PART I: Cloze (20 points) ^yy\CtG
Directions: Choose the best word(s) for each numbered blank. M`BD]{tN}
Production workers must be able to do statistical quality control. Production workers must be %[lX
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able to do just-in-time inventories. Managers are increasingly shifting from a "don't think, do what mC>7l7%
you are told" to a "think, I am not going to tell you what to do" style of management. UQ'D-e
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This shift occurs not because today's managers are more ___(1)___ than yesterday's managers, &m>`+uVBP
but because the evidence is mounting that the second style of management is more ___(2)___ than pUwx`"DrR
the first style of management. But this means that problems of training and motivating the work .A\9|sRZ5
force both become more central and require different models of behavior. zclt2?
To be on top of this situation, tomorrow's managers will have to have strong background in wXuHD<<
organizational psychology, human relations, and labor ___(3)___. The MIT Sloan School of quickly T*k
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management attempts to ___(4)___ our understanding in these areas through research and then iP|h] ;a+@
quickly bring the ___(5)___ of this new research to our students so that they can be leading-edge =zqOkC
h$
managers when it comes to the human side of the equation. ?h1]s&^|2
The first three decades after World War II were ___(6)___ in ___(7)___ the United States had a 3t68cdFlz
huge technological lead ___(8)___ all the rest in the world. In a very real sense, ___(9)___ b]4yFwb
technological competitive. American firms did not have to worry about their technological eW\7X%I
competitiveness because they were ___(10)___. ,_u8y&<|I
But that world has disappeared. Today we live in a world where American firms ___(11)___ "JJ )w0
have automatic technological ___(12)___. In some areas they are still ahead, in some areas they are Pk~P
_ !rTh+F*
__(13)___, and in some areas they are behind, but on average, they are average. 1k{ E7eL
___(14)___ this means is that American managers have to understand the forces of technical lG%oqxJ+ L
change in ways ___(15)___ were not necessary in the past. Conversely, managers from the rest of D'Byl,W$
the world know that it is now possible for them to dominate their American competitors if they aina6@S
understand the forces of technical change better than their American competitors do. PovPO
In the world of tomorrow managers cannot be technologically ___(16)___ ___(17)___ their Wj.)wr!
functional tasks within the firm. They don't have to be scientists or engineers inventing new qO&:J\d
technologies, ___(18)___ they have to be managers who understand when to bet and when not bet Ug3PZ7lK
on new technologies. If they ___(19)___ what is going on and technology effectively becomes a 2x$\vL0
black box, they ___(20)___ to make the changes. They will be losers, not winners. <wj2:Z0
1 a. enlightened b. enlightening c. enlightenment d. enlighten d/Zt}{
aJI>qk h?]
2 a. sterile b. producing c. productive d. extravagant @_1$
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3 a. economics b. economic c. economy d. economies I4qzdD
4 a. take b. arouse c. rise d. advance u"X8(\pOn
5 . a. results b. evidence c. content d. fruits (;~[}"
6 a. usual b. flawed c. unusual d. unessential 47`{ e_YP0
7 . a. which b. / c. that d. those 9co
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8 a. by b. over c. on d. upon F
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9 a. was the world not b. the world was not c. did the world be not d. was not the world *=^_K`y
10 a.superior b. super c. inferior d. junior 0
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11 a. still b. even c. neither d. no longer P*I\FV
12 a. superiority b. inferiority c. majority d. minority s![=F}ck
13 a. common b. average c. ignorant d. exceptional ou,W|<%
14 a. How b. That c. What d. Which 5XFhjVmEL
15 a. that b. they c. those d. who ~NU~jmT2
16 a. illiterate b. sophisticated c. literate d. omniscient asPD>j c
17 a. regardless b. in spite of c. despite d. regardless of jDH)S{k
18 a. and b. likewise c. furthermore d. but u+8_et5T
19 a. didn’t understand b. don't understand c. haven’t understood d. hadn’t understood V
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20 a. failed b. would have failed c. would fail d. would be failed t
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PART II: Reading Comprehension (30 points) )TRDM[u
Directions: Choose the best answers based on the information in the passages below. K8284A8v
Passage 1 bgYM
The leaders of the mythopoetic men's movement believe that modernization has led to the ~X`vRSrH
feminization of men. Mythopoets believe that the rise of the urban industrial society "trapped men M 80U s.
into straitjackets of rationality, thus blunting the powerful emotional communion and collective b*P\a
spiritual transcendence that they believe men in tribal societies typically enjoyed". Most mI0|lp 1$
importantly, the movement seeks to restore the "deep masculine" to men who have lost it in their f4@Dn
>BJ
more modern lifestyles. Other causes for the loss of the "deep masculine" include: Men no longer ~)oC+H@{
being comrades who celebrated their masculinity together. Rather, they had become competitors tC|5;'m.2
within their workplaces; Men spending more time in their houses with women than they did with c!w4N5aM
men (in non-competitive terms outside of work). Excessive interaction with women generally kept Eptsxyz{
men from realizing their internal masculinity; Feminism is bringing attention to the “feminine Ix1ec^?f
voice.” Through this, the mythopoetic men felt that their voices had been muted (though Bly and W%vh7>.
others are careful in not blaming feminism for this); The separation of men from their fathers kept J
)@x:,o
them from being truly initiated into manhood, and was a source of emotional damage. Men were M{O2O(
suffering further emotional damage due to feminist accusations about sexism. Men should celebrate !aLByMA
their differences from women, rather than feeling guilty about them. Men is being discouraged from +k8><_vr}
expressing their emotions. Male inexpressivity is an epidemic and does not correspond to their r"5]U`+
"deep masculine" natures. Groups of primarily white, middle-aged, heterosexual men from the \% ^<Ll
professional class retreated from their female loved ones in order to join in spiritual rituals that W]6Y
buP:
emphasized homosociality, with the central goal of reclaiming the parts of their masculinity that (">!
vz
they had lost called the "deep masculine." Because most men no longer perform masculine rituals, 9%\q*
mythopoets assert that men have mutated into destructive, hypermasculine chauvinists, or, in the
kQX,MP(
opposite direction, have become too feminized. The mythopoetic men performed rituals at these i 3(bg,
gatherings, which were meant to imitate those performed by tribal societies when men initiated I&>R]DV
boys into a deeply essential natural manhood. The movement emphasized the importance of {d^&$
~
including multiple generations of men in the rituals, so that the men could learn about masculinity S1`+r0Fk~n
from those who were older and wiser. Characteristic of the early mythopoetic movement was a ly,d =
tendency to retell myths, legends and folktales, and engage in their exegesis as a tool for personal !t;$n!7<
insight. Using frequent references to archetypes as drawn from Jungiananalytical psychology, the ,$}v_-:[l
movement focused on issues of gender role, gender identity and wellness for the modern man (and p1X
lni%=
woman). Advocates would often engage in storytelling with music, these acts being seen as a B;G|2um:$
modern extension to a form of "new ageshamanism" popularized by Michael Harner at \B2=E
approximately the same time. The movement sought to empower men by means of equating ,`-6!|:
archetypal characters with their own emotions and abilities. For instance, Michael Messner : 2?i9F0_
describes the concept of "Zeus energy" as emphasizing "male authority accepted for the good of the Fnll&TF
community". Beliefs about the emotional system based in archetypes of great men, mythopoets |? r,W~9`
sought to channel these characters in themselves, so that they could unleash their "animal-males". f}XUxIQ-
<
This group primarily analyzed the archetypes of King, Warrior, Magician, Lover and Wildman. #( X4M{I
As a self-help movement the mythopoetic movement tends not to take explicit stances on T(3"bS.,
political issues such as feminism, gay rights or family law (such as the issues of divorce, domestic 6S`eN\s
violence or child custody), preferring instead to stay focused on emotional and psychological CE*@CkC0z
well-being. Because of this neutrality, the movement became a site of social criticism by feminists, 7i6-Hq
and was often characterized as anti-intellectual as well as apolitical. Michael Messner once gave a Ce`{M&NSWX
speech at a gathering, in which he addressed the dangers of celebrating the warrior, as instances of Z;??j+`Eo
rape are higher in countries that glorify war. The mythopoets responded that they were not s "*Cb*
interested in intellectual or political pursuits, but were primarily concerned with conducting oN)K2&M0
spiritual and emotional work. Additional feminist critique revolved around the movement's absence cB?HMLbG>
of women's perspectives, as well as the essentialism in the movement's teachings. q]
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Comprehension Questions: 6 D~b9e
]S%qfna e1
Fwho.R-.
21. The mythopoetic men's movement can best be understood as ________________. ^*}L
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a. a men’s literary movement =
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c. a men's rights movement JH<q7Y6!y
b. a men's liberation movement PtmdUHvD
d. a second-wave feminist movement |!rD2T\Ef
22. The mythopoetic men's movement consists of groups of men who retreated from their female T#er5WOH
loved ones in order to strive for ________________. e&]XiV'
a. gay rights ::adT=
b. same-sex marriage [ &R-YQ@
c. masculinity JJ7-$h'0q
d. myths, legends and folktales / ^!(
rHf
23. The idea that modernization has led to the feminization of men means that IVEvu3
_________________. u%h]k ,(E
a. men cannot be themselves ,'82;oP4
c. men’s voices have changed Cn+TcdHX
b. men can no longer make friends 8kO|t!?:U
d. men cannot express themselves I#$u(2.H
2 bumS>:
24. The root issue is ________________. C{e:xGJK
a. feminism KOwEw~
b. masculinity E/5w
H/
c. sex #(XP=PUj
d. gender |@V<}2zCZ
25. According to the text, the causes for rape must be sought in _________________. ~EX/IIa{
a. the celebration of the archetype of the warrior &wLI:x5
b. the unleashing of men’s "animal-males” p?6w/ n
c. domestic violence :5C9uW#
d. the loss of masculine rituals 5TzMv3;in2
ob-be2EysH
Passage 2 ?vM{9!M
Although in the novel the millennium has been and gone, there are no references at all to real Xj|j\2$ 0
contemporary American or global political events of the time of writing. Chapstick, Pledge, and gIRFqEz@o
Skevener in their study The Endless Loop of History: Space Time in the work of David Foster lD 9'^J
Wallace (London 2001) have already noted the way Infinite Jest divorces itself from history by the C2DNyMu
use of sci fi elements. They note how compared with the American post moderns, whose works njvmf*A?S
interact with real historical time, Infinite Jest takes place in an ahistorical, allegorical time. DFW’s %
sT=>\
invention of Subsidized Time, and the renaming of years after products and companies shows the P +oCcYp
way in which the soul-rotting effects of advertising infect time as well as internal and external s)&"ga
space (cf: Phillip K Dick’s adverts projected onto the moon in The Man in the High Castle). [+ 1([#
Otherwise, the ubiquitous presence of advertising in contemporary daily life is absent from the W\FKAvS
novel. Actually, this is not correct. The theme of waste management (also the underlying structure 5E}0<&
of Don DeLillo’s novel Underworld) reflects some of the anxieties of the 90s, the decade in which 8Ck:c45v
the novel was written: namely, global warming, environmental concerns, nuclear waste D|_}~T>;&
management, including its export to third world countries, the trading of carbon emission points, EMJio\
futures swaps in carbon footprints etc. DFW is here simply satirizing contemporary concerns; and a saYn\o"m
Freudian reading of this theme is both unnecessary and not really illuminating, Don Gately’s work 21w<8:Vg
as a shit hoser notwithstanding. DFW’s use of spurious knowledge and scholarship (including a Y@;bA=Du}
spurious academic apparatus at the back of the book) has been amply commented on, especially the :'.-*Ew
doubtful physics of J.O. Incandenza’s work with lenses and nuclear annulation, and the iffey math 2t#9
ih"9
involved in the Eschaton game. By his use of the spurious DFW is not only satirizing the discourse Vv6xVX
of academic knowledge, but making a serious point about the extent and typology of knowledge pOw4H67
itself. Once knowledge becomes so specialized as to become comprehensible to only a very few {s_0[>
those firmly inside the discourse- what status does that knowledge gain? To those outside the Yo(8mtYU
discourse, the knowledge can only be taken on trust, and therefore all manner of hoods may be ZhM-F0;`
winked. In this case the boundaries between the fictional and the real become blurred, a matter for l.b
argument. We are used to questioning the reliability of the narrative voice in fiction, but not so able b]CJf8'u
to question in the same way the reliability of academic discourse or specialist knowledge. The R)G'ILneV
presence of the spurious next to the real infects the real, inviting us to extend our distrust of YQe @C
fictional narrative to non-fictional exposition, the fiction (le mensonge) and the truth become ,CwhpW\Y
mirrors of each other. The title of a work stands in metonymic relationship to the content of the xI_WkoI
work: War and Peace, for example, signifies the two main themes and structuring devices of that }{E//o:Ta
novel. For existing books, (real, read books), the title summons up everything we know or Cg )#B+
remember about the book. Where that work is non-existent (fictional, spurious, lost or simply G{ F>=z"(l
unknown/unread) the title acts as an empty signifier, which we can fill with our imagination, HHtp.;L/
effectively writing the work ourselves in a flash. Barthes calls these bookless titles prolepses;
xAz gQ
Nabokov creates summaries and detailed commentaries for them (in Pale Fire and The Real life of _VR4|)1g
Sebastian Knight); Borges bases his whole stylistics on this process of metonymic expansion; and zM[WbB+"m
Eco fills entire imaginary libraries with these fantastical books. DFW for his imaginary works, like $#"}g#u
Hoffmann, has a penchant for excessively long and humorous titles, whose length guides us in this KGK8;Q,O
process of creation cf: Good Looking Men in Small Clever Rooms that Utilize Every Centimeter of |!IJ/ivEgw
Available Space With Mind-Boggling Efficiency (title of one of J.O. Incandenza’s entertainments), 9YB~1M
and Mousetraps and their Influence on the Character and Achievement of the Feline Race (title of @RT yCr
one of Murr’s books from Hoffmann’s The Life and Opinions of the Tomcat Murr). l\MiG Na
"D@m/l
Comprehension Questions: 9
H P)@66
26. According to the author, the use of some of the anxieties of the 90s does not contradict the X(Ef=:
proposition that the novel Infinite Jest takes place in an ahistorical time because {"4t`dM
______________. etGquW.
a. the millennium has been and gone LnR3C:NO k
b. DFW is here simply satirizing contemporary concerns 7 yF#G 9,
c. DFW’s invention of Subsidized Time Xb|hP
d. he uses sci fi elements z[O
W%(vrm
27. DFW’s invention of Subsidized Time exemplifies _______________. X3a:*1N
a. the ubiquitous presence of advertising in contemporary daily life S7N54X2JwL
b. the commercialization of American society vs6`oW"{#
c. the endless loop of history /<|J \G21
d. American post modernism t(}&<<
1Bz
28. Following Roland Barthes, which of the following titles would be an example of prolepsis? KHF5Nt
a. War and Peace.
KJ'MK~g
b. The Real life of Sebastian Knight e(!a~{(kq%
c. Mousetraps and their Influence on the Character and Achievement of the Feline Race. 1d-j_H`s
d. The Life and Opinions of the Tomcat Murr <NS=<'U
29. An innovation by DFW to post modern fiction is exemplified by ________________. 5]'
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a. the unreliable narrator G?jY>;P)
b. the distrust of academic discourse o"'VI4
c. the process of metonymic expansion 9';0vrFeM
d. fictional, spurious, lost or simply unknown/unread works K8e >sU.
30. The title of the novel suggests that it is ________________. /a9+R)Al
a. an allegory 2.; OHQTE
b. a parody LJI&j \
c. an apophasis C"0gAN
d. a procatalepsis Of:e6N
Passage 3 Zvr(c|
Q
According to the Koran, it was on a Tuesday that Allah created darkness. Last September 11, gs0,-)
when suicide pilots were crashing commercial airliners into crowded American buildings, I did not #yU4X\oO
have to look to the calendar to see what day it was: Dark Tuesday was casting its long shadow q$EVd9aN
across Manhattan and along the Potomac River. I was also not surprised that despite the seven or so `o:)PTQNg
trillion dollars that we have spent since 1950 on what is euphemistically called “defense,” there ]=]'*Z%
would have been no advance warning from the FBI or CIA or Defense Intelligence Agency. urtcSq&H'
While the Bushites have been eagerly preparing for the last war but two—missiles from North %e1<N8E4
Korea, clearly marked with flags, would rain down on Portland, Oregon, only to be intercepted by U?>zq!C&R
our missile-shield balloons—the foxy Osama bin Laden knew that all he needed for his holy war on xn6E f"
the infidel were fliers willing to kill themselves along with those random passengers who happened #!,xjd
to be aboard hijacked airliners. *wh'4i}u
For several decades there has been an unrelenting demonization of the Muslim world in the x`B:M7+\
American media. Since I am a loyal American, I am not supposed to tell you why this has taken 1J<-P9 vk+
place, but then it is not usual for us to examine why anything happens; we simply accuse others of KP:O]520
motiveless malignity. “We are good,” G.W. proclaims, “They are evil,” which wraps that one up in M{nz~W80
a neat package. Later, Bush himself put, as it were, the bow on the package in an address to a joint *w@>zkBl
session of Congress where he shared with them—as well as with the rest of us some-where over the G&