PART I: Cloze (20 points) Fm}#KE0
Directions: Choose the best word(s) for each numbered blank. *Kj*| >)
Production workers must be able to do statistical quality control. Production workers must be c'M#va
able to do just-in-time inventories. Managers are increasingly shifting from a "don't think, do what (B|4wR\
you are told" to a "think, I am not going to tell you what to do" style of management. |iN!V3#S
This shift occurs not because today's managers are more ___(1)___ than yesterday's managers, 4qMqAT
but because the evidence is mounting that the second style of management is more ___(2)___ than wh4ik`S 1
the first style of management. But this means that problems of training and motivating the work d%1T
v1={
force both become more central and require different models of behavior. ?sfas57&y
To be on top of this situation, tomorrow's managers will have to have strong background in 2ghTAsUx9
organizational psychology, human relations, and labor ___(3)___. The MIT Sloan School of quickly O.61-rp
management attempts to ___(4)___ our understanding in these areas through research and then E"d\N-I
quickly bring the ___(5)___ of this new research to our students so that they can be leading-edge 1>hY!nG h
managers when it comes to the human side of the equation. reo
The first three decades after World War II were ___(6)___ in ___(7)___ the United States had a =`RogjbP
huge technological lead ___(8)___ all the rest in the world. In a very real sense, ___(9)___ 1k-YeQNe
technological competitive. American firms did not have to worry about their technological HJ4T! `'d
competitiveness because they were ___(10)___. *12,MO>go
But that world has disappeared. Today we live in a world where American firms ___(11)___ [:M:6JJ
have automatic technological ___(12)___. In some areas they are still ahead, in some areas they are /.PjHTM<
_ b4NUx)%ln
__(13)___, and in some areas they are behind, but on average, they are average. #rZF4>c
___(14)___ this means is that American managers have to understand the forces of technical BET3tiHV
change in ways ___(15)___ were not necessary in the past. Conversely, managers from the rest of /S4$qr cM
the world know that it is now possible for them to dominate their American competitors if they ^{z@=o<o
understand the forces of technical change better than their American competitors do. E=N44[`.G
In the world of tomorrow managers cannot be technologically ___(16)___ ___(17)___ their kmfz=q?
functional tasks within the firm. They don't have to be scientists or engineers inventing new w-f[h
technologies, ___(18)___ they have to be managers who understand when to bet and when not bet {NmpTb
on new technologies. If they ___(19)___ what is going on and technology effectively becomes a Djv0]Sm^!
black box, they ___(20)___ to make the changes. They will be losers, not winners. w[`2t{^j
1 a. enlightened b. enlightening c. enlightenment d. enlighten "ecG\}R=
bbGSh|u+P
2 a. sterile b. producing c. productive d. extravagant DeqTr:
3 a. economics b. economic c. economy d. economies oW0A8_|9
4 a. take b. arouse c. rise d. advance NBLiwL37{
5 . a. results b. evidence c. content d. fruits #&Xr2?E@
6 a. usual b. flawed c. unusual d. unessential )-2sk@y
7 . a. which b. / c. that d. those . X(^E
8 a. by b. over c. on d. upon 5U%J,W
9 a. was the world not b. the world was not c. did the world be not d. was not the world $!~R'N c
10 a.superior b. super c. inferior d. junior _e2=BE`W)
11 a. still b. even c. neither d. no longer :0G_n\
12 a. superiority b. inferiority c. majority d. minority $-HP5Kj(k-
13 a. common b. average c. ignorant d. exceptional t r)[6o#
14 a. How b. That c. What d. Which 4r'QP .h
15 a. that b. they c. those d. who "6[a%f#Q
16 a. illiterate b. sophisticated c. literate d. omniscient uc0 1{t0,
17 a. regardless b. in spite of c. despite d. regardless of 4CUoXs'
18 a. and b. likewise c. furthermore d. but (P(=6-0
19 a. didn’t understand b. don't understand c. haven’t understood d. hadn’t understood rV
yw1D
20 a. failed b. would have failed c. would fail d. would be failed =[N=mC
[C8lMEV~
c"nowbf
. {ylY"FA
PART II: Reading Comprehension (30 points) W^a-K
Directions: Choose the best answers based on the information in the passages below. e(e_p#
Passage 1 cst}/8e
The leaders of the mythopoetic men's movement believe that modernization has led to the {;z{U;j
feminization of men. Mythopoets believe that the rise of the urban industrial society "trapped men Ri<7!Y?l
into straitjackets of rationality, thus blunting the powerful emotional communion and collective jTR>H bh
spiritual transcendence that they believe men in tribal societies typically enjoyed". Most 9.:]eL
importantly, the movement seeks to restore the "deep masculine" to men who have lost it in their :.k1="H~@
more modern lifestyles. Other causes for the loss of the "deep masculine" include: Men no longer 3/aK#TjK
being comrades who celebrated their masculinity together. Rather, they had become competitors ~CtLSyB
within their workplaces; Men spending more time in their houses with women than they did with 6Kvo
Ho
men (in non-competitive terms outside of work). Excessive interaction with women generally kept wZ(H[be
men from realizing their internal masculinity; Feminism is bringing attention to the “feminine s6U$]9 `
voice.” Through this, the mythopoetic men felt that their voices had been muted (though Bly and ^"\3dfzKM
others are careful in not blaming feminism for this); The separation of men from their fathers kept
6#J>b[Q
them from being truly initiated into manhood, and was a source of emotional damage. Men were L:.z
FW,
suffering further emotional damage due to feminist accusations about sexism. Men should celebrate 8Q{"W"]O7
their differences from women, rather than feeling guilty about them. Men is being discouraged from yb-1zF|
expressing their emotions. Male inexpressivity is an epidemic and does not correspond to their Jbv[Ql#
"deep masculine" natures. Groups of primarily white, middle-aged, heterosexual men from the B~CdY}UTsj
professional class retreated from their female loved ones in order to join in spiritual rituals that {
R`"Nk
emphasized homosociality, with the central goal of reclaiming the parts of their masculinity that Qm"&=<
they had lost called the "deep masculine." Because most men no longer perform masculine rituals, 9a6ij*#
mythopoets assert that men have mutated into destructive, hypermasculine chauvinists, or, in the >=6 j:
opposite direction, have become too feminized. The mythopoetic men performed rituals at these f-!P[6bY
gatherings, which were meant to imitate those performed by tribal societies when men initiated TQ,KPf$0U
boys into a deeply essential natural manhood. The movement emphasized the importance of /<R[X>]<F
including multiple generations of men in the rituals, so that the men could learn about masculinity L0Ycf|[s,
from those who were older and wiser. Characteristic of the early mythopoetic movement was a %w3Y!7+
tendency to retell myths, legends and folktales, and engage in their exegesis as a tool for personal 5r)]o'?s
insight. Using frequent references to archetypes as drawn from Jungiananalytical psychology, the t:O"t
G
movement focused on issues of gender role, gender identity and wellness for the modern man (and W"v"mjYud
woman). Advocates would often engage in storytelling with music, these acts being seen as a pBxyq"z
modern extension to a form of "new ageshamanism" popularized by Michael Harner at iW9o-W
a
approximately the same time. The movement sought to empower men by means of equating A<U9$"j9J
archetypal characters with their own emotions and abilities. For instance, Michael Messner Mb^E
describes the concept of "Zeus energy" as emphasizing "male authority accepted for the good of the r$cq2pkX
community". Beliefs about the emotional system based in archetypes of great men, mythopoets M%z$yU`ac
sought to channel these characters in themselves, so that they could unleash their "animal-males". ,\RZ+kC>~
This group primarily analyzed the archetypes of King, Warrior, Magician, Lover and Wildman. V{{Xz:
As a self-help movement the mythopoetic movement tends not to take explicit stances on _)U
.5f<
political issues such as feminism, gay rights or family law (such as the issues of divorce, domestic I^l\<1"]
violence or child custody), preferring instead to stay focused on emotional and psychological wj{[g^y%
well-being. Because of this neutrality, the movement became a site of social criticism by feminists, :pCv!g2
and was often characterized as anti-intellectual as well as apolitical. Michael Messner once gave a (3Dz'X
speech at a gathering, in which he addressed the dangers of celebrating the warrior, as instances of Fl}{"eCF8
rape are higher in countries that glorify war. The mythopoets responded that they were not O>3f*Cc
interested in intellectual or political pursuits, but were primarily concerned with conducting /Y`u4G()
spiritual and emotional work. Additional feminist critique revolved around the movement's absence };;k5z I%
of women's perspectives, as well as the essentialism in the movement's teachings. g2%fla7r
Comprehension Questions: UJiy]y
sKwUY{u\M
T&nIH[}v
21. The mythopoetic men's movement can best be understood as ________________. )>(ZX9diV
a. a men’s literary movement XI\P#"
c. a men's rights movement =mYwO=:D
b. a men's liberation movement z'9U.v'M)
d. a second-wave feminist movement ]ne
22. The mythopoetic men's movement consists of groups of men who retreated from their female Q*ixg$>
loved ones in order to strive for ________________. |"
ag'h
a. gay rights dT7!+)s5-
b. same-sex marriage mu{\_JX.A
c. masculinity VZ$^:.I0
d. myths, legends and folktales w_P2\B^
23. The idea that modernization has led to the feminization of men means that 1\Z/}FT
_________________. /8wfI_P>M"
a. men cannot be themselves b8LA|#]i
c. men’s voices have changed ^Rb*mI
b. men can no longer make friends ;R]~9Aan
d. men cannot express themselves q.bxnta"
2 `>&K=C?
24. The root issue is ________________. DJb9] ,=a
a. feminism @^.o8+Pp
b. masculinity ]Q#k"Je
c. sex DMA`Jx
d. gender Gdz*
25. According to the text, the causes for rape must be sought in _________________. ^B!()39R?
a. the celebration of the archetype of the warrior iGN6'm`
b. the unleashing of men’s "animal-males” {dYz|O<
c. domestic violence ?
&=JGk^eJ
d. the loss of masculine rituals u\(>a
*).!
Passage 2 Q<Qd*v&-
Although in the novel the millennium has been and gone, there are no references at all to real #nq_R
contemporary American or global political events of the time of writing. Chapstick, Pledge, and Z^Yy
sf
Skevener in their study The Endless Loop of History: Space Time in the work of David Foster W5/|.}
Wallace (London 2001) have already noted the way Infinite Jest divorces itself from history by the -<:w{cV
use of sci fi elements. They note how compared with the American post moderns, whose works *D67&/g.
interact with real historical time, Infinite Jest takes place in an ahistorical, allegorical time. DFW’s 2(5/#$t
invention of Subsidized Time, and the renaming of years after products and companies shows the Za]~[F
way in which the soul-rotting effects of advertising infect time as well as internal and external Zb&"W]HSf
space (cf: Phillip K Dick’s adverts projected onto the moon in The Man in the High Castle). ]X> I(p@
Otherwise, the ubiquitous presence of advertising in contemporary daily life is absent from the ^kke
novel. Actually, this is not correct. The theme of waste management (also the underlying structure ;Sfe.ky@6
of Don DeLillo’s novel Underworld) reflects some of the anxieties of the 90s, the decade in which $/
g<h
the novel was written: namely, global warming, environmental concerns, nuclear waste ~x^Ra8A
management, including its export to third world countries, the trading of carbon emission points, =@c;%x
futures swaps in carbon footprints etc. DFW is here simply satirizing contemporary concerns; and a gvr&7=p
Freudian reading of this theme is both unnecessary and not really illuminating, Don Gately’s work aQ-SrxmO8
as a shit hoser notwithstanding. DFW’s use of spurious knowledge and scholarship (including a MnlD87x@X
spurious academic apparatus at the back of the book) has been amply commented on, especially the i-?mghe8
doubtful physics of J.O. Incandenza’s work with lenses and nuclear annulation, and the iffey math %K,cGgp^)
involved in the Eschaton game. By his use of the spurious DFW is not only satirizing the discourse NkoyEa/^[
of academic knowledge, but making a serious point about the extent and typology of knowledge 9I*2xy|I
itself. Once knowledge becomes so specialized as to become comprehensible to only a very few uw/N`u
those firmly inside the discourse- what status does that knowledge gain? To those outside the .<Ays?
discourse, the knowledge can only be taken on trust, and therefore all manner of hoods may be ui-]%~
winked. In this case the boundaries between the fictional and the real become blurred, a matter for OO</d:
argument. We are used to questioning the reliability of the narrative voice in fiction, but not so able ]$#9B-uB
to question in the same way the reliability of academic discourse or specialist knowledge. The wR,}#m,
presence of the spurious next to the real infects the real, inviting us to extend our distrust of V5p^]To!
fictional narrative to non-fictional exposition, the fiction (le mensonge) and the truth become RI+Y+z
mirrors of each other. The title of a work stands in metonymic relationship to the content of the AxeQv'e
work: War and Peace, for example, signifies the two main themes and structuring devices of that e.^?hwl
novel. For existing books, (real, read books), the title summons up everything we know or ohs`[U=%~
remember about the book. Where that work is non-existent (fictional, spurious, lost or simply 2%pU'D:
unknown/unread) the title acts as an empty signifier, which we can fill with our imagination, e*}:tH
effectively writing the work ourselves in a flash. Barthes calls these bookless titles prolepses; `PUxR8y
Nabokov creates summaries and detailed commentaries for them (in Pale Fire and The Real life of ,N;2"$+E
Sebastian Knight); Borges bases his whole stylistics on this process of metonymic expansion; and O hRf&5u$
Eco fills entire imaginary libraries with these fantastical books. DFW for his imaginary works, like ZpMv16
Hoffmann, has a penchant for excessively long and humorous titles, whose length guides us in this 22;B:
process of creation cf: Good Looking Men in Small Clever Rooms that Utilize Every Centimeter of |KZX_4
Available Space With Mind-Boggling Efficiency (title of one of J.O. Incandenza’s entertainments), C]fX=~?bGQ
and Mousetraps and their Influence on the Character and Achievement of the Feline Race (title of 5;G
0$M0
one of Murr’s books from Hoffmann’s The Life and Opinions of the Tomcat Murr). PVIZ
Y^64
f*ABIm
Comprehension Questions: 3ZI:EZ5
26. According to the author, the use of some of the anxieties of the 90s does not contradict the on"ENT
proposition that the novel Infinite Jest takes place in an ahistorical time because o4OB xHKy
______________. U|{ 4=[
a. the millennium has been and gone `.dwG3R
b. DFW is here simply satirizing contemporary concerns Jt#HbAY
c. DFW’s invention of Subsidized Time 8)1=5n
d. he uses sci fi elements q`.=/O'
27. DFW’s invention of Subsidized Time exemplifies _______________. 9[teG5wAa
a. the ubiquitous presence of advertising in contemporary daily life x %9Ca)r?}
b. the commercialization of American society Q`NdsS2
c. the endless loop of history O*bzp-6\
d. American post modernism H "5,To
28. Following Roland Barthes, which of the following titles would be an example of prolepsis? e igVT4
a. War and Peace. J#FHR/zV
b. The Real life of Sebastian Knight C9!FnvH
c. Mousetraps and their Influence on the Character and Achievement of the Feline Race. {0np
d. The Life and Opinions of the Tomcat Murr A.@wGy4
29. An innovation by DFW to post modern fiction is exemplified by ________________. 10.ZBfn
a. the unreliable narrator 7[uN;B#V
b. the distrust of academic discourse Fw{68ggk
c. the process of metonymic expansion n*' :,m
d. fictional, spurious, lost or simply unknown/unread works m#G,m
30. The title of the novel suggests that it is ________________. Dgc6rv#
a. an allegory N`$F>E,T%
b. a parody jUl_ToX
c. an apophasis );yZyWDV
d. a procatalepsis Y<kz+d,C
Passage 3 :8`$BbV
According to the Koran, it was on a Tuesday that Allah created darkness. Last September 11, zDEgC
when suicide pilots were crashing commercial airliners into crowded American buildings, I did not \kf
n,m
have to look to the calendar to see what day it was: Dark Tuesday was casting its long shadow -!mtLaLw
across Manhattan and along the Potomac River. I was also not surprised that despite the seven or so PFx.uqp
trillion dollars that we have spent since 1950 on what is euphemistically called “defense,” there &cT