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Cau
tnie
*
Vocabulary
Preview
Phful
hili
t~p
triic
nghi¢m
nay
giup
ngu01
hoc
lam
quen
voo
tu
Vlplg
quan
trong
xuat
hi¢n
trong
cac
hili
doc
&
phful
Mini Test
va

Exercise.
Ie
Overview
&
Strategies
Phful
nay
giro
thich
dAy
du
cac
lo~
cau
hOi
xuat
hi¢n
trong
hili
doc
TOEFL
iBT
va
cung
cap
nhUng
chien
thu~t
cful
thiet

d~
tra
101
cac
lo~
cau
hOi
d6.
NhUng
cau
hOi
duQ'C
giOO
thi¢u
lful
dAu
tien
trong
mon
doc
TOEFL
iBT
The
M
moo
se
duQ'C
minh
hoa
hAng

hinh
ch~p
man
hinh
vi
tinh.
l/r
Exercise
Phful
hili
t~p
nay
giup
nguOi.
hoc
thllC
hanh
tUng
lo~
cau
hOi
c~
tM
vUa
moo
hoc
va
cung
cap
nhUng

chien
thu~t
cful
thiet
(m
~c
Strategy
in
focus)
d~
tim
ra
Iva
chon
tra
101
dUng
cho
lo~
cau
hOi
d6
.
.,.
More
Practice
Phful
nay
giup
ngu01

hoc
on
l~
lo~
cau
hOi
da
hoc
thOng
qua
cac
hili
doc
ngAn
cUng
vOO
lo~
cau
hOi
c~
tM
da
hoc
trong
chuong
.
*'
Mini
Test
Day

la
giai
dol,Ul
chuful
ht
tru6c
khi
lam
cac
hili
doc
TOEFL
iBT
thllC
teo
Cac
hili
doc
trong
phful
nay
c6
dQ
dili
(
khoang
400
tu)
hAng
1l11a

dQ
dili
cua
hili
doc
TOEFL
iBT
The
M
moo,
nhfun
giup
ngu01
hoc
lam
quen
vOO
dl,Ulg
thUc
cua
hili
thi
tru6c
khi
hu6c
vao
thvc
hanh
nhUng
hili

doc
hi~u
thvc
teo
+
iBT
Test
NguOi.
hoc
c6
tM
hoan
thi¢n
ky
nang
doc
hi~u
TOEFL
iBT
thOng
qua
vi¢c
luy¢n
t~p
phful
nay
mQt
cach
thuOng
xuyen.

Cac
hili
doc
&
phful
nay
dUQ'C
trinh
hay
va
s~p
xep
theo
dUng
cau
truc
va
cap
dQ
cua
hili
doc
hi~u
TOEFL
iBT
thvc
teo
*
Vocabulary
Review (Chuang

2,4,6,8)
Phful
nay
hao
g6m
cac
hili
t~p
giup
nguOi.
hoc
on
l~
tu
Vlplg
da
hoc
& 2
chuong
tru6c.
Ie
From
Reading
to
Writing
(Chuang
2,
4,
6,
8)

Phlin
nay
neu
nhUng
di~m
ngii
phap
quan
tr~mg
dn
cho
ky
nang
doc
va
viet
cling
v6i
cac
bili
t~p
giup
nguoo
hQc
ap
dtplg
nhiing
di~m
ngii
phap

d6
vao
TOEFL Writing.
5
Contents
CHAPTER
01
CHAPTER
02
CHAPTER
03
CHAPTER
04
6
•
Reference
&
Vocabulary
Vocabulary Preview
Overview
& Strategies
Exercise 1
Body
Art
Exercise 2
Seaweeds
Exercise 3
Language
and
Reality

More Practice
Mini Test Supernovae
iBT
Test Native North
Ame
r
ican
Hi
de
Pa
inting
•
Sentence
Simplification
Vocabulary Preview
Overview
& Strategies
Exercise 1
The
Great
Depressio
n
Exercise 2
Flowers
Exercise 3
The
Cultural Variable
More Practice
Mini Test
The

Boston
Tea
Par
ty
iBT Test
Machiavelli
and
the Origins of Political
Science
Vocabulary Review: Chapters
1-2
From Reading
to
Writing:
Cau
truc
ca
u
d<)ng
tinh tu
(V-ing Phrases)
•
Factual
Information
&
Negative
Fact
Vocabulary Preview
Overview
& Strategies

Exercise 1
Newspapers
in
Post-C
i
vil
War
Am
erica
Exercise 2
The
Making
of a
Supernova
Exercise 3 Defining
Species
More Practice
Mini Test
iBT
Test
Pueb
lo Architecture
At
omic
Structure
•
Inference
Vocabulary Preview
Overview
&

Strategies
Exercise 1 Labor
Unions
in
the United States
Exercise 2 T
ides
Exercise 3 Photosynthesis
More
Practice
Mini Test Infantile
Learn
i
ng
Pr
ocess
iBT
Test Behavioral
Eco
l
ogy
Vocabulary Review: Chapters 3-4
From Reading
to
Writing:
M~nh
de
quan M
11
12

14
16
18
20
22
24
31
32
34
36
38
40
42
44
48
49
51
52
54
56
58
60
62
64
71
72
74
76
78
80

82
84
88
89
CHAPTER
•
Rhetorical
Purpose
~~
05
Vocabulary
Preview
91
iWfI:
Overview
&
Strategies
92
Exercise 1
Cetacea
ns
94
Exercise 2
Herman Mel
vi
ll
e
96
Exercise 3
DNA

Fingerprinting
98
More
Practice
100
Mini
Test
The
Jazz
Age
102
JBT
Test
Discourse Analysis
104
CHAPTER
•
Insert
Text
06
Vocabulary
Preview
111
Overview
&
Strategies
112
Exercise 1 Glaciation
114
Exercise 2

The
Development of Computers
116
Exercise 3
Biogenesis
118
More
Practice
120
Mini
Test
T
idal
Energy
122
JBT
Test
Subversive Art
124
Vocabulary
Review: Chapters 5-6
128
From
Reading
to
Writing:
Cau
truc
song
song

129
CHAPTER
•
Prose
Summary
07
Vocabulary
Preview
131
Overview
&
Strategies
132
Exercise 1 Protozoa
134
-Exercise 2
The
Origi
ns
of Writing
136
Exercise 3
Emily Dickinson
138
More
Practice
140
Mini
Test
Red

Tides
142
JBT
Test
The
Lend-L
ease
Program
144
CHAPTER
•
Classifying,
categorizing,
and
Organizing
Information
Vocabulary
Preview
151
Overview
&
Strategies
152
Exercise 1 Estuari
es
154
Exercise 2 Freudian
and
Jungian Psychology
156

08
Exercise 3 Two
Me
thods of Scientif
ic
Reasoning
158
More
Practice
160
Mini
Test
Grand
Unified Theories
162
JBT
Test
Liftoff
and
Reentry
164
Vocabulary
Review: C
ha
pters 7-B
168
From
Reading
to
Writing: D

i;ing
tu +
ttic
tu
169
+
di;ing
tu
nguyen
tM
co
to
'I
'
Actual
Test
'"
-,
'"
f'
:171
'
,,-
:
, , ,
' <.J"
j ,
~
•
Answer

Key
_ ',-

>:
1~6
'
,." i
" ' J
~
~.
_~:.<~

~
-'oj.<

_
.'
>
,,"'~;;f
-; ~~.
~~,"'1~
_""It,;.!" 1"1,.·?
_.~
"'-~-J-;<1'f~~
7
Crash
Course
Reference
&

Vocabulary
Choose
Lthe
ri
htl
meanin
for
the
words
:
in
bold
1
When
Mario
was
carried to the hospital,
he
was
unconscious, with several puncture wounds
to
his stomach.
® small hole
@ tattoo
2 It
is
reported that people are more impressed by the dancing of those whose bodies are
more
symmetrical.
® balanced

@ slender
3 More than
two
miles of roadway
has
been blocked with trees, stones and other
debris
,
caused by the explosion.
® charcoal
@ broken pieces
4 Several countries are still
in
the
throes
of
a flu outbreak.
® sufferings
@ grooves
5 Another knee surgery
dims
the future
of
the talented tennis player.
® lumps @ obscures
6 A South African paleontologist presented his view that human ancestors were hunted by
predatory birds.
® living on earth @ eating animals
7 According
to

one theory, variation
in
genetic make-up determines each person's reaction
to
certain painkillers.
® willingness @ difference
8 You have
to
choose between having a sturdy structure that does not become unstable and
attracting
people with a fancy exterior.
® strong @ scarce
9
On
Aug.
23,
1996, Noel Gallagher
sang
lead
vocals
on
Oasis' performance for MTV's
Unplugged,
and his brother Liam's trademark singing voice
was
conspicuous
by its absence.
® marked @ representational
10 The criminal
was

sentenced
to
death because of the severity
of
his crime.
® complexity @ cruelty
Reference &
Vocabulary"
II
CHAPTER
O
~
r
V i .:e ' w
1.
Reference
Questions
I
CAu
hOi
tu
lien
h
~
•
Cau
hOi
til
liEm
M

yeu
cau
b~
xac
<4nh
moi
quan
M
gilia
m(it
d1;li
til
va
til
rna
d1;li
til
do
lien
h¢lchl
den.
• Mlh
bill
doc
co
til
0-2
ca
u
hOi

til lien
M.
•
Cau
hOi
nay
duqc
xem
1a
lo1;li
cau
hOi
de
trong
mon
dQc
clla
TOEFL iBT; vi
v~y
,
muon
d~t
di~m
cao
va
tiet
ki
~
m
thoo

gian
,
b~
phiii
lam
chinh
xac
va
nhanh
chOng
nhling
cau
hOi
nay.
2.
Vocabulary
Questions
I
CAu
hoi
tu
vtplg
•
Cau
hOi
til
~g
yeu
cau
b~

nh~
biet y
nghia
clla
til
va
C!pD.
til
trong
bill
doc,
va
sau
do
chon
m(it
twC!pD.
til
dong
nghia
trong
cac
Iva
chon
tra
100
.
M(it
til
co

tM
co
nhi
eu
nghia
,
nhung
b~
phiii
hi~u
duqc
nghia
clla
til
do
trong
ngli
canh
Cl).
tM
va
tim
Iva
chon
tra
100
co
nghia
gan
nMt

vOi
nghia
duQ'c
dUng
trong
bill
doc.
•
Mbi
bill
doc
co
til
3-6
cau
hOi
til
vvng.
•
Cau
hOi
til
~g
cling
1a
lO1;li
cau
hOi
rna
b~

co
tM
lam
nhanh nhu
cau
hOi
til
lien
M; vi
v~y
,
b~
phiii
sAp
xep
thoo
gian
hgp
ly
, tranh
lang
phi
thoo
gian
cho
du
co
nhling
til
b~

khong
biet.
12
" www.ibttoefl.co.
kr
T
il
ngli
thu<'m.g
dUn:)
•
•
The
word
it
in
the
passage
refers to
•
The
phrase
in
the
passage
refers to the
contributions of
•
The
phrase

[fliUi~§ii
in
the
passage
refers to
•
The
phrase
J
in
the
passage
refers to the difference
between
Til
ngli
thu<'m.g
dUn:)
•
II.X!.~~
in
the
passage
is
closest
in
meaning
to
•
The

phrase
in
the
passage
is
closest
in
mean
i
ng
to
•
Which
of the following
best
ex
plains
the term
-'
1W'!:Imu.:~?
•
Based
on
the information
in
the
passage,
the
term
Gi'u

can
best
be
explained
as
"""llliL
""-,,,
~~'
the
author
means
that
1
2
3
1
2
3
Thong
thuOng
tu lien
h~
xuat
hi~n
tru&c
dl;li
tu
trong
bID
doc,

thuOng
Ia
&
ngay
tru&c
no,
nhung
doi
khi
tu
lien
h~
xuat
hi~n
sau
dl;li
tU.
Tu
lien
M
co
tM & trong
cung
mQt
cau
v&i
dl;li
tu,
ho~c
co

tM
nfun
&
cau
khac.
Sau
khi
nfun
vfrng
cau
truc
va
nQi
dung
cua
bID
doc,
b?Jl
co
th~
ap
dlfllg
nhUng
phuang
phap
sau
d~
gi&i
h?Jl
ph!,lIIl

vi
cac
d6i
tUQ'Ilg
ma
dl;li
tu
lien
M.
CD
XAc
dlnh
nam/nu,
nguOi/v~t,
d~i
tu
s6
itJs6
nhUm
ex) They:
la
dl!i
tu
s6
nhieu
cho
nen
b~
c6
the

IOl!i
ra
cac
danh
tu
s6
it.
It:
la
dl!i
tu
s6
it,
chi
v~t
cho
nen
b~
c6
the
IOl!i
ra
cac
danh
tu
s6
nhieu
ho~c
danh
tu

chi
nguiYi
.
~
ChQn cac
til
co
chuc
nang
ngii
phap
d6ng
nhat
vOi
d~i
ttl
da
cho
Dieu
nay
kh6ng
phro
hic
nao
c1lng
dUng,
nhung
c6
riit
nhieu

truOng
hqp
la
neu
dl!i
tu
lam
cM
ngii
trong
cau
thi
n6
cling
thay
the
cho
cM
ngii
cua
cau
dUng
tru&c
d6
.
@ ThOng
qua
dQng ttl
trong
cilu

ex)
Neu
cau
bAt
dau
la
"They understand ." thi
cM
ngii
cua
understand
chi
co
the
la
nguiYi.
Luu
Y
co
nhUng
truOng
h9'P
cau
hOi
yeu
c~u
b?Jl
tim
d6i
tUQ'Ilg

duqc
lien M
cua
cac
pro-
form
(c~
tu
dugc
dung
d~
thay
tM
cho
m~nh
de,
c~m
tu, tu
dan
khac)
nhu
cac
vi
d~
sau.
e
x)
this
problem,
this

possibility, the
same
reason,
such
process
Ngfr
canh
(context)
Ia
ph!,lIIl
vi
(cau
va
do:;.n)
ma
trong
do
tu
ho~c
c~m
tu xuat
hi~n.
Nghia
cua
mQt
tu
ho~c
mQt
c~rn
tu

theo
ngfr
canh
Ia
nghia
cua
no
trong
cau
va
dO?Jl
c~
tM.
MQt
tu tieng
Anh
co
tM
co
nhieu
nghia
khac
nhau.
Nghia
chinh
xac
cua
no
Iuon
Iuon

ph~
thuQc
vao
ngfr
dmh
rna
no
duqc
sil
d~ng.
Trong
truOng
h9'P
b?Jl
khong
hi~u
nghia
cua
tu
duqc
cho
thi
thong
qua
ngfr
canh
b?Jl
co
tM
doan

dugc
nghia
cua
tu
do
bfulg
cach
sil
d~ng
phuang
phap
IOl;li
suy.
Sil
dlfllg
nhUng
phuang
phap
sau
d~
doan
ngrua
cua
tu
duqc
cho.
CD
DUng restatement clue,
definition
clue,

ho~c
example
clue
Tim
cac
vi
dv,
<4nh
nghia
dUng,
ho~c
giro
thich
doi
v&i
tu
duQ'C
cho.
~
DUng
synonym
clue
ho~c
antonym
clue
Tim
nhling
cach
dien
d~t

c6
nghia
trill
nguQ'C
ho~c
c6
nghia
tuong
t~
v&i
tu
duQ'C
cho
.
@
D"a
VIlO
word
part
(thanh
ph3.n
cau
t~o
ttl)
d
il
dOlln
nghia
cua
ttl

duQ'c
cho
ex)
Tiep
dau
ngii
pre-
trong
prehistoric
co
nghia
la
before,
cho
n{m
prehistoric
co
nghia
la
"
thuQc
thiYi
tien
sU"
.
Reference & Vocabulary "
13
•
Body Art
There

is
no
reason why tattooing and face and body painting
should
be
from the status
of
"art";
if
they are nevertheless
commonly excluded, this may
be
due to the impermanent nature
of
face and body painting
as
well
as
to marketing problems.
The most common technique
of
tattooing among native North
American Indians was by pricking the skin with sharp
pOints
.
Sometimes was done using
on
a special comb-like implement. As
in
the less widely distributed scratching method, designs are usually

first sketched with charcoal paste, then rubbed into the breaks in
the skin.
In
northern and northwestern North America, threads
covered with soot are drawn through punctures made by needles to
apply the beneath the skin.
In
face painting, mostly
mineral pigments
(but
sometimes including charcoal for black, or
pollen
for
yellow) are mixed with water and/or grease before
are applied to the skin with fingers, paint brushes,
or
wooden paint
sticks.
Painting is generally done by the wearer himself, with
occasional help from others, and with the exception
of
some
ceremonial painting, using a bowl
of
water to serve
as
a mirror.
Tattooing,
on
the other hand,

is
done by others, who tend to
be
speCialists.
The functions
of
body
art
are extremely varied, even within a
single tribe. range from pure beautification
of
the wearer,
through expression
of
mood, prevention
of
disease, protection
against misfortunes, and the recording
of
a ceremonial event, to the
identification
of
an
individual's status
or
membership
in
a social
group.
Even

though there
is
information
on
the body
art
of
various individual tribes, Significant comparative studies are scarce
on
the continent. Regional stylistiC variations are
as
yet undefined.
Tattooed designs are all basically linear, with simple symmetrical,
non-representational designs
on
the face, and forms
of
greater
complexity on the body. Tattooing
is
black (with rare red/black
exceptions); but painting
is
frequently bichrome
or
polychrome, with
solid color areas
as
important
as

lines.
14
"
www
.ibttoefl.co.
kr
* tattoo:
(v.)
to
mark
a permanent
picture
or
writing
on
someone's
skin
with a
needle
and
ink
• impermanent:
(a.)
not staying the
same
forever [=temporary]
•
prick:
(v.)
to

make
a
small
hole
in
something
with a
sharp
object
• puncture:
(n.)
a
small
hole
made
with a
sharp
point
• variation:
(n.)
the
existence
of
differences
• symmetrical:
(a.)
consisting of
two
halves
that

are
exactly the
same
1
The word
in paragraph 1 is closest
4
The word
in paragraph 2 refers
to
in meaning
to
o mineral pigments
o kept secret
® punctures
® made better
© needles
© left
out
®
water
and grease
® applied
5
The word
in paragraph 3 refers
to
2
The word I
in paragraph 2 refers to

o Specialists
o face and body painti
ng
® Single tribe
® North American Indians
©
Functions
© skin
® Body
art
@ pricking the skin with sharp pOints
6
in paragraph 4
is
closest
3
The word
in paragraph 2
is
in meaning
to
closest in meaning
to
0
correct
o dye
®
enough
® color
©

i
mportant
© metal
® surprising
@ oil
1.
Ttl "excluded"
fr
dong
tiep
theo
la
synonym clue. 2.
Cac
d\li
tu
it,
this, that
khong
chi
thay
the
cho
cac
tu
don
ma
con
co
tM

thay
the
cho
C\pII
til
(phrase),
m~nh
de
(clause),
ho~c
ca
cau
(se
nt
ence).
3.
"pigme
nf
' la
mot
trong
nhUng
til
tr9ng
tam
(keyword)
clla
bili
d9C
nay.

Dila
vao
noi
dung
clla
bili
d9C,
b~
hay
co
doan
nghia
clla
"pigmenf.
4.
Doi
khi
d\li
til
thay
the
cho
danh
til
co
chUc
nang
dong
nhat.
"they"

la
Chll
ngii
clla
m~nh
de
ph\!;
vi
v~y,
b~
hay
thti
thay
no
bAng
cM
ngii
Clla
m~nh
de
chinh.
5.
Tuong
til
v&i
cau
4,
b~
thti
tim

til
don
co
chuc
nang
dong
nha:t
v&i
"They"
fr
cau
tru&c.
6.
Ttl "scarce"
fr
hang
du&i
la
antonym clue.
-
synonym
clues ,
+:
Dieu
cO'
bim
trong
viet
van
la

dUng
cach
dien
dl,it
tuong
t~
va
khong
I~p
II,li
tiro
Ap
d~g
quy
uk
nay
,
bl,ill
co
tM
tim
dUQC
cae
g(1i
y
d6i
v6i
tir
dUQC
cho.

Tham
khao
vi
dQ
sau:
Cit
hai
cau
dUQC
n6i
co
CUng
th
e
b~
dQng
va
nQi
dung
giong
nhau
,
va
bl,ill
co
tM tMy
rang
barred
va
excluded &

day
tl,io
thilnh
mQt
c~p.
Day
la vi
dQ
dien
hinh
cua
vi~
dUng
synonym clue
de
tim
cau
tra
100
dting
cho
tir
dUQC
cho.
Reference & Vocabulary "
IS
n
:z:
".
~

=
Exercise
Seaweeds
Most species
of
marine algae are represented by the forms
popularly known
as
seaweeds. This, however,
is
a rather
unfortunate term. For one thing, the word weeds does not do justice
to these
ns
OJous
and often elegant inhabitants
of
rocky shores
and other marine environments. Some
biologists opt for the more
formal name
of
macrophytes.
On
the other hand, the term
seaweeds
is
useful

in
distinguishing them from the unicellular algae.
of
unicellular algae, and reproduction
is
also more
, =='-""', ,
Seaweeds are all eukaryotes,
as
opposed to prokaryotes, which are
the
simplest type
of
cells that lack organelles. Most are multicellular,
but some forms conSisting
of
single cells or simple filaments are
considered seaweeds. This
is
because the classification
of
seaweeds
is
based not only
on
structure but also
on
other features such
as
the

types
of
pigments and food storage products.
Although more complex than unicellular algae, seaweeds still
specialists
include them
in
the kingdom Protista. There are some
who disagree and assign them instead to the kingdom
Plantae,
together with the higher plants.
The range
of
variation observed among the multicellular algae
is
spectacular. ose we
see
on
rocky shores
at
low tide are usually
small
and sturdy
as
an
adaptation to withstand waves.
Kelps
found
offshore
in

cold waters are true giants that form dense underwater
forests. The
multicellular condition
of
seaweeds allows many
adaptations not
available to unicellular forms. For example, they
can
grow tall and rise off the bottom. provides new opportunities
as
well
as
challenges: wave action and turbulence, competition for
space and
light, and the problem
of
predatory
sea
urchins
and
fish.
16
"' www.ibttoefl.co.kr
• unicellular:
Ca.)
consisting of a
single
cell
• multicellular:
(a.)

conSisting
of
many
cells
• terrestrial:
(a.)
living
on
land
rather
than
water
•
kingdom:
(n.)
one
of
seven
biological categories
• sturdy:
(a.)
strong
* turbulence:
(n.)
sudden
violent
movements
•
prel;!atory:
(a.)

relating to
animals
that
kill
and
eat
other
animals
I
1
The word n
in
paragraph 1 is
4
The phrase
in
paragraph
closest
in
meaning to
2 is closest
in
meani
ng
to
0
easily seen
0
based on
®

well-known
® lacking
©
huge
© regarded
as
®
graceful
® typical
of
2
5
in paragraph 3 refers to
0
structures
o Variation
®
seaweeds
® Multicellular algae
©
unicellular algae
©
Rocky shores
®
macrophytes
®
Waves
3
6
The word

i
in
paragraph 3 refers to
closest in meaning to
0
Living
in
underwater forests
0
complicated
®
Living
in
cold water
®
advanced
©
Having unicellular forms
©
common
®
Having many adaptations
®
decisive
1.
Dipl
vao
ngli
cfmh,
hay

doan
nghia
clla
tu
"
conspicuous"
. 2.
Tim
xe
m
doi
tUQ'llg
duQ"C
so
sanh trong
cau
la
gi. 3.
TU
"
complex"
&
dong
trim
Ia
synonym
clue
.
4.
Un

Iugt thay the
cac
Iva
ch(Jn
tra
1m
vao
vt
tri
clla
"characteristic
of
"
va
dUng
phuong phap
Io~
s
uy
de
tim
Iv
a
ch(Jn
dtiug
nhal
5.
Luu
y
Ia

tu
"Those"
dugc
dUng
de
thay the
cho
danh tu
so
nhieu.
6.
'
'This
"
kh6ng
chi
thay
tM
cho
tu
don
rna
con
co
th~
thay the
cho
m(it
fact
ho

~c
idea
nao
do.
D~
tu
chi
d~nh
those
co
cae
each
dung
sau
:
o Those
duQ'C
dUng
de
thay
the
cho
ngu(yjjv~t
&
so
nhi~u,
giong
v6i
d~
tu nhan

xung
they.
6 Those
(so
it
la
that)
duQ'C
dung
de
thay the
eho
danh
tu
dUng
tnroc,
d~c
bi~t
la
&
dl;lIlg
so
sanh.
Because
birds'
eggs are
more
resistant
to
water

loss,
they
have
a better chance
of
survival
than
those
of
reptiles.
~
Those
duQ'C
dUng
liun tu
dUng
tnroc
chi
ngum
ho~c
v~t
eua
m~nh
de
quan
M.
Many
c t ! " 's
may
not

achieve reproductive success, but those whose
physical
characteristics enable
them to
do
well
In
the new environment
will
usually
reproduce.
Reference & Vocabulary "
17
n
:z:
,
"1:1
-

::lO
Exercise
Language and Reality
An
important ethnolinguistic concem
of
the 1930s and 1940s
was the question
of
whether language might indeed determine
culture.

Do
we
see
and react differently to the colors blue and green,
with different
cultural symbolism for the two different colors, only
because our language
has
different names for these two neighboring
parts
of
the unbroken color spectrum? When anthropologists noticed
that some
cultures lump together blue and green with one name,
they began to wonder about this question. The American
linguists
Edward Sapir and Benjamin
Lee
Whorf, drawing
on
their experience
with the
language
of
the Hopi Indians, developed a full-fledged
theory, sometimes called the
""",,,,,
o
,,,
ffi

, =,
a

,",
u
=,-,,,,"=
that a language
is
not simply
an
encoding process for voicing our
ideas and needs but
is
rather a shaping force, which, by providing
habitual grooves
of
expression
that
people to
see
the
world
in
a certain way, guides their thinking and behavior.
The opposite point
of
view
is
that language reflects reality.
In

changes,
so
too will language. Some support for this
is
provided by
studies
of
blue-green color terms.
It
has
been shown that eye
pigmentation acts to
filter out the shorter wavelengths
of
solar
radiation. Color vision
is
thus limited through a reduced sensitivity to
blue and confusion between the shorter visible wavelengths. The
effect shows up
in
color-naming behavior, where green may
be
identified with blue, blue with black,
or
both green and blue with
black. The severity
of
visual limitation,
as

well
as
the extent
of
lumping
of
color terms, depends
on
the density
of
eye pigmentation
characteristic
of
people in a given sOciety.
These findings do not mean that
language merely reflects
reality, any more than thinking and behavior are determined by
language. The truth
of
the
matter
is
more
as
anthropologist Peter
Woolfson has put it: "Reality should
be
the same for us all. Our
nervous systems, however, are being
!:iii

by a continual
flow
of
sensations
of
different kinds, intensities, and durations.
It
is
obvious
that
all
of
these sensations do not reach
our
consciousness;
some
kind
of
filtering
system
reduces
them
to
manageable
propositions. The Whorfian hypothesis suggests that the filtering
system
is
one's language. Our language,
in
effect, provides

us
with a
special pair
of
glasses that heightens certain perceptions and I
others. Thus, while all sensations are received by the nervous
system,
only are brought to the level
of
consciousness."
18 "
www
.i
bttoefl.co.
kr
• anthropologist:
(n.)
someone
who
studies
human
societies
and
their
cultures
•
lump:
(v.)
to put
people

or things
into the
same
group
• full-fledged:
(a.)
completely
developed
• groove:
(n.)
a
fixed
routine or
habit
• pigmentation:
(n.)
the natural
color
of living things
• severity:
(n.)
seriousness
• intensity:
(n
.) strength
• proposition:
(n.)
a matter to
be
dealt with

1
Based
on the information in paragraph 1, 4
The word
in paragraph 3 is
which
of
the following best explains the
closest
in
meaning to
term
(£;
argued
(£;
A theory
that
language determines
®
attacked
culture
©
prevented
®
A theory
that
language reflects reality
®
heated
©

A theory about the relationship
between
language and color
5
The word
dims
in
paragraph 3 is closest in
®
A view against established theories
meaning to
about
language
(£;
damages
®
enlarges
2
The word
in paragraph 1 is
©
removes
closest in meaning to
®
obscures
(£;
influence
®
resolve
©

deal with
®
categorize
6
in paragraph 3 refers to
(£;
nervous system
3
T
he
phrase
in paragraph 2 refers
®
sensations
to
©
consciousness
(£;
view
®
language
®
perceptions
©
cultural reality
®
behavior
1. Cau cuoi cling cua
dOIilll
d

~
u
tien giru thich cho
thu~t
ngli "Whorfian hypothesis
".
2. Dlla vao ngli
cimh
& cau
tru&c
va cau
sau,
blilll
c6
tM
doan
duQ'C
ngrua cua
tu
"predispose
".
3. Trong hai danh
tu
dugc de
c~p
&
tru&c,
the former chi
danh
tu

dUng
tru&C,
the latter chi danh
tu
dUng
sa
u. 4. Tim lila
ch<.>n
tn
lloo
phU
hgp
v6i.
ngli canh trong
dOIilll
van. 5. Ttl
"h
eightens"
dUng
tru&c
Ill.
antonym clue. 6. "some" & day thay
the
cho danh
tu
so nhieu.
infocus:
~~
:-
D

~a
vilo
word part (thanh
ph
An
cau
tl,l.O
tu),
b
l,lIl
co
tM
doan
du
Q'c
ng
h
ia
cua tu
moo.
Word
part
Meaning Word
part
Meaning
Word
part
Meani
ng
ante-, pre- before,

prior
to
pro-
advanc
ing
he
tero- diffe r
ent
anti-
against
re-
again,
back
horno-
alike
bi-
two
su
b- u
nd
er o
rnn
i- a
ll
co-
togethe
r, with
lrans- across,
cha
nge phil-

l
ove
de- from, off,
away
uni-, rnono-
one
pse
udo- false
dis-, in-,
un-
not
aqua-, hydro-
water
retro-
backward
rnal-
bad
bio-
life tele-
distance
multi-, poly-
many
ego-
self
-phobia
fear
Reference &
Vocabulary
"
19

n
:c
:P
"'CO


=
M 0 r e
Practice
A
B
c
o
To understand how the schedule
of
w
and demands
of
a given society
is
balanced
against the supply
of
goods and services available,
it
is
necessary
to
introduce a
noneconomic

variable - the anthropological variable
of
culture.
In
any given economic
system, economic
processes· cannot
be
interpreted without culturally defining the demands
and understanding the conventions
that
dictate how and when t e are satisfied.
1
in
the paragraph
is
closest
in
meaning
to
® supplies © prices
2 The word e
in
the paragraph refers
to
o conventions
® economic processes © demands
However impressive
all these discoveries may be, one important link
is

still missing: the
social organization. There
is
evidence
that
chimpanzees lead a highly subtle and complex
social life,
but this picture
is
still vague.
is
due
to
the fact
that
it
is
impossible
to
follow
social
processes
in
every detail
in
the jungle. Presently, there
is
one place
in
the world where

1 The word
Thi
in the paragraph refers
to
2
o The subtle and complicated nature
of
chimpanzees' social life
® The uncertainty
of
ideas about chimpanzees' social life
© The impressive discoveries about chimpanzees' social life
""-"::":"::::"=.:.:0
in
the paragraph
is
closest
in
meaning
to
o exclusive ® thorough © progressive
The audience for a work
of
art
may consist
of
members
of
a particular group, perhaps a
lineage

or
age set
or
people
of
a certain social rank, and the theme, content, and purpose
of
the oral narrative to
wliicn
they listen may change
to
fit
the social context in which
it
is
recited. The words
may
also change from recitation
to
recitation
as
the mood
of
the audience
changes. And a story
told
to
children will be told differently to adults.
1 The word
o purpose

in the paragraph refers
to
® oral narrative © people
As
continents and ocean basins change shape, some strata sink below the surface
of
an
ocean
or
lake, others are forced upward into mountain ranges, and
water, wind
or
ice
or
are
defol11led
by heat
or
pressure.
1 The word
som
in the paragraph refers to
o surface ® ranges
© strata
2
are worn away by
20
" www.ibttoefl.co.kr
E
F

G
Although the Sumerians and the Egyptians took steps needed to turn the simple ideography
into the
full alphabet, writing still needed to develop. Having a different sign for every single
word would require knowing thousands of different signs,
and
abstract ideas and grammar are
still difficult to express. A way
of
overcoming
this
problem
is
to turn
to
sound devices.
For
example, by using the haracter for a
bee
and
the character for the leaf
of
a tree, one
can
combine them, "bee" plus "leaf," to form "belief." This kind of writing
is
called "word-syllabic."
1 The phrase this proolem in the paragraph refers
to
(£)

the difficulty
of
expressing abstract ideas
® the difference between signs and ideas
© the task
of
turning the simple ideography into the full alphabet
2 The word character
in
the paragraph
is
closest in meaning
to
(£)
place ® feature © letter
Before the invention
of
photography,
the
great
majority
of
painted images were
portraits,
small enough
to
be
carried
in
a locket

for
remembrance. Suddenly, painting was
relieved
of
the necessity
of
"communicating"
in
this pedestrian way. The result was an
explosion
of
new styles and methods. Impressionism was the crowning glory
of
those times.
It
was followed by cubism, dadaism, surrealism and abstract expressionism,
as
well
as
other
movements in
art
of
our
time, including photorealism,
in
which the painter paints
an
image
that, from a distance,

is
indistin uislia
Ie
from a photograph.
1 The phrase
tlie
great
majority
in the paragraph
is
closest in meaning
to
(£)
some ® most © all
2 The phrase indistinguishable m in the paragraph
is
closest in meaning
to
(£)
inseparable from ® suitable to © identical with
Darwin saw
that
food supply and other factors hold populations in cliec . Darwin
calculated that a single breeding pair
of
elephants would,
if
all their progeny lived and
reproduced the
normal number

of
offspring over a normal life span, produce a standing
population
of
19 million elephants
in
750 years, yet the average number
of
elephants generally
remains the same over the years. Although a single breeding pair could have produced 19
million descendants,
it
did produce
an
average
of
only two. But why these particular two?
Darwin gave birth
to
the theory
of
natural selection by answering
th
ion .
1
In
stating
that
food supply and other factors hold populations in check,
the

author
means
that
they
(£)
control populations
® reduce populations © increase populations
2 The phrase
the
ques Ion
in
the paragraph refers to the question
as
to
(£)
why a single breeding pair
of
elephants only produced
two
descendants
on
average
® how many years
it
would take
for
the number
of
elephants
to

increase
© how elephants could survive up
to
modern times producing only
two
descendants
Reference & Vocabulary
~
21
C':I
:z:
:1:0
,


::D
Mini
Test
TOEFL Reading
IfIiI;
Supernovae
5
oun
. Apart from hydrogen, every atom
in
our bodies, and every atom
on
Earth except
for
hydrogen and helium (there

is
no helium
in
our bodies) was manufactured inside stars and
then
expelled into space by supernova explosions. They laced the clouds
of
hydrogen and
helium from which the Sun and its family
of
planets formed.
Over three decades, beginning
in
the 1950s, theorists had developed what seemed to be
a satisfactory understanding
of
supernova explosions, based
on
their knowledge
of
the laws
of
physics, on observations
of
such explosions in remote galaxies and
of
the debris from old
supernova explosions in our own galaxy, and
on
computer models

of
how stars worked. But
until 1987 they had no means
of
checking this understanding directly. The explosion
of
a star
known
as
Sanduleak -69°C 202 to become a supernova first visible from Earth
on
the night
of
February
23/24,
1987 was possibly the single most important event in astronomy since the
invention
of
the telescope.
= =
'-""
SN1987A, took place
in
the Large Magellanic Cloud, a galaxy close to
our
own Milky Way and part
of
the system
of
galaxies, held together by gravity, recognized

as
the
Local
Group.
rl
At a distance
of
180,000 light years,
just
next door by cosmological
standards, SN1987A was by far the closest supernova to have occurred since 1604, when the
last known supernova
in
our
own galaxy exploded,
just
before the development
of
the
astronomical telescope. m
It
was near enough
to
be
studied
in
detail by a battery
of
instruments, including conventional telescopes
on

mountaintops, X-ray detectors
on
board
satellites
in
space and neutrino detectors buried deep beneath the ground.
[!J
Both
in
broad
outline and
in
most details,
~
1i
,

Q

oservations showed over the years following the outburst
that
the astronomers did have a good understanding
of
how supernovae work. m
22
"
www.ibttoefl
.co.
kr
1

o Death throes
of
a
star
® Supernovae
© The emission
of
light
® Explosions
of
small stars
2 Which
of
the sentences below best expresses the essenti
al
information in the highlighted
sentence
in
the passage? Incorrect choices change the meaning in
important
ways
or
leave
out
essential information.
o Although the Sun
is
not
going
to

be a supernova, its birth
is
related
with
supernova
explosions
that
occurred
in
the beginning stage
of
our
galaxy.
® The Sun
is
not
a supernova,
but
it
was
part
of
a supernova when
our
Milky Way started
to
exist.
©
It
is

believed the Sun will explode
in
the future,
but
it
was born
out
of
a supernova when
our
Milky Way started
in
the distant past.
® When
our
galaxy was young, the Sun was separated from the galaxy because
of
a
supernova
explosion.
3 Before 1987, scientists based
their
knowledge
of
supernovae on all
of
the following
EXCEPT
o computer models
4

® direct observation
of
a supernova explosion
© debris
of
old supernova explosions
® laws
of
physics
o identified
as
© combined
® named
® praised
5 The phrase
Iffi~[gjii~ifkmi
in
the passage refers
to
the observations
of
o the Large Magellanic Cloud
© SN1987A
® the Milky Way
® satellites
6 Look
at
the
four
squares

[.]
that
indicate where the following sentence could be added
to
the
passage.
Although some details did not match up to expectations, there
were
no major surprises.
Where would the sentence best fit? Click on a square
to
add
it
to
the
passage.
Reference & Vocabulary "
23
n
=
:Do
"'CO

"'
=
iB
T
Test
Native North American Hide Painting
The artistic development and diversity

of
a society are largely determined by the different physical
mediums available to it. Having
no
technology for the production
of
paper
or
canvas, the Native North
Americans turned to the painting
of
animal hides
as
a major form
of
artistic expression. Occasionally this
took the form
of
painting hides intended to
be
used exclusively
as
art, but far more frequently
it
involved
the decoration
of
everyday
or
ceremonial objects made

of
hide, which were abundant
in
Native North
American
cultures. Shields, tepee coverings, and hide clothing were decorated with hide paintings. Hide
painting was a
laborious process. First, the hide had to
be
cured and treated with a clear preservative
coating
that
would retain the original color
of
the hide. Then
an
outline was scratched
in
the soft leather.
Once
the outline was finished, paints made
of
minerals and plants were applied to
add
color.
Native North American hide painting takes
on
many forms and styles,
as
might

be
expected
of
such
a diverse region. Yet,
it
is
possible to identify three distinct traditions
that
seem to appear
in
nearly
all tribal
hide paintings. The first
is
historical
or
biographical
in
subject matter and most commonly
appears
on
ceremonial robes. This form
of
hide painting seems to have been almost exclusively the
province
of
male artists.
It
is

highly informational
in
nature, and the aesthetic qualities
of
these hide
paintings are
of
secondary importance. Biographical and historical hide paintings record the fortunes,
exploits, and hardships
of
a tribe
or
individual.
In
this way they are similar to the picture writing
of
other
pre-literate cultures.
Another tradition
in
hide painting
can
be
termed visionary painting. Visionary hide paintings are
mystical
or
religious
in
nature. They either tell
of

a visionary experience,
or
are attempts to seek out such
a
supernatural connection. Astrological motifs and representations
of
animistic spirits are common
in
visionary hide painting. Shields and tunics are common mediums for visionary painting. This may reflect
an
attempt
to
invoke the aid
of
supernatural forces for protection and victory
in
battle. Tepees also often
bear visionary art. This may
be
seen
once again
as
an
attempt to procure supernatural protection for the
residents.
The
final major tradition
in
hide painting was primarily produced by women. Highly symbolic and
abstract

in
nature, their
art
represents some
of
the most sophisticated examples
of
hide painting.
Symbolic hide painting employs the use
of
geometric shapes to create complex symmetric patterns.
Boxes,
triangles, and hourglass shapes all feature prominently
in
symbolic hide painting.
One
of
the most
interesting aspects
of
this form
of
hide painting
is
its use
of
negative space. A highly advanced artistic
technique, the
use
of

negative space requires the carefully planned placement
of
unpainted sections
of
the hide
so
that
they too form a design
that
corresponds to the painted designs.
As
with all aspects
of
Native American life, hide painting was greatly affected by contact with white
settlers who were pushing westward during the 1800s. Initially, these changes were mostly material
in
nature. White settlers brought
access
to paper, canvas, and better paints and brushes, all
of
which were
incorporated into Native American art.
As
they began to adopt linen clothing, they simply transferred
their hide painting onto this new
material.
In
latter years, however, white culture began to influence the
conventions
of

the art itself. White Americans ran
an
aggressive campaign to marginalize Native
American
culture and traditions. Native American children were educated not
in
their own communities,
but
in
government run schools with the goal
of
instilling white values and sensibilities
in
them. This white
influence
inevitably began to
be
seen
in
hide painting
as
these children grew up to take the artistic
mantle from their elders.
24
" www.ibttoefl.co.kr
TOEFL Reading
l
Paragraph 1
The artistic development and diversity
of

a society are largely determined by the different
physical mediums available to it. Having
no
technology
for
the production
of
paper
or
canvas,
hide clothing were decorated with hide paintings. Hide painting was a
laoorious process. First,
the hide had to
be
cured and treated with a clear preservative coating
that
would retain the
original color
of
the hide. Then an outline was scratched in the soft leather. Once the outli
ne
was finished, paints made
of
minerals and plants were applied to add color.
1. Which
of
the sentences below best expresses the essential information in the highlighted
sentence in the passage? Incorrect choices change the meaning in important ways
or
leave

out
essential information.
® Hides were sometimes painted for nothing more than artistic expression, but most often
everyday
or
ceremonial items made
of
hide were decorated.
® Occasionally Native Americans painted hides
in
an
artistic fashion, but they
far
more
frequently used them
as
everyday ceremonial items because they were
so
common.
© Native American cultures frequently decorated their ceremonial objects and everyday items
with hide paintings because they were
so
common.
@)
Although the Native Americans intended their hide paintings to
be
art, they frequently
came to
be
seen

as
everyday objects because they were
so
abundant.
2.
The word
"""' ,,.,

in the passage
is
closest
in
meaning to
® intricate
® exhausting
© fascinating
@)
dangerous
Look
at
the
passage again.
3.
All
of
the following are mentioned
as
steps in hide painting
EXCEPT
® hunting animals to obtain hides

® preserving the hide
© outlining a design
@)
applying color
Reference & Vocabulary "
2S
TOEFL
Reading
L
V-
Paragraph 2
Native North American hide painting takes on many forms and styles,
as
might
be
expected
of
such a diverse region. Yet,
it
is
possible to identify three distinct traditions
that
seem
to
appear
in
nearly all tribal hide paintings. The first
is
historical
or

biographical
in
subject
matter
and most commonly appears
on
ceremonial robes. This form
of
hide painting
seems
to
have been almost exclusively the province
of
male artists.
It
is
highly informational in
Biographical and historical hide paintings record the fortunes, exploits, and hardships
of
a tribe
or
individual.
In
this way they are similar to the picture writing
of
other pre-literate cultures.
4.
It
can
be

inferred from paragraph 2
that
(£;
there were more male artists than female artists who engaged
in
hide painting
® not all Native American tribes engaged
in
hide painting
© North America had a wide variety
of
different tribes
® North American tribes kept very accurate historical records
5.
The word
==""""",.
in the passage
is
closest
in
meaning
to
(£;
historic ® artistic © valuable ® religious
6.
According
to
paragraph 2, how does biographical hide painting correspond wi
th
the picture

writing
of
other cultures?
(£;
It
only deals with topics
of
personal importance to the artist.
®
It
focuses more
on
imparting facts than creating good art.
©
It
was
an
essential form
of
communication.
®
It
was only practiced by the educated elite.
TOEFL
Reading
LV
"""'"
Paragraph 3
Another tradition in hide painting
can

be
termed visionary painting. Visionary hide
paintings are
mystical
or
religious
in
nature. They either tell
of
a visionary experience,
or
are
attempts
to
seek
out
such a supernatural connection. Astrological motifs and representations
of
animistic spirits are common in visionary hide painting. Shields and tunics are common
mediums
for
visionary painting. i may reflect
an
attempt
to
invoke the aid
of
supernatural
forces
for

protection and victory
in
battle. Tepees also often bear visionary art. This
may
be
seen once again
as
an
attempt
to
procure supernatural protection for the residents.
26

www.ibttoefl.co.kr
7.
The word I in the passage refers to
o The abundance
of
animal spirits
in
visionary hide painting
® The placement
of
visionary paintings
on
shields
© The attempts
of
Native Americans to connect to the supernatural
® The religious nature

of
visionary hide paintings
Look
at
the
passage
again.
8.
According to the passage, what distinguishes symbolic hide painting from other forms
of
hide
painting?
o
Its
depiction
of
women in its artistic scenes
®
Its
popularity with white settlers
© The relative sophistication
of
its techniques
®
Its
placement
on
tepees
Paragraph
4

The final
major
tradition in hide painting was primarily produced by women. Highly
symbolic
and abstract in nature, their
art
represents some
of
the most sophisticated examples
of
hide painting. Symbolic hide painting employs the use
of
geometric shapes to create
complex symmetric patterns. Boxes, triangles, and hourglass shapes all feature prominently
in
symbolic hide painting. One
of
the most interesting aspects
of
this form
of
hide painting
is
its
use
of
".
~
=-=

=""
. A highly advanced artistic technique, the use
of
negative space
requires the carefully
planned placement
of
unpainted sections
of
the hide
so
that
they too
form a design
that
corresponds to the painted designs.
9.
Based
on the information in paragraph 4, the term
""""'
~
::'=: ::IC==-
can
best be explained
as
o the contrast
of
painted and unpainted sections
of
a picture to create additional forms

® the careful planning
of
one's artistic subject
matter
© the practice
of
preparing a hide prior to painting
it
to retain its color
® the use
of
advanced artistic techniques to create largely symbolic
art
Look
at
the
passage
again.
10. According to the passage, what would one most likely find painted on a Native American shield?
o Scenes
of
the warrior's victories
© Abstract, geometrical forms
® A history
of
the warrior's tribe
® Animals and stars
Reference & Vocabulary "
27
C')

=
,
~


=
TOEFL Reading
L r
Forum
Paragraph 5
As
with all aspects
of
Native American life, hide painting was greatly affected by contact
wi
th
white settlers who were pushing westward during the 1800s. Initially, these changes were
mostly material
in
nature. White settlers brought access
to
paper, canvas, and better
pa
ints and
brushes,
all
of
which were
,nco
orate into Native American art.

As
they began
to
adopt linen
clothing, they simply transferred their hide painting onto this new material.
In
latter years,
however, white
culture began to influence the conventions
of
the art itself. White Americans ran
an
aggressive campaign
to
marginalize Native American culture and traditions. Native American
children were educated not in their own communities, but in government run schools with the
goal
of
instilling white values and sensibilities in them. This white influence inevitably began
to
be
seen in hide painting
as
these children grew up to take the artistic mantle from their elders.
11.
""""=.
.:=;
:.:: :=
in
the passage

is
closest in meaning to
o combined
© modified
® rejected
® evaluated
Loolfat.tl;re,passage,agair
~
12. According
to
the passage, when did the conventions
of
hide painting begin
to
show white
influence?
o When Native Americans started
to
utilize the
art
products
of
white settlers
® When white settlers started to show commercial interest
in
hide paintings
© When Native American youths educated by whites began
to
take up hide painting
® When white settlers began to imitate the hide paintings

of
Native Americans
Paragraphs
2-3
Native North American hide painting takes
on
many forms and styles,
as
might
be
expected
of
such a diverse region. Yet,
it
is
possible
to
identify three distinct traditions
that
seem
to
appear in nearly all tribal hide paintings. The first
is
historical
or
biographical
in
subject
matter
and most commonly appears

on
ceremonial robes. This form
of
hide painting
seems to have been
almost exclusively the province
of
male artists.
It
is
highly informational in
nature, and the aesthetic
qualities
of
these hide paintings are
of
secondary importance. a
Biographical and historical hide paintings record the fortunes, exploits, and hardships
of
a tribe
or
individual.
In
this way
they
are similar
to
the picture writing
of
other pre-literate cultures. m

28
" www.ibttoefl.co.kr
Another tradition in hide painting
can
be
termed visionary painting. [!J Visionary hide
paintings are mystical
or
religious
in
nature.
[!]
They either tell
of
a visionary experience,
or
are attempts to seek
out
such a supernatural connection. Astrological motifs and
representations
of
animistic spirits are common
in
visionary hide painting. Shields and tunics
are common mediums for visionary painting. This may reflect
an
attempt
to invoke the aid
of
supernatural forces for protection and victory

in
battle. Tepees also often bear visionary art.
This may
be
seen once again
as
an
attempt to procure supernatural protection
for
the
residents.
13. Look
at
the four squares
[.]
that
indicate where the following sentence could
be
added
to
the
passage.
While the actions
of
the figures in these paintings are easily identified, the paintings
themselves show little sophistication.
Where would the sentence best fit?
Click
on
a square

[.]
to add the sentence to the passage.
Look
at
the,passage,again.
14. Directions:
An
introductory sentence
for
a brief summary
of
the passage
is
provided below.
Complete the summary by selecting
THREE
answer choices
that
express the most important
ideas in the passage.
Some sentences do not belong in the summary because they express
ideas
that
are not presented in the passage
or
are minor ideas in the passage. This question is
worth
2 pOints.
The painting
of

animal hides was a major form of artistic expression for Native North
American tribes.
® Hide painting was a long and difficult process,
so
only people with a
lot
of
free time did it.
® Hide painting took three
major
forms, which were common to nearly all Native North
American tribes.
@)
Hide paintings varied
in
their purposes, artistic subject matter, and the objects onto which
they were painted.
® White settlers tried to destroy Native American culture by teaching people improper
techniques
of
hide painting.
CD
Contact with white settlers inevitably had a Significant impact
on
both the technological and
stylistic aspects
of
hide painting.
CD
Hide paintings made by men were typically less sophisticated than those made by women.

Reference & Vocabulary "
29
•