IELTSwithJurabek
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PASSAGE 1
Read the text and answer questions 1-13.
Hokusai (born October 1760, Edo [now Tokyo], Japan-died May 10, 1849, Edo) was a Japanese master artist and printmaker of the Ukiyo-e ("pictures of the floating world") school. His early works represent the full spectrum of Ukiyo-e art, including single-sheet prints of landscapes and actors, hand paintings, and surimono ("printed things"), such as greetings and announcements. Later he concentrated on the classical themes of the samurai and Chinese subjects. His famous print series "Thirty-six Views of Mount Fuji," published between 1826 and 1833, marked the summit in the history of the Japanese landscape print.
Hokusai was born in the Honjo quarter just east of Edo (Tokyo) and became interested in drawing at the age of five. He was adopted in childhood by a prestigious artisan family named Nakajima but was never accepted as an heir-possibly supporting the theory that, though the true son of Nakajima, he had been born of a concubine.
Hokusai is said to have served in his youth as clerk in a lending bookshop, and from 15 to 18 years of age he was apprenticed to a wood-block engraver. This early training in the book and printing trades obviously contributed to Hokusai's artistic development as a printmaker.
The earliest contemporary record of Hokusai dates from the year 1778, when, at the age of 18, he became a pupil of the leading Ukiyo-e master, Katsukawa Shunsho. The young Hokusai's first published works appeared the following year-actor prints of the Kabuki theatre, the genre that Shunsho and the Katsukawa school practically dominated.
To judge from the ages of his several children, Hokusai must have married in his mid-20s. Possibly under the influence of family life, from this period his designs tended to turn from prints of actors and women to historical and landscape subjects, especially Uki-e (semi-historical landscapes using Western-influenced perspective techniques), as well as prints of children. The artist's book illustrations and texts turned as well from the earlier themes to historical and didactic subjects. At the same time, Hokusai's work in the surimono genre during the subsequent decade marks one of the early peaks in his career. Surimono were prints issued privately for special occasions-New Year's and other greetings, musical programs and announcements, private verse selections-in limited editions and featuring immaculate printing of the highest quality.
Hokusai's early 30s were to prove years of personal change. His master Shunsho died early in 1793, and somewhat later Hokusai's young wife passed away, leaving a son and two daughters. In the year 1797 he remarried and adopted the name Hokusai. This change of name marks the beginning of the golden age of his work, which was to continue for a half century.
In format, Hokusai's oeuvre from this period covers the gamut of Ukiyo-e art: single-sheet prints, surimono, picture books and picture novelettes, illustrations to verse anthologies and historical novels, erotic books and album prints, and hand paintings and sketches. In his subject matter, Hokusai only occasionally (in a few notable prints, in paintings, and erotica) chose to compete with Utamaro, the acknowledged master of voluptuous women figure prints. Aside from this limitation, however, Hokusai's work encompassed a wide range, with particular emphasis on landscape views and historical scenes in which figures were often of secondary interest. Around the turn of the century he experimented for a time with Western-style perspective and colouring.
From the early 19th century Hokusai commenced illustrating yomihon (the extended historical novels that were just coming into fashion). Under their influence, his style began to suffer important and clearly visible changes between 1806 and 1807. His figure work becomes more powerful but increasingly less delicate; there is greater attention to classical or traditional themes (especially of samurai, or warriors, and Chinese subjects) and a turning away from the contemporary Ukiyo-e world.
In about the year 1812, Hokusai's eldest son died. This tragedy was not only an emotional but also an economic event, for, as adopted heir to the affluent Nakajima family, the son had been instrumental in obtaining a generous stipend for Hokusai, so that he did not need to worry about the uncertainties of income from his paintings, designs, and illustrations, which at this period were paid for more with "gifts" than with set fees.
Whether for economic reasons or not, from this time on Hokusai's attention turned gradually from novel illustration to the picture book and, particularly, to the type of wood-block-printed copybook designed for amateur artists (including the famous Hokusai manga). Very likely his intention was to find new pupils and hence new patronage, and in this he succeeded to some degree.
Though famed for his detailed prints and illustrations, Hokusai was also fond of displaying his artistic prowess in public-making, for example, huge paintings (some fully 200 square metres [about 2,000 square feet] in area) of mythological figures before festival crowds, in both Edo and Nagoya. He was once even summoned to show his artistic skills before the shogun (the military leader who, although theoretically subordinate to the emperor, was in fact the ruler of Japan).
In the summer of 1828, Hokusai's second wife died. The master was then 68, afflicted intermittently with paralysis and left alone, evidently with only a profligate grandson, who had proved to be an incorrigible delinquent. It is probably no coincidence, therefore, that before long Hokusai's favourite daughter (and pupil), O-ei, broke her unhappy marriage with a minor artist named Tomei and returned to her father's side, where she was to stay for his remaining years.
An energetic artist, Hokusai rose early and continued painting until well after dark. This was the customary regimen of his long, productive life. Of Hokusai's thousands of books and prints, his "Thirty-six Views of Mt. Fuji" is particularly notable (see photograph). Published from about 1826 to 1833, this famous series (including supplements, a total of 46 colour prints) marked a summit in the history of the Japanese landscape print; in grandeur of concept and skill of execution there was little approaching it before and nothing to surpass it later-even in the work of Hokusai's famed late contemporary Hiroshige (q.v.).
Hokusai's frequent changes in domicile (more than 90 dwellings) and of his own name are indicative of the artist's restless nature. Besides his principal noms d'artiste (roughly one per decade), the artist had also some two dozen other occasional pseudonyms, though these were normally used as adjuncts to his principal name of a given period.
Despite his appeals to heaven for "yet another decade-nay, even another five years," on the 18th day of the fourth month of the Japanese calendar "the old man mad with painting," as he called himself, breathed his last. He was 89 but still insatiably seeking for an ultimate truth in art-as he had written 15 years earlier:
From the age of five I have had a mania for sketching the forms of things. From about the age of 50 I produced a number of designs, yet of all I drew prior to the age of 70 there is truly nothing of any great note. At the age of 73 I finally apprehended something of the true quality of birds, animals, insects, fishes, and of the vital nature of grasses and trees. Therefore, at 80 I shall have made some progress, at 90 I shall have penetrated even further the deeper meaning of things, at 100 I shall have become truly marvelous, and at 110, each dot, each line shall surely possess a life of its own. I only beg that gentlemen of sufficiently long life take care to note the truth of my words.
Hokusai embodied in his long lifetime the essence of the Ukiyo-e school of art during its final century of development. His stubborn genius also represents, in its 70 years of continuous artistic creation, the prototype of the single-minded artist, striving only to complete a given task. Moreover, Hokusai constitutes a figure who has, since the later 19th century, impressed Western artists, critics, and art lovers alike, more, possibly, than any other single Asian artist.
Choose TRUE if the statement agrees with the information given in the text, choose FALSE if the statement contradicts the information, or choose NOT GIVEN if there is no information on this.
Write ONE WORD ONLY from the passage for each answer.
PASSAGE 2
Read the text and answer questions 14-26
Some claim that it's the only way to save our planet from disaster. But is it really that simple?
A The call for people to eat less meat to save the planet is growing louder, so if less is good, wouldn't none be better? To find out, let's imagine what would happen if the world eliminated meat, milk and eggs from its diet, then trace the effects. Last year the world consumed 289 million tonnes of meat, 700 million tonnes of milk and 1.2 billion eggs. Environmentally speaking, this came at an enormous cost.
B All agriculture damages the environment. Take for example the felled forests and the common use of irrigation systems. And it may surprise you to know that agriculture creates more greenhouse gases than all methods of transport put together. Livestock farming does the most damage. In part, that is because most livestock eat grain that could be used to feed human populations, and farmers are forced to grow more than we would otherwise need to meet the demand. Altogether, if we switched to a vegan diet, meaning no meat, dairy or eggs, the land currently required for crops would drop by an estimated 21 per cent, about 3.4 million hectares, roughly the size of India.
C One environmental impact that would also lessen through a reduction in animal farming would be that of the nitrogen emitted from agricultural processes, which spreads into both waterways and land. According to environmental scientist Allison Leach, if everyone eliminated dairy products and eggs, this kind of pollution would fall by 60%. Livestock production has another serious environmental impact. Global statistics are hard to come by, but in the US at least, livestock account for 55% of erosion, mostly from forests being cut down to make way for grazing land. On top of this, half of all antibiotics manufacture are fed to livestock as part of their normal diet, a practice that is leading to drug-resistant bacteria.
D A meat-free world, then would be greener in many ways. However, if everyone opted to give up meat there would be significant costs too. For most of human history, livestock grazed on land that wasn't suitable for ploughing, and in doing so they converted inedible grass into edible meat and milk. Even today, a flock of sheep or goats can be the most efficient way to get food from marginal land. In a world in which over a billion people do not have enough to eat, using this land for crop production would contribute to food insecurity.
E In some parts of the world today, livestock like chickens, for instance, can subsist on leftovers and whatever they find. Tara Garnett, who heads the Food Climate Research Network at the University of Surrey, points out the usefulness of these animals. By giving them your leftovers, she says, they deal with your rubbish, and you get meat. Garnett admits, though, that if this kind of approach were generally adopted, it would require a major adjustment in food preferences; people would have to get used to chicken, for example, with less fat.
F Another downside to a meat-free world would be the disappearance of animals by products. Such a world would have to replace the 11 million tonnes of leather and 2 million tonnes of wool that come annually from livestock farming and which are turned into clothing. Furthermore, even ardent vegetarians acknowledge that dairy products and meat may be a good thing in poorer countries. 'Whilst there's no doubt that considerable reduction of meat consumption would have an environmental benefit, we do have to be careful about saying it would be the best solution if the whole world went vegetarian,' says Annette Pinner, chief executive of the UK Vegetarian Society. For many of the world's poorest rural residents, an animal may represent their only realistic hope for a little extra income, and a little animal protein can make a big difference to a marginal diet.
G What if we decided on a no-meat vegetarian diet, rather than a vegan diet? After all, milk and eggs are very efficient ways of producing animal calories. 'It's difficult to switch to no-meat but milk diet,' says Helmut Haberl, a social ecologist. 'Dairy cows must calve every year to keep producing milk, and only half their offspring will be female. While many vegetarians see moral reasons not to kill and eat the males, there is surely no practical reason to waste so much meat.' Similar arguments apply to chickens kept for eggs.
H So even though a meat-free world sounds good on paper, it is likely that a utopian future will still have some animal products in it. The real questions, then, are how much meat do we want, and how will we produce it? The answers depend on how you approach to questions. The most straightforward approach is to assume that the world will continue to want evermore meat. The United Nations' best guess is that by 2050, the world will need to more than double its production of meat, an increase that would be environmentally disastrous.
I Under this scenario the goal will have to be producing the most meat at the lowest environmental cost. According to Walter Falcon, an agricultural economist, this means fewer free range cattle and sheep in green fields. 'If you're going to keep some livestock systems, I think the ones you'll want to keep are the intensive ones,' he says. Of course this does not take into account animal welfare issues, as intensive farming usually means poor living conditions and the use of growth hormones.
Reading Passage 2 has nine paragraphs, A-I. Which paragraph contains the following information?
Choose the correct letter, A-I, in boxes 14-17.
NB You may use any letter more than once.
| Information | A | B | C | D | E | F | G | H | I |
|---|---|---|---|---|---|---|---|---|---|
| 14 the suggestion that people may need to adapt to a different quality of meat | |||||||||
| 15 a description of the way animals fed in the past | |||||||||
| 16 a prediction in regard to human demand for meat | |||||||||
| 17 the potential consequences of a meat-free world for textile industries |
Complete the summary below.
Write ONE WORD ONLY from the passage for each answer.
Look at the following statements (Questions 23-26) and the list of people below.
Match each statement with the correct person, A-E.
Choose the correct letter, A-E, in boxes 23-26.
| Statement | A | B | C | D | E |
|---|---|---|---|---|---|
| 23 It is not possible to say that a vegetarian diet is right for everyone. | |||||
| 24 It may be economically preferable to farm animals in limited space. | |||||
| 25 It does not make sense to give up meat without giving up dairy products too. | |||||
| 26 Some animals can be fed in a way that allows waste to be recycled. |
READING PASSAGE 3
You should spend about 20 minutes on Questions 27-40, which are based on Reading Passage 3 below.
A Plants need to produce more individuals of their own kind, and grow best away from their parent. So plants need to travel, and they do so in a variety of ways.
B In an English woodland, the blackberry puts out exploratory stems, which curve upwards, waving slowly as though searching. If they touch another plant, they begin to advance directly and purposefully. To us, their motion is invisible, but for a plant it's an extraordinary rate - around five centimetres a day. When a stem makes contact with the ground, it puts down small rootlets, and starts to extract nutriment.
C The silverweed is equally effective, putting out travelling stems that advance horizontally, creeping at low level through the mat of rootlets and dead vegetation formed by other plants.
D In meadows, fescue grass is notable for annexing land from other less robust and aggressive species. The genetic fingerprints of its leaves and stems taken two hundred metres apart have proved, in some instances, to be identical. This must mean that one particularly vigorous plant has increased its territory year after year until now, after perhaps a century, it has become the largest plant in the entire meadow.
E The bird-cage plant grows among sand dunes, in the deserts of the American west, and puts down long roots to search for water. But if the sand blows away, the plant's roots may shrivel up, the plant dies, and the stems form a hollow sphere. With no roots to anchor it, the wind blows it across the sand for several kilometres. Eventually it rolls into a sheltered site, allowing the seeds inside to germinate.
F A few plants don't need external assistance to distribute their seeds. The Mediterranean squirting cucumber fills with a slimy juice as it ripens. Eventually, the quantity of slime makes the cucumber burst off its stalk and shoot five or six metres through the air, leaving a trail of slime and seeds behind it.
G One of the most dramatic detonating seed-containers belongs to a Brazilian tree known as monkey's dinner-bell. The side of the seed pod facing the sun dries out, causing an explosion which can hurl the seeds over twelve metres. The bang is enough to convince nervous strangers in the forest that they're under attack.
H It's particularly important for trees that their seeds move far enough away to gain adequate light and nutriment. This is helped by the height of the tree, and in some cases by fitting their seeds with wings. Sycamore seeds, for instance, have a single wing, sprouting from one side. This makes the seed spin, and even in a light breeze, these tiny spinning helicopters can land far from their parent.
I Instead of using wind or water as carriers, many plants use animals. The South African grapple plant, a low-growing creeper, relies on its seeds being trodden on. Its seed capsules have arms ending in hooks that are so sharp and strong, and point in so many directions, that when the foot of an elephant or rhino descends on one, the capsule becomes attached, and is carried by the animal.
J Other plants reward their carriers instead of hurting them. Many plants that grow in the heathland of South Africa provide their seeds with an edible covering which ants find particularly attractive. These collect the seeds and carry them down to their underground nests, where they eat the covering, leaving the seeds themselves in an ideal position to germinate.
K Fruit seeds are completely enclosed with such a generous edible reward that the animal-carrier is encouraged to swallow both together. While the plant is constructing the seeds, the flesh of the unripe fruit is sour, and animals learn not to eat it. But once the seeds are fully developed, the sap becomes sweet, and the fruit signals the fact that the seeds are now ready for transport by changing colour. Animals understand the signals well. They now eat the fruit, and carry the seed away inside their stomachs, to be ejected at a distance.
L Not all seeds have to pass through the entire digestive tract to be transported, though. The quetzal, a Central American bird, feeds on the wild avocado, swallowing it whole. It eventually regurgitates the stone, which then has a chance to take root and produce a new plant.
M Passage through an animal's gut is essential for some seeds, however. When the acacia of East Africa produces its seed-bearing pods, beetles fly in, lay eggs, and as the grubs hatch, they feed on the acacia seeds. The seeds can only grow if an elephant, or other animal eats the pod, as its digestive juices kill the eggs. Eventually the seeds return to the outside world in the animal's droppings, and can germinate.
N While the seeds of pine trees are developing, they're protected inside cones. When the seeds are ripe, one bird, the nut-cracker, is particularly skillful at picking them out. Those it can't eat immediately it buries, providing the seed with ideal growing conditions. But two out of every three seeds that the bird buries, it never finds again, so the tree uses a strategy of sacrificing a few of its seeds and relying on the poor memory of the courier who takes and conceals them.
O So in one way or another, many seeds reach destinations where they can start their lives away from the environmental dominance of their parents.
Complete each sentence with the correct ending, A-I, below.
Complete the sentences below.
Write ONE WORD ONLY from the passage for each answer.
Choose the correct answer.
40 Which of the following best summarises Reading Passage 3?