Passage 4Questions 16 to 20 are based on thefollowing passage.Languages are consideredendangered when their last fluent speakers reach old age and when children areno longer learning it as their primary tongue. UNESCO reveals that 18 of theworld's 2,464 officially “endangered” languages have just one livingspeaker. With the exception of just three, these are all based in the so-called“global south”. Economic, political, culturaland social power is held by those who speak the“majoritylanguages” while those that don't are often marginalizedand under pressure to shift towards learning a more“global” language.Not all people experiencinglanguage shift feel marginalized though. Many Nigerians, for examplc, happilyembrace the use of English as a world language, viewing it as progressive.Others, however, see their native language as a significant marker of ethnicand national identity. Nigerian artist Adé Bantu expressed this in his song,criticizing the Nigerian school system which prohibits children from speakingtheir native languages.Tribalingual founder, Inky Gibbens,began her social mission to “save, preserve and support” rarecultures and traditions after discovering that the native language of hergrandparents-Buryat, a dialect of Mongolia-was classified as “severely endangered” by UNESCO and findingthat there was no means of learning it online.Some people suggest thatthere are three categories of response to language endangerment: Do nothing,document languages before they disappear, or promote language revitalization(复兴). Scholars havesince considered a fourth response, which aims to examine the causes oflanguage endangerment and promote sustainable(可持续性的)environments for them.However, the majority offunding goes into recording rather than revitalizing endangered languages. Acore belief at Tribalingual is that the only means of saving languages andcultures is by teaching them. Documenting alone risks reducing rare languagesto “staticobjects,”as they are denied the chance to thrive inpractice.“When I foundedTribalingual, I wanted to have a minimum viable product to take to market andtest my assumption that there were people out there actually interested inlearning about unique languages and cultures,” Gibbenssays. “Through my network I found people who werepassionately committed to preserving and teaching their culture and language.Luckily for us, there were also many learners who share our excitement aboutculture and language.”According to Gibbens,Tribalingual “is fast becoming a global network of culture and languageenthusiasts who are passionate about preserving our world's diversity.” As the “first online learning platform forteaching rare and endangered languages,” it treats alllanguages 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 5Questions 21 to 25 are based on thefollowing passage.MGM's most promising youngstar in the early 1930s couldn't meet the heigh requirement for most of today'samusement park rides: Shirley Temple, coming into her own in starring roles at thetender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For thestudio, that proved to be a power move against MGM, buying their young star outfrom under them.The move solidified ShirleyTemple's place as the most beloved young star of her era, and is also creditedwith saving the Fox studio; Temple's cheerful and inspiring performance wasable to draw moviegoers to the theater better than any other Depression-erastar's.The saga started in 1933with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of anepisode of Temple's multi-part series, Frolics of Youth, and saw her charmingfans in the movie theater lobby with song and dance numbers. He immediatelyarranged a screen test with Temple for the film Stand Up and Cheer! in earlyDecember of that year. The film was a hit upon its release in 1934. Andaudiences adored the innocence of both Temple and her character.On the Good Ship Lollipop, asong 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 witha Juvenile Oscar for her film achievements. Then, Fox and 20th Century Picturesmerged, 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 starbegan to grow ever higher.During the Great Depression,an era when making large investments was considered by conservativecommentators to be nothing if not reckless(轻率的), Fox almost immediately began to see thebenefits of banking on the bright young talent of Shirley Temple. As her starrose higher and higher, Fox was able to show more of their stars in Templemovies, using them to springboard actors such as Cesar Romero into star-makingroles of their own. Shirley Temple showed Fox that the kind of movie capable ofselling in the economic misery of the Depression was the exceedingly optimisticfare she was creating. In turn, Fox's returns on their investment in thisoptimism allowed them to make similar investments elsewhere, in actors thatwould become mainstays(支柱)of Hollywood and televisionfor decades to come. When it decided to have Shirley Temple, Fox was_____.

Passage 5Questions 21 to 25 are based on thefollowing passage.MGM's most promising youngstar in the early 1930s couldn't meet the heigh requirement for most of today'samusement park rides: Shirley Temple, coming into her own in starring roles at thetender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For thestudio, that proved to be a power move against MGM, buying their young star outfrom under them.The move solidified ShirleyTemple's place as the most beloved young star of her era, and is also creditedwith saving the Fox studio; Temple's cheerful and inspiring performance wasable to draw moviegoers to the theater better than any other Depression-erastar's.The saga started in 1933with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of anepisode of Temple's multi-part series, Frolics of Youth, and saw her charmingfans in the movie theater lobby with song and dance numbers. He immediatelyarranged a screen test with Temple for the film Stand Up and Cheer! in earlyDecember of that year. The film was a hit upon its release in 1934. Andaudiences adored the innocence of both Temple and her character.On the Good Ship Lollipop, asong 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 witha Juvenile Oscar for her film achievements. Then, Fox and 20th Century Picturesmerged, 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 starbegan to grow ever higher.During the Great Depression,an era when making large investments was considered by conservativecommentators to be nothing if not reckless(轻率的), Fox almost immediately began to see thebenefits of banking on the bright young talent of Shirley Temple. As her starrose higher and higher, Fox was able to show more of their stars in Templemovies, using them to springboard actors such as Cesar Romero into star-makingroles of their own. Shirley Temple showed Fox that the kind of movie capable ofselling in the economic misery of the Depression was the exceedingly optimisticfare she was creating. In turn, Fox's returns on their investment in thisoptimism allowed them to make similar investments elsewhere, in actors thatwould become mainstays(支柱)of Hollywood and televisionfor decades to come. When did Jay Gorney get to know Shirley Temple's acting potentials?

Passage 5Questions 21 to 25 are based on thefollowing passage.MGM's most promising youngstar in the early 1930s couldn't meet the heigh requirement for most of today'samusement park rides: Shirley Temple, coming into her own in starring roles at thetender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For thestudio, that proved to be a power move against MGM, buying their young star outfrom under them.The move solidified ShirleyTemple's place as the most beloved young star of her era, and is also creditedwith saving the Fox studio; Temple's cheerful and inspiring performance wasable to draw moviegoers to the theater better than any other Depression-erastar's.The saga started in 1933with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of anepisode of Temple's multi-part series, Frolics of Youth, and saw her charmingfans in the movie theater lobby with song and dance numbers. He immediatelyarranged a screen test with Temple for the film Stand Up and Cheer! in earlyDecember of that year. The film was a hit upon its release in 1934. Andaudiences adored the innocence of both Temple and her character.On the Good Ship Lollipop, asong 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 witha Juvenile Oscar for her film achievements. Then, Fox and 20th Century Picturesmerged, 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 starbegan to grow ever higher.During the Great Depression,an era when making large investments was considered by conservativecommentators to be nothing if not reckless(轻率的), Fox almost immediately began to see thebenefits of banking on the bright young talent of Shirley Temple. As her starrose higher and higher, Fox was able to show more of their stars in Templemovies, using them to springboard actors such as Cesar Romero into star-makingroles of their own. Shirley Temple showed Fox that the kind of movie capable ofselling in the economic misery of the Depression was the exceedingly optimisticfare she was creating. In turn, Fox's returns on their investment in thisoptimism allowed them to make similar investments elsewhere, in actors thatwould become mainstays(支柱)of Hollywood and televisionfor decades to come. Which of the following sold over 500,000 copies according to the passage?

Passage 5Questions 21 to 25 are based on thefollowing passage.MGM's most promising youngstar in the early 1930s couldn't meet the heigh requirement for most of today'samusement park rides: Shirley Temple, coming into her own in starring roles at thetender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For thestudio, that proved to be a power move against MGM, buying their young star outfrom under them.The move solidified ShirleyTemple's place as the most beloved young star of her era, and is also creditedwith saving the Fox studio; Temple's cheerful and inspiring performance wasable to draw moviegoers to the theater better than any other Depression-erastar's.The saga started in 1933with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of anepisode of Temple's multi-part series, Frolics of Youth, and saw her charmingfans in the movie theater lobby with song and dance numbers. He immediatelyarranged a screen test with Temple for the film Stand Up and Cheer! in earlyDecember of that year. The film was a hit upon its release in 1934. Andaudiences adored the innocence of both Temple and her character.On the Good Ship Lollipop, asong 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 witha Juvenile Oscar for her film achievements. Then, Fox and 20th Century Picturesmerged, 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 starbegan to grow ever higher.During the Great Depression,an era when making large investments was considered by conservativecommentators to be nothing if not reckless(轻率的), Fox almost immediately began to see thebenefits of banking on the bright young talent of Shirley Temple. As her starrose higher and higher, Fox was able to show more of their stars in Templemovies, using them to springboard actors such as Cesar Romero into star-makingroles of their own. Shirley Temple showed Fox that the kind of movie capable ofselling in the economic misery of the Depression was the exceedingly optimisticfare she was creating. In turn, Fox's returns on their investment in thisoptimism allowed them to make similar investments elsewhere, in actors thatwould become mainstays(支柱)of Hollywood and televisionfor decades to come. When did Shirley Temple win a Juvenile Oscar?

Passage 5Questions 21 to 25 are based on thefollowing passage.MGM's most promising youngstar in the early 1930s couldn't meet the heigh requirement for most of today'samusement park rides: Shirley Temple, coming into her own in starring roles at thetender age of 5, was almost immediately headhunted(物色) by bigger， more profitable studios. And Fox was definitely that. For thestudio, that proved to be a power move against MGM, buying their young star outfrom under them.The move solidified ShirleyTemple's place as the most beloved young star of her era, and is also creditedwith saving the Fox studio; Temple's cheerful and inspiring performance wasable to draw moviegoers to the theater better than any other Depression-erastar's.The saga started in 1933with Fox Film songwriter, Jay Gorney. He was walking out of a viewing of anepisode of Temple's multi-part series, Frolics of Youth, and saw her charmingfans in the movie theater lobby with song and dance numbers. He immediatelyarranged a screen test with Temple for the film Stand Up and Cheer! in earlyDecember of that year. The film was a hit upon its release in 1934. Andaudiences adored the innocence of both Temple and her character.On the Good Ship Lollipop, asong 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 witha Juvenile Oscar for her film achievements. Then, Fox and 20th Century Picturesmerged, 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 starbegan to grow ever higher.During the Great Depression,an era when making large investments was considered by conservativecommentators to be nothing if not reckless(轻率的), Fox almost immediately began to see thebenefits of banking on the bright young talent of Shirley Temple. As her starrose higher and higher, Fox was able to show more of their stars in Templemovies, using them to springboard actors such as Cesar Romero into star-makingroles of their own. Shirley Temple showed Fox that the kind of movie capable ofselling in the economic misery of the Depression was the exceedingly optimisticfare she was creating. In turn, Fox's returns on their investment in thisoptimism allowed them to make similar investments elsewhere, in actors thatwould become mainstays(支柱)of Hollywood and televisionfor decades to come. How could conservative commentators have felt about Fox's recruiting Shirley Temple during the Great Depression?

Passage 6Questions 26 to 30 are based on thefollowing passage.Many Londoners would beenvious of places Matthew Anderson has lived in:the likes of Broadway Market,Angel, Camden, and Little Venice are amongst the city's most trendy andexpensive. Many more would long for his electricity bill: £600 for the next 15years. How, then, is he only 24 and a resident of London for just two years?Anderson, an actor, is partof a booming trend for houseboat living among young Londoners. And specificallyfor 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 narrowboatsin particular, are peculiarly British. They were originally working boatsduring the Industrial Revolution. While the industrial need for narrowboats haslong diminished, the nation's love for them hasn't. But until recently, only asmall and hardy community actually lived on them, and fewer still constantlycruised. That's changing. Many people are fleeing London's ever escalatingproperty prices, where house prices have risen 86% since 2009, for a life onthe water. But life on a houseboat is not for everyone. It is a bit too smalland the lack of space is inescapable “But it's been a lifesaver for me,” says Anderson. “You have to work so much inLondon just to pay your rent.” Before buying the boatyear ago, he lived in the north London suburb, paying £550 a month in rent fora 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 buythe boat. Meanwhile, solar panels on his roof run his lighting, charge hisphone 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 partin a Channel 4 series called Humans, which then helped him get a role in thefilm Borstal. "You can't do that if you're paying rent,"he says. Butit's also a lifestyle choice. "That feeling when you move house and afresh start-you get that every two weeks!"Boaters are different kindof 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 6Questions 26 to 30 are based on thefollowing passage.Many Londoners would beenvious of places Matthew Anderson has lived in:the likes of Broadway Market,Angel, Camden, and Little Venice are amongst the city's most trendy andexpensive. Many more would long for his electricity bill: £600 for the next 15years. How, then, is he only 24 and a resident of London for just two years?Anderson, an actor, is partof a booming trend for houseboat living among young Londoners. And specificallyfor 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 narrowboatsin particular, are peculiarly British. They were originally working boatsduring the Industrial Revolution. While the industrial need for narrowboats haslong diminished, the nation's love for them hasn't. But until recently, only asmall and hardy community actually lived on them, and fewer still constantlycruised. That's changing. Many people are fleeing London's ever escalatingproperty prices, where house prices have risen 86% since 2009, for a life onthe water. But life on a houseboat is not for everyone. It is a bit too smalland the lack of space is inescapable “But it's been a lifesaver for me,” says Anderson. “You have to work so much inLondon just to pay your rent.” Before buying the boatyear ago, he lived in the north London suburb, paying £550 a month in rent fora 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 buythe boat. Meanwhile, solar panels on his roof run his lighting, charge hisphone 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 partin a Channel 4 series called Humans, which then helped him get a role in thefilm Borstal. "You can't do that if you're paying rent,"he says. Butit's also a lifestyle choice. "That feeling when you move house and afresh start-you get that every two weeks!"Boaters are different kindof 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?