Week 7 Y6 English Trial Test

Read the extracts below then answer the questions that follow.

Extract A: My Financial Career by Stephen Leacock

When I go into a bank I get rattled. The clerks rattle me; the wickets rattle me; the sight of the money rattles me; everything rattles me. The moment I cross the threshold of a bank and attempt to transact business there, I think people looking at me are thinking that I am an irresponsible idiot.

I knew this beforehand, but my salary had been raised to fifty dollars a month and I felt that the bank was the only place for it. So I shambled in and looked timidly around at the clerks. I had an idea that a person about to open an account must need to consult the manager. I went up to a wicket marked “Accountant.” The accountant was a tall, cool devil. The very sight of him rattled me. My voice was sepulchral. “Can I see the manager?” I said, and added solemnly, “alone.” I don’t know why I said “alone.”

“Certainly,” said the accountant, and fetched him. The manager was a grave, calm man. I held my fifty-six dollars clutched in a crumpled ball in my pocket. “Are you the manager?” I said. God knows I didn’t doubt it. “Yes,” he said. “Can I see you,” I asked, “alone?” I didn’t want to say “alone” again, but without it, the thing seemed self-evident.

The manager looked at me with some alarm. He felt that I had an awful secret to reveal. “Come in here,” he said and led the way to a private room. He turned the key in the lock. “We are safe from interruption here,” he said; “sit down.”

We both sat down and looked at each other. I found no voice to speak. “You are one of Pinkerton’s men, I presume,” he said. He had gathered from my mysterious manner that I was a detective. I knew what he was thinking, and it made me feel worse. “No, not from Pinkerton’s,” I said, seeming to imply that I came from a rival agency. “To tell the truth,” I went on, as if I had been prompted to lie about it, “I am not a detective at all. I have come to open an account. I intend to keep all my money in this bank.”

The manager looked relieved but still serious; he concluded now that I was a son of Baron Rothschild or a young Gould. “A large account, I suppose,” he said. “Fairly large,” I whispered. “I propose to deposit fifty-six dollars now and fifty dollars a month regularly.” The manager got up and opened the door. He called the accountant. “Mr. Montgomery,” he said unkindly, “this gentleman is opening an account, he will deposit fifty-six dollars. Good morning.”

I rose. A big iron door stood open at the side of the room. “Good morning,” I said, and stepped into the safe. “Come out,” said the manager coldly, and showed me the other way. I went up to the accountant’s wicket and poked the ball of money at him with a quick convulsive movement as if I were doing a conjuring trick.

My face was ghastly pale. “Here,” I said, “deposit it.” The tone of the words seemed to mean, “Let us do this painful thing while the fit is on us.” He took the money and gave it to another clerk. He made me write the sum on a slip and sign my name in a book. I no longer knew what I was doing. The bank swam before my eyes. “Is it deposited?” I asked in a hollow, vibrating voice. “It is,” said the accountant. “Then I want to draw a cheque.”

My idea was to draw out six dollars of it for present use. Someone gave me a cheque book through a wicket and someone else began telling me how to write it out. The people in the bank probably had the impression that I was an invalid millionaire. I wrote something on the cheque and thrust it in at the clerk. He looked at it.

“What! Are you drawing it all out again?” he asked in surprise. Then I realised that I had written fifty-six instead of six. I was too far gone to reason now. I had a feeling that it was impossible to explain the thing. All the clerks had stopped writing to look at me. Reckless with misery, I made a plunge. “Yes, the whole thing.”

“You withdrew your money from the bank?” clarified the accountant. “Every cent of it.” I replied. “Are you not going to deposit any more?” said the clerk, astonished. “Never.”

An idiot’s hope struck me that they might think something had insulted me while I was writing the cheque and that I had changed my mind. I made a wretched attempt to look like a man with a fearfully quick temper. The clerk prepared to pay the money. “How will you have it?” he said. “What?” I asked. This time, I think the other clerks listening were already thinking of mean things about me like how much of an idiot I am becoming.

“How will you have it?” the clerk asked again. “Oh”—I caught his meaning and answered without even trying to think—”in fifties.” He gave me a fifty-dollar bill. “And the six?” he asked dryly. “In sixes,” I said. He gave it to me and I rushed out.

As the big door swung behind me I caught the echo of a roar of laughter that went up to the ceiling of the bank. Since then I bank no more. I keep my money in cash in my trousers pocket and my savings in silver dollars in a sock.

Extract B: Social Anxiety Disorder

Millions of people worldwide suffer from Social Anxiety Disorder, commonly known as social phobia. It is a form of anxiety disorder characterised by an intense fear of social situations, especially those in which an individual may feel embarrassed, judged, or examined by others. Social anxiety disorder can have a considerable impact on an individual’s life, resulting in avoidance of social situations, difficulties in interpersonal interactions, and diminished quality of life.

Symptoms of social anxiety disorder can vary from person to person but include severe fear or anxiety in social circumstances, bodily symptoms such as sweating, trembling, or heart palpitations, and avoidance of social events. Those with social anxiety disorder may fear a variety of social settings, including public speaking, eating or drinking in front of others, using public bathrooms, and beginning conversations with strangers.

The onset of social anxiety disorder can occur at any age but typically occurs during adolescence or early adulthood. It is not fully understood what causes social anxiety disorder, although it is believed to be a combination of genetic, environmental, and psychological factors. Those with a family history of anxiety disorders and those who have had painful or humiliating social encounters may be more prone to developing social anxiety disorder.

Social anxiety disorder can have a considerable impact on an individual’s life, resulting in relationship issues. Many individuals with social anxiety disorder may have difficulty forming and sustaining friendships and may avoid social events such as parties and gatherings. They may also experience challenges at work or school, such as avoiding meetings or presentations or having difficulty performing in public. Over time, these avoidant behaviours might result in feelings of isolation and loneliness, which can increase social anxiety symptoms.

Those with social anxiety disorder should get therapy as soon as possible, because the longer they wait, the more serious their symptoms may become. Social anxiety disorder can lead to the development of other mental health disorders, such as depression if left untreated. People with social anxiety disorder can learn to manage their symptoms and improve their quality of life, allowing them to engage in social situations with greater confidence and ease provided they receive the appropriate treatment.

A mental health practitioner will often diagnose social anxiety disorder after doing a comprehensive review of the individual’s symptoms and medical history. Typically, social anxiety disorder is treated with a mix of psychotherapy and medication. CBT is a form of talk therapy that is frequently used to treat social anxiety disorder. CBT emphasises the identification and modification of negative thought patterns and actions that contribute to social anxiety. Antidepressants and anti-anxiety drugs may also be provided to aid with symptom management.

In addition to treatment and medication, people with social anxiety disorder can employ a number of self-help tactics to manage their symptoms. One example is practising relaxation techniques, such as deep breathing exercises or meditation, to reduce physical symptoms of anxiety. Another is cognitive restructuring, where individuals challenge their negative thoughts and replace them with positive, realistic ones. Additionally, exposure therapy involves gradually exposing individuals to feared social situations to help them develop coping skills and desensitise them to their fears. Other helpful strategies include engaging in regular exercise, maintaining a healthy diet, and getting adequate rest to improve overall mental and physical health. With the right combination of therapy, medication, and self-care, individuals with social anxiety disorder can overcome their fears and lead fulfilling lives.

Living with social anxiety disorder can be difficult, but it is possible to manage symptoms and enhance the quality of life with the right treatment and support. Those with social anxiety disorder should get assistance from a skilled mental health practitioner and engage in self-care measures like regular exercise, proper food, and appropriate sleep. People with social anxiety disorder can learn to manage their symptoms and lead full lives with the correct treatment and support.

Answer the following questions by choosing the letter of the best answer.

1.  The narrator in extract A expressed that bank clerks cause him to feel rattled. Which of the following lines taken from extract B verifies that his feeling is an indication of social anxiety?

Read the extracts below then answer the questions that follow.

Extract A: My Financial Career by Stephen Leacock

When I go into a bank I get rattled. The clerks rattle me; the wickets rattle me; the sight of the money rattles me; everything rattles me. The moment I cross the threshold of a bank and attempt to transact business there, I think people looking at me are thinking that I am an irresponsible idiot.

I knew this beforehand, but my salary had been raised to fifty dollars a month and I felt that the bank was the only place for it. So I shambled in and looked timidly around at the clerks. I had an idea that a person about to open an account must need to consult the manager. I went up to a wicket marked “Accountant.” The accountant was a tall, cool devil. The very sight of him rattled me. My voice was sepulchral. “Can I see the manager?” I said, and added solemnly, “alone.” I don’t know why I said “alone.”

“Certainly,” said the accountant, and fetched him. The manager was a grave, calm man. I held my fifty-six dollars clutched in a crumpled ball in my pocket. “Are you the manager?” I said. God knows I didn’t doubt it. “Yes,” he said. “Can I see you,” I asked, “alone?” I didn’t want to say “alone” again, but without it, the thing seemed self-evident.

The manager looked at me with some alarm. He felt that I had an awful secret to reveal. “Come in here,” he said and led the way to a private room. He turned the key in the lock. “We are safe from interruption here,” he said; “sit down.”

We both sat down and looked at each other. I found no voice to speak. “You are one of Pinkerton’s men, I presume,” he said. He had gathered from my mysterious manner that I was a detective. I knew what he was thinking, and it made me feel worse. “No, not from Pinkerton’s,” I said, seeming to imply that I came from a rival agency. “To tell the truth,” I went on, as if I had been prompted to lie about it, “I am not a detective at all. I have come to open an account. I intend to keep all my money in this bank.”

The manager looked relieved but still serious; he concluded now that I was a son of Baron Rothschild or a young Gould. “A large account, I suppose,” he said. “Fairly large,” I whispered. “I propose to deposit fifty-six dollars now and fifty dollars a month regularly.” The manager got up and opened the door. He called the accountant. “Mr. Montgomery,” he said unkindly, “this gentleman is opening an account, he will deposit fifty-six dollars. Good morning.”

I rose. A big iron door stood open at the side of the room. “Good morning,” I said, and stepped into the safe. “Come out,” said the manager coldly, and showed me the other way. I went up to the accountant’s wicket and poked the ball of money at him with a quick convulsive movement as if I were doing a conjuring trick.

My face was ghastly pale. “Here,” I said, “deposit it.” The tone of the words seemed to mean, “Let us do this painful thing while the fit is on us.” He took the money and gave it to another clerk. He made me write the sum on a slip and sign my name in a book. I no longer knew what I was doing. The bank swam before my eyes. “Is it deposited?” I asked in a hollow, vibrating voice. “It is,” said the accountant. “Then I want to draw a cheque.”

My idea was to draw out six dollars of it for present use. Someone gave me a cheque book through a wicket and someone else began telling me how to write it out. The people in the bank probably had the impression that I was an invalid millionaire. I wrote something on the cheque and thrust it in at the clerk. He looked at it.

“What! Are you drawing it all out again?” he asked in surprise. Then I realised that I had written fifty-six instead of six. I was too far gone to reason now. I had a feeling that it was impossible to explain the thing. All the clerks had stopped writing to look at me. Reckless with misery, I made a plunge. “Yes, the whole thing.”

“You withdrew your money from the bank?” clarified the accountant. “Every cent of it.” I replied. “Are you not going to deposit any more?” said the clerk, astonished. “Never.”

An idiot’s hope struck me that they might think something had insulted me while I was writing the cheque and that I had changed my mind. I made a wretched attempt to look like a man with a fearfully quick temper. The clerk prepared to pay the money. “How will you have it?” he said. “What?” I asked. This time, I think the other clerks listening were already thinking of mean things about me like how much of an idiot I am becoming.

“How will you have it?” the clerk asked again. “Oh”—I caught his meaning and answered without even trying to think—”in fifties.” He gave me a fifty-dollar bill. “And the six?” he asked dryly. “In sixes,” I said. He gave it to me and I rushed out.

As the big door swung behind me I caught the echo of a roar of laughter that went up to the ceiling of the bank. Since then I bank no more. I keep my money in cash in my trousers pocket and my savings in silver dollars in a sock.

Extract B: Social Anxiety Disorder

Millions of people worldwide suffer from Social Anxiety Disorder, commonly known as social phobia. It is a form of anxiety disorder characterised by an intense fear of social situations, especially those in which an individual may feel embarrassed, judged, or examined by others. Social anxiety disorder can have a considerable impact on an individual’s life, resulting in avoidance of social situations, difficulties in interpersonal interactions, and diminished quality of life.

Symptoms of social anxiety disorder can vary from person to person but include severe fear or anxiety in social circumstances, bodily symptoms such as sweating, trembling, or heart palpitations, and avoidance of social events. Those with social anxiety disorder may fear a variety of social settings, including public speaking, eating or drinking in front of others, using public bathrooms, and beginning conversations with strangers.

The onset of social anxiety disorder can occur at any age but typically occurs during adolescence or early adulthood. It is not fully understood what causes social anxiety disorder, although it is believed to be a combination of genetic, environmental, and psychological factors. Those with a family history of anxiety disorders and those who have had painful or humiliating social encounters may be more prone to developing social anxiety disorder.

Social anxiety disorder can have a considerable impact on an individual’s life, resulting in relationship issues. Many individuals with social anxiety disorder may have difficulty forming and sustaining friendships and may avoid social events such as parties and gatherings. They may also experience challenges at work or school, such as avoiding meetings or presentations or having difficulty performing in public. Over time, these avoidant behaviours might result in feelings of isolation and loneliness, which can increase social anxiety symptoms.

Those with social anxiety disorder should get therapy as soon as possible, because the longer they wait, the more serious their symptoms may become. Social anxiety disorder can lead to the development of other mental health disorders, such as depression if left untreated. People with social anxiety disorder can learn to manage their symptoms and improve their quality of life, allowing them to engage in social situations with greater confidence and ease provided they receive the appropriate treatment.

A mental health practitioner will often diagnose social anxiety disorder after doing a comprehensive review of the individual’s symptoms and medical history. Typically, social anxiety disorder is treated with a mix of psychotherapy and medication. CBT is a form of talk therapy that is frequently used to treat social anxiety disorder. CBT emphasises the identification and modification of negative thought patterns and actions that contribute to social anxiety. Antidepressants and anti-anxiety drugs may also be provided to aid with symptom management.

In addition to treatment and medication, people with social anxiety disorder can employ a number of self-help tactics to manage their symptoms. One example is practising relaxation techniques, such as deep breathing exercises or meditation, to reduce physical symptoms of anxiety. Another is cognitive restructuring, where individuals challenge their negative thoughts and replace them with positive, realistic ones. Additionally, exposure therapy involves gradually exposing individuals to feared social situations to help them develop coping skills and desensitise them to their fears. Other helpful strategies include engaging in regular exercise, maintaining a healthy diet, and getting adequate rest to improve overall mental and physical health. With the right combination of therapy, medication, and self-care, individuals with social anxiety disorder can overcome their fears and lead fulfilling lives.

Living with social anxiety disorder can be difficult, but it is possible to manage symptoms and enhance the quality of life with the right treatment and support. Those with social anxiety disorder should get assistance from a skilled mental health practitioner and engage in self-care measures like regular exercise, proper food, and appropriate sleep. People with social anxiety disorder can learn to manage their symptoms and lead full lives with the correct treatment and support.

Answer the following questions by choosing the letter of the best answer.

2.  Upon reading extract B, which of these situations could have triggered the social anxiety of the narrator in extract A?

Read the extracts below then answer the questions that follow.

Extract A: My Financial Career by Stephen Leacock

When I go into a bank I get rattled. The clerks rattle me; the wickets rattle me; the sight of the money rattles me; everything rattles me. The moment I cross the threshold of a bank and attempt to transact business there, I think people looking at me are thinking that I am an irresponsible idiot.

I knew this beforehand, but my salary had been raised to fifty dollars a month and I felt that the bank was the only place for it. So I shambled in and looked timidly around at the clerks. I had an idea that a person about to open an account must need to consult the manager. I went up to a wicket marked “Accountant.” The accountant was a tall, cool devil. The very sight of him rattled me. My voice was sepulchral. “Can I see the manager?” I said, and added solemnly, “alone.” I don’t know why I said “alone.”

“Certainly,” said the accountant, and fetched him. The manager was a grave, calm man. I held my fifty-six dollars clutched in a crumpled ball in my pocket. “Are you the manager?” I said. God knows I didn’t doubt it. “Yes,” he said. “Can I see you,” I asked, “alone?” I didn’t want to say “alone” again, but without it, the thing seemed self-evident.

The manager looked at me with some alarm. He felt that I had an awful secret to reveal. “Come in here,” he said and led the way to a private room. He turned the key in the lock. “We are safe from interruption here,” he said; “sit down.”

We both sat down and looked at each other. I found no voice to speak. “You are one of Pinkerton’s men, I presume,” he said. He had gathered from my mysterious manner that I was a detective. I knew what he was thinking, and it made me feel worse. “No, not from Pinkerton’s,” I said, seeming to imply that I came from a rival agency. “To tell the truth,” I went on, as if I had been prompted to lie about it, “I am not a detective at all. I have come to open an account. I intend to keep all my money in this bank.”

The manager looked relieved but still serious; he concluded now that I was a son of Baron Rothschild or a young Gould. “A large account, I suppose,” he said. “Fairly large,” I whispered. “I propose to deposit fifty-six dollars now and fifty dollars a month regularly.” The manager got up and opened the door. He called the accountant. “Mr. Montgomery,” he said unkindly, “this gentleman is opening an account, he will deposit fifty-six dollars. Good morning.”

I rose. A big iron door stood open at the side of the room. “Good morning,” I said, and stepped into the safe. “Come out,” said the manager coldly, and showed me the other way. I went up to the accountant’s wicket and poked the ball of money at him with a quick convulsive movement as if I were doing a conjuring trick.

My face was ghastly pale. “Here,” I said, “deposit it.” The tone of the words seemed to mean, “Let us do this painful thing while the fit is on us.” He took the money and gave it to another clerk. He made me write the sum on a slip and sign my name in a book. I no longer knew what I was doing. The bank swam before my eyes. “Is it deposited?” I asked in a hollow, vibrating voice. “It is,” said the accountant. “Then I want to draw a cheque.”

My idea was to draw out six dollars of it for present use. Someone gave me a cheque book through a wicket and someone else began telling me how to write it out. The people in the bank probably had the impression that I was an invalid millionaire. I wrote something on the cheque and thrust it in at the clerk. He looked at it.

“What! Are you drawing it all out again?” he asked in surprise. Then I realised that I had written fifty-six instead of six. I was too far gone to reason now. I had a feeling that it was impossible to explain the thing. All the clerks had stopped writing to look at me. Reckless with misery, I made a plunge. “Yes, the whole thing.”

“You withdrew your money from the bank?” clarified the accountant. “Every cent of it.” I replied. “Are you not going to deposit any more?” said the clerk, astonished. “Never.”

An idiot’s hope struck me that they might think something had insulted me while I was writing the cheque and that I had changed my mind. I made a wretched attempt to look like a man with a fearfully quick temper. The clerk prepared to pay the money. “How will you have it?” he said. “What?” I asked. This time, I think the other clerks listening were already thinking of mean things about me like how much of an idiot I am becoming.

“How will you have it?” the clerk asked again. “Oh”—I caught his meaning and answered without even trying to think—”in fifties.” He gave me a fifty-dollar bill. “And the six?” he asked dryly. “In sixes,” I said. He gave it to me and I rushed out.

As the big door swung behind me I caught the echo of a roar of laughter that went up to the ceiling of the bank. Since then I bank no more. I keep my money in cash in my trousers pocket and my savings in silver dollars in a sock.

Extract B: Social Anxiety Disorder

Millions of people worldwide suffer from Social Anxiety Disorder, commonly known as social phobia. It is a form of anxiety disorder characterised by an intense fear of social situations, especially those in which an individual may feel embarrassed, judged, or examined by others. Social anxiety disorder can have a considerable impact on an individual’s life, resulting in avoidance of social situations, difficulties in interpersonal interactions, and diminished quality of life.

Symptoms of social anxiety disorder can vary from person to person but include severe fear or anxiety in social circumstances, bodily symptoms such as sweating, trembling, or heart palpitations, and avoidance of social events. Those with social anxiety disorder may fear a variety of social settings, including public speaking, eating or drinking in front of others, using public bathrooms, and beginning conversations with strangers.

The onset of social anxiety disorder can occur at any age but typically occurs during adolescence or early adulthood. It is not fully understood what causes social anxiety disorder, although it is believed to be a combination of genetic, environmental, and psychological factors. Those with a family history of anxiety disorders and those who have had painful or humiliating social encounters may be more prone to developing social anxiety disorder.

Social anxiety disorder can have a considerable impact on an individual’s life, resulting in relationship issues. Many individuals with social anxiety disorder may have difficulty forming and sustaining friendships and may avoid social events such as parties and gatherings. They may also experience challenges at work or school, such as avoiding meetings or presentations or having difficulty performing in public. Over time, these avoidant behaviours might result in feelings of isolation and loneliness, which can increase social anxiety symptoms.

Those with social anxiety disorder should get therapy as soon as possible, because the longer they wait, the more serious their symptoms may become. Social anxiety disorder can lead to the development of other mental health disorders, such as depression if left untreated. People with social anxiety disorder can learn to manage their symptoms and improve their quality of life, allowing them to engage in social situations with greater confidence and ease provided they receive the appropriate treatment.

A mental health practitioner will often diagnose social anxiety disorder after doing a comprehensive review of the individual’s symptoms and medical history. Typically, social anxiety disorder is treated with a mix of psychotherapy and medication. CBT is a form of talk therapy that is frequently used to treat social anxiety disorder. CBT emphasises the identification and modification of negative thought patterns and actions that contribute to social anxiety. Antidepressants and anti-anxiety drugs may also be provided to aid with symptom management.

In addition to treatment and medication, people with social anxiety disorder can employ a number of self-help tactics to manage their symptoms. One example is practising relaxation techniques, such as deep breathing exercises or meditation, to reduce physical symptoms of anxiety. Another is cognitive restructuring, where individuals challenge their negative thoughts and replace them with positive, realistic ones. Additionally, exposure therapy involves gradually exposing individuals to feared social situations to help them develop coping skills and desensitise them to their fears. Other helpful strategies include engaging in regular exercise, maintaining a healthy diet, and getting adequate rest to improve overall mental and physical health. With the right combination of therapy, medication, and self-care, individuals with social anxiety disorder can overcome their fears and lead fulfilling lives.

Living with social anxiety disorder can be difficult, but it is possible to manage symptoms and enhance the quality of life with the right treatment and support. Those with social anxiety disorder should get assistance from a skilled mental health practitioner and engage in self-care measures like regular exercise, proper food, and appropriate sleep. People with social anxiety disorder can learn to manage their symptoms and lead full lives with the correct treatment and support.

Answer the following questions by choosing the letter of the best answer.

3.  How does the protagonist’s social anxiety in extract A compare to the symptoms of social anxiety disorder presented in extract B?

Read the extracts below then answer the questions that follow.

Extract A: My Financial Career by Stephen Leacock

When I go into a bank I get rattled. The clerks rattle me; the wickets rattle me; the sight of the money rattles me; everything rattles me. The moment I cross the threshold of a bank and attempt to transact business there, I think people looking at me are thinking that I am an irresponsible idiot.

I knew this beforehand, but my salary had been raised to fifty dollars a month and I felt that the bank was the only place for it. So I shambled in and looked timidly around at the clerks. I had an idea that a person about to open an account must need to consult the manager. I went up to a wicket marked “Accountant.” The accountant was a tall, cool devil. The very sight of him rattled me. My voice was sepulchral. “Can I see the manager?” I said, and added solemnly, “alone.” I don’t know why I said “alone.”

“Certainly,” said the accountant, and fetched him. The manager was a grave, calm man. I held my fifty-six dollars clutched in a crumpled ball in my pocket. “Are you the manager?” I said. God knows I didn’t doubt it. “Yes,” he said. “Can I see you,” I asked, “alone?” I didn’t want to say “alone” again, but without it, the thing seemed self-evident.

The manager looked at me with some alarm. He felt that I had an awful secret to reveal. “Come in here,” he said and led the way to a private room. He turned the key in the lock. “We are safe from interruption here,” he said; “sit down.”

We both sat down and looked at each other. I found no voice to speak. “You are one of Pinkerton’s men, I presume,” he said. He had gathered from my mysterious manner that I was a detective. I knew what he was thinking, and it made me feel worse. “No, not from Pinkerton’s,” I said, seeming to imply that I came from a rival agency. “To tell the truth,” I went on, as if I had been prompted to lie about it, “I am not a detective at all. I have come to open an account. I intend to keep all my money in this bank.”

The manager looked relieved but still serious; he concluded now that I was a son of Baron Rothschild or a young Gould. “A large account, I suppose,” he said. “Fairly large,” I whispered. “I propose to deposit fifty-six dollars now and fifty dollars a month regularly.” The manager got up and opened the door. He called the accountant. “Mr. Montgomery,” he said unkindly, “this gentleman is opening an account, he will deposit fifty-six dollars. Good morning.”

I rose. A big iron door stood open at the side of the room. “Good morning,” I said, and stepped into the safe. “Come out,” said the manager coldly, and showed me the other way. I went up to the accountant’s wicket and poked the ball of money at him with a quick convulsive movement as if I were doing a conjuring trick.

My face was ghastly pale. “Here,” I said, “deposit it.” The tone of the words seemed to mean, “Let us do this painful thing while the fit is on us.” He took the money and gave it to another clerk. He made me write the sum on a slip and sign my name in a book. I no longer knew what I was doing. The bank swam before my eyes. “Is it deposited?” I asked in a hollow, vibrating voice. “It is,” said the accountant. “Then I want to draw a cheque.”

My idea was to draw out six dollars of it for present use. Someone gave me a cheque book through a wicket and someone else began telling me how to write it out. The people in the bank probably had the impression that I was an invalid millionaire. I wrote something on the cheque and thrust it in at the clerk. He looked at it.

“What! Are you drawing it all out again?” he asked in surprise. Then I realised that I had written fifty-six instead of six. I was too far gone to reason now. I had a feeling that it was impossible to explain the thing. All the clerks had stopped writing to look at me. Reckless with misery, I made a plunge. “Yes, the whole thing.”

“You withdrew your money from the bank?” clarified the accountant. “Every cent of it.” I replied. “Are you not going to deposit any more?” said the clerk, astonished. “Never.”

An idiot’s hope struck me that they might think something had insulted me while I was writing the cheque and that I had changed my mind. I made a wretched attempt to look like a man with a fearfully quick temper. The clerk prepared to pay the money. “How will you have it?” he said. “What?” I asked. This time, I think the other clerks listening were already thinking of mean things about me like how much of an idiot I am becoming.

“How will you have it?” the clerk asked again. “Oh”—I caught his meaning and answered without even trying to think—”in fifties.” He gave me a fifty-dollar bill. “And the six?” he asked dryly. “In sixes,” I said. He gave it to me and I rushed out.

As the big door swung behind me I caught the echo of a roar of laughter that went up to the ceiling of the bank. Since then I bank no more. I keep my money in cash in my trousers pocket and my savings in silver dollars in a sock.

Extract B: Social Anxiety Disorder

Millions of people worldwide suffer from Social Anxiety Disorder, commonly known as social phobia. It is a form of anxiety disorder characterised by an intense fear of social situations, especially those in which an individual may feel embarrassed, judged, or examined by others. Social anxiety disorder can have a considerable impact on an individual’s life, resulting in avoidance of social situations, difficulties in interpersonal interactions, and diminished quality of life.

Symptoms of social anxiety disorder can vary from person to person but include severe fear or anxiety in social circumstances, bodily symptoms such as sweating, trembling, or heart palpitations, and avoidance of social events. Those with social anxiety disorder may fear a variety of social settings, including public speaking, eating or drinking in front of others, using public bathrooms, and beginning conversations with strangers.

The onset of social anxiety disorder can occur at any age but typically occurs during adolescence or early adulthood. It is not fully understood what causes social anxiety disorder, although it is believed to be a combination of genetic, environmental, and psychological factors. Those with a family history of anxiety disorders and those who have had painful or humiliating social encounters may be more prone to developing social anxiety disorder.

Social anxiety disorder can have a considerable impact on an individual’s life, resulting in relationship issues. Many individuals with social anxiety disorder may have difficulty forming and sustaining friendships and may avoid social events such as parties and gatherings. They may also experience challenges at work or school, such as avoiding meetings or presentations or having difficulty performing in public. Over time, these avoidant behaviours might result in feelings of isolation and loneliness, which can increase social anxiety symptoms.

Those with social anxiety disorder should get therapy as soon as possible, because the longer they wait, the more serious their symptoms may become. Social anxiety disorder can lead to the development of other mental health disorders, such as depression if left untreated. People with social anxiety disorder can learn to manage their symptoms and improve their quality of life, allowing them to engage in social situations with greater confidence and ease provided they receive the appropriate treatment.

A mental health practitioner will often diagnose social anxiety disorder after doing a comprehensive review of the individual’s symptoms and medical history. Typically, social anxiety disorder is treated with a mix of psychotherapy and medication. CBT is a form of talk therapy that is frequently used to treat social anxiety disorder. CBT emphasises the identification and modification of negative thought patterns and actions that contribute to social anxiety. Antidepressants and anti-anxiety drugs may also be provided to aid with symptom management.

In addition to treatment and medication, people with social anxiety disorder can employ a number of self-help tactics to manage their symptoms. One example is practising relaxation techniques, such as deep breathing exercises or meditation, to reduce physical symptoms of anxiety. Another is cognitive restructuring, where individuals challenge their negative thoughts and replace them with positive, realistic ones. Additionally, exposure therapy involves gradually exposing individuals to feared social situations to help them develop coping skills and desensitise them to their fears. Other helpful strategies include engaging in regular exercise, maintaining a healthy diet, and getting adequate rest to improve overall mental and physical health. With the right combination of therapy, medication, and self-care, individuals with social anxiety disorder can overcome their fears and lead fulfilling lives.

Living with social anxiety disorder can be difficult, but it is possible to manage symptoms and enhance the quality of life with the right treatment and support. Those with social anxiety disorder should get assistance from a skilled mental health practitioner and engage in self-care measures like regular exercise, proper food, and appropriate sleep. People with social anxiety disorder can learn to manage their symptoms and lead full lives with the correct treatment and support.

Answer the following questions by choosing the letter of the best answer.

4.  In extract A, how does the narrator’s social anxiety impact his ability to manage his finances?

Read the extracts below then answer the questions that follow.

Extract A: My Financial Career by Stephen Leacock

When I go into a bank I get rattled. The clerks rattle me; the wickets rattle me; the sight of the money rattles me; everything rattles me. The moment I cross the threshold of a bank and attempt to transact business there, I think people looking at me are thinking that I am an irresponsible idiot.

I knew this beforehand, but my salary had been raised to fifty dollars a month and I felt that the bank was the only place for it. So I shambled in and looked timidly around at the clerks. I had an idea that a person about to open an account must need to consult the manager. I went up to a wicket marked “Accountant.” The accountant was a tall, cool devil. The very sight of him rattled me. My voice was sepulchral. “Can I see the manager?” I said, and added solemnly, “alone.” I don’t know why I said “alone.”

“Certainly,” said the accountant, and fetched him. The manager was a grave, calm man. I held my fifty-six dollars clutched in a crumpled ball in my pocket. “Are you the manager?” I said. God knows I didn’t doubt it. “Yes,” he said. “Can I see you,” I asked, “alone?” I didn’t want to say “alone” again, but without it, the thing seemed self-evident.

The manager looked at me with some alarm. He felt that I had an awful secret to reveal. “Come in here,” he said and led the way to a private room. He turned the key in the lock. “We are safe from interruption here,” he said; “sit down.”

We both sat down and looked at each other. I found no voice to speak. “You are one of Pinkerton’s men, I presume,” he said. He had gathered from my mysterious manner that I was a detective. I knew what he was thinking, and it made me feel worse. “No, not from Pinkerton’s,” I said, seeming to imply that I came from a rival agency. “To tell the truth,” I went on, as if I had been prompted to lie about it, “I am not a detective at all. I have come to open an account. I intend to keep all my money in this bank.”

The manager looked relieved but still serious; he concluded now that I was a son of Baron Rothschild or a young Gould. “A large account, I suppose,” he said. “Fairly large,” I whispered. “I propose to deposit fifty-six dollars now and fifty dollars a month regularly.” The manager got up and opened the door. He called the accountant. “Mr. Montgomery,” he said unkindly, “this gentleman is opening an account, he will deposit fifty-six dollars. Good morning.”

I rose. A big iron door stood open at the side of the room. “Good morning,” I said, and stepped into the safe. “Come out,” said the manager coldly, and showed me the other way. I went up to the accountant’s wicket and poked the ball of money at him with a quick convulsive movement as if I were doing a conjuring trick.

My face was ghastly pale. “Here,” I said, “deposit it.” The tone of the words seemed to mean, “Let us do this painful thing while the fit is on us.” He took the money and gave it to another clerk. He made me write the sum on a slip and sign my name in a book. I no longer knew what I was doing. The bank swam before my eyes. “Is it deposited?” I asked in a hollow, vibrating voice. “It is,” said the accountant. “Then I want to draw a cheque.”

My idea was to draw out six dollars of it for present use. Someone gave me a cheque book through a wicket and someone else began telling me how to write it out. The people in the bank probably had the impression that I was an invalid millionaire. I wrote something on the cheque and thrust it in at the clerk. He looked at it.

“What! Are you drawing it all out again?” he asked in surprise. Then I realised that I had written fifty-six instead of six. I was too far gone to reason now. I had a feeling that it was impossible to explain the thing. All the clerks had stopped writing to look at me. Reckless with misery, I made a plunge. “Yes, the whole thing.”

“You withdrew your money from the bank?” clarified the accountant. “Every cent of it.” I replied. “Are you not going to deposit any more?” said the clerk, astonished. “Never.”

An idiot’s hope struck me that they might think something had insulted me while I was writing the cheque and that I had changed my mind. I made a wretched attempt to look like a man with a fearfully quick temper. The clerk prepared to pay the money. “How will you have it?” he said. “What?” I asked. This time, I think the other clerks listening were already thinking of mean things about me like how much of an idiot I am becoming.

“How will you have it?” the clerk asked again. “Oh”—I caught his meaning and answered without even trying to think—”in fifties.” He gave me a fifty-dollar bill. “And the six?” he asked dryly. “In sixes,” I said. He gave it to me and I rushed out.

As the big door swung behind me I caught the echo of a roar of laughter that went up to the ceiling of the bank. Since then I bank no more. I keep my money in cash in my trousers pocket and my savings in silver dollars in a sock.

Extract B: Social Anxiety Disorder

Millions of people worldwide suffer from Social Anxiety Disorder, commonly known as social phobia. It is a form of anxiety disorder characterised by an intense fear of social situations, especially those in which an individual may feel embarrassed, judged, or examined by others. Social anxiety disorder can have a considerable impact on an individual’s life, resulting in avoidance of social situations, difficulties in interpersonal interactions, and diminished quality of life.

Symptoms of social anxiety disorder can vary from person to person but include severe fear or anxiety in social circumstances, bodily symptoms such as sweating, trembling, or heart palpitations, and avoidance of social events. Those with social anxiety disorder may fear a variety of social settings, including public speaking, eating or drinking in front of others, using public bathrooms, and beginning conversations with strangers.

The onset of social anxiety disorder can occur at any age but typically occurs during adolescence or early adulthood. It is not fully understood what causes social anxiety disorder, although it is believed to be a combination of genetic, environmental, and psychological factors. Those with a family history of anxiety disorders and those who have had painful or humiliating social encounters may be more prone to developing social anxiety disorder.

Social anxiety disorder can have a considerable impact on an individual’s life, resulting in relationship issues. Many individuals with social anxiety disorder may have difficulty forming and sustaining friendships and may avoid social events such as parties and gatherings. They may also experience challenges at work or school, such as avoiding meetings or presentations or having difficulty performing in public. Over time, these avoidant behaviours might result in feelings of isolation and loneliness, which can increase social anxiety symptoms.

Those with social anxiety disorder should get therapy as soon as possible, because the longer they wait, the more serious their symptoms may become. Social anxiety disorder can lead to the development of other mental health disorders, such as depression if left untreated. People with social anxiety disorder can learn to manage their symptoms and improve their quality of life, allowing them to engage in social situations with greater confidence and ease provided they receive the appropriate treatment.

A mental health practitioner will often diagnose social anxiety disorder after doing a comprehensive review of the individual’s symptoms and medical history. Typically, social anxiety disorder is treated with a mix of psychotherapy and medication. CBT is a form of talk therapy that is frequently used to treat social anxiety disorder. CBT emphasises the identification and modification of negative thought patterns and actions that contribute to social anxiety. Antidepressants and anti-anxiety drugs may also be provided to aid with symptom management.

In addition to treatment and medication, people with social anxiety disorder can employ a number of self-help tactics to manage their symptoms. One example is practising relaxation techniques, such as deep breathing exercises or meditation, to reduce physical symptoms of anxiety. Another is cognitive restructuring, where individuals challenge their negative thoughts and replace them with positive, realistic ones. Additionally, exposure therapy involves gradually exposing individuals to feared social situations to help them develop coping skills and desensitise them to their fears. Other helpful strategies include engaging in regular exercise, maintaining a healthy diet, and getting adequate rest to improve overall mental and physical health. With the right combination of therapy, medication, and self-care, individuals with social anxiety disorder can overcome their fears and lead fulfilling lives.

Living with social anxiety disorder can be difficult, but it is possible to manage symptoms and enhance the quality of life with the right treatment and support. Those with social anxiety disorder should get assistance from a skilled mental health practitioner and engage in self-care measures like regular exercise, proper food, and appropriate sleep. People with social anxiety disorder can learn to manage their symptoms and lead full lives with the correct treatment and support.

Answer the following questions by choosing the letter of the best answer.

5.  Which best describes what extract A is all about?

Read the extracts below then answer the questions that follow.

Extract A: My Financial Career by Stephen Leacock

When I go into a bank I get rattled. The clerks rattle me; the wickets rattle me; the sight of the money rattles me; everything rattles me. The moment I cross the threshold of a bank and attempt to transact business there, I think people looking at me are thinking that I am an irresponsible idiot.

I knew this beforehand, but my salary had been raised to fifty dollars a month and I felt that the bank was the only place for it. So I shambled in and looked timidly around at the clerks. I had an idea that a person about to open an account must need to consult the manager. I went up to a wicket marked “Accountant.” The accountant was a tall, cool devil. The very sight of him rattled me. My voice was sepulchral. “Can I see the manager?” I said, and added solemnly, “alone.” I don’t know why I said “alone.”

“Certainly,” said the accountant, and fetched him. The manager was a grave, calm man. I held my fifty-six dollars clutched in a crumpled ball in my pocket. “Are you the manager?” I said. God knows I didn’t doubt it. “Yes,” he said. “Can I see you,” I asked, “alone?” I didn’t want to say “alone” again, but without it, the thing seemed self-evident.

The manager looked at me with some alarm. He felt that I had an awful secret to reveal. “Come in here,” he said and led the way to a private room. He turned the key in the lock. “We are safe from interruption here,” he said; “sit down.”

We both sat down and looked at each other. I found no voice to speak. “You are one of Pinkerton’s men, I presume,” he said. He had gathered from my mysterious manner that I was a detective. I knew what he was thinking, and it made me feel worse. “No, not from Pinkerton’s,” I said, seeming to imply that I came from a rival agency. “To tell the truth,” I went on, as if I had been prompted to lie about it, “I am not a detective at all. I have come to open an account. I intend to keep all my money in this bank.”

The manager looked relieved but still serious; he concluded now that I was a son of Baron Rothschild or a young Gould. “A large account, I suppose,” he said. “Fairly large,” I whispered. “I propose to deposit fifty-six dollars now and fifty dollars a month regularly.” The manager got up and opened the door. He called the accountant. “Mr. Montgomery,” he said unkindly, “this gentleman is opening an account, he will deposit fifty-six dollars. Good morning.”

I rose. A big iron door stood open at the side of the room. “Good morning,” I said, and stepped into the safe. “Come out,” said the manager coldly, and showed me the other way. I went up to the accountant’s wicket and poked the ball of money at him with a quick convulsive movement as if I were doing a conjuring trick.

My face was ghastly pale. “Here,” I said, “deposit it.” The tone of the words seemed to mean, “Let us do this painful thing while the fit is on us.” He took the money and gave it to another clerk. He made me write the sum on a slip and sign my name in a book. I no longer knew what I was doing. The bank swam before my eyes. “Is it deposited?” I asked in a hollow, vibrating voice. “It is,” said the accountant. “Then I want to draw a cheque.”

My idea was to draw out six dollars of it for present use. Someone gave me a cheque book through a wicket and someone else began telling me how to write it out. The people in the bank probably had the impression that I was an invalid millionaire. I wrote something on the cheque and thrust it in at the clerk. He looked at it.

“What! Are you drawing it all out again?” he asked in surprise. Then I realised that I had written fifty-six instead of six. I was too far gone to reason now. I had a feeling that it was impossible to explain the thing. All the clerks had stopped writing to look at me. Reckless with misery, I made a plunge. “Yes, the whole thing.”

“You withdrew your money from the bank?” clarified the accountant. “Every cent of it.” I replied. “Are you not going to deposit any more?” said the clerk, astonished. “Never.”

An idiot’s hope struck me that they might think something had insulted me while I was writing the cheque and that I had changed my mind. I made a wretched attempt to look like a man with a fearfully quick temper. The clerk prepared to pay the money. “How will you have it?” he said. “What?” I asked. This time, I think the other clerks listening were already thinking of mean things about me like how much of an idiot I am becoming.

“How will you have it?” the clerk asked again. “Oh”—I caught his meaning and answered without even trying to think—”in fifties.” He gave me a fifty-dollar bill. “And the six?” he asked dryly. “In sixes,” I said. He gave it to me and I rushed out.

As the big door swung behind me I caught the echo of a roar of laughter that went up to the ceiling of the bank. Since then I bank no more. I keep my money in cash in my trousers pocket and my savings in silver dollars in a sock.

Extract B: Social Anxiety Disorder

Millions of people worldwide suffer from Social Anxiety Disorder, commonly known as social phobia. It is a form of anxiety disorder characterised by an intense fear of social situations, especially those in which an individual may feel embarrassed, judged, or examined by others. Social anxiety disorder can have a considerable impact on an individual’s life, resulting in avoidance of social situations, difficulties in interpersonal interactions, and diminished quality of life.

Symptoms of social anxiety disorder can vary from person to person but include severe fear or anxiety in social circumstances, bodily symptoms such as sweating, trembling, or heart palpitations, and avoidance of social events. Those with social anxiety disorder may fear a variety of social settings, including public speaking, eating or drinking in front of others, using public bathrooms, and beginning conversations with strangers.

The onset of social anxiety disorder can occur at any age but typically occurs during adolescence or early adulthood. It is not fully understood what causes social anxiety disorder, although it is believed to be a combination of genetic, environmental, and psychological factors. Those with a family history of anxiety disorders and those who have had painful or humiliating social encounters may be more prone to developing social anxiety disorder.

Social anxiety disorder can have a considerable impact on an individual’s life, resulting in relationship issues. Many individuals with social anxiety disorder may have difficulty forming and sustaining friendships and may avoid social events such as parties and gatherings. They may also experience challenges at work or school, such as avoiding meetings or presentations or having difficulty performing in public. Over time, these avoidant behaviours might result in feelings of isolation and loneliness, which can increase social anxiety symptoms.

Those with social anxiety disorder should get therapy as soon as possible, because the longer they wait, the more serious their symptoms may become. Social anxiety disorder can lead to the development of other mental health disorders, such as depression if left untreated. People with social anxiety disorder can learn to manage their symptoms and improve their quality of life, allowing them to engage in social situations with greater confidence and ease provided they receive the appropriate treatment.

A mental health practitioner will often diagnose social anxiety disorder after doing a comprehensive review of the individual’s symptoms and medical history. Typically, social anxiety disorder is treated with a mix of psychotherapy and medication. CBT is a form of talk therapy that is frequently used to treat social anxiety disorder. CBT emphasises the identification and modification of negative thought patterns and actions that contribute to social anxiety. Antidepressants and anti-anxiety drugs may also be provided to aid with symptom management.

In addition to treatment and medication, people with social anxiety disorder can employ a number of self-help tactics to manage their symptoms. One example is practising relaxation techniques, such as deep breathing exercises or meditation, to reduce physical symptoms of anxiety. Another is cognitive restructuring, where individuals challenge their negative thoughts and replace them with positive, realistic ones. Additionally, exposure therapy involves gradually exposing individuals to feared social situations to help them develop coping skills and desensitise them to their fears. Other helpful strategies include engaging in regular exercise, maintaining a healthy diet, and getting adequate rest to improve overall mental and physical health. With the right combination of therapy, medication, and self-care, individuals with social anxiety disorder can overcome their fears and lead fulfilling lives.

Living with social anxiety disorder can be difficult, but it is possible to manage symptoms and enhance the quality of life with the right treatment and support. Those with social anxiety disorder should get assistance from a skilled mental health practitioner and engage in self-care measures like regular exercise, proper food, and appropriate sleep. People with social anxiety disorder can learn to manage their symptoms and lead full lives with the correct treatment and support.

Answer the following questions by choosing the letter of the best answer.

6.  Extract B states that having social anxiety disorder means having intense nervousness. Which of the following paragraphs in extract A is this evident? 

Read the poem below then answer the questions that follow. 

Something Left Undone by Henry Wadsworth Longfellow

Labor with what zeal we will,

Something still remains undone,

Something uncompleted still,

Waits the rising of the sun.

By the bedside, on the stair, 5

At the threshold, near the gates,

With its menace or its prayer,

Like a mendicant it waits:

Waits, and will not go away, —

Waits, and will not be gainsaid. 10

By the cares of yesterday

Each to-day is heavier made,

Till at length it is, or seems,

Greater than our strength can bear, —

As the burden of our dreams, 15

Passing on us everywhere;

And we stand from day to day

Like the dwarfs of times gone by,

Who, as Northern legends say,

On their shoulders held the sky. 20

Answer the following questions by choosing the letter of the best answer.

7.  What does the poem suggest about the waiting “mendicant” in line 8?

Read the poem below then answer the questions that follow. 

Something Left Undone by Henry Wadsworth Longfellow

Labor with what zeal we will,

Something still remains undone,

Something uncompleted still,

Waits the rising of the sun.

By the bedside, on the stair, 5

At the threshold, near the gates,

With its menace or its prayer,

Like a mendicant it waits:

Waits, and will not go away, —

Waits, and will not be gainsaid. 10

By the cares of yesterday

Each to-day is heavier made,

Till at length it is, or seems,

Greater than our strength can bear, —

As the burden of our dreams, 15

Passing on us everywhere;

And we stand from day to day

Like the dwarfs of times gone by,

Who, as Northern legends say,

On their shoulders held the sky. 20

Answer the following questions by choosing the letter of the best answer.

8.  What is the significance of the rising sun in line 4?

Read the poem below then answer the questions that follow. 

Something Left Undone by Henry Wadsworth Longfellow

Labor with what zeal we will,

Something still remains undone,

Something uncompleted still,

Waits the rising of the sun.

By the bedside, on the stair, 5

At the threshold, near the gates,

With its menace or its prayer,

Like a mendicant it waits:

Waits, and will not go away, —

Waits, and will not be gainsaid. 10

By the cares of yesterday

Each to-day is heavier made,

Till at length it is, or seems,

Greater than our strength can bear, —

As the burden of our dreams, 15

Passing on us everywhere;

And we stand from day to day

Like the dwarfs of times gone by,

Who, as Northern legends say,

On their shoulders held the sky. 20

Answer the following questions by choosing the letter of the best answer.

9.  In line 15, what does the burden of our dreams passing on us everywhere suggest?

Read the poem below then answer the questions that follow. 

Something Left Undone by Henry Wadsworth Longfellow

Labor with what zeal we will,

Something still remains undone,

Something uncompleted still,

Waits the rising of the sun.

By the bedside, on the stair, 5

At the threshold, near the gates,

With its menace or its prayer,

Like a mendicant it waits:

Waits, and will not go away, —

Waits, and will not be gainsaid. 10

By the cares of yesterday

Each to-day is heavier made,

Till at length it is, or seems,

Greater than our strength can bear, —

As the burden of our dreams, 15

Passing on us everywhere;

And we stand from day to day

Like the dwarfs of times gone by,

Who, as Northern legends say,

On their shoulders held the sky. 20

Answer the following questions by choosing the letter of the best answer.

10.  What is the significance of the dwarfs in the eighteenth line?

Read the poem below then answer the questions that follow. 

Something Left Undone by Henry Wadsworth Longfellow

Labor with what zeal we will,

Something still remains undone,

Something uncompleted still,

Waits the rising of the sun.

By the bedside, on the stair, 5

At the threshold, near the gates,

With its menace or its prayer,

Like a mendicant it waits:

Waits, and will not go away, —

Waits, and will not be gainsaid. 10

By the cares of yesterday

Each to-day is heavier made,

Till at length it is, or seems,

Greater than our strength can bear, —

As the burden of our dreams, 15

Passing on us everywhere;

And we stand from day to day

Like the dwarfs of times gone by,

Who, as Northern legends say,

On their shoulders held the sky. 20

Answer the following questions by choosing the letter of the best answer.

11.  According to the poem, what happens if we do not address the burden of undone tasks?

Read the poem below then answer the questions that follow. 

Something Left Undone by Henry Wadsworth Longfellow

Labor with what zeal we will,

Something still remains undone,

Something uncompleted still,

Waits the rising of the sun.

By the bedside, on the stair, 5

At the threshold, near the gates,

With its menace or its prayer,

Like a mendicant it waits:

Waits, and will not go away, —

Waits, and will not be gainsaid. 10

By the cares of yesterday

Each to-day is heavier made,

Till at length it is, or seems,

Greater than our strength can bear, —

As the burden of our dreams, 15

Passing on us everywhere;

And we stand from day to day

Like the dwarfs of times gone by,

Who, as Northern legends say,

On their shoulders held the sky. 20

Answer the following questions by choosing the letter of the best answer.

12.  How does the poem suggest we can deal with the burden of unfinished tasks?

Read the article below then answer the questions that follow.

What Does the Universe Sound Like?

A.  The universe, with its innumerable stars, galaxies, and nebulae, may be aesthetically spectacular, particularly when we utilise powerful telescopes to gaze beyond the limits of human vision. What if, though, we could also hear these objects? This may initially seem odd; how can sound travel through space’s hoover? The universe is silent, right? Kim Arcand, a data visualisation expert at the Smithsonian Astrophysical Observatory in Cambridge, Massachusetts, disagrees. Her team has discovered methods to amplify and alter distant sound waves that are normally inaudible to human ears. Assigning musical notes to visual data from optical, infrared, and X-ray observatories has also been used to create audible representations of astronomical occurrences. These “sonifications” give individuals a novel way to experience these awe-inspiring artefacts.

B.  Arcand, in collaboration with colleagues from the Smithsonian, Harvard University, and NASA, as well as a Canadian science outreach team known as SYSTEM Sounds, has been creating these custom-made audio tracks to bring astronomical photographs to life. Many of the songs are available on YouTube alongside the photographs that inspired them. Today, sixteen of these sonifications and amplifications have been compiled into the album Universal Harmonies, which will be available on CD, vinyl, and streaming services beginning March 10. Arcand believes that sonification can strengthen science by allowing more individuals to contribute to our understanding of the universe. She states that one of her goals is to demonstrate that “those who are blind or have impaired eyesight… may also participate in the scientific activity.”

C.  Matt Russo, an astronomer at the University of Toronto who co-founded SYSTEM Sounds with musician Andrew Santaguida, has used sonification to combine his two big hobbies, astronomy and music. As an undergraduate at the University of Toronto, Russo studied jazz guitar before switching to astrophysics. He states, “I was fascinated in rock, blues, and Hendrix-like music.” His stated purpose at SYSTEM Sounds is to investigate the universe through sound. This involves translating any type of astronomical data so that it may be heard.”

D. This conversion could proceed in a variety of ways. Brighter regions of an image are paired with louder sounds, or longer wavelengths of light (the red end of the spectrum) are rendered as lower-pitched noises, while shorter wavelengths of light (the blue end of the spectrum) are rendered as higher-pitched sounds. But, this is only the beginning: An image is two-dimensional but lacks a time dimension, whereas music is all about time; therefore, time must be introduced in some fashion. Scanning from left to right across an image is an easy method; scanning through a 1,200-pixel-wide image at 40 pixels per second, for example, provides a 30-second track to be filled with music defined by the pattern of light.

E.  This is both an art and a science, and Russo was immediately intrigued by the task. “It was immediately apparent that it was enjoyable and gratifying,” he says. “I was able to merge all of my interests at once. And people responded well to it.” If you have ever glanced up on a clear summer night away from city lights, you will have seen the Milky Way, which is our own galaxy as seen from within. You may have also observed that a patchy region close to the constellation Sagittarius is notably denser than the rest. This is the centre of our galaxy, approximately 26,000 light-years away from Earth. When viewed via the numerous telescopes in an astronomer’s toolset, this star-studded panorama assumes a completely different appearance.

F.  Sonification for Universal Harmonies was developed using data from three separate telescopes: X-ray data from the Chandra X-Ray Observatory, optical data from the Hubble Space Telescope, and infrared data from the Spitzer Space Telescope. Each telescope has its own musical instrument, including a glockenspiel for Chandra, strings for Hubble, and a piano for Spitzer. In this instance, the image is scanned from left to right, with the vertical position regulating the pitch; a light source near the top of the image is displayed with a higher pitch, whereas a source near the bottom of the image is presented with a lower pitch. Moreover, the volume of each note is related to the brightness of the respective visual region.

G.  For Arcand, the galactic centre is comparable to the metropolitan core of a city. She states, “It’s as if you’re in the centre of Times Square.” There is a lot of activity and bustle. Despite this, the finished work sounds almost lyrical due to the interaction between the elements. The sonic collage provides Russo with a novel method to “see” the commotion at the centre of our galaxy. “By using different wavelengths of light to examine the universe, you can hear the many structures and textures that are present,” he explains.

Answer the following questions by choosing the correct letter that matches the description.

Which paragraph…

__________ 13 covers the evolution of sonification utilising data from three distinct tubular optical instruments for viewing distant objects by refracting light through a lens, each with its own musical instrument?

Read the article below then answer the questions that follow.

What Does the Universe Sound Like?

A.  The universe, with its innumerable stars, galaxies, and nebulae, may be aesthetically spectacular, particularly when we utilise powerful telescopes to gaze beyond the limits of human vision. What if, though, we could also hear these objects? This may initially seem odd; how can sound travel through space’s hoover? The universe is silent, right? Kim Arcand, a data visualisation expert at the Smithsonian Astrophysical Observatory in Cambridge, Massachusetts, disagrees. Her team has discovered methods to amplify and alter distant sound waves that are normally inaudible to human ears. Assigning musical notes to visual data from optical, infrared, and X-ray observatories has also been used to create audible representations of astronomical occurrences. These “sonifications” give individuals a novel way to experience these awe-inspiring artefacts.

B.  Arcand, in collaboration with colleagues from the Smithsonian, Harvard University, and NASA, as well as a Canadian science outreach team known as SYSTEM Sounds, has been creating these custom-made audio tracks to bring astronomical photographs to life. Many of the songs are available on YouTube alongside the photographs that inspired them. Today, sixteen of these sonifications and amplifications have been compiled into the album Universal Harmonies, which will be available on CD, vinyl, and streaming services beginning March 10. Arcand believes that sonification can strengthen science by allowing more individuals to contribute to our understanding of the universe. She states that one of her goals is to demonstrate that “those who are blind or have impaired eyesight… may also participate in the scientific activity.”

C.  Matt Russo, an astronomer at the University of Toronto who co-founded SYSTEM Sounds with musician Andrew Santaguida, has used sonification to combine his two big hobbies, astronomy and music. As an undergraduate at the University of Toronto, Russo studied jazz guitar before switching to astrophysics. He states, “I was fascinated in rock, blues, and Hendrix-like music.” His stated purpose at SYSTEM Sounds is to investigate the universe through sound. This involves translating any type of astronomical data so that it may be heard.”

D. This conversion could proceed in a variety of ways. Brighter regions of an image are paired with louder sounds, or longer wavelengths of light (the red end of the spectrum) are rendered as lower-pitched noises, while shorter wavelengths of light (the blue end of the spectrum) are rendered as higher-pitched sounds. But, this is only the beginning: An image is two-dimensional but lacks a time dimension, whereas music is all about time; therefore, time must be introduced in some fashion. Scanning from left to right across an image is an easy method; scanning through a 1,200-pixel-wide image at 40 pixels per second, for example, provides a 30-second track to be filled with music defined by the pattern of light.

E.  This is both an art and a science, and Russo was immediately intrigued by the task. “It was immediately apparent that it was enjoyable and gratifying,” he says. “I was able to merge all of my interests at once. And people responded well to it.” If you have ever glanced up on a clear summer night away from city lights, you will have seen the Milky Way, which is our own galaxy as seen from within. You may have also observed that a patchy region close to the constellation Sagittarius is notably denser than the rest. This is the centre of our galaxy, approximately 26,000 light-years away from Earth. When viewed via the numerous telescopes in an astronomer’s toolset, this star-studded panorama assumes a completely different appearance.

F.  Sonification for Universal Harmonies was developed using data from three separate telescopes: X-ray data from the Chandra X-Ray Observatory, optical data from the Hubble Space Telescope, and infrared data from the Spitzer Space Telescope. Each telescope has its own musical instrument, including a glockenspiel for Chandra, strings for Hubble, and a piano for Spitzer. In this instance, the image is scanned from left to right, with the vertical position regulating the pitch; a light source near the top of the image is displayed with a higher pitch, whereas a source near the bottom of the image is presented with a lower pitch. Moreover, the volume of each note is related to the brightness of the respective visual region.

G.  For Arcand, the galactic centre is comparable to the metropolitan core of a city. She states, “It’s as if you’re in the centre of Times Square.” There is a lot of activity and bustle. Despite this, the finished work sounds almost lyrical due to the interaction between the elements. The sonic collage provides Russo with a novel method to “see” the commotion at the centre of our galaxy. “By using different wavelengths of light to examine the universe, you can hear the many structures and textures that are present,” he explains.

Answer the following questions by choosing the correct letter that matches the description.

Which paragraph…

__________ 14 further explains that several of the songs used by a data visualisation expert and colleagues are available on an online video-streaming platform, along with the photos that inspired them?

Read the article below then answer the questions that follow.

What Does the Universe Sound Like?

A.  The universe, with its innumerable stars, galaxies, and nebulae, may be aesthetically spectacular, particularly when we utilise powerful telescopes to gaze beyond the limits of human vision. What if, though, we could also hear these objects? This may initially seem odd; how can sound travel through space’s hoover? The universe is silent, right? Kim Arcand, a data visualisation expert at the Smithsonian Astrophysical Observatory in Cambridge, Massachusetts, disagrees. Her team has discovered methods to amplify and alter distant sound waves that are normally inaudible to human ears. Assigning musical notes to visual data from optical, infrared, and X-ray observatories has also been used to create audible representations of astronomical occurrences. These “sonifications” give individuals a novel way to experience these awe-inspiring artefacts.

B.  Arcand, in collaboration with colleagues from the Smithsonian, Harvard University, and NASA, as well as a Canadian science outreach team known as SYSTEM Sounds, has been creating these custom-made audio tracks to bring astronomical photographs to life. Many of the songs are available on YouTube alongside the photographs that inspired them. Today, sixteen of these sonifications and amplifications have been compiled into the album Universal Harmonies, which will be available on CD, vinyl, and streaming services beginning March 10. Arcand believes that sonification can strengthen science by allowing more individuals to contribute to our understanding of the universe. She states that one of her goals is to demonstrate that “those who are blind or have impaired eyesight… may also participate in the scientific activity.”

C.  Matt Russo, an astronomer at the University of Toronto who co-founded SYSTEM Sounds with musician Andrew Santaguida, has used sonification to combine his two big hobbies, astronomy and music. As an undergraduate at the University of Toronto, Russo studied jazz guitar before switching to astrophysics. He states, “I was fascinated in rock, blues, and Hendrix-like music.” His stated purpose at SYSTEM Sounds is to investigate the universe through sound. This involves translating any type of astronomical data so that it may be heard.”

D. This conversion could proceed in a variety of ways. Brighter regions of an image are paired with louder sounds, or longer wavelengths of light (the red end of the spectrum) are rendered as lower-pitched noises, while shorter wavelengths of light (the blue end of the spectrum) are rendered as higher-pitched sounds. But, this is only the beginning: An image is two-dimensional but lacks a time dimension, whereas music is all about time; therefore, time must be introduced in some fashion. Scanning from left to right across an image is an easy method; scanning through a 1,200-pixel-wide image at 40 pixels per second, for example, provides a 30-second track to be filled with music defined by the pattern of light.

E.  This is both an art and a science, and Russo was immediately intrigued by the task. “It was immediately apparent that it was enjoyable and gratifying,” he says. “I was able to merge all of my interests at once. And people responded well to it.” If you have ever glanced up on a clear summer night away from city lights, you will have seen the Milky Way, which is our own galaxy as seen from within. You may have also observed that a patchy region close to the constellation Sagittarius is notably denser than the rest. This is the centre of our galaxy, approximately 26,000 light-years away from Earth. When viewed via the numerous telescopes in an astronomer’s toolset, this star-studded panorama assumes a completely different appearance.

F.  Sonification for Universal Harmonies was developed using data from three separate telescopes: X-ray data from the Chandra X-Ray Observatory, optical data from the Hubble Space Telescope, and infrared data from the Spitzer Space Telescope. Each telescope has its own musical instrument, including a glockenspiel for Chandra, strings for Hubble, and a piano for Spitzer. In this instance, the image is scanned from left to right, with the vertical position regulating the pitch; a light source near the top of the image is displayed with a higher pitch, whereas a source near the bottom of the image is presented with a lower pitch. Moreover, the volume of each note is related to the brightness of the respective visual region.

G.  For Arcand, the galactic centre is comparable to the metropolitan core of a city. She states, “It’s as if you’re in the centre of Times Square.” There is a lot of activity and bustle. Despite this, the finished work sounds almost lyrical due to the interaction between the elements. The sonic collage provides Russo with a novel method to “see” the commotion at the centre of our galaxy. “By using different wavelengths of light to examine the universe, you can hear the many structures and textures that are present,” he explains.

Answer the following questions by choosing the correct letter that matches the description.

Which paragraph…

__________ 15 compares the cosmic centre to the centre of an urban city due to their similar levels of brisk, and often ostentatious, level of activity?

Read the article below then answer the questions that follow.

What Does the Universe Sound Like?

A.  The universe, with its innumerable stars, galaxies, and nebulae, may be aesthetically spectacular, particularly when we utilise powerful telescopes to gaze beyond the limits of human vision. What if, though, we could also hear these objects? This may initially seem odd; how can sound travel through space’s hoover? The universe is silent, right? Kim Arcand, a data visualisation expert at the Smithsonian Astrophysical Observatory in Cambridge, Massachusetts, disagrees. Her team has discovered methods to amplify and alter distant sound waves that are normally inaudible to human ears. Assigning musical notes to visual data from optical, infrared, and X-ray observatories has also been used to create audible representations of astronomical occurrences. These “sonifications” give individuals a novel way to experience these awe-inspiring artefacts.

B.  Arcand, in collaboration with colleagues from the Smithsonian, Harvard University, and NASA, as well as a Canadian science outreach team known as SYSTEM Sounds, has been creating these custom-made audio tracks to bring astronomical photographs to life. Many of the songs are available on YouTube alongside the photographs that inspired them. Today, sixteen of these sonifications and amplifications have been compiled into the album Universal Harmonies, which will be available on CD, vinyl, and streaming services beginning March 10. Arcand believes that sonification can strengthen science by allowing more individuals to contribute to our understanding of the universe. She states that one of her goals is to demonstrate that “those who are blind or have impaired eyesight… may also participate in the scientific activity.”

C.  Matt Russo, an astronomer at the University of Toronto who co-founded SYSTEM Sounds with musician Andrew Santaguida, has used sonification to combine his two big hobbies, astronomy and music. As an undergraduate at the University of Toronto, Russo studied jazz guitar before switching to astrophysics. He states, “I was fascinated in rock, blues, and Hendrix-like music.” His stated purpose at SYSTEM Sounds is to investigate the universe through sound. This involves translating any type of astronomical data so that it may be heard.”

D. This conversion could proceed in a variety of ways. Brighter regions of an image are paired with louder sounds, or longer wavelengths of light (the red end of the spectrum) are rendered as lower-pitched noises, while shorter wavelengths of light (the blue end of the spectrum) are rendered as higher-pitched sounds. But, this is only the beginning: An image is two-dimensional but lacks a time dimension, whereas music is all about time; therefore, time must be introduced in some fashion. Scanning from left to right across an image is an easy method; scanning through a 1,200-pixel-wide image at 40 pixels per second, for example, provides a 30-second track to be filled with music defined by the pattern of light.

E.  This is both an art and a science, and Russo was immediately intrigued by the task. “It was immediately apparent that it was enjoyable and gratifying,” he says. “I was able to merge all of my interests at once. And people responded well to it.” If you have ever glanced up on a clear summer night away from city lights, you will have seen the Milky Way, which is our own galaxy as seen from within. You may have also observed that a patchy region close to the constellation Sagittarius is notably denser than the rest. This is the centre of our galaxy, approximately 26,000 light-years away from Earth. When viewed via the numerous telescopes in an astronomer’s toolset, this star-studded panorama assumes a completely different appearance.

F.  Sonification for Universal Harmonies was developed using data from three separate telescopes: X-ray data from the Chandra X-Ray Observatory, optical data from the Hubble Space Telescope, and infrared data from the Spitzer Space Telescope. Each telescope has its own musical instrument, including a glockenspiel for Chandra, strings for Hubble, and a piano for Spitzer. In this instance, the image is scanned from left to right, with the vertical position regulating the pitch; a light source near the top of the image is displayed with a higher pitch, whereas a source near the bottom of the image is presented with a lower pitch. Moreover, the volume of each note is related to the brightness of the respective visual region.

G.  For Arcand, the galactic centre is comparable to the metropolitan core of a city. She states, “It’s as if you’re in the centre of Times Square.” There is a lot of activity and bustle. Despite this, the finished work sounds almost lyrical due to the interaction between the elements. The sonic collage provides Russo with a novel method to “see” the commotion at the centre of our galaxy. “By using different wavelengths of light to examine the universe, you can hear the many structures and textures that are present,” he explains.

Answer the following questions by choosing the correct letter that matches the description.

Which paragraph…

__________ 16 talks about an astronomer who studied a particular musical instrument before switching to astronomy and co-founded an organisation to study the cosmos using sound?

Read the article below then answer the questions that follow.

What Does the Universe Sound Like?

A.  The universe, with its innumerable stars, galaxies, and nebulae, may be aesthetically spectacular, particularly when we utilise powerful telescopes to gaze beyond the limits of human vision. What if, though, we could also hear these objects? This may initially seem odd; how can sound travel through space’s hoover? The universe is silent, right? Kim Arcand, a data visualisation expert at the Smithsonian Astrophysical Observatory in Cambridge, Massachusetts, disagrees. Her team has discovered methods to amplify and alter distant sound waves that are normally inaudible to human ears. Assigning musical notes to visual data from optical, infrared, and X-ray observatories has also been used to create audible representations of astronomical occurrences. These “sonifications” give individuals a novel way to experience these awe-inspiring artefacts.

B.  Arcand, in collaboration with colleagues from the Smithsonian, Harvard University, and NASA, as well as a Canadian science outreach team known as SYSTEM Sounds, has been creating these custom-made audio tracks to bring astronomical photographs to life. Many of the songs are available on YouTube alongside the photographs that inspired them. Today, sixteen of these sonifications and amplifications have been compiled into the album Universal Harmonies, which will be available on CD, vinyl, and streaming services beginning March 10. Arcand believes that sonification can strengthen science by allowing more individuals to contribute to our understanding of the universe. She states that one of her goals is to demonstrate that “those who are blind or have impaired eyesight… may also participate in the scientific activity.”

C.  Matt Russo, an astronomer at the University of Toronto who co-founded SYSTEM Sounds with musician Andrew Santaguida, has used sonification to combine his two big hobbies, astronomy and music. As an undergraduate at the University of Toronto, Russo studied jazz guitar before switching to astrophysics. He states, “I was fascinated in rock, blues, and Hendrix-like music.” His stated purpose at SYSTEM Sounds is to investigate the universe through sound. This involves translating any type of astronomical data so that it may be heard.”

D. This conversion could proceed in a variety of ways. Brighter regions of an image are paired with louder sounds, or longer wavelengths of light (the red end of the spectrum) are rendered as lower-pitched noises, while shorter wavelengths of light (the blue end of the spectrum) are rendered as higher-pitched sounds. But, this is only the beginning: An image is two-dimensional but lacks a time dimension, whereas music is all about time; therefore, time must be introduced in some fashion. Scanning from left to right across an image is an easy method; scanning through a 1,200-pixel-wide image at 40 pixels per second, for example, provides a 30-second track to be filled with music defined by the pattern of light.

E.  This is both an art and a science, and Russo was immediately intrigued by the task. “It was immediately apparent that it was enjoyable and gratifying,” he says. “I was able to merge all of my interests at once. And people responded well to it.” If you have ever glanced up on a clear summer night away from city lights, you will have seen the Milky Way, which is our own galaxy as seen from within. You may have also observed that a patchy region close to the constellation Sagittarius is notably denser than the rest. This is the centre of our galaxy, approximately 26,000 light-years away from Earth. When viewed via the numerous telescopes in an astronomer’s toolset, this star-studded panorama assumes a completely different appearance.

F.  Sonification for Universal Harmonies was developed using data from three separate telescopes: X-ray data from the Chandra X-Ray Observatory, optical data from the Hubble Space Telescope, and infrared data from the Spitzer Space Telescope. Each telescope has its own musical instrument, including a glockenspiel for Chandra, strings for Hubble, and a piano for Spitzer. In this instance, the image is scanned from left to right, with the vertical position regulating the pitch; a light source near the top of the image is displayed with a higher pitch, whereas a source near the bottom of the image is presented with a lower pitch. Moreover, the volume of each note is related to the brightness of the respective visual region.

G.  For Arcand, the galactic centre is comparable to the metropolitan core of a city. She states, “It’s as if you’re in the centre of Times Square.” There is a lot of activity and bustle. Despite this, the finished work sounds almost lyrical due to the interaction between the elements. The sonic collage provides Russo with a novel method to “see” the commotion at the centre of our galaxy. “By using different wavelengths of light to examine the universe, you can hear the many structures and textures that are present,” he explains.

Answer the following questions by choosing the correct letter that matches the description.

Which paragraph…

__________ 17 cites how a team has recently developed techniques to construct auditory representations of astronomical events by attributing melodic notes?

Read the article below then answer the questions that follow.

What Does the Universe Sound Like?

A.  The universe, with its innumerable stars, galaxies, and nebulae, may be aesthetically spectacular, particularly when we utilise powerful telescopes to gaze beyond the limits of human vision. What if, though, we could also hear these objects? This may initially seem odd; how can sound travel through space’s hoover? The universe is silent, right? Kim Arcand, a data visualisation expert at the Smithsonian Astrophysical Observatory in Cambridge, Massachusetts, disagrees. Her team has discovered methods to amplify and alter distant sound waves that are normally inaudible to human ears. Assigning musical notes to visual data from optical, infrared, and X-ray observatories has also been used to create audible representations of astronomical occurrences. These “sonifications” give individuals a novel way to experience these awe-inspiring artefacts.

B.  Arcand, in collaboration with colleagues from the Smithsonian, Harvard University, and NASA, as well as a Canadian science outreach team known as SYSTEM Sounds, has been creating these custom-made audio tracks to bring astronomical photographs to life. Many of the songs are available on YouTube alongside the photographs that inspired them. Today, sixteen of these sonifications and amplifications have been compiled into the album Universal Harmonies, which will be available on CD, vinyl, and streaming services beginning March 10. Arcand believes that sonification can strengthen science by allowing more individuals to contribute to our understanding of the universe. She states that one of her goals is to demonstrate that “those who are blind or have impaired eyesight… may also participate in the scientific activity.”

C.  Matt Russo, an astronomer at the University of Toronto who co-founded SYSTEM Sounds with musician Andrew Santaguida, has used sonification to combine his two big hobbies, astronomy and music. As an undergraduate at the University of Toronto, Russo studied jazz guitar before switching to astrophysics. He states, “I was fascinated in rock, blues, and Hendrix-like music.” His stated purpose at SYSTEM Sounds is to investigate the universe through sound. This involves translating any type of astronomical data so that it may be heard.”

D. This conversion could proceed in a variety of ways. Brighter regions of an image are paired with louder sounds, or longer wavelengths of light (the red end of the spectrum) are rendered as lower-pitched noises, while shorter wavelengths of light (the blue end of the spectrum) are rendered as higher-pitched sounds. But, this is only the beginning: An image is two-dimensional but lacks a time dimension, whereas music is all about time; therefore, time must be introduced in some fashion. Scanning from left to right across an image is an easy method; scanning through a 1,200-pixel-wide image at 40 pixels per second, for example, provides a 30-second track to be filled with music defined by the pattern of light.

E.  This is both an art and a science, and Russo was immediately intrigued by the task. “It was immediately apparent that it was enjoyable and gratifying,” he says. “I was able to merge all of my interests at once. And people responded well to it.” If you have ever glanced up on a clear summer night away from city lights, you will have seen the Milky Way, which is our own galaxy as seen from within. You may have also observed that a patchy region close to the constellation Sagittarius is notably denser than the rest. This is the centre of our galaxy, approximately 26,000 light-years away from Earth. When viewed via the numerous telescopes in an astronomer’s toolset, this star-studded panorama assumes a completely different appearance.

F.  Sonification for Universal Harmonies was developed using data from three separate telescopes: X-ray data from the Chandra X-Ray Observatory, optical data from the Hubble Space Telescope, and infrared data from the Spitzer Space Telescope. Each telescope has its own musical instrument, including a glockenspiel for Chandra, strings for Hubble, and a piano for Spitzer. In this instance, the image is scanned from left to right, with the vertical position regulating the pitch; a light source near the top of the image is displayed with a higher pitch, whereas a source near the bottom of the image is presented with a lower pitch. Moreover, the volume of each note is related to the brightness of the respective visual region.

G.  For Arcand, the galactic centre is comparable to the metropolitan core of a city. She states, “It’s as if you’re in the centre of Times Square.” There is a lot of activity and bustle. Despite this, the finished work sounds almost lyrical due to the interaction between the elements. The sonic collage provides Russo with a novel method to “see” the commotion at the centre of our galaxy. “By using different wavelengths of light to examine the universe, you can hear the many structures and textures that are present,” he explains.

Answer the following questions by choosing the correct letter that matches the description.

Which paragraph…

__________ 18 elaborates on pairing illuminating regions with noisy sounds and lengthy wavelengths of light with lesser-pitched sounds while introducing time by examining a picture from two directions at a certain speed to produce a piece filled with music depicted by the pattern of light?

Read the extracts below then answer the questions that follow.

Answer the following questions by choosing the correct letter that matches the description. Take note that the letters can be repeated accordingly.

Which extract mentions about…

19. An organisational culture that places excessive priority on immediate outcomes with employees motivated to excel and surpass standards, often with a notable emphasis on individual accomplishment?

Read the extracts below then answer the questions that follow.

Answer the following questions by choosing the correct letter that matches the description. Take note that the letters can be repeated accordingly.

Which extract mentions about…

20. An organisational culture that may appear disordered and lacking in formal frameworks, yet has a tendency to focus its attention towards creativity, innovation and taking chances?

Read the extracts below then answer the questions that follow.

Answer the following questions by choosing the correct letter that matches the description. Take note that the letters can be repeated accordingly.

Which extract mentions about…

21. An organisational culture that is frequently perceived with a firm emphasis on cooperation and alliance, a united sense of meaning, and a significant focus on the wellness of employees?

Read the extracts below then answer the questions that follow.

Answer the following questions by choosing the correct letter that matches the description. Take note that the letters can be repeated accordingly.

Which extract mentions about…

22.  An organisational culture in which adherence to established protocols and guidelines is anticipated, with a well-defined decision-making authority centralised at the upper echelons of the company, emphasising the importance of preserving structure? 

Read the extracts below then answer the questions that follow.

Answer the following questions by choosing the correct letter that matches the description. Take note that the letters can be repeated accordingly.

Which extract mentions about…

23.  An organisational culture that emphasises a rivalrous and outcome-driven workplace, with an unwavering emphasis on attaining quantifiable objectives and surpassing contenders?

Read the extracts below then answer the questions that follow.

Answer the following questions by choosing the correct letter that matches the description. Take note that the letters can be repeated accordingly.

Which extract mentions about…

24. An organisational culture that prioritises relaxed communication, emphasising relationship formation and partnership, with executives who serve as advisers or counsels, rather than wielding strict authority?

Read the article below then answer the questions that follow.

New Film Shows How Gordon Parks’ Incisive Pictures Influenced Generations of Artists

The photograph taken by Gordon Parks in 1956 of a mother of colour and her child standing behind a department store sign that reads COLORED ENTRANCE is renowned for a reason. It is an attractive painting with a zigzag composition that delicately guides the eye, but it is also a terrible one due to the fact that it so obviously depicts the structural racism of the American South. Because of the photograph’s rich colour, viewers may feel compelled to stare at it indefinitely; but, they are also compelled to look away instantly due to the photograph’s revolting subject matter. The strap of the woman’s slip, which dangles down her arm and punctuates her dignified demeanour, is an often-overlooked element of this striking image.

According to the late art historian Maurice Berger in the HBO documentary, “A Choice of Weapons: Inspired by Parks”, which premiered at the Tribeca Film Festival in New York, the photograph never sat well with its subject, Joanne Wilson. She made sure she was always presentable since she believed no one would take her seriously if she wasn’t. The exposure undermined her carefully crafted character. “I understand how she felt, but I don’t believe Gordon would have instructed her to adjust the strap because, for him, it symbolised something extraordinary,” Berger says, adding, “You cannot be a mother and a person and not have a feeling of drama and association with Mrs. Wilson.”

“A Choice of Weapons” argues that through his photography and filmmaking, Parks was able to produce images of the African-American community that allowed them to be viewed on their own terms, and that this is why his work is significant. In this detailed and penetrating documentary directed by John Maggio, Parks’s strong sense of intimacy and identification is front and centre. But the video does not diminish the impact of Parks’ photographs; it also demonstrates how his camera was, in a sense, a weapon. Parks shared this opinion. In a manifesto for the novelist Ralph Ellison, he said that a 35mm camera would be more effective than a 9mm weapon. And what a potent weapon it is as well.

Parks’ photography was his saving grace. The director of the Equal Justice Initiative, Bryan Stevenson, describes his youth as “the classic person of colour experience.” Throughout his childhood in Kansas in the 1910s and 1920s, Parks attended segregated schools; white boys pushed him into a river to test his swimming ability. In his twenties, he purchased a camera at a pawn shop and started to do photography. His kitchen became his studio, and he fashioned lighting equipment from tin cans. According to the artist Jamel Shabazz, “he was fortunate to obtain the camera.”

During the Great Depression of the 1930s, an institution known as the Farm Security Administration (one of the many short-lived New Deal–created government agencies) began employing photographers to photograph impoverished areas across the United States. In contrast to the majority of photographers who focused on ailing farmers and their families, Parks captured unforgettable images of Ella Watson, a lady of colour who cleaned the FSA offices—”the backbone of America,” as Smithsonian Secretary Lonnie Bunch III remarks in the film. In a beautiful 1942 photograph by Parks that parodies Grant Wood’s famous 1930 painting American Gothic, Watson is depicted wielding a broom in front of the American flag. The image emphasises her verticality, or her capacity to remain upright despite the arduous labour.

The 1948 series “Harlem Gang Leader” provided a compassionate glimpse at the neighbourhood’s residents and was Parks’ major break. A member of the Midtowners gang spray-paints a wall in these images, which also depict toddlers dancing amidst fire hydrant sprays. Life, one of the most widely read magazines in the United States at the time, picked up the photo essay and ran many more by Parks. By the end of the 1960s, Parks’ work for Life had granted him access to the upper echelons of society, allowing him to photograph Gloria Vanderbilt multiple times and even became her friend.

Some members of the community of people of colour viewed Parks with suspicion due to his cosy relationship with the white-dominated periodical Life. In an archive film, Parks claims that when he was sent to photograph Malcolm X in the 1960s, the leader of the Nation of Islam, Elijah Muhammad, questioned him, “Why are you working for the white devils?” “Have you ever heard of getting behind the iron horse and finding out what’s going on?” Parks answered. Muhammad responded, “I do not accept that.” But Parks finally won him over with his photographs of Malcolm X, who he portrayed as a human being as well as a contentious revolutionary. Few others were able to visualise all sides of Malcolm X at the time.

A star-studded group, including filmmaker Ava DuVernay, photographer LaToya Ruby Frazier, and former basketball player Kareem Abdul-Jabbar, debate the significance of Rosa Parks in “A Choice of Weapons”. (Kasseem “Swizz Beatz” Deal and Alicia Keys, who hold the greatest collection of Parks’s art in the world, served as executive producers, as did writer Jelani Cobb and Gordon Parks Foundation director Peter W. Kunhardt, Jr.) Yet, their interviews tend to concentrate on only a few areas of Parks’ work, and the video minimises some of the artist’s extensive, multidimensional body of work.

Formal qualities of Parks’ photography are undervalued. Stevenson describes his use of colour as a means of conveying that “this was your America, right now.” In fact, it was even worse: at the time, artists like Walker Evans demonised colour photography as commercial and unartistic. When he began photographing in both formats, Parks was well aware of this, and his photographs helped elevate colour photography to the level of fine art.

Even if the nuances of Parks’ work are lost in “A Choice of Weapons”, the documentary achieves its point with passion and elegance: that Parks’ photographs have inspired others to shoot comparable photographs. As evidence, the video opens with a quote from Devin Allen, whose shot of a Black Lives Matter rally in Baltimore appeared on the cover of Time magazine in 2015. Upon capturing that shot, Allen remarked, “I finally realised what Gordon Parks meant when he stated the camera is a weapon. I noticed how strong I am when holding a camera.”

Answer the following questions by choosing the letter of the best answer.

25.  Which best describes how Parks’ photograph of a mother and child standing behind a “Colored Entrance” sign in the American South depicts?

Read the article below then answer the questions that follow.

New Film Shows How Gordon Parks’ Incisive Pictures Influenced Generations of Artists

The photograph taken by Gordon Parks in 1956 of a mother of colour and her child standing behind a department store sign that reads COLORED ENTRANCE is renowned for a reason. It is an attractive painting with a zigzag composition that delicately guides the eye, but it is also a terrible one due to the fact that it so obviously depicts the structural racism of the American South. Because of the photograph’s rich colour, viewers may feel compelled to stare at it indefinitely; but, they are also compelled to look away instantly due to the photograph’s revolting subject matter. The strap of the woman’s slip, which dangles down her arm and punctuates her dignified demeanour, is an often-overlooked element of this striking image.

According to the late art historian Maurice Berger in the HBO documentary, “A Choice of Weapons: Inspired by Parks”, which premiered at the Tribeca Film Festival in New York, the photograph never sat well with its subject, Joanne Wilson. She made sure she was always presentable since she believed no one would take her seriously if she wasn’t. The exposure undermined her carefully crafted character. “I understand how she felt, but I don’t believe Gordon would have instructed her to adjust the strap because, for him, it symbolised something extraordinary,” Berger says, adding, “You cannot be a mother and a person and not have a feeling of drama and association with Mrs. Wilson.”

“A Choice of Weapons” argues that through his photography and filmmaking, Parks was able to produce images of the African-American community that allowed them to be viewed on their own terms, and that this is why his work is significant. In this detailed and penetrating documentary directed by John Maggio, Parks’s strong sense of intimacy and identification is front and centre. But the video does not diminish the impact of Parks’ photographs; it also demonstrates how his camera was, in a sense, a weapon. Parks shared this opinion. In a manifesto for the novelist Ralph Ellison, he said that a 35mm camera would be more effective than a 9mm weapon. And what a potent weapon it is as well.

Parks’ photography was his saving grace. The director of the Equal Justice Initiative, Bryan Stevenson, describes his youth as “the classic person of colour experience.” Throughout his childhood in Kansas in the 1910s and 1920s, Parks attended segregated schools; white boys pushed him into a river to test his swimming ability. In his twenties, he purchased a camera at a pawn shop and started to do photography. His kitchen became his studio, and he fashioned lighting equipment from tin cans. According to the artist Jamel Shabazz, “he was fortunate to obtain the camera.”

During the Great Depression of the 1930s, an institution known as the Farm Security Administration (one of the many short-lived New Deal–created government agencies) began employing photographers to photograph impoverished areas across the United States. In contrast to the majority of photographers who focused on ailing farmers and their families, Parks captured unforgettable images of Ella Watson, a lady of colour who cleaned the FSA offices—”the backbone of America,” as Smithsonian Secretary Lonnie Bunch III remarks in the film. In a beautiful 1942 photograph by Parks that parodies Grant Wood’s famous 1930 painting American Gothic, Watson is depicted wielding a broom in front of the American flag. The image emphasises her verticality, or her capacity to remain upright despite the arduous labour.

The 1948 series “Harlem Gang Leader” provided a compassionate glimpse at the neighbourhood’s residents and was Parks’ major break. A member of the Midtowners gang spray-paints a wall in these images, which also depict toddlers dancing amidst fire hydrant sprays. Life, one of the most widely read magazines in the United States at the time, picked up the photo essay and ran many more by Parks. By the end of the 1960s, Parks’ work for Life had granted him access to the upper echelons of society, allowing him to photograph Gloria Vanderbilt multiple times and even became her friend.

Some members of the community of people of colour viewed Parks with suspicion due to his cosy relationship with the white-dominated periodical Life. In an archive film, Parks claims that when he was sent to photograph Malcolm X in the 1960s, the leader of the Nation of Islam, Elijah Muhammad, questioned him, “Why are you working for the white devils?” “Have you ever heard of getting behind the iron horse and finding out what’s going on?” Parks answered. Muhammad responded, “I do not accept that.” But Parks finally won him over with his photographs of Malcolm X, who he portrayed as a human being as well as a contentious revolutionary. Few others were able to visualise all sides of Malcolm X at the time.

A star-studded group, including filmmaker Ava DuVernay, photographer LaToya Ruby Frazier, and former basketball player Kareem Abdul-Jabbar, debate the significance of Rosa Parks in “A Choice of Weapons”. (Kasseem “Swizz Beatz” Deal and Alicia Keys, who hold the greatest collection of Parks’s art in the world, served as executive producers, as did writer Jelani Cobb and Gordon Parks Foundation director Peter W. Kunhardt, Jr.) Yet, their interviews tend to concentrate on only a few areas of Parks’ work, and the video minimises some of the artist’s extensive, multidimensional body of work.

Formal qualities of Parks’ photography are undervalued. Stevenson describes his use of colour as a means of conveying that “this was your America, right now.” In fact, it was even worse: at the time, artists like Walker Evans demonised colour photography as commercial and unartistic. When he began photographing in both formats, Parks was well aware of this, and his photographs helped elevate colour photography to the level of fine art.

Even if the nuances of Parks’ work are lost in “A Choice of Weapons”, the documentary achieves its point with passion and elegance: that Parks’ photographs have inspired others to shoot comparable photographs. As evidence, the video opens with a quote from Devin Allen, whose shot of a Black Lives Matter rally in Baltimore appeared on the cover of Time magazine in 2015. Upon capturing that shot, Allen remarked, “I finally realised what Gordon Parks meant when he stated the camera is a weapon. I noticed how strong I am when holding a camera.”

Answer the following questions by choosing the letter of the best answer.

26.  Parks shared in a manifesto that a 35mm camera would be more effective than a 9mm weapon. What does he mean by this?

Read the article below then answer the questions that follow.

New Film Shows How Gordon Parks’ Incisive Pictures Influenced Generations of Artists

The photograph taken by Gordon Parks in 1956 of a mother of colour and her child standing behind a department store sign that reads COLORED ENTRANCE is renowned for a reason. It is an attractive painting with a zigzag composition that delicately guides the eye, but it is also a terrible one due to the fact that it so obviously depicts the structural racism of the American South. Because of the photograph’s rich colour, viewers may feel compelled to stare at it indefinitely; but, they are also compelled to look away instantly due to the photograph’s revolting subject matter. The strap of the woman’s slip, which dangles down her arm and punctuates her dignified demeanour, is an often-overlooked element of this striking image.

According to the late art historian Maurice Berger in the HBO documentary, “A Choice of Weapons: Inspired by Parks”, which premiered at the Tribeca Film Festival in New York, the photograph never sat well with its subject, Joanne Wilson. She made sure she was always presentable since she believed no one would take her seriously if she wasn’t. The exposure undermined her carefully crafted character. “I understand how she felt, but I don’t believe Gordon would have instructed her to adjust the strap because, for him, it symbolised something extraordinary,” Berger says, adding, “You cannot be a mother and a person and not have a feeling of drama and association with Mrs. Wilson.”

“A Choice of Weapons” argues that through his photography and filmmaking, Parks was able to produce images of the African-American community that allowed them to be viewed on their own terms, and that this is why his work is significant. In this detailed and penetrating documentary directed by John Maggio, Parks’s strong sense of intimacy and identification is front and centre. But the video does not diminish the impact of Parks’ photographs; it also demonstrates how his camera was, in a sense, a weapon. Parks shared this opinion. In a manifesto for the novelist Ralph Ellison, he said that a 35mm camera would be more effective than a 9mm weapon. And what a potent weapon it is as well.

Parks’ photography was his saving grace. The director of the Equal Justice Initiative, Bryan Stevenson, describes his youth as “the classic person of colour experience.” Throughout his childhood in Kansas in the 1910s and 1920s, Parks attended segregated schools; white boys pushed him into a river to test his swimming ability. In his twenties, he purchased a camera at a pawn shop and started to do photography. His kitchen became his studio, and he fashioned lighting equipment from tin cans. According to the artist Jamel Shabazz, “he was fortunate to obtain the camera.”

During the Great Depression of the 1930s, an institution known as the Farm Security Administration (one of the many short-lived New Deal–created government agencies) began employing photographers to photograph impoverished areas across the United States. In contrast to the majority of photographers who focused on ailing farmers and their families, Parks captured unforgettable images of Ella Watson, a lady of colour who cleaned the FSA offices—”the backbone of America,” as Smithsonian Secretary Lonnie Bunch III remarks in the film. In a beautiful 1942 photograph by Parks that parodies Grant Wood’s famous 1930 painting American Gothic, Watson is depicted wielding a broom in front of the American flag. The image emphasises her verticality, or her capacity to remain upright despite the arduous labour.

The 1948 series “Harlem Gang Leader” provided a compassionate glimpse at the neighbourhood’s residents and was Parks’ major break. A member of the Midtowners gang spray-paints a wall in these images, which also depict toddlers dancing amidst fire hydrant sprays. Life, one of the most widely read magazines in the United States at the time, picked up the photo essay and ran many more by Parks. By the end of the 1960s, Parks’ work for Life had granted him access to the upper echelons of society, allowing him to photograph Gloria Vanderbilt multiple times and even became her friend.

Some members of the community of people of colour viewed Parks with suspicion due to his cosy relationship with the white-dominated periodical Life. In an archive film, Parks claims that when he was sent to photograph Malcolm X in the 1960s, the leader of the Nation of Islam, Elijah Muhammad, questioned him, “Why are you working for the white devils?” “Have you ever heard of getting behind the iron horse and finding out what’s going on?” Parks answered. Muhammad responded, “I do not accept that.” But Parks finally won him over with his photographs of Malcolm X, who he portrayed as a human being as well as a contentious revolutionary. Few others were able to visualise all sides of Malcolm X at the time.

A star-studded group, including filmmaker Ava DuVernay, photographer LaToya Ruby Frazier, and former basketball player Kareem Abdul-Jabbar, debate the significance of Rosa Parks in “A Choice of Weapons”. (Kasseem “Swizz Beatz” Deal and Alicia Keys, who hold the greatest collection of Parks’s art in the world, served as executive producers, as did writer Jelani Cobb and Gordon Parks Foundation director Peter W. Kunhardt, Jr.) Yet, their interviews tend to concentrate on only a few areas of Parks’ work, and the video minimises some of the artist’s extensive, multidimensional body of work.

Formal qualities of Parks’ photography are undervalued. Stevenson describes his use of colour as a means of conveying that “this was your America, right now.” In fact, it was even worse: at the time, artists like Walker Evans demonised colour photography as commercial and unartistic. When he began photographing in both formats, Parks was well aware of this, and his photographs helped elevate colour photography to the level of fine art.

Even if the nuances of Parks’ work are lost in “A Choice of Weapons”, the documentary achieves its point with passion and elegance: that Parks’ photographs have inspired others to shoot comparable photographs. As evidence, the video opens with a quote from Devin Allen, whose shot of a Black Lives Matter rally in Baltimore appeared on the cover of Time magazine in 2015. Upon capturing that shot, Allen remarked, “I finally realised what Gordon Parks meant when he stated the camera is a weapon. I noticed how strong I am when holding a camera.”

Answer the following questions by choosing the letter of the best answer.

27.  During the Great Depression, while the majority of photographers focused on ailing farmers and their families, Parks captured images of a lady of colour who cleaned the FSA offices. Why do you think he did this?

Read the article below then answer the questions that follow.

New Film Shows How Gordon Parks’ Incisive Pictures Influenced Generations of Artists

The photograph taken by Gordon Parks in 1956 of a mother of colour and her child standing behind a department store sign that reads COLORED ENTRANCE is renowned for a reason. It is an attractive painting with a zigzag composition that delicately guides the eye, but it is also a terrible one due to the fact that it so obviously depicts the structural racism of the American South. Because of the photograph’s rich colour, viewers may feel compelled to stare at it indefinitely; but, they are also compelled to look away instantly due to the photograph’s revolting subject matter. The strap of the woman’s slip, which dangles down her arm and punctuates her dignified demeanour, is an often-overlooked element of this striking image.

According to the late art historian Maurice Berger in the HBO documentary, “A Choice of Weapons: Inspired by Parks”, which premiered at the Tribeca Film Festival in New York, the photograph never sat well with its subject, Joanne Wilson. She made sure she was always presentable since she believed no one would take her seriously if she wasn’t. The exposure undermined her carefully crafted character. “I understand how she felt, but I don’t believe Gordon would have instructed her to adjust the strap because, for him, it symbolised something extraordinary,” Berger says, adding, “You cannot be a mother and a person and not have a feeling of drama and association with Mrs. Wilson.”

“A Choice of Weapons” argues that through his photography and filmmaking, Parks was able to produce images of the African-American community that allowed them to be viewed on their own terms, and that this is why his work is significant. In this detailed and penetrating documentary directed by John Maggio, Parks’s strong sense of intimacy and identification is front and centre. But the video does not diminish the impact of Parks’ photographs; it also demonstrates how his camera was, in a sense, a weapon. Parks shared this opinion. In a manifesto for the novelist Ralph Ellison, he said that a 35mm camera would be more effective than a 9mm weapon. And what a potent weapon it is as well.

Parks’ photography was his saving grace. The director of the Equal Justice Initiative, Bryan Stevenson, describes his youth as “the classic person of colour experience.” Throughout his childhood in Kansas in the 1910s and 1920s, Parks attended segregated schools; white boys pushed him into a river to test his swimming ability. In his twenties, he purchased a camera at a pawn shop and started to do photography. His kitchen became his studio, and he fashioned lighting equipment from tin cans. According to the artist Jamel Shabazz, “he was fortunate to obtain the camera.”

During the Great Depression of the 1930s, an institution known as the Farm Security Administration (one of the many short-lived New Deal–created government agencies) began employing photographers to photograph impoverished areas across the United States. In contrast to the majority of photographers who focused on ailing farmers and their families, Parks captured unforgettable images of Ella Watson, a lady of colour who cleaned the FSA offices—”the backbone of America,” as Smithsonian Secretary Lonnie Bunch III remarks in the film. In a beautiful 1942 photograph by Parks that parodies Grant Wood’s famous 1930 painting American Gothic, Watson is depicted wielding a broom in front of the American flag. The image emphasises her verticality, or her capacity to remain upright despite the arduous labour.

The 1948 series “Harlem Gang Leader” provided a compassionate glimpse at the neighbourhood’s residents and was Parks’ major break. A member of the Midtowners gang spray-paints a wall in these images, which also depict toddlers dancing amidst fire hydrant sprays. Life, one of the most widely read magazines in the United States at the time, picked up the photo essay and ran many more by Parks. By the end of the 1960s, Parks’ work for Life had granted him access to the upper echelons of society, allowing him to photograph Gloria Vanderbilt multiple times and even became her friend.

Some members of the community of people of colour viewed Parks with suspicion due to his cosy relationship with the white-dominated periodical Life. In an archive film, Parks claims that when he was sent to photograph Malcolm X in the 1960s, the leader of the Nation of Islam, Elijah Muhammad, questioned him, “Why are you working for the white devils?” “Have you ever heard of getting behind the iron horse and finding out what’s going on?” Parks answered. Muhammad responded, “I do not accept that.” But Parks finally won him over with his photographs of Malcolm X, who he portrayed as a human being as well as a contentious revolutionary. Few others were able to visualise all sides of Malcolm X at the time.

A star-studded group, including filmmaker Ava DuVernay, photographer LaToya Ruby Frazier, and former basketball player Kareem Abdul-Jabbar, debate the significance of Rosa Parks in “A Choice of Weapons”. (Kasseem “Swizz Beatz” Deal and Alicia Keys, who hold the greatest collection of Parks’s art in the world, served as executive producers, as did writer Jelani Cobb and Gordon Parks Foundation director Peter W. Kunhardt, Jr.) Yet, their interviews tend to concentrate on only a few areas of Parks’ work, and the video minimises some of the artist’s extensive, multidimensional body of work.

Formal qualities of Parks’ photography are undervalued. Stevenson describes his use of colour as a means of conveying that “this was your America, right now.” In fact, it was even worse: at the time, artists like Walker Evans demonised colour photography as commercial and unartistic. When he began photographing in both formats, Parks was well aware of this, and his photographs helped elevate colour photography to the level of fine art.

Even if the nuances of Parks’ work are lost in “A Choice of Weapons”, the documentary achieves its point with passion and elegance: that Parks’ photographs have inspired others to shoot comparable photographs. As evidence, the video opens with a quote from Devin Allen, whose shot of a Black Lives Matter rally in Baltimore appeared on the cover of Time magazine in 2015. Upon capturing that shot, Allen remarked, “I finally realised what Gordon Parks meant when he stated the camera is a weapon. I noticed how strong I am when holding a camera.”

Answer the following questions by choosing the letter of the best answer.

28.  The seventh paragraph stated that some members of the community of people of colour viewed Parks with suspicion due to his cosy relationship with the white-dominated magazine “Life”. What could be the reason for this?

Read the article below then answer the questions that follow.

New Film Shows How Gordon Parks’ Incisive Pictures Influenced Generations of Artists

The photograph taken by Gordon Parks in 1956 of a mother of colour and her child standing behind a department store sign that reads COLORED ENTRANCE is renowned for a reason. It is an attractive painting with a zigzag composition that delicately guides the eye, but it is also a terrible one due to the fact that it so obviously depicts the structural racism of the American South. Because of the photograph’s rich colour, viewers may feel compelled to stare at it indefinitely; but, they are also compelled to look away instantly due to the photograph’s revolting subject matter. The strap of the woman’s slip, which dangles down her arm and punctuates her dignified demeanour, is an often-overlooked element of this striking image.

According to the late art historian Maurice Berger in the HBO documentary, “A Choice of Weapons: Inspired by Parks”, which premiered at the Tribeca Film Festival in New York, the photograph never sat well with its subject, Joanne Wilson. She made sure she was always presentable since she believed no one would take her seriously if she wasn’t. The exposure undermined her carefully crafted character. “I understand how she felt, but I don’t believe Gordon would have instructed her to adjust the strap because, for him, it symbolised something extraordinary,” Berger says, adding, “You cannot be a mother and a person and not have a feeling of drama and association with Mrs. Wilson.”

“A Choice of Weapons” argues that through his photography and filmmaking, Parks was able to produce images of the African-American community that allowed them to be viewed on their own terms, and that this is why his work is significant. In this detailed and penetrating documentary directed by John Maggio, Parks’s strong sense of intimacy and identification is front and centre. But the video does not diminish the impact of Parks’ photographs; it also demonstrates how his camera was, in a sense, a weapon. Parks shared this opinion. In a manifesto for the novelist Ralph Ellison, he said that a 35mm camera would be more effective than a 9mm weapon. And what a potent weapon it is as well.

Parks’ photography was his saving grace. The director of the Equal Justice Initiative, Bryan Stevenson, describes his youth as “the classic person of colour experience.” Throughout his childhood in Kansas in the 1910s and 1920s, Parks attended segregated schools; white boys pushed him into a river to test his swimming ability. In his twenties, he purchased a camera at a pawn shop and started to do photography. His kitchen became his studio, and he fashioned lighting equipment from tin cans. According to the artist Jamel Shabazz, “he was fortunate to obtain the camera.”

During the Great Depression of the 1930s, an institution known as the Farm Security Administration (one of the many short-lived New Deal–created government agencies) began employing photographers to photograph impoverished areas across the United States. In contrast to the majority of photographers who focused on ailing farmers and their families, Parks captured unforgettable images of Ella Watson, a lady of colour who cleaned the FSA offices—”the backbone of America,” as Smithsonian Secretary Lonnie Bunch III remarks in the film. In a beautiful 1942 photograph by Parks that parodies Grant Wood’s famous 1930 painting American Gothic, Watson is depicted wielding a broom in front of the American flag. The image emphasises her verticality, or her capacity to remain upright despite the arduous labour.

The 1948 series “Harlem Gang Leader” provided a compassionate glimpse at the neighbourhood’s residents and was Parks’ major break. A member of the Midtowners gang spray-paints a wall in these images, which also depict toddlers dancing amidst fire hydrant sprays. Life, one of the most widely read magazines in the United States at the time, picked up the photo essay and ran many more by Parks. By the end of the 1960s, Parks’ work for Life had granted him access to the upper echelons of society, allowing him to photograph Gloria Vanderbilt multiple times and even became her friend.

Some members of the community of people of colour viewed Parks with suspicion due to his cosy relationship with the white-dominated periodical Life. In an archive film, Parks claims that when he was sent to photograph Malcolm X in the 1960s, the leader of the Nation of Islam, Elijah Muhammad, questioned him, “Why are you working for the white devils?” “Have you ever heard of getting behind the iron horse and finding out what’s going on?” Parks answered. Muhammad responded, “I do not accept that.” But Parks finally won him over with his photographs of Malcolm X, who he portrayed as a human being as well as a contentious revolutionary. Few others were able to visualise all sides of Malcolm X at the time.

A star-studded group, including filmmaker Ava DuVernay, photographer LaToya Ruby Frazier, and former basketball player Kareem Abdul-Jabbar, debate the significance of Rosa Parks in “A Choice of Weapons”. (Kasseem “Swizz Beatz” Deal and Alicia Keys, who hold the greatest collection of Parks’s art in the world, served as executive producers, as did writer Jelani Cobb and Gordon Parks Foundation director Peter W. Kunhardt, Jr.) Yet, their interviews tend to concentrate on only a few areas of Parks’ work, and the video minimises some of the artist’s extensive, multidimensional body of work.

Formal qualities of Parks’ photography are undervalued. Stevenson describes his use of colour as a means of conveying that “this was your America, right now.” In fact, it was even worse: at the time, artists like Walker Evans demonised colour photography as commercial and unartistic. When he began photographing in both formats, Parks was well aware of this, and his photographs helped elevate colour photography to the level of fine art.

Even if the nuances of Parks’ work are lost in “A Choice of Weapons”, the documentary achieves its point with passion and elegance: that Parks’ photographs have inspired others to shoot comparable photographs. As evidence, the video opens with a quote from Devin Allen, whose shot of a Black Lives Matter rally in Baltimore appeared on the cover of Time magazine in 2015. Upon capturing that shot, Allen remarked, “I finally realised what Gordon Parks meant when he stated the camera is a weapon. I noticed how strong I am when holding a camera.”

Answer the following questions by choosing the letter of the best answer.

29.  What is the significance of the “Harlem Gang Leader”?

Read the article below then answer the questions that follow.

New Film Shows How Gordon Parks’ Incisive Pictures Influenced Generations of Artists

The photograph taken by Gordon Parks in 1956 of a mother of colour and her child standing behind a department store sign that reads COLORED ENTRANCE is renowned for a reason. It is an attractive painting with a zigzag composition that delicately guides the eye, but it is also a terrible one due to the fact that it so obviously depicts the structural racism of the American South. Because of the photograph’s rich colour, viewers may feel compelled to stare at it indefinitely; but, they are also compelled to look away instantly due to the photograph’s revolting subject matter. The strap of the woman’s slip, which dangles down her arm and punctuates her dignified demeanour, is an often-overlooked element of this striking image.

According to the late art historian Maurice Berger in the HBO documentary, “A Choice of Weapons: Inspired by Parks”, which premiered at the Tribeca Film Festival in New York, the photograph never sat well with its subject, Joanne Wilson. She made sure she was always presentable since she believed no one would take her seriously if she wasn’t. The exposure undermined her carefully crafted character. “I understand how she felt, but I don’t believe Gordon would have instructed her to adjust the strap because, for him, it symbolised something extraordinary,” Berger says, adding, “You cannot be a mother and a person and not have a feeling of drama and association with Mrs. Wilson.”

“A Choice of Weapons” argues that through his photography and filmmaking, Parks was able to produce images of the African-American community that allowed them to be viewed on their own terms, and that this is why his work is significant. In this detailed and penetrating documentary directed by John Maggio, Parks’s strong sense of intimacy and identification is front and centre. But the video does not diminish the impact of Parks’ photographs; it also demonstrates how his camera was, in a sense, a weapon. Parks shared this opinion. In a manifesto for the novelist Ralph Ellison, he said that a 35mm camera would be more effective than a 9mm weapon. And what a potent weapon it is as well.

Parks’ photography was his saving grace. The director of the Equal Justice Initiative, Bryan Stevenson, describes his youth as “the classic person of colour experience.” Throughout his childhood in Kansas in the 1910s and 1920s, Parks attended segregated schools; white boys pushed him into a river to test his swimming ability. In his twenties, he purchased a camera at a pawn shop and started to do photography. His kitchen became his studio, and he fashioned lighting equipment from tin cans. According to the artist Jamel Shabazz, “he was fortunate to obtain the camera.”

During the Great Depression of the 1930s, an institution known as the Farm Security Administration (one of the many short-lived New Deal–created government agencies) began employing photographers to photograph impoverished areas across the United States. In contrast to the majority of photographers who focused on ailing farmers and their families, Parks captured unforgettable images of Ella Watson, a lady of colour who cleaned the FSA offices—”the backbone of America,” as Smithsonian Secretary Lonnie Bunch III remarks in the film. In a beautiful 1942 photograph by Parks that parodies Grant Wood’s famous 1930 painting American Gothic, Watson is depicted wielding a broom in front of the American flag. The image emphasises her verticality, or her capacity to remain upright despite the arduous labour.

The 1948 series “Harlem Gang Leader” provided a compassionate glimpse at the neighbourhood’s residents and was Parks’ major break. A member of the Midtowners gang spray-paints a wall in these images, which also depict toddlers dancing amidst fire hydrant sprays. Life, one of the most widely read magazines in the United States at the time, picked up the photo essay and ran many more by Parks. By the end of the 1960s, Parks’ work for Life had granted him access to the upper echelons of society, allowing him to photograph Gloria Vanderbilt multiple times and even became her friend.

Some members of the community of people of colour viewed Parks with suspicion due to his cosy relationship with the white-dominated periodical Life. In an archive film, Parks claims that when he was sent to photograph Malcolm X in the 1960s, the leader of the Nation of Islam, Elijah Muhammad, questioned him, “Why are you working for the white devils?” “Have you ever heard of getting behind the iron horse and finding out what’s going on?” Parks answered. Muhammad responded, “I do not accept that.” But Parks finally won him over with his photographs of Malcolm X, who he portrayed as a human being as well as a contentious revolutionary. Few others were able to visualise all sides of Malcolm X at the time.

A star-studded group, including filmmaker Ava DuVernay, photographer LaToya Ruby Frazier, and former basketball player Kareem Abdul-Jabbar, debate the significance of Rosa Parks in “A Choice of Weapons”. (Kasseem “Swizz Beatz” Deal and Alicia Keys, who hold the greatest collection of Parks’s art in the world, served as executive producers, as did writer Jelani Cobb and Gordon Parks Foundation director Peter W. Kunhardt, Jr.) Yet, their interviews tend to concentrate on only a few areas of Parks’ work, and the video minimises some of the artist’s extensive, multidimensional body of work.

Formal qualities of Parks’ photography are undervalued. Stevenson describes his use of colour as a means of conveying that “this was your America, right now.” In fact, it was even worse: at the time, artists like Walker Evans demonised colour photography as commercial and unartistic. When he began photographing in both formats, Parks was well aware of this, and his photographs helped elevate colour photography to the level of fine art.

Even if the nuances of Parks’ work are lost in “A Choice of Weapons”, the documentary achieves its point with passion and elegance: that Parks’ photographs have inspired others to shoot comparable photographs. As evidence, the video opens with a quote from Devin Allen, whose shot of a Black Lives Matter rally in Baltimore appeared on the cover of Time magazine in 2015. Upon capturing that shot, Allen remarked, “I finally realised what Gordon Parks meant when he stated the camera is a weapon. I noticed how strong I am when holding a camera.”

Answer the following questions by choosing the letter of the best answer.

30.  How did Parks win over the Nation of Islam’s leader, Elijah Muhammad?