(C)      there were traces of a hanging rope in the peat

(D)      he hadn’t been buried in a coffin

13. It was the forearm they uncovered which _____.

(A)      required the most delicate work

(B)      indicated the age of the man

(C)      told them something about the man’s clothes

(D)      led them to discover the fingernails

14. Why did the researchers think the man was possibly a priest?

(A)      He had closely-cropped hair.

(B)      His coat was fur-lined

(C)      He had a drooping moustache and shaven chin.

(D)      His fingernails were well looked after.

15. It was established that the man they dug out of the peat had been _____.

(A)      beheaded

(B)      strangled

(C)      drowned

(D)      stabbed in the neck

Questions 16--20

Does using a word processor affect a writer’s style? The medium usually does do something to the message after all, even if Marshall McLuhan’s claim that the medium simply is the message has been heard and largely forgotten now. The question matters. Ray Hammond, in his excellent guide The Writer and the Word Processor (Coronet £2.95 pp224), predicts that over half of the professional writers in Britain and the USA will be using word processors by the end of 1995. The best-known recruit is Len Deighton, from as long ago as 1968, though most users have only started since the micro-computer boom began in 1980.

Ironically word processing is in some ways psychologically more like writing in rough than typing, since it restores fluidity and provisionality to the text. The typist’s dread of having to get out the Tippex, the scissors and paste, or of redoing the whole thing if he has any substantial second thoughts, can make him consistently choose the safer option in his sentences, or let something stand which he knows to be unsatisfactory or incomplete, out of weariness. In word processing the text is loosened up whilst still retaining the advantage of looking formally finished.

This has, I think, two apparently contradictory effects. The initial writing can become excessively sloppy and careless, in the expectation that it will be corrected later. That crucial first inspiration is never easy to recapture though, and therefore, on the other hand, the writing can become over-deliberated, lacking in flow and spontaneity, since revision becomes a larger part of composition. However these are faults easier to detect in others than in oneself.

For most writers, word processing quite rapidly comes to feel like the ideal method (and can always be a second step after drafting on paper if you prefer). Most of the writers interviewed by Hammond say it has improved their style (“immensely”, says Deighton). Seeing your own words on a screen helps you to feel cool and detached about them.

Thus it is not just by freeing you from the labour of mechanical re-typing that a word processor can help you to write. One author (Terence Feely) claims it has increased his output by 400%. Possibly the feeling of having a reactive machine, which appears to do things, rather than just have things done with it, accounts for this—your slave works hard and so do you.

Are there no drawbacks? It costs a lot and takes time to learn—“expect to lose weeks of work”, says Hammond, though days might be nearer the mark. Notoriously it is possible to lose work altogether on a word processor, and this happens to everybody at least once. The awareness that what you have written no longer exists at all anywhere, is unbelievably enraging and baffling.

16. According to the first paragraph of the passage, what is the obvious change for

professional writers in Britain and the USA?

(A)     The style they are employing.

(B)     The medium they are using.

(C)     The way they are being recruited.

(D)     The paper they are writing on.

17. Typing in the conventional manner, a writer may _____.

(A)    choose to white more carefully

(B)     make more mistakes

(C)     become overcritical of his or her work

(D)    have a lot of second thoughts

18. One effect of using a word processor may be that the ongoing revision of a text _____.

(A)     is done with too little attention

(B)     produces a sloppy effect

(C)     is lacking in flow and spontaneity

(D)     does not encourage one to pick up mistakes

19. It is claimed here that word processors create _____.

(A)    a sense of power in the writer’s mind

(B)     a reluctance in the author to express himself or herself

(C)     an illusion as if you were a servant of the machine

(D)    a feeling of distance between a writer and his or her work

20. As far as learning to use a word processor is concerned, the author of the passage

mentions a number of drawbacks EXCEPT that _____.

(A)     it takes time

(B)     it is costly

(C)     the user may rely too much on the machine

(D)     the user may lose weeks of work

Questions 21--25

In almost all cases the soft parts of fossils are gone for ever but they were fitted around or within the hard parts. Many of them also were attached to the hard parts and usually such attachments are visible as depressed or elevated areas, ridges, or grooves, smooth or rough patches on the hard parts. The muscles most important for the activities of the animal and most evident in the appearance of the living animal are those attached to the hard parts and possible to reconstruct from their attachments. Much can be learned about a vanished brain from the inside of the skull in which it was lodged.

Restoration of the external appearance of an extinct animal has little or no scientific value. It does not even help in inferring what the activities of the living animal were, how fast it could run, what its food was, or such other conclusions as are important for the history of life. However, what most people want to know about extinct animals is what they looked like when they were alive. Scientists also would like to know. Things like fossil shells present no great problem as a rule, because the hard parts are external when the animal is alive and the outer appearance is actually preserved in the fossils.

Animals in which the skeleton is internal present great problems of restoration, and honest restorers admit that they often have to use considerable guessing. The general shape and contours of the body are fixed by the skeleton and by muscles attached to the skeleton, but surface features, which may give the animal its really characteristic look, are seldom restorable with any real probability of accuracy. The present often helps to interpret the past. An extinct animal presumably looked more or less like its living relatives, if it has any. This, however, may be quite equivocal. For example, extinct members of the horse family are usually restored to look somewhat like the most familiar living horses—domestic horses and their closest wild relatives. It is, however, possible and even probable that many extinct horses were striped like zebras. Others probably had patterns no longer present in any living members of the family. If lions and tigers were extinct they would be restored to look exactly alike. No living elephants have much hair and mammoths, which are extinct elephants, would doubtless be restored as hairless if we did not happen to know that they had thick, woolly coats. We know this only because mammoths are so recently extinct that prehistoric men drew pictures of them and that the hide and hair have actually been found in a few specimens. For older extinct animals we have no such clues.

21.       According to the passage, the soft part of fossilized animals _____.

(A)      can always be accurately identified

(B)      have usually left some traces

(C)      can usually be reconstructed

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