Advanced Special Subject 1.3. Verb Tenses - Modal Verbs - Subject Verb Agreement
Advanced Special Subject 1.3. Verb Tenses - Modal Verbs - Subject Verb Agreement
Advanced Special Subject 1.3. Verb Tenses - Modal Verbs - Subject Verb Agreement
A. I remember gazing out the window of the bus as it weaved his way through the streets of Rio De Janeiro and
catching a glimpse every now and then of the foot of a towering hill at the end of a side street just off the main bus
route. I saw lush vegetation creeping all the way down and around the city's high-rises, and nestled amidst this
tropical jungle, scaling the hillsides, Rio’s notorious favelas, are slums. Many of those I had met in the relatively
wealthy areas of the city seemed uninterested in or even dismissive of the problems faced by the inhabitants of the
favelas. Couldn't they see that the apathetic urban core was being encroached upon, inch by inch by twin forces: the
jungle and poverty?
B. Rio is not alone in this, although its favelas are perhaps among the best-known examples of the ignominious
realities of poverty around the world. Many, if not all, Latin American mega-cities are surrounded by these sprawling
shanty towns built with little more than salvaged tin, scrap wood and sheets of corrugated iron. And in these
settlements, stepped in squalor and infested with crime, the poor are, for the most part, trapped, left to fend for
themselves with very few opportunities to escape to a better future for themselves or their children. Though known
by different names across the continent (favelas, barrios, villas miserias, banados, or cerros), all share some common
characteristics, and outsiders inevitably tend to focus on the more obvious and less palatable ones, such as the grip of
drugs and crime on this communities. Accounts of the vibrant cultures they foster in the face of the most abject
conditions, cultures to which music, for instance, is central, often fall through the cracks. The average European may
be dimly aware of the sound of salsa which provides a constant backing track to live in the barrio. Imagine his
surprise, however, if he were to hear not salsa, but a few bars of Beethoven instead.
C. Since the mid-1970s, when Venezuelan orchestra conductor, piano, social activist and politician Jose
Antonio Abreu founded the country's National system of Youth and Children's Orchestras, known today simply as El
sistema, many South American slums have become an unlikely hothouse for classical music talent. A tradition has
developed, recently exported to the USA and Europe, of using classical music education to battle the effects of poverty.
Both Abreu and star conductor Gustavo Dudamel, himself a product of El sistema, and now music director of the
prestigious Los Angeles Philharmonic, perceive music as a “social savior”. It is worth noting that “Play and Fight!” was
El sistema's early slogan. More than two million children have tried fighting poverty - induced despair and resignation
through classical music training with El sistema, and many of them have gone on to create a better life for themselves.
D. There is, however, an even more impressive example of how classical music has been used as a social
remedy: opening up for new possibilities and transforming lives by granting them a modicum of beauty. The Cateura
landfill, on the outskirts of Asuncion, in Paraguay, is a potential source of income (albeit a pathetically small income)
for the inhabitants of the surrounding banados, who scrape a living by working in the landfill, picking through the
rubbish for any reusable items or materials which they can sell. Thanks to the vision of a landfill technician and
conductor, and the craftsmanship of a local carpenter, Cateura is now known for its symphony orchestra, granted one
that uses cellos made from oil drums and violins made from discarded oven trays. The Recycled Orchestra of Cateura
consists of 30 schoolchildren who play their classical repertoire on these instruments made from repurposed rubbish
and, although their music may lack the rich tones of, say, their more conventional Venezuelan counterpart, it
illustrates beautifully how harmony and meaning is a matter of choice, not circumstance.
E. For a tourist on a bus ride across any Latin American metropolist, living conditions in the slums can be
shocking and, it is true that we should be appalled by the persistence of such abject poverty in this day and age.
Nevertheless, without falling into the other trap that tourists are susceptible to - that of romanticizing life in the
colorful barrio - it is worth bearing in mind the stories of this improbable symphony orchestras. They certainly made
my vision of life in the poorest neighborhoods a little richer, more nuanced and, for this, more realistic.
PASSAGE B.
the feeling of being responsible for a death 1. ______
the problem of putting literature into categories 2. ______
another novel referred to in the novel 3. ______
using language in different ways 4. ______
characters who don’t easily accept change 5. ______
the refusal to embrace the way of life of either of two elders 6. ______
different types of colonies 7. ______
one of the novels being made into a film 8. ______
death playing a role to help a community 9. ______
the difficulty in defining the sub-genre of certain publications 10. ______
A. Both Purple Hibiscus and Once Were Warriors are post-colonial novels, in the sense that they were written, and deal
with subjects of the position of independence as opposed to the colonial state of being in both a universalising sense
and personal one. Purple Hibiscus was published in 2004 and is set in Nigeria, the author Cinamanada Ngozi Adichie’s
homeland. Once Were Warriors was written by a Maori New Zealander, Alan Duff, in 1990 and has since met with
international acclaim through the silver screen. But what has contributed to making this is another lengthy tale. Both
books sit happily on the shelf labelled “postcolonial literature”, but such careless sweeps of the categorising tongue
are exactly what such authors are attempting to avoid. Their works don’t reinforce the boundaries, leaving readers
feeling warm and cosy. Colonialism, precolonialism and a whole set of other blunt “isms” can be argued as being
explored by these authors.
B. That remnants of colonialism and pre-colonialism are present in each text indicates the boundaries between pre-
colonial and colonial states of being are not as established, in a postcolonial existence, as the frame of the words
denote. What are the implications of depicting, potential pre-colonial situations within the colonial tongue? Both Once
Were Warriors and Purple Hibiscus, potentially present colonial and pre-colonial notions of history or histories, but
from different post-colonial positions. With Nigeria having been a colony of occupation, as opposed to the settler
colony of New Zealand, relations between the coloniser and the colonised differ greatly between the two cultural
entities. With the coloniser, potentially, obscuring and abstracting the area between pre-colonial and postcolonial
existences, any pre-colonial notions must always be partly located within a colonial perspective. Nonetheless, the
precolonial uttered in the colonial tongue renders that colonial tongue as being somewhat altered in the process. The
colonial tongue both makes and unmakes itself by using the same tools for different ends. The dragging of heels back
and forth over the hot coals of second-hand languages renders the happy branding of “postcolonial” of those who dare
to make the colonial tongue their own seem like an unrefined broad-brushes attempt to depict the hairline cracks in a
china doll
C. Both texts deal with the uncertainties of the formation and reformation of identities. Working with, yet at the same
time questioning and unsettling, the bildungsroman format, Once Were Warriors and Purple Hibiscus present identities
snacking through notions of pre-colonial identities alongside colonial and postcolonial ones. The certainty of the very
survival of Kambili and Beth in Once Were Warriors seems, to an extent, to be staked on pre-colonial notions of
identity formation. The chief at Beth’s funeral articulates this in sorrow for the young girl’s death; “we are what we
are only because of our past [...] we should never forget our past or our future is lost”. The death of Grace directly
influences Beth to address her situation and that of the individuals in Pine Block. Although Grace’s death is linked to
the rape, Beth, who is unaware of this, questions her involvement in the death of her daughter. “Could I have
prevented it?” echoes out from every movement Beth makes after this. Why does the young girl have to die? Is it to
highlight injustices in the Maori community, to make the community, to an extent, stand up and demand to be heard?
D. Indeed, it is death that stalks the corridors of these two novels. It is the death of Eugene, the “colonial product” in
Purple Hibiscus alongside the death of Papa-Nnukwu the “pre-colonial product” that lead to questions of where to turn
in terms of identity formation. The colonial figure is dead; he doesn’t present ways of being to his children that seem
acceptable to them; he is too violent, too dominating for their generation. But, as well, Papa-Nnukwu, who is adored
by his grandchildren, seems like an inadequate role model to wholly guide the younger generation into futures that
are still in the making
E. By introducing Purple Hibiscus with the sentence “Things fall apart”, Adichie is immediately paying homage to
Chinua Achebe’s same-named novel published in the mid-twentieth century, which depicted a hamlet in Africa on the
eve of nineteenth-century colonialism. Everyday lives and everyday disputes fill page after page. The reader is with
the hamlet when its inhabitants are devastated. We are invited to sit in another seat. To see how it might have felt to
be utterly subjugated by foreigners. The beauty of comparing the two Nigerian novels is in their dealings with
Christianity. Indeed, in Things Fall Apart, church missionaries come to the hamlet to “save them from hell and
damnation” and Okonkwo, the head of the hamlet, is immediately distrustful. He is closed to change as is the Catholic
“colonial product” of Eugene in Purple Hibiscus. The stubbornness each character shows, but towards different ends,
demonstrates the meaninglessness of assertions of power for the sake of assertions of power.
PASSAGE C. In which review are the following mentioned?
a central character who is said to be friendly 1. ______
a character who is not honest with his relatives 2. ______
a director with a part in his own film 3. ______
a film which makes insufficient impact on the eye 4. ______
a lot of money being spent without many obvious gains 5. ______
a production that would have been improved by being shorter 6. ______
a son deals with problems with his parents in an unusual way 7. ______
a story aimed at the youth market 8. ______
a partially successful new version of a popular old movie 9. ______
a true story of a search for a family member 10. ______
a youngster who uses sport to overcome his difficulties 11. ______
an aspect of the film has an educational element 12. ______
the film might be understood to have a different meaning from what was intended 13. ______
the acting rescues an otherwise problematic film 14. ______
the film has its origins in a previously popular television drama 15. ______
A. ‘’Bush Trials’’ This documentary follows the popular lead singer of the band Furry Monsters as he travels through
Australia in search of a long-lost relative, a fellow musician. In the process he acquaints himself with a small
community living in the outback. He stays with them for longer than he intended, forgetting about his relative but
getting to know them and becoming involved in their life. He's a likeable guide, chatting enthusiastically to local
residents and joining them in concerts and table tennis tournaments in their village hall. The film is informative about
Australian histor]y without being too heavy. Does he meet his relative? Well, I recommend you go and watch Bush
Trials and then you'll find out.
B. ‘’Car Heroes’’ This film is intended as a proper action movie for today's youngsters rather than a nostalgia fest for
those of us who remember the 1980s television series. The film proudly shows off its distance from the original in an
irreverent prologue in which the heroes' trademark black van is disposed of in no uncertain terms. Even the fondest
fan would be hard put to argue that the TV show was a cultural landmark worthy of a preservation order and yet I’m
not convinced that this film has any right to be so pleased with itself. Its action scenes are. of course, a lot more
expensive than the TV show's brief shoot-outs but only one of these shows much imagination and so were hardly
worth the expense. Well, that’s how I felt at least
C. ‘’Acing It’’ For this high-budget remake of the 1994 film about a bullied boy who gets his own back by learning
judo, the director has kept to the tried and tested plot while souping up the action to modern standards. The contest
that provides the dimax to the film is now an event of Olympic scale and flamboyance and the fights it features are
certainly more dynamic than before even though the participants are younger. 12-year-olds rather than the original
film's car-driving, party-loving teenagers. The film generally provides decent entertainment. Its mam weakness is that
it drags in places and ends up rather more drawn-out than it needed to be. Nevertheless this is definitely a film you
should consider for a family outing.
D. ‘’Will’’ Made in Scotland by the extraordinarily successful young Canadian director, Jack Fox, this film was not
deliberately made as a parody of cinema pretentiousness although it could certainly be interpreted as such. A teenage
boy escapes from his bad-tempered parents in their dark old castle in the Highlands by climbing into the surrounding
trees and refusing to come down - a lifestyle choice he manages to maintain for several months. Apart from a few
striking moments showing the boy clambering through the forest, it lacks the sort of visual intensity that might have
allowed the film to succeed despite its other shortcomings. Far from seeming noble or poignant, the boy’s tree life
remains just an anti-social teenage sulk. He should be grounded.
E ‘’Red Lake’’ The director of this film also plays its central character: a prison guard and family man. who means well
but can't help keeping secrets from his wife and kids. The big one is that the young ex-convict that he has taken under
his wing is his son from a long-ago relationship, but. curiously perhaps, he's just as unwilling to reveal he's attending
both acting and golf classes. Meanwhile other family members have secrets of their own. The film aims for a balance
between life lessons, drama and farce. This doesn't work particularly well. All the same, it is easy to watch, mainly
thanks to the surprisingly powerful performances of the two main characters.
PART D. WRITING
REWRITE THE SENTENCES USING THE GIVEN WORDS
1. Amanda is the most devious person I’ve ever met. COME
I’ve yet ________________________________________ than Amanda.
2. I’d certainly report that unstable structure to the local authorities. HESITATION
I ____________________________________________ that unstable structure to the local authorities.
3. In order for us to finish the project on time, Robin will have to work as hard as the rest of us. WEIGHT
Robin will have __________________________________ are to finish the project on time.
4. I don’t think the teacher should have criticized one particular student. SINGLED
I don’t think one particular student ______________________________________________________________ by the teacher.
5. Erica and her sister look very much alike. STRIKING
Erica bears ____________________________________________ her sister.
6. Whatever the circumstances, this prisoner must always be guarded. IS
Under _______________________________________________ left guarded.
7. His argument was irrelevant to the case being discussed. NOTHING
His argument ______________________________ the case being discussed.
8. Karen sometimes appears very silly. APT
Karen ______________________________ very silly sometimes.
9. His aggressive attitude shocked me. ABACK
I ______________________________ his aggressive attitude.
10. I did my best to arrive here on time. EFFORT
I ______________________________ get here on time.
11. The meal was delicious apart from the chicken. EXCEPTION
______________________________, the meal was delicious.
12. The match had to be cancelled due to the bad weather. CALLED
The match ______________________________ of the bad weather.
13. She knew nothing about the party that they were planning. DARK
She was ______________________________ the party that they were planning.
14. Our team has won the football championship for the second year running. SUCCESSION
For the second year ______________________________ by a local team.
15. You must never leave the workplace without letting the team leader know. ACCOUNT
On ______________________________ without letting the team leader know.
16. If you don't know what you're doing, you shouldn't dismantle the laptop. APART
Don’t ______________________________ you know what you're doing.
17. Frank is rumoured to be about to become a Sky News presenter. VERGE
Rumor ______________________________ becoming a Sky News presenter.
18. When he won the championship, Mark began to realise just how happy he was. DAWN
When he won the championship, it began ______________________________ just how happy he was.
19. She may run into additional problems if she doesn't have any proper insurance. PRONE
She ______________________________ she has any proper insurance.
20. Mr Trump was offended by some of the comments that were made about his wife. EXCEPTION
Mr Trump ______________________________ some of the comments that were made about his wife.
21. Helga never really expected the venture to be a roaring success. OF
Helga had little ______________________________ a roaring success.
22. I'm sorry, I didn't mean to interrupt the conversation. INTENTION
I'm sorry, I ______________________________ the conversation.
23. She never thought that he would end up in prison. CROSSED
It ______________________________ that he would end up in prison.
24. George was operating the machine when the accident happened. TIME
The machine was ______________________________ of the accident.
25. As far as I know, the car was stolen in the evening. KNOWLEDGE
To ______________________________ , the car was stolen in the evening.
26. I have no idea how to adjust the television set. LOSS
I am ______________________________ how to adjust the television set.
27. If Helen hadn't refused to work overtime, she would have got promotion. IT
Had ______________________________ , she would have got promotion.
28. The chairman resigned because of his sudden illness. RESULTED
The ______________________________ his sudden illness