The (2)________. this has given him into their behaviour has allowed him to dispel certain myths about bears.

(3) ______ to popular belief, he contends that bears do not

(4)_____ as much for fruit as previously supposed. 

He also (5) _____ claims that they are ferocious. He says that people should not be

(6) _______ by behaviour such as swatting paws on the ground, as this is a defensive, rather than an aggressive, act.

However, Robertson is no sentimentalist. After devoting years of his life to the bears, he is under no

(7) …….. about their feelings for him. It is clear that their interest in him does no

(8)_______ beyond the food he brings.

For questions 9 – 16, read the text below and think of the word which best fits each gap. Use only one word in each gap. There is an example at the beginning (0).

A) BECAUSE B)SUCH C) OTHER D) COULD/MAY/MIGHT E) DESPITE F) IF/WHEN/WHENEVER

G) NOTHING/LITTLE-IN

The origin of language The truth(0) nobody really knows how language first began. Did we all start talking at around the same time (9)______ of the manner in which our brains had begun to develop?

Although there is a lack of clear evidence, people have come up with various theories about the

origins of language. One recent theory is that human beings have evolved in (10)_______a way that we are programmed for language from the moment of birth. In (11) ______words, language came about as a result of an evolutionary change in our brains at some stage.

Language (12) ______Well be programmed into the brain but, (13) _______this, people still need stimulus from others around them. From studies, we know that (14)__________children are isolated from human contact and have not learnt to construct sentences before they are ten, it is doubtful they will

ever do so. This research shows, if (15) _______else, that language is a social activity, not something invented (16) ______ isolation.

For questions 17 – 24, read the text below. Use the word given in capitals at the end of some of the lines to form a word that fits in the gap in the same line. There is an example at the beginning (0).

Write your answers IN CAPITAL LETTERS on the separate answer sheet.

Example: 0 P R O F E S S I O N A L

Training sports champions What are the abilities that a (0) …….. sports person needs? To guarantee that opponents can be (17) …….. , speed, stamina and agility are essential, not to mention outstanding natural talent. Both a rigorous and comprehensive (18) …….. regime and a highly nutritious diet are vital for top-level performance. It is carbohydrates, rather than proteins and fat, that provide athletes with the (19) …….. they need to compete. This means that pasta is more (20) …….. than eggs or meat. Such a diet enables them to move very energetically when required. Failure to follow a sensible diet can result in the (21) …….. to maintain stamina.

Regular training to increase muscular (22) …….. is also a vital part of a professional’s regime, and this is (23) …….. done by exercising with weights. Sports people are prone to injury but a quality training regime

can ensure that the (24) …….. of these can be minimised.

WORDS:

a)FITNESS

b)ENDURANCE

c)BENEFIT

d)TYPICALLY

e)STRENGHT

f)SEVERITY

g)OVERCOME

h)BENEFICIAL

I)INABILLITY

You are going to read the introduction to a book about the history of colour. For questions 31 – 36, choose the answer (A, B, C or D) which you think fits best according to the text.

Introduction to a book about the history of colour

This book examines how the ever-changing role of colour in society has been reflected in manuscripts, stained glass, clothing, painting and popular culture. Colour is a natural phenomenon, of course, but it is also a complex cultural construct that resists generalization and, indeed, analysis itself. No doubt this is why serious works devoted to colour are rare, and rarer still are those that aim to study it in historical context. Many authors search for the universal or archetypal truths they imagine reside in colour, but for the historian, such truths do not exist. Colour is first and foremost a social phenomenon. There is no transcultural truth to colour perception, despite what many books based on poorly grasped neurobiology or – even worse – on pseudoesoteric pop psychology would have us believe. Such books unfortunately clutter the bibliography on the subject, and even do it harm.

The silence of historians on the subject of colour, or more particularly their difficulty in conceiving colour as a subject separate from other historical phenomena, is the result of three different sets of problems. The first concerns documentation and preservation. We see the colours transmitted to us by the past as time has altered them and not as they were originally. Moreover, we see them under light conditions that often are entirely different from those known by past societies. And finally, over the decades we have developed the habit of looking at objects from the past in black-and-white photographs and, despite the current diffusion of colour photography, our ways of thinking about and reacting to these objects seem to have remained more or less black and white.

The second set of problems concerns methodology. As soon as the historian seeks to study colour, he must grapple with a host of factors all at once: physics, chemistry, materials, and techniques of production, as well as iconography, ideology, and the symbolic meanings that colours convey. How to make sense of all of these elements? How can one establish an analytical model facilitating the study of images and coloured objects? No researcher, no method, has yet been able to resolve these problems, because among the numerous facts pertaining to colour, a researcher tends to select those facts that support his study and to conveniently forget those that contradict it. This is clearly a poor way to conduct research. And it is made worse by the temptation to apply to the objects and images of a given historical period information found in texts of that period. The proper method – at least in the first phase of analysis – is to proceed as do palaeontologists (who must study cave paintings without the aid of texts): by extrapolating from the images and the objects themselves a logic and a system based on various concrete factors such as the rate of occurrence of particular objects and motifs, their distribution and disposition. In short, one undertakes the internal structural analysis with which any study of an image or coloured object should begin.

The third set of problems is philosophical: it is wrong to project our own conceptions and definitions of colour onto the images, objects and monuments of past centuries. Our judgements and values are not those of previous societies (and no doubt they will change again in the future). For the writer-historian looking at the definitions and taxonomy of colour, the danger of anachronism is very real. For example, the spectrum with its natural order of colours was unknown before the seventeenth century, while the notion of primary and secondary colours did not become common until the nineteenth century. These are not eternal notions but stages in the ever-changing history of knowledge.

I have reflected on such issues at greater length in my previous work, so while the present book does address certain of them, for the most part it is devoted to other topics. Nor is it concerned only with the history of colour in images and artworks – in any case that area still has many gaps to be filled. Rather, the aim of this book is to examine all kinds of objects in order to consider the different facets of the history of colour and to show how far beyond the artistic sphere this history reaches. The history of painting is one thing; that of colour is another, much larger, question. Most studies devoted to the history of colour err in considering only the pictorial, artistic or scientific realms. But the lessons to be learned from colour and its real interest lie elsewhere.

questions:

31 What problem regarding colour does the writer explain in the first paragraph?

32 What is the first reason the writer gives for the lack of academic work on the history of colour?

33 The writer suggests that the priority when conducting historical research on colour is...

34.- In the fourth paragraph, the writer says that the historian writing about colour should be careful

35 In the fifth paragraph, the writer says there needs to be further research done on

36 An idea recurring in the text is that people who have studied colour have