READING SKILL (55, 50 QUESTIONS, 5 PASSAGES)

1. SKIM AHEAD AND JUMP BACK - Before you begin reading, scan the text to see whats ahead (Is the reading broken into sections? main topics of those sections? In what order are they covered? What key words or ideas are boldfaced, bulleted, boxed, or otherwise highlighted?) - When you finish reading, jump back. Review the summaries, headings, and high ighted information. !ou can see how each idea fits into the who e and how ideas and information are connected. 2. LOOK UP UNFAMILIAR OCABULAR! "ORDS Remember, a key word or phrase can change the meaning of a who e passage. #. MARK UP THE TE$T high ight or under ine key words and ideas take notes make notes I. MAIN IDEA& idea, tit e, authors purpose PARAPHRASED SENTENCES What does the author mean by the sentence II. OCABULAR!& most ike y means, c osest in meaning REFERENCES refers to" III. SPECIFIC FACT OR DETAIL& W#$%,W#&' I . E$CEPTIONS& not describe, not identify . LOCATION OF INFORMATION& where in the passage I. INFERENCES& draw a ogica conc usion %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% I. MAIN IDEA 1. TOPIC' SUBJECT& what the passage is about 2. MAIN IDEA& % What ho ds a of the ideas in the passage together - %he overa fact, fee ing, or thought a writer wants to convey about his or her subject. - (t needs to be broad enough for a of the other sentences to fit underneath, ike peop e underneath an umbre a. - )f course, an idea can be too genera to be the main idea. #. BASIC PATTERN& genera idea specific support *specific facts and detai s+ (. SUPPORTING IDEAS& providing specific information *common words and phrases" for example, for instance, in particular, in addition, furthermore, some others specifically such as + 5. TOPIC SENTENCES& ,ain point of the passage. $t the beginning- end of paragraphs. (n the midd e *not often+. (n a onger text, such as an essay" )*+,-, or )*+.+. )ther times there isnt a c ear topic sentence at a . !ou wi have to ook carefu y at the paragraph for c ues about the main idea. Writers often state their overa main idea, but these thesis statements are not .uite as common as topic sentences in paragraphs.!ou wi often have to ook carefu y at the answer options and decide which of those ideas best encompasses a of the ideas in the passage. II. OCABULAR! 1. DETERMINING MEANING FROM CONTE$T /ooking carefu y at /01)+2)0the sentences and ideas surrounding an unfami iar word0 2. TIPS 1. 2irst, use the context to determine whether the vocabu ary word is something 30,-)-4+ 05 1+67)-4+. 3. 4econd, 5+387/+ )*+ 40/79:875; <05= with the remaining answers, one at a time. 5oes the answermake sense when you read the sentence6 III> . IDENTIF!ING SPECIFIC FACTS AND DETAILS> LOCATION OF INFORMATION 1. T!PES OF TAKS 1. By identifying a ,3+/-?-/ ?7/) 05 =+)7-8 mentioned in the passage. 3. By identifying -1?05.7)-01 )*7) <7, not ,3+/-?-/788; .+1)-01+= in the passage. 7. By identifying the 387/+ in the passage where specific -1?05.7)-01 /71 9+ ?0:1=. %hese .uestions )+,) (1) *0< /75+?:88; ;0: 5+7= 71= (2) ;0:5 79-8-); )0 @10< <*+5+ )0 800@ ?05 ,3+/-?-/ -1?05.7)-01 <-)*-1 a passage. 2. TIPS 1. 8se the KE! "ORDS from the .uestion as your guide. 4kim through the paragraphs ooking for your key words. 'ote that the key word might not be the exact word in the passage * fatal, for examp e, you might scan for the words death, kill, and deadly + 3. 8se the ORGANIAATIONAL PATTERNS (make better decisions about where to insert new information) A. CHRONOLOGICAL ORDER

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#istorica texts, instructions and procedures, and essays about persona experiences 8se time to organi9e their ideas ( etc. before after next now then when as soon as immediately suddenly soon during while meanwhile later in the meantime at last eventually finally afterward) B. ORDER OF IMPORTANCE %he first idea" most or east important. (first and foremost most importantly more importantly moreover above all first, second, third last but not least finally) ,)4% %) /&$4% (,:)R%$'%" offering advice , want readers to get the most important information right away. &x" 'ewspaper artic es /&$4% %) ,)4% (,:)R%$'%" presenting an argument. C. COMPARISON AND CONTRAST ; assify or judge the items you are similarly in the same way likewise like in a like manner ust as and also both but on the other hand yet however on the contrary in contrast conversely while unlike D. CAUSE AND EFFECT because (of) created (by) since caused (by) therefore so hence conse!uently as a result I. MAKING INFERENCES 5raw conc usions based upon what you read in the passage. !ou have to ook for /8:+, coming from the writers "ORD CHOICE. 1. "ORD CHOICE (=-/)-01) (t can revea an awfu ot about how he or she fee s about the subject. particu ar words and phrases the way those words and phrases are arranged word or sentence patterns that are repeated important detai s about peop e, p aces, and things 2. DENOTATION (16*B7 /*C1*) AND CONNOTATION (16*B7 3*D) CONNOTATION is a words suggested or imp ied meaning< its what the word makes you think or fee . DENOTATION dictionary definition T;3+ 1& I1/0.38+)+ ,+1)+1/+,& se ect the correct word or phrase to put in that b ank T;3+ 2& E5505 /055+/)-01 wi , sha wou d intention I will go to the store right away. can cou d abi ity "hey can do the ob right. may, might, cou d, might permission #ou may be excused. shou d shou d = have = recommendation "he nurse said I should lie down and rest. past particip e We should have given her better directions. must, have *to+ had *to+ necessity shou d = have = expectation "he doctor should have sent you a copy past particip e of his report. may, might might = have = possibi ity "he rebels may agree to a cease$fire. past particip e "he revolution might not have succeeded without their support. TROUBLESOME ERBS lie%lay, sit%set, and rise%raise. %he key" which verb in each pair needs an object. 8-+& to rest or rec ine *subject on y+ ie, ies ying ay ain 87;& to put or p ace *needs an object+ ay, ays aying aid aid ,-)& to rest *subject on y+ sit, sits sitting sat sat ,+)& to put or p ace *needs an object+ set, sets setting set set 5-,+& to go up *subject on y+ rise, rises rising rose risen 57-,+& to move something up *needs an object+ raise, raises raising raised raised "HEN TO USE INFINITI ES AND GERUNDS (t can be tricky trying to determine whether you shou d use an infinitive or a gerund after a verb.#ere Beg bother choose venture 5iscuss escape reca resist to erate With a verb = noun-pronoun construct, use an -1?-1-)-4+ after these verbs" &nron's bankruptcy convinced many companies to diversify their ()*+ investments. 1. ,emori9e -55+6:875 and )50:98+,0.+ verb forms. 3. Remember that verbs shou d be /01,-,)+1) -1 )+1,+. 7. ,ake sure that verbs 765++ with their subject. >. ,ake sure the correct *+83-16 4+59, are used to convey the intended meaning. ?. 8se -1?-1-)-4+, and 6+5:1=, correct y. ;ause command convince remind

GRAMMAR AND STYLE

COUNT )R NON%COUNT nouns. ;ount nouns refer to distinct, separate individua s or entities, such as a toy, an apple, a phenomenon. 'on$count nouns refer to things grouped in a mass rather than separated as individua s, such as grass, milk, blood, bread. one blade of grass three pints of blood ten loaves of bread 'on-count nouns have other specia .ua ities" 1. %hey have on y one form *singu ar+. 7. %hey are not preceded by the word the. $s a genera ru e, the fo owing kinds of nouns are non-count nouns" 2oods bought in bu k or come in various forms" bread, butter, fruit, meat, rice, sugar,chocolate. /i.uids or natura substances that can change shape, depending upon their container or environment" milk, water, tea, oil, ice, steam, oxygen, smoke. ,ateria s that can change shape" wood, sand, gold, lumber. $bstractions" kindness, knowledge, integrity, beauty, time. @roups of items that come in different shapes and si9es" furniture, clothing, money, garbage, luggage. @ames" chess, tennis, golf, baseball, checkers, marbles. 4ubjects of study" history, psychology, literature, physics, economics, politics, statistics. ERROR CORRECTION A OID DOUBLE COMPARISONS AND DOUBLE NEGATI ES M7))+5, 0? C875-); 71= S);8+ %hree grammatica issues can make the difference between c ear, smooth sentences and sentences that are c unky and confusing" misp aced or dang ing modifiers, para e structure, and wordiness and redundancy. MISPLACED AND DANGLING MODIFIERS Be sure to p ace words, phrases, or c auses that describe nouns and pronouns as c ose y as possib e to the words they describe. ,winging from branch to branch, I saw the spider monkey- W./01 I saw the spider monkey swinging from branch to branch- 2/..&2" (ncorrect" 3y uncle told me about feeding cattle in the kitchen. ;orrect" In the kitchen, my uncle told me about feeding cattle. PARALLEL STRUCTURE :ara e structure means that words and phrases in the sentence fo ow the same grammatica pattern. 'ot para e " I am looking for an assistant who is smart, reliable, and will come on time. :ara e " I am looking for an assistant who is smart, reliable, and punctual. 4e assured me that he NOT ONLY saved the file, BUT ALSO created a back$up. *&ach phrase has a past tense verb and a noun+ "he failure was caused not only by an unintentional error but also by a deliberate miscommunication. *&ach phrase has a preposition, an adjective, and a noun+ REDUNDANC! AND "ORDINESS (dentify or e iminate 5+=:1=71/; or :11+/+,,75; <05=-1+,, within sentences. Redundancy" the unnecessary repetition of ideas. Wordiness" use of severa words when a few can express the same idea more c ear y and concise y. %he use of unnecessary words or phrases. Redundant" "he room was red in color. ;orrect" "he room was red. 8nnecessary repetition of nouns or pronouns. %he use of wordy phrases instead of adverbs. Wordy" 4e looked at me in a threatening manner. ;oncise" 4e looked at me threateningly. I returned back to my room after the meeting was over% 5lease repeat again what you said. "he circumstances are very delicate in nature. It was a story that was difficult to tell. ;orrection" It was a difficult story to tell. PREPOSITIONAL IDIOMS ashamed of aware of b ame *someone+ for *something+ compete with concerned with conscious of from now on frown on-upon g ance at-through gratefu for *something+ in accordance with insist on-upon in the habit of know edge of of the opinion on top of opposite of prior to re y on-upon respect for suspicious of with regard to

LISTENING SKILL (?A .uestions *7A in :art $, 3A in :arts B and ;+ 1. short conversations *:art $ on the paper-based exam+ *3 peop e speaking+ 3. onger conversations and c ass discussions *:art B+ *3 or more peop e speaking+ 7. mini-ta ks and ectures *:art ;+ *1 person+ KINDS OF LISTENING COMPREHENSION QUESTIONS 1. MAIN TOPIC OF CON ERSATION. who or what the conversation is about. 5ifference between a main topic and a main idea 5o not choose an answer that refers to a specific fact or detai from the passge. 2. MAIN IDEA. 2or onger conversations, c ass discussions, and ectures, you may be asked to identify the main idea of the passage0what the speaker*s+ are saying about the subject. #. DETAILS. T-3& listening carefully and thinking logically about the possib e answer (. I=-0.7)-/ +235+,,-01,. %hese .uestions ask you to identify what a speaker means by the use of an idiomatic expression. T-3& (f you arent fami iar with the idiomatic expression, carefu y consider the scenario or situation. 2or examp e, wou d either 7 or 9 be a ogica response to what the woman te s the man6 'ot very ike y.!ou can therefore safe y e iminate those two choices. ;hoice / is a so a bit of a stretch, since theres nothing in the conversation to suggest that he thinks the woman is ying. 5. R+/0..+1=7)-01,',:66+,)+= 7/)-01,. %hese .uestions ask you to identify what one speaker recommends or suggests to the other speaker. #eres an examp e" M71& I haven't started my essay for 6merican 7iterature because I've been so busy studying for physics and calculus exams. 6nd the essay is due tomorrow8 "0.71& Why don't you ask if you can hand in the essay a few days late? Q:+,)-01& What does the woman suggest that the man do6 7. hand his essay in ate 9. ta k to the professor about handing the essay in ate /. not write the essay at a =. ask someone e se to write the essay A1,<+5& 9. T-3& Recommendations and suggestions are often signa ed by the phrases Byou shou d,CByou ought to,CBwhy dont you,C or Bwhy not.C /isten carefu y for these verba c ues. E. I1?+5+1/+, 97,+= :301 )01+. %hese .uestions ask you to draw a ogica conc usion based upon the tone one of the speakers has used. #eres an examp e" "0.71& 4enry promised he'd be on time today. I bet he'll be here any second. M71& ,ure. 6ny second8 Q:+,)-01& What does the mans rep y suggest6 7. #e be ieves #enry wi be ate. 9. #e be ieves #enry wi be on time. /. #e has to eave in a second. =. #e doesnt want to see #enry. A1,<+5& 7. T-3& $ word ike BsureC can mean ha f a do9en different things depending upon the tone the speaker uses0 how the speaker says it. T01+ is the mood or attitude that the speaker conveys about his or her subject. (n fact, in speech, more meaning is conveyed by tone than by the actua words used. $ word ike BsureC is a perfect examp e. %hink of a the ways this word can be said and a the different meanings the variety of tone can convey.5uring the exam, isten carefu y to how the speaker says what he or she says.What mood or attitude seems to come across0joy6 anger6 sadness6 excitement6 disbe ief6 (s the speaker making a threat6 a demand6 a p ea6 FLISTENING COMPREHENSIONF G( H. I1?+5+1/+, 97,+= :301 =+)7-8, 0? )*+ ,-):7)-01. %hese .uestions ask you to draw a ogica conc usion

based upon the specific information provided in the passage. %he .uestions may ask you what a speaker implies *suggests+, what problem a speaker is facing, or what assumption a speaker is making. #eres an examp e" M71& ,o, how'd you do on the physics midterm? "0.71& 7et's ust say that I won't be making the 9ean's 7ist this semester. Q:+,)-01& What does the woman mean6 7. 4he got the highest score in the c ass. 9. 4he be too busy to be on the 5eans /ist. /. 4he didnt take the exam after a . =. 4he thinks she did very poor y on the exam. A1,<+5& =. T-3& Remember that these .uestions are different from those that ask you to identify specific facts or detai s. #ere, you need to draw a conclusion based upon those specific facts or detai s in the passage.What inference can you make based upon the situation or scenario6 I. I1?+5+1/+, 790:) )*+ ?:):5+ (35+=-/)-01,). %hese .uestions ask you to draw a ogica conc usion about what the speaker*s+ wi do based upon the conversation. #eres an examp e" M71& /h, no8 7ook what time it is8 If I leave now, I'll still be late for class. It's a *:$minute walk. "0.71& #ou will ust make it if you take my car. Q:+,)-01& What wi the man probab y do6 7. Borrow the womans car and drive to c ass. 9. Run as fast as he can to c ass. /. 4kip c ass and stay with the woman. =. ;a a taxi. A1,<+5& 7. T-3& $gain, you need to draw a ogica conc usion here based upon the specific facts and detai s in the passage. %hink about the situation or scenario and the second speakers response. Rea y, shes making a suggestion0 to borrow her car0though she doesnt exp icit y state the offer. 4ee which answer best matches the second speakers rep y. FLISTENING COMPREHENSIONF G5 O)*+5 Q:+,)-01, 01 )*+ C0.3:)+5%B7,+= T+,) $ of the .uestions on the paper-based exam are mu tip e-choice .uestions with just one correct answer.,ost of the .uestions on the computer-based test are a so mu tip e choice. But the computer-based exam a so inc udes the fo owing additiona types of .uestions" 1. Q:+,)-01, )*7) *74+ .05+ )*71 01+ 71,<+5. $ few .uestions may have more than one possib e correct answer. !ou wi be asked to se ect the options that correct y answer the .uestion. #eres an examp e" Q:+,)-01& $ccording to the professor, ;rankenstein dea s with which aspects of science and techno ogy6 D; ick on two answers.E 7. fictiona impact 9. socia impact /. historica impact =. mora impact A1,<+5& 9 71= =. 2. Q:+,)-01, <-)* 4-,:78,. !ou wi be asked to se ect an image *a drawing, picture, or chart, for examp e+ that corresponds to or represents information from the passage. #eres an examp e" Q:+,)-01& ;hoose the drawing that best represents how 5r. 2rankenstein fe t when his creation first came to ife. D; ick on a drawing.E A1,<+5& !ou wou d choose the picture that shows 2rankenstein ooking horrified or afraid. 7. S+J:+1/-16 J:+,)-01,. %hese .uestions ask you to p ace information or events in the proper se.uence. #eres an examp e"

Q:+,)-01& %he professor describes the four stages of grief. 4ummari9e the grieving process by p acing the stages in the proper order. D; ick on a word. %hen c ick on the space be ow where it be ongs. 8se each word on y once.E depression acceptance denia anger 1 3 7 > A1,<+5& 1 denia 3 anger 7 depression > acceptance FLISTENING COMPREHENSIONF GE (. C87,,-?-/7)-01 05 .7)/*-16 J:+,)-01,. %hese .uestions ask you to match information by p acing facts or sentences into the appropriate categories. Q:+,)-01& %he professor describes 2reuds theory of the persona ity.,atch the e ement of the persona ity with its definition. D; ick on a sentence. %hen c ick on the space where it be ongs. 8se each sentence on y once.E "he part of the personality that is the conscious awareness of the self and is driven by the reality principle. "he part of the personality that is beneath our conscious awareness and is driven by the pleasure principle. "he part of the personality that includes awareness of the self as a member of a larger society< the conscience. (d &go 4uperego A1,<+5& (d &go 4uperego "he part of the personality "he part of the personality "he part of the personality that is beneath our con$ that is the conscious awareness that includes awareness of scious awareness and is of the self and is driven by the self as a member of a driven by the pleasure the reality principle. larger society< the principle. conscience. F L-,)+1-16 S)57)+6-+, ,any peop e think of istening, ike reading, as a passive activity. But you can comprehend much more of what you hear if you isten actively. (ndeed, knowing how to isten can make a tremendous difference in how much is understood. H+75-16 4+5,:, L-,)+1-16 %he first step to active istening is to understand the difference between hearing and listening" *+75-16" perceiving sounds with the ear 8-,)+1-16" the process of receiving and constructing meaning from an auditory message (n other words, you can hear things without rea y listening to them. /istening means to hear and to process that information0to eva uate, ana y9e, and understand what is heard. FLISTENING COMPREHENSIONF GH A/)-4+ L-,)+1-16 S)57)+6-+, When you isten to someone in person, there are many things you can do to be a more active istener.!ou can make sure you give the speaker your undivided attention, ooking on y at the speaker instead of ga9ing around the room. !ou can use non-verba feedback, such as nodding your head or eaning toward the speaker. !ou can focus on the speakers message rather than other e ements that may be distracting, such as the speakers appearance.$nd you can interject .uestions and Baffirmations,C such as Byes,CB( see,C and Brea y,C to acknow edge and he p c arify the speakers message.

But on the %)&2/ exam, you wont be face to face with a speaker. (nstead, you wi be sitting at a tab e or study carre , istening to an audiotape. But that doesnt mean you cant be an active istener. !ou can sti " 1. C01/+1)57)+ 01 )*+ ,3+7@+5.Whi e you cant ook the speaker in the eye, you can sti focus on what he or she is saying. Geep your concentration on the conversation or ecture. 5ont a ow yourse f to daydream or drift into other thoughts, such as what you need to get done ater in the day. $void watching the c ock or fidd ing with objects. 2. U,+ 101%4+5978 ?++=97/@. &ven though the speaker cant hear you, you can sti nod your head and ean forward BtowardC the speaker. %hese two physica actions may seem too minor to make a difference0 especia y if the speaker cant see you. But they he p to engage your body and mind in the act of istening, and that he ps you maintain your focus on the conversation. *$nd if you are worried about ooking si y, dont worry. (f you were to ook around the testing center, you wou d probab y see many other test takers doing the same thingH+ #. F0/:, 01 )*+ .+,,76+, 10) )*+ 3+5,01 =+8-4+5-16 )*+ .+,,76+. !ou wont see the speaker*s+ face to face, but if you are taking the computer-based exam, you wi see pictures of peop e on the computer screen at the beginning of each istening passage. %hese images are designed to he p orient you to the conversation by giving you a sense of who is ta king and the setting in which the conversation or ecture takes p ace. 2or examp e, at the beginning of a ecture, you might see a picture of a professor in a c assroom. But these pictures can be distracting. Remember to focus on listening, not ooking. ;oncentrate on the conversation, not the picture. (f you are taking the paper-based exam, find something in the room upon which to concentrate during the reading of each passage0preferab y something simp e, such as a b ank cha kboard, rather than a person in the room. (f you focus on a person, you may find yourse f thinking about the persons appearance instead of istening to the conversation on the tape. (f you find yourse f too distracted, simp y c ose your eyes during the reading of each passage. (. U,+ 4-,:78-K7)-01. $ctive istening means istening not just with our ears, but a so with our other senses. !ou can use your minds eye to he p you concentrate on the passage and better understand and remember what you hear.When a speaker describes something or someone, paint a menta picture of what you hear. 2or examp e, if the professor describes 2rankensteins horror when he first brings his creature to ife, in your mind, picture 2rankensteins reaction.What does his face ook ike6 #ow does he act6 FLISTENING COMPREHENSIONF GI L-,)+1-16 )0 L+/):5+, 71= L016+5 C014+5,7)-01, &veryday conversations and c ass discussions usua y have a main point. But it often takes time to get to that main idea, and the conversation may cover many different topics and sub-topics a ong the way. $ ecture, on the other hand, is usua y much more organi9ed than a norma conversation or c ass discussion. $nd thats good news.Whi e ectures may be ong and therefore re.uire extra concentration, they offer many organi9ationa c ues that can he p you better comprehend what you hear. MAIN POINTLSECONDAR! POINT CLUES ,ost ectures are organi9ed around a few main points. %hese main points are typica y fo owed by secondary or supporting points. %hese points deve op the main ideas with more detai ed exp anations and specific examp es. B&;$84& the computer-based exam has some features that you wont find on the paper-based test, its important to be prepared with the right test-taking strategies. #ere are a few specific tips for taking the computer exam" 1. A=M:,) )*+ 408:.+ on your headset before you begin the istening section. (f you cant hear the passages we ,

you wont be ab e to perform your best on the exam.!ou contro the vo ume for your own headset, so make sure its set at the right eve for you before the test begins.!ou wont be a owed to adjust it once the testing starts. 2. D01) 9+ =-,)57/)+= 9; )*+ 3-/):5+, 0? 3+038+. $t the beginning of most passages, the computer wi disp ay an image of the peop e in the conversation. (f you find yourse f too distracted by these pictures, take a brief ook at the picture, then c ose your eyes so you can concentrate on the tape. %hese pictures are for orientation on y< they dont reinforce or represent any of the content in the message. #. D0 37; /80,+ 7))+1)-01 )0 0)*+5 4-,:78,. $s you isten to onger ta ks and conversations, you may see images such as maps, tab es or charts, graphs, drawings, or objects. %hese are visua s you should focus on whi e you isten. %hey typica y represent information being discussed in the conversation or ta k. 2or examp e, you might see a graphic representing the three eve s of the persona ity according to 4igmund 2reud. %his image wi he p you better understand what the ecturer is describing. (. R+7= )*+ J:+,)-01, 01 )*+ /0.3:)+5 ,/5++1 7, )*+; 75+ 9+-16 5+7= )0 ;0: 01 )*+ )73+. Reading a ong with the .uestions can he p you better understand what is being asked. $nd that, of course, can he p you better answer the .uestions correct y. 5. K++3 )57/@ 0? )*+ )-.+. Because you contro the pace of the istening test, its especia y important to keep your eye on the time. Be sure to watch the c ock on the computer screen and pace yourse f according y. ,ake sure to a ow yourse f enough time to hear every passage and answer every .uestion. S3+/-78 T-3, ?05 )*+ C0.3:)+5%B7,+= E27. FLISTENING COMPREHENSIONF GG $ speaker wi often announce his or her main points at the beginning of a ecture, as in the fo owing examp e" ;reud divided the personality into three distinct levels or forces- the id, the ego, and the superego. %his key sentence te s us the main idea and ays out the structure of the ecture *the professor wi discuss each of the three eve s in turn+. %o he p you distinguish between main ideas and their support, isten for c ues. 4peakers often use the fo owing phrases to introduce specific examp es" for examp e others furthermore in part in addition for instance specifica y some LISTS $nother organi9ationa strategy speakers use is ists. $s you isten, be on the ookout for verba c ues ike the fo owing" "here are four main events that led to the ;rench .evolution. "here are five points that =rauer makes in his argument. "he three symptoms of bipolar disorder are . . . 6nimals mark their territory in several distinct ways. %he introduction to the ecture about 2reuds theory of the persona ity is another good examp e. %he speaker ists the three eve s of the persona ity that she wi discuss in the ecture. KE! "ORDS AND CONCEPTS 4peakers a so organi9e their thoughts by key words and-or concepts. %hese are easy to spot because they are typica y offered with a definition or some e aboration of what they mean. %he introduction to the 2reud ecture, once again, is a good examp e. %he professor ists the three key terms that wi be defined and described in the ecture. /isten carefu y for key words and concepts. %hey wi often be unfami iar words, and the speaker wi often immediate y fo ow the word with a definition. #ere are some other verba c ues" B>, which meansC

B>, which refers to . . . C B%his important concept-idea-termC B%his idea is centra to >s argument . . . C FLISTENING COMPREHENSIONF 100 F T*+ B+,) T+,)%P5+3 S)57)+6;& L-,)+1, L-,)+1, L-,)+1N %he best way0indeed, perhaps the on y way0to prepare for this section of the %)&2/ exam is to put yourse f in situations where &ng ish is spoken and 357/)-/+ 7/)-4+ 8-,)+1-16. %he more you isten to spoken &ng ish, the more you wi understand. @o to movies and watch %I shows in &ng ish. @o to p aces ike parks and museums where you wi hear &ng ish being spoken around you. $sk &ng ish-speaking friends and re atives to speak to you on y in &ng ish. %he more you practice, the more you wi understand. /isten to audio books in &ng ish. %hey are idea for when you are trave ing or exercising, or whenever you have a few extra moments. %his wi not on y improve your istening comprehension but a so he p you become more comfortab e with istening to audiotapes. $nd theres a wonderfu variety of books now avai ab e on tape, inc uding both fiction and non-fiction choices. P57/)-/+ %o make the most of this practice section, ask someone who speaks &ng ish f uent y to read the passages, .uestions, and answer choices into a tape recorder. Be sure your reader speaks at a norma , conversationa pace. (f that is not possib e, read the passages a oud to yourse f and answer the .uestions that fo ow.!ou wi find the $nswer Gey in $ppendix $. PART A& SHORT CON ERSATIONS Woman- .oger, is this your notebook? .oger- 0o. "hat looks like ?ennifer's handwriting. 1. What does Roger imp y about the notebook6 7. (t be ongs to him. 9. (t be ongs to the woman. /. (t be ongs to Jennifer. =. #e doesnt know whose notebook it is. 3an- I'm thinking of switching ma ors. I don't think I'm cut out to be an engineer after all, and for two semesters now &nglish has been my favorite class. Woman- I'd talk to your advisor before you make any changes. 2. What does the woman suggest the man shou d do6 7. 4tick with his engineering major. 9. 5iscuss his situation with his advisor. /. 4witch majors, then te his advisor. =. 5oub e major in engineering and &ng ish. FLISTENING COMPREHENSIONF 101 Woman *- 6re you still coming on the class trip this weekend? Woman @- I wish I were, but I can't. I'm totally swamped with work. #. Why isnt Woman 3 going on the c ass trip6 7. 4he has too much work to do. 9. 4he doesnt want to go. /. 4he isnt part of the c ass. =. 4he is visiting a swamp instead. 3an- I promised 1abriel I'd meet him after class, but I forgot that I have a meeting with my professor at the same time. Woman- I have his cell phone number. (. What wi the man probab y do6 7. @et a ce phone. 9. ;a @abrie on his ce phone. /. :ostpone his meeting with his professor. =. ;a his professor on the ce phone. 3an *- I'm starving. 7et's go get some lunch. 4ow about the piAAeria down the street?

3an @- I'm more in the mood for some 2hinese food. 7et's go to 2han's "ake$/ut. 5. What are the men ta king about6 7. #ow hungry they are. 9. #ow much they ike ;hinese food. /. Where the pi99eria is ocated. =. Where they shou d go for unch. PART B& LONGER CON ERSATIONS AND CLASS DISCUSSIONS :rofessor" By now you shou d a have finished the chapter where 5r. 2rankenstein brings his creature to ife. (d ike to start by asking you how you fee about this event. !es, $nna6 $nna" ( cant be ieve 2rankenstein ran away from his creature. ( mean, he didnt even give the creature a chance. #e just took off and et this thing oose upon the wor d. :rofessor" #ow wou d you describe his reaction6 %odd6 %odd" %ota y irresponsib e. $nd tota y surprising. ( mean, he worked so hard to make this happen, right6 #e stopped eating and s eeping and writing etters to his fami y a so he cou d work around the c ock on making his creature. $nd then the minute he succeeded, he ran off. :rofessor" Why do you think he did that6 FLISTENING COMPREHENSIONF 102 & ena" #e was scared. #e thought the creature was going to hurt him. %odd" #e was scared, a right, but not so much of the creature. :rofessor" )f what, then6 %odd" )f peop e finding out what hed done. :rofessor" What do you mean6 %odd" We , ( think the minute the creature came to ife, and 2rankenstein saw what the creature rea y ooked ike, he cou dnt be ieve that hed created such a monster. #e wanted to be g orified as a god who cou d bring the dead back to ife, but now he wou d be seen as a devi who created monsters. E. What event are the students discussing6 7. 2rankensteins creation of the monster. 9. 2rankensteins reaction to giving his creature ife. /. 2rankensteins arrest for creating a monster. =. 2rankensteins discovery of the secret of ife. H. Why is %odd surprised6 7. #e cant be ieve 2rankenstein used dead body parts. 9. #e cant be ieve the creature tried to ki 2rankenstein. /. #e cant be ieve 2rankenstein wou d run away after working so hard. =. #e cant be ieve 2rankenstein kept everything a secret. I. %he students offer two reasons why 2rankenstein was afraid.What are those two reasons6 7. 2rankenstein thinks the creature wi hurt him. 9. 2rankenstein thinks the creature is dead. /. 2rankenstein thinks the creature is the devi . =. 2rankenstein doesnt want peop e to know he created a monster. G. 2rom the students comments, we can infer that 5r. 2rankenstein 7. didnt actua y succeed in bringing the creature to ife. 9. didnt consider bringing the creature to ife a success. /. didnt want anyone e se to discover the secret of ife. =. didnt think about what wou d happen once the creature actua y came to ife. FLISTENING COMPREHENSIONF 10# 10. %he students attitude toward 5r. 2rankenstein can best be summed up by which of the fo owing words6 7. admiration 9. horror /. indifference =. anger PART C& MINI%TALKS AND LECTURES %he ;o d War is one of the most interesting and troub ing times in $merican history. 4evera important historica events ed to the ;o d War. /ets start in 1K7K, the year that $ bert &instein wrote a etter to :resident 2rank in 5. Rooseve t. (n that etter, &instein to d Rooseve t that it was possib e to create an atomic weapon, and he asked Rooseve t to fund research and experiments in atomic weapons. Rooseve t agreed, and

the government created the ,anhattan :roject, a massive effort to deve op nuc ear weapons. 'ext, the date you a probab y a ready know we " $ugust L, 1K>?. %he fruit of the ,anhattan :roject, the atomic bomb, was dropped on #iroshima, Japan0a civi ian, not mi itary, target. $n estimated 1?A,AAA civi ians were ki ed in the attack. :resident #arry %ruman and others c aimed at the time that dropping the bomb was necessary to force Japan to surrender and end Wor d War ((. )thers argue, .uite convincing y, that we used the bomb arge y to show the 4oviet 8nion that we were a superior wor d power. %hough the 8nited 4tates and the 844R were officia y a ies, tensions between the two countries were a ready high. $ deep ideo ogica batt e between the two countries0one ;ommunist, the other ;apita ist0was a ready in p ace.$nd each country was determined to outdo the other. %wo years ater, in 1K>M, :resident %ruman estab ished the %ruman 5octrine. %his important document redefined $merican foreign po icy. (t created a Bpo icy of containmentC which framed our foreign po icy as a batt e between BgoodC and Bevi .C)f course,we were the good guys, and the 4oviets and other ;ommunists were the bad guys. 'eed ess to say, this dramatica y increased the growing tension between the two countries. 11. What is the speakers main point6 7. %he %ruman 5octrine created a batt e between good and evi . 9. %he tension between the 8nited 4tates and the 844R was caused by Wor d War ((. /. %he ;o d War has its roots in severa different causes. =. %he who e ;o d War cou d have been prevented. FLISTENING COMPREHENSIONF 10( 12. $ccording to the speaker, &insteins etter to :resident Rooseve t" 7. encouraged research on the atomic bomb 9. discouraged research on the atomic bomb /. expressed doubt that an atomic bomb cou d be bui t =. expressed a be ief that the 4oviet 8nion had a ready bui t a bomb 1#. $ccording to the speaker, the %ruman 5octrine" 7. improved re ations between the 8nited 4tates and the 844R 9. worsened re ations between the 8nited 4tates and the 844R /. had no effect upon the re ations between the 8nited 4tates and the 844R =. angered the $merican peop e 1(. %he speaker describes three events that ed to the ;o d War. : ace these events in proper chrono ogica order. %he %ruman 5octrine $ bert &insteins etter to :resident Rooseve t %he dropping of the bomb on #iroshima, Japan 1. 2. #. 15. %he speaker suggests that he be ieves" 7. (t wasnt necessary to drop the bomb on #iroshima to end the war. 9. %he bomb shou d never have been deve oped in the first p ace. /. 4tudents shou d a ready know the events that ed to the ;o d War. =. %he %ruman 5octrine was a bri iant document. FLISTENING COMPREHENSIONF 105 I' !)8R ,$%# c asses and perhaps a few other courses, your grade may be based so e y on test scores and assignments that re.uire itt e or no writing. But in most of your other c asses, you wi have to write0and sometimes write a ot. !our assignments wi inc ude essays, essay exams, and short writing tasks of a kinds, such as journa entries and ab reports. !our success in co ege, therefore, rests heavi y on your abi ity to communicate c ear y in writing. %he 4tructure 4ection of the %)&2/ exam wi test your know edge of &ng ish grammar and sentence structure. But even if you know the past tense of BbreakC and when to use BwhoC instead of Bwhich,C that doesnt necessari y mean you can communicate your ideas effective y on paper.!es, your sentences need to be c ear and grammatica y correct. But theres a ot more to writing an effective essay than good grammar. %hats why

the %)&2/ exam inc udes an essay writing section.