QUESTIONS 5-10 COMPLETE THE TABLE BELOW WRITE NO MORE THAN THREE WOR...

10. A. moments B. sessions C. terms D. senses Part 2. Read the text and use only ONE word to fill in each gap. (1pt) If you haven’t been to Rose Garden for a long time, you’re in for (1) ______ a surprise. In fact, it (2) ______ little resemblance to the Rose Garden of old. In its (3) ______, it was a bustling market square that sold fruit and vegetables, but if you (4) ______ there today, you’ll find it has become one of the city’s most popular tourist destinations. Saturday is the best time of all to go, when there are people strolling round the square and browsing (5) ______ the many shops. You can find everything from arts and crafts, original clothing and T-shirts, (6) ______ leather goods and handmade jewellery, all of which are very much (7) ______ demand by tourists and residents (8) ______. Whether or not you have plenty of money to spend, you can eat well in a number of restaurants, (9) ______ from Thai to Mexican, or , of course, you may be in the mood for a snack, and a pint in a local club. Should you want that special present for someone, a street artist will paint your portrait, but bear in mind that this could take up a great (10) ______ of your time. Part 3: Read the following passage and choose the best answer. (1 pt) Ancient Egyptian Sculpture In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians' view of the world and the functions and contexts of the formal art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art. The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. Other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context. Statues were normally made of stone, wood, or metal. Stone statues were worked from single rectangular blocks of material and retained the compactness of the original shape. The stone between the arms and the body and between the legs in standing figures or the legs and the seat in

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seated ones was not normally cut away. From a practical aspect this protected the figures against breakage and psychologically gives the images a sense of strength and power, usually enhanced by a supporting back pillar. By contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finished work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by the lost wax process. The arms could be held away from the body and carry separate items in their hands; there is no back pillar. The effect is altogether lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and metal statues still display frontality.