Passage 4 Questions 16 to 20 are based on the following passage. Languages are considered endangered when their last fluent speakers reach old age and when children are no longer learning it as their primary tongue. UNESCO reveals that 18 of the world's 2,464 officially “endangered” languages have just one living speaker. With the exception of just three, these are all based in the so-called“global south”. Economic, political, cultural and social power is held by those who speak the“majority languages” while those that don't are often marginalized and under pressure to shift towards learning a more“global” language. Not all people experiencing language shift feel marginalized though. Many Nigerians, for examplc, happily embrace the use of English as a world language, viewing it as progressive. Others, however, see their native language as a significant marker of ethnic and national identity. Nigerian artist Adé Bantu expressed this in his song, criticizing the Nigerian school system which prohibits children from speaking their native languages. Tribalingual founder, Inky Gibbens, began her social mission to “save, preserve and support” rare cultures and traditions after discovering that the native language of her grandparents-Buryat, a dialect of Mongolia-was classified as “severely endangered” by UNESCO and finding that there was no means of learning it online. Some people suggest that there are three categories of response to language endangerment: Do nothing, document languages before they disappear, or promote language revitalization(复兴). Scholars have since considered a fourth response, which aims to examine the causes of language endangerment and promote sustainable(可持续性的) environments for them. However, the majority of funding goes into recording rather than revitalizing endangered languages. A core belief at Tribalingual is that the only means of saving languages and cultures is by teaching them. Documenting alone risks reducing rare languages to “static objects,”as they are denied the chance to thrive in practice. “When I founded Tribalingual, I wanted to have a minimum viable product to take to market and test my assumption that there were people out there actually interested in learning about unique languages and cultures,” Gibbens says. “Through my network I found people who were passionately committed to preserving and teaching their culture and language. Luckily for us, there were also many learners who share our excitement about culture and language.” According to Gibbens, Tribalingual “is fast becoming a global network of culture and language enthusiasts who are passionate about preserving our world's diversity.” As the “first online learning platform for teaching rare and endangered languages,” it treats all languages and cultures equally, regardless of socio-political situation.  What do scholars suggest as the fourth response to endangered languages?

Passage 4 Questions 16 to 20 are based on the following passage. Languages are considered endangered when their last fluent speakers reach old age and when children are no longer learning it as their primary tongue. UNESCO reveals that 18 of the world's 2,464 officially “endangered” languages have just one living speaker. With the exception of just three, these are all based in the so-called“global south”. Economic, political, cultural and social power is held by those who speak the“majority languages” while those that don't are often marginalized and under pressure to shift towards learning a more“global” language. Not all people experiencing language shift feel marginalized though. Many Nigerians, for examplc, happily embrace the use of English as a world language, viewing it as progressive. Others, however, see their native language as a significant marker of ethnic and national identity. Nigerian artist Adé Bantu expressed this in his song, criticizing the Nigerian school system which prohibits children from speaking their native languages. Tribalingual founder, Inky Gibbens, began her social mission to “save, preserve and support” rare cultures and traditions after discovering that the native language of her grandparents-Buryat, a dialect of Mongolia-was classified as “severely endangered” by UNESCO and finding that there was no means of learning it online. Some people suggest that there are three categories of response to language endangerment: Do nothing, document languages before they disappear, or promote language revitalization(复兴). Scholars have since considered a fourth response, which aims to examine the causes of language endangerment and promote sustainable(可持续性的) environments for them. However, the majority of funding goes into recording rather than revitalizing endangered languages. A core belief at Tribalingual is that the only means of saving languages and cultures is by teaching them. Documenting alone risks reducing rare languages to “static objects,”as they are denied the chance to thrive in practice. “When I founded Tribalingual, I wanted to have a minimum viable product to take to market and test my assumption that there were people out there actually interested in learning about unique languages and cultures,” Gibbens says. “Through my network I found people who were passionately committed to preserving and teaching their culture and language. Luckily for us, there were also many learners who share our excitement about culture and language.” According to Gibbens, Tribalingual “is fast becoming a global network of culture and language enthusiasts who are passionate about preserving our world's diversity.” As the “first online learning platform for teaching rare and endangered languages,” it treats all languages and cultures equally, regardless of socio-political situation.  What is Tribalingual's core belief about saving languages?

Passage 4 Questions 16 to 20 are based on the following passage. Languages are considered endangered when their last fluent speakers reach old age and when children are no longer learning it as their primary tongue. UNESCO reveals that 18 of the world's 2,464 officially “endangered” languages have just one living speaker. With the exception of just three, these are all based in the so-called“global south”. Economic, political, cultural and social power is held by those who speak the“majority languages” while those that don't are often marginalized and under pressure to shift towards learning a more“global” language. Not all people experiencing language shift feel marginalized though. Many Nigerians, for examplc, happily embrace the use of English as a world language, viewing it as progressive. Others, however, see their native language as a significant marker of ethnic and national identity. Nigerian artist Adé Bantu expressed this in his song, criticizing the Nigerian school system which prohibits children from speaking their native languages. Tribalingual founder, Inky Gibbens, began her social mission to “save, preserve and support” rare cultures and traditions after discovering that the native language of her grandparents-Buryat, a dialect of Mongolia-was classified as “severely endangered” by UNESCO and finding that there was no means of learning it online. Some people suggest that there are three categories of response to language endangerment: Do nothing, document languages before they disappear, or promote language revitalization(复兴). Scholars have since considered a fourth response, which aims to examine the causes of language endangerment and promote sustainable(可持续性的) environments for them. However, the majority of funding goes into recording rather than revitalizing endangered languages. A core belief at Tribalingual is that the only means of saving languages and cultures is by teaching them. Documenting alone risks reducing rare languages to “static objects,”as they are denied the chance to thrive in practice. “When I founded Tribalingual, I wanted to have a minimum viable product to take to market and test my assumption that there were people out there actually interested in learning about unique languages and cultures,” Gibbens says. “Through my network I found people who were passionately committed to preserving and teaching their culture and language. Luckily for us, there were also many learners who share our excitement about culture and language.” According to Gibbens, Tribalingual “is fast becoming a global network of culture and language enthusiasts who are passionate about preserving our world's diversity.” As the “first online learning platform for teaching rare and endangered languages,” it treats all languages and cultures equally, regardless of socio-political situation.  What is Tribalingual?

Passage 5 Questions 21 to 25 are based on the following passage. MGM's most promising young star in the early 1930s couldn't meet the heigh requirement for most of today's amusement park rides: Shirley Temple, coming into her own in starring roles at the tender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For the studio, that proved to be a power move against MGM, buying their young star out from under them. The move solidified Shirley Temple's place as the most beloved young star of her era, and is also credited with saving the Fox studio; Temple's cheerful and inspiring performance was able to draw moviegoers to the theater better than any other Depression-era star's. The saga started in 1933 with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of an episode of Temple's multi-part series, Frolics of Youth, and saw her charming fans in the movie theater lobby with song and dance numbers. He immediately arranged a screen test with Temple for the film Stand Up and Cheer! in early December of that year. The film was a hit upon its release in 1934. And audiences adored the innocence of both Temple and her character. On the Good Ship Lollipop, a song from the film Bright Eyes, sold more than 500,000 copies. On February 27, 1935, 6-year-old Shirley Temple became the first child star to be honored with a Juvenile Oscar for her film achievements. Then, Fox and 20th Century Pictures merged, thanks in large part to Temple's success, creating 20th Century Fox, and as one of the crown jewels in the new studio's collection, Temple's star began to grow ever higher. During the Great Depression, an era when making large investments was considered by conservative commentators to be nothing if not reckless(轻率的), Fox almost immediately began to see the benefits of banking on the bright young talent of Shirley Temple. As her star rose higher and higher, Fox was able to show more of their stars in Temple movies, using them to springboard actors such as Cesar Romero into star-making roles of their own. Shirley Temple showed Fox that the kind of movie capable of selling in the economic misery of the Depression was the exceedingly optimistic fare she was creating. In turn, Fox's returns on their investment in this optimism allowed them to make similar investments elsewhere, in actors that would become mainstays(支柱)of Hollywood and television for decades to come.  When it decided to have Shirley Temple, Fox was_____.

Passage 5 Questions 21 to 25 are based on the following passage. MGM's most promising young star in the early 1930s couldn't meet the heigh requirement for most of today's amusement park rides: Shirley Temple, coming into her own in starring roles at the tender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For the studio, that proved to be a power move against MGM, buying their young star out from under them. The move solidified Shirley Temple's place as the most beloved young star of her era, and is also credited with saving the Fox studio; Temple's cheerful and inspiring performance was able to draw moviegoers to the theater better than any other Depression-era star's. The saga started in 1933 with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of an episode of Temple's multi-part series, Frolics of Youth, and saw her charming fans in the movie theater lobby with song and dance numbers. He immediately arranged a screen test with Temple for the film Stand Up and Cheer! in early December of that year. The film was a hit upon its release in 1934. And audiences adored the innocence of both Temple and her character. On the Good Ship Lollipop, a song from the film Bright Eyes, sold more than 500,000 copies. On February 27, 1935, 6-year-old Shirley Temple became the first child star to be honored with a Juvenile Oscar for her film achievements. Then, Fox and 20th Century Pictures merged, thanks in large part to Temple's success, creating 20th Century Fox, and as one of the crown jewels in the new studio's collection, Temple's star began to grow ever higher. During the Great Depression, an era when making large investments was considered by conservative commentators to be nothing if not reckless(轻率的), Fox almost immediately began to see the benefits of banking on the bright young talent of Shirley Temple. As her star rose higher and higher, Fox was able to show more of their stars in Temple movies, using them to springboard actors such as Cesar Romero into star-making roles of their own. Shirley Temple showed Fox that the kind of movie capable of selling in the economic misery of the Depression was the exceedingly optimistic fare she was creating. In turn, Fox's returns on their investment in this optimism allowed them to make similar investments elsewhere, in actors that would become mainstays(支柱)of Hollywood and television for decades to come.  When did Jay Gorney get to know Shirley Temple's acting potentials?

Passage 5 Questions 21 to 25 are based on the following passage. MGM's most promising young star in the early 1930s couldn't meet the heigh requirement for most of today's amusement park rides: Shirley Temple, coming into her own in starring roles at the tender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For the studio, that proved to be a power move against MGM, buying their young star out from under them. The move solidified Shirley Temple's place as the most beloved young star of her era, and is also credited with saving the Fox studio; Temple's cheerful and inspiring performance was able to draw moviegoers to the theater better than any other Depression-era star's. The saga started in 1933 with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of an episode of Temple's multi-part series, Frolics of Youth, and saw her charming fans in the movie theater lobby with song and dance numbers. He immediately arranged a screen test with Temple for the film Stand Up and Cheer! in early December of that year. The film was a hit upon its release in 1934. And audiences adored the innocence of both Temple and her character. On the Good Ship Lollipop, a song from the film Bright Eyes, sold more than 500,000 copies. On February 27, 1935, 6-year-old Shirley Temple became the first child star to be honored with a Juvenile Oscar for her film achievements. Then, Fox and 20th Century Pictures merged, thanks in large part to Temple's success, creating 20th Century Fox, and as one of the crown jewels in the new studio's collection, Temple's star began to grow ever higher. During the Great Depression, an era when making large investments was considered by conservative commentators to be nothing if not reckless(轻率的), Fox almost immediately began to see the benefits of banking on the bright young talent of Shirley Temple. As her star rose higher and higher, Fox was able to show more of their stars in Temple movies, using them to springboard actors such as Cesar Romero into star-making roles of their own. Shirley Temple showed Fox that the kind of movie capable of selling in the economic misery of the Depression was the exceedingly optimistic fare she was creating. In turn, Fox's returns on their investment in this optimism allowed them to make similar investments elsewhere, in actors that would become mainstays(支柱)of Hollywood and television for decades to come.  Which of the following sold over 500,000 copies according to the passage?

Passage 5 Questions 21 to 25 are based on the following passage. MGM's most promising young star in the early 1930s couldn't meet the heigh requirement for most of today's amusement park rides: Shirley Temple, coming into her own in starring roles at the tender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For the studio, that proved to be a power move against MGM, buying their young star out from under them. The move solidified Shirley Temple's place as the most beloved young star of her era, and is also credited with saving the Fox studio; Temple's cheerful and inspiring performance was able to draw moviegoers to the theater better than any other Depression-era star's. The saga started in 1933 with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of an episode of Temple's multi-part series, Frolics of Youth, and saw her charming fans in the movie theater lobby with song and dance numbers. He immediately arranged a screen test with Temple for the film Stand Up and Cheer! in early December of that year. The film was a hit upon its release in 1934. And audiences adored the innocence of both Temple and her character. On the Good Ship Lollipop, a song from the film Bright Eyes, sold more than 500,000 copies. On February 27, 1935, 6-year-old Shirley Temple became the first child star to be honored with a Juvenile Oscar for her film achievements. Then, Fox and 20th Century Pictures merged, thanks in large part to Temple's success, creating 20th Century Fox, and as one of the crown jewels in the new studio's collection, Temple's star began to grow ever higher. During the Great Depression, an era when making large investments was considered by conservative commentators to be nothing if not reckless(轻率的), Fox almost immediately began to see the benefits of banking on the bright young talent of Shirley Temple. As her star rose higher and higher, Fox was able to show more of their stars in Temple movies, using them to springboard actors such as Cesar Romero into star-making roles of their own. Shirley Temple showed Fox that the kind of movie capable of selling in the economic misery of the Depression was the exceedingly optimistic fare she was creating. In turn, Fox's returns on their investment in this optimism allowed them to make similar investments elsewhere, in actors that would become mainstays(支柱)of Hollywood and television for decades to come.  When did Shirley Temple win a Juvenile Oscar?

Passage 5 Questions 21 to 25 are based on the following passage. MGM's most promising young star in the early 1930s couldn't meet the heigh requirement for most of today's amusement park rides: Shirley Temple, coming into her own in starring roles at the tender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For the studio, that proved to be a power move against MGM, buying their young star out from under them. The move solidified Shirley Temple's place as the most beloved young star of her era, and is also credited with saving the Fox studio; Temple's cheerful and inspiring performance was able to draw moviegoers to the theater better than any other Depression-era star's. The saga started in 1933 with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of an episode of Temple's multi-part series, Frolics of Youth, and saw her charming fans in the movie theater lobby with song and dance numbers. He immediately arranged a screen test with Temple for the film Stand Up and Cheer! in early December of that year. The film was a hit upon its release in 1934. And audiences adored the innocence of both Temple and her character. On the Good Ship Lollipop, a song from the film Bright Eyes, sold more than 500,000 copies. On February 27, 1935, 6-year-old Shirley Temple became the first child star to be honored with a Juvenile Oscar for her film achievements. Then, Fox and 20th Century Pictures merged, thanks in large part to Temple's success, creating 20th Century Fox, and as one of the crown jewels in the new studio's collection, Temple's star began to grow ever higher. During the Great Depression, an era when making large investments was considered by conservative commentators to be nothing if not reckless(轻率的), Fox almost immediately began to see the benefits of banking on the bright young talent of Shirley Temple. As her star rose higher and higher, Fox was able to show more of their stars in Temple movies, using them to springboard actors such as Cesar Romero into star-making roles of their own. Shirley Temple showed Fox that the kind of movie capable of selling in the economic misery of the Depression was the exceedingly optimistic fare she was creating. In turn, Fox's returns on their investment in this optimism allowed them to make similar investments elsewhere, in actors that would become mainstays(支柱)of Hollywood and television for decades to come.  How could conservative commentators have felt about Fox's recruiting Shirley Temple during the Great Depression?

Passage 6 Questions 26 to 30 are based on the following passage. Many Londoners would be envious of places Matthew Anderson has lived in:the likes of Broadway Market, Angel, Camden, and Little Venice are amongst the city's most trendy and expensive. Many more would long for his electricity bill: £600 for the next 15 years. How, then, is he only 24 and a resident of London for just two years? Anderson, an actor, is part of a booming trend for houseboat living among young Londoners. And specifically for what's known as a“continuous cruising”, meaning for around £800, which covers your annual insurance and boat license, you can moor up(停泊) wherever you want... but only if you move every two weeks. Houseboats, and narrowboats in particular, are peculiarly British. They were originally working boats during the Industrial Revolution. While the industrial need for narrowboats has long diminished, the nation's love for them hasn't. But until recently, only a small and hardy community actually lived on them, and fewer still constantly cruised. That's changing. Many people are fleeing London's ever escalating property prices, where house prices have risen 86% since 2009, for a life on the water. But life on a houseboat is not for everyone. It is a bit too small and the lack of space is inescapable “But it's been a lifesaver for me,” says Anderson. “You have to work so much in London just to pay your rent.” Before buying the boat year ago, he lived in the north London suburb, paying £550 a month in rent for a room in a house, not including bills. Now, he says, his monthly expenses "work out at around £200," which includes paying off the loan to buy the boat. Meanwhile, solar panels on his roof run his lighting, charge his phone and laptop and power the water pump. Because of the savings, Anderson says, he was able to take an unpaid acting job, which got him a part in a Channel 4 series called Humans, which then helped him get a role in the film Borstal. "You can't do that if you're paying rent,"he says. But it's also a lifestyle choice. "That feeling when you move house and a fresh start-you get that every two weeks!" Boaters are different kind of community. Atypically(非典型地) for London, houseboating can be cheap. But typically for London, it's crowded and, while it can be rewarding, it's not necessarily for everyone.  During the Industrial Revolution narrowboats were_____.

Passage 6 Questions 26 to 30 are based on the following passage. Many Londoners would be envious of places Matthew Anderson has lived in:the likes of Broadway Market, Angel, Camden, and Little Venice are amongst the city's most trendy and expensive. Many more would long for his electricity bill: £600 for the next 15 years. How, then, is he only 24 and a resident of London for just two years? Anderson, an actor, is part of a booming trend for houseboat living among young Londoners. And specifically for what's known as a“continuous cruising”, meaning for around £800, which covers your annual insurance and boat license, you can moor up(停泊) wherever you want... but only if you move every two weeks. Houseboats, and narrowboats in particular, are peculiarly British. They were originally working boats during the Industrial Revolution. While the industrial need for narrowboats has long diminished, the nation's love for them hasn't. But until recently, only a small and hardy community actually lived on them, and fewer still constantly cruised. That's changing. Many people are fleeing London's ever escalating property prices, where house prices have risen 86% since 2009, for a life on the water. But life on a houseboat is not for everyone. It is a bit too small and the lack of space is inescapable “But it's been a lifesaver for me,” says Anderson. “You have to work so much in London just to pay your rent.” Before buying the boat year ago, he lived in the north London suburb, paying £550 a month in rent for a room in a house, not including bills. Now, he says, his monthly expenses "work out at around £200," which includes paying off the loan to buy the boat. Meanwhile, solar panels on his roof run his lighting, charge his phone and laptop and power the water pump. Because of the savings, Anderson says, he was able to take an unpaid acting job, which got him a part in a Channel 4 series called Humans, which then helped him get a role in the film Borstal. "You can't do that if you're paying rent,"he says. But it's also a lifestyle choice. "That feeling when you move house and a fresh start-you get that every two weeks!" Boaters are different kind of community. Atypically(非典型地) for London, houseboating can be cheap. But typically for London, it's crowded and, while it can be rewarding, it's not necessarily for everyone.  What forces many young Londoners to live on houseboats?