Part A

Directions: Read the following text. Choose the best word(s) for each numbered blank and mark A,B,C or D on ANSWER SHEET 1.(10 points)

The basic function of money is the enable buying to be separated from selling, thus permitting trade to take place without the so瞔alled double coincidence of barter. If a person has something to sell and wants something else 1 return, it is not necessary to search for someone able and 2to make the desired exchange of items. The person can sell the 3 item for general purchasing power—that is, “money”—to anyone who wants to buy it and then use the proceeds to buy the desired item from anyone who wants to sell it.

The importance of this function of money is 4 illustrated by the experience of Germany just after World War Ⅱ, 5 paper money was 6 largely useless because, despite inflationary conditions, price controls were effectively 7 by the American, French, and British armies of occupation. People had to8 to barter or to inefficient money substitutes. The result was to cut total output of the economy in half. The German “economic miracle” just after 1948 reflected partly a currency reform by the occupation authorities, 9 some economists hold that it stemmed primarily from the German government’s 10 of all price controls, 11 permitting a money economy to 12 a barter economy.

13 of the act of sale from the act of purchase 14 the existence of something that will be generally accepted in payment—this is the “15 of exchange” function of money. But there must also be something that can serve as a 16 abode of purchasing power, in which the seller holds the proceeds in the interim 17 the first sale and the 18 purchase, or from which the buyer can 19the general purchasing power with which to pay 20 what is bought. This is the “asset” function of money.

1. ［A］ on ［B］ in ［C］ by ［D］ for

2. ［A］ capable ［B］ likely ［C］ desirable ［D］ willing

3. ［A］ excess ［B］ extra ［C］ surplus ［D］ ample

4. ［A］ dramatically ［B］ urgently ［C］ faithfully ［D］ incidentally

5. ［A］ when ［B］ before ［C］ since ［D］ until

6. ［A］ developed ［B］ reserved ［C］ rendered ［D］ imagined

7. ［A］ encouraged ［B］ enlarged ［C］ endured ［D］ enforced

8. ［A］ conform ［B］ resort ［C］ commit ［D］ gear

9. ［A］ and ［B］ but ［C］ therefore ［D］ however

10. ［A］ deprivation ［B］ stimulation ［C］ elimination ［D］ restriction

11. ［A］ thereby ［B］ therefore ［C］ then ［D］ while

12. ［A］ alternate ［B］ establish ［C］ substitute ［D］ replace

13. ［A］ Introduction ［B］ Specification ［C］ Representation ［D］ Separation

14. ［A］ assumes ［B］ requires ［C］ focuses ［D］ undertakes

15. ［A］ medium ［B］ function ［C］ role ［D］ nature

16. ［A］ fashionable ［B］ favorable ［C］ temporary ［D］ token

17. ［A］ both ［B］ for ［C］ between ［D］ after

18. ［A］ consequent ［B］ relevant ［C］ inadequate ［D］ subsequent

19. ［A］ execute ［B］ extract ［C］ exceed ［D］ exchange

20. ［A］ for ［B］ off ［C］ back ［D］ in

Section Ⅱ Reading Comprehension

Part A

Directions:

Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on ANSWER SHEET 1. (40 points)

Text 1

Two related paradoxes also emerge from the same basic conception of the aesthetic experience. The first was given extended consideration by Hegel, who argued roughly as follows: our sensuous attention and that gives to the work of art its peculiar individuality. Because it addresses itself to our sensory appreciation, the work of art is essentially concrete, to be understood by an act of perception rather than by a process of discursive thought.

At the same time, our understanding of the work of art is in part intellectual; we seek in it a conceptual content, which it presents to us in the form of an idea. One purpose of critical interpretation is to expound this idea in discursive form—to give the equivalent of the content of the work of art in another, nonsensuous idiom. But criticism can never succeed in this task, for, by separating the content from the particular form, it abolishes its individuality. The content presented then ceases to be the exact content of that work of art. In losing its individuality, the content loses its aesthetic reality; it thus ceases to be a reason for attending to the particular work and that first attracted our critical attention. It cannot be this that we saw in the original work and that explained its power over us.

For this content, displayed in the discursive idiom of the critical intellect, is no more than a husk, a discarded relic of a meaning that eluded us in the act of seizing it. If the content is to be the true object of aesthetic interest, it must remain wedded to its individuality: it cannot be detached from its “sensuous em