, there have been a number of careful American studies of children in day care, and they have uniformly reported that day care had a neutral or slightly positive effects on childrens development. But whether the long-term effects, parents sometimes find the immediate effects difficult to deal with. At the age of three or three and a half almost all children find the translation to nursery age, and this is undoubtedly why more and more parents make use of child care at this time. Children under three are likely to protest at leaving their parents and show unhappiness. The matter, then, is far from clear-cut, though experience and available evidence indicate that early care is responsible for infants.

　　36. John Bowlby believes that separation from parents from birth to three ____.

　　A) is wholesome for a child's development.

　　B) may cause a child to suffer for lack of parental attention.

　　C) may overshadow a child's personality and cause emotional problems.

　　D) can help a child to develop an independent character.

　　37. The consequence of parental separation can be explored by ____.

　　A) statistical studies

　　B) long-term studies

　　C) close observation

　　D) All of above

　　38. What's the result of American studies of children in day care in the last decade?

　　A) Day care had a neutral or more or less positive effect on children's development.

　　B) The effects of parental separation was hard to deal with.

　　C) The transition to nursery at three was easy due to day care the children received.

　　D) Early care was reasonable for babies.

　　TEXT B

　　We recognize visual form only by means of light, we recognize the existence of light only by means of form, and we further recognize that color is an effect of light in relation to form and its inherent texture. In nature, light creates color; in painting, color creates light. 　 In symphonic painting, color is the real building medium. "When color is richest, form is fullest." This declaration of Cézannes is a guide for painters. 　 Swinging and pulsating from and its counterpart, resonating space, originate in color intervals. In a color interval, the finest differentiations of color function as powerful contrasts. A color interval is comparable to the tension created by a form relation. What a tension signifies in regard to form, an interval signifies in regard to color; it is a tension between colors that makes color a plastic means. 　 A painting must have form and light unity. It must light up from the inside through the intrinsic qualities which color relations offer. It must not be illuminated from the outside by superficial effects. When it lights up from the inside, the painted surface breathes, because the interval relations which dominate the whole cause it to oscillate and to vibrate. 　 A painted surface must retain the transparency of a jewel which stands as a prototype of exactly ordered form, on the one hand, and as a prototype of the highest light emanation on the other. 　 The Impressionists led painting back to the two-dimensionality in the picture through the creation of a light unity, whereas their attempt to create atmosphere and spatial effectiveness by means of color, resulted in the impregnation of their works with the quality of translucence which became synonymous with the transparency of the picture plane. 　 Light must not be conceived as illumination —— it forces into the picture through color development. Illumination is superficial. Light must be created. In this matter alone is the balance of light possible. 　 The formation of a light unity becomes identified with the two-dimensionality of the picture. Such a formation is based on comprehension light complexities. Color unity, in the same matter, is identified with the two-dimensionality of the picture. 　 It results from color tensions created by color intervals. Thus the end product of all color intervals is two-dimensionality. 　 Spatial and formal unity and light and color unity create the plastic two-dimensionality of the picture. 　 Since light is best expressed through differences in color quality, color should not be handled as a tonal gradation, to produce the effect of light. 　 The psychological expression of color lies in unexpected relations and associations.

　　39. What would be an appropriate title for this selection?

　　A) On Light and Color

　　B) The Expression of Color and Light by Impressionists

　　C) Visual Effects in Painting

　　D) The Formation of a Light Unity and a Color Unity

　　40. What does the writer mean by form and light unity?

　　A) A painting is lit up from the outside.

　　B) A painting lights up through the qualities that color relations offer.

　　C) The painting's surface breathe and vibrate

　　D) The interval color relations dominate the painting.

　　41. What cause the plastic two-dimensionality of a picture?

　　A) Unexpected relations and associations.

　　B) Spatial and formal unity.

　　C) Light and color unity.

　　D) B and C