It is important to remember that making and responding to works of art, in many media, are social practices. It is ① inconceivable that these practices are the invention of any distinct individual. Any intention on the part of an individual to make art would be ② meaningful, were there no already going practices of artistic production and response. If there are no shared criteria for artistic success, then the word art cannot be used ③ objectively, as a descriptive term. If I have only myself to go on, then “whatever is going to seem right to me to call art is ④ right. And that only means that here we can’t talk about ‘right.’”

  Alexander loved sport, and riding more than anything. No one rode better than he. His father once bought a beautiful horse that no one could tame. His name was Bucephalus. Whenever anyone tried to mount ① him they were thrown off. But Alexander worked out why ② he did it: the horse was afraid of his own shadow. So Alexander turned the horse’s head towards the sun so that he couldn’t see ③ his shadow on the ground. Stroking him gently, ④ he swung himself onto his back and rode round to the applause of the whole court.  

A: Jenny, have you signed up for the in-service training next week?
B: No, I haven’t. How about you?
A: I’ve already signed up for the Wednesday session.
B: Good for you. But I’m afraid I can’t make it on weekdays.
A: No worries. I heard there are weekend programs, too.
B: Really?
A: Yes, but the spaces must be limited.
B: Then,                                              .
A: Yeah, you should. You know, first come, first served. 

  Cholesterol-lowering drugs are among the most widely used medications in the world. Your body produces cholesterol, and it’s found in many foods. But what is it for? Clearly, there is a reason for cholesterol because your liver naturally makes it, but why? You may be surprised to know that your body does need cholesterol as a foundation of good health in many ways. For example, cholesterol is used by the body to make hormones that help your body respond to physical and mental stress. It also is the foundation for the production of sex hormones, contributing to regulation of body actions from puberty to pregnancy, including all aspects of reproductive function. 

  Although the cinema has most often been compared with literature, it really has far more in common with architecture. Both forms are public, collaborative, and above all,             . In both arts, economic constraints have always dictated the shape of the work produced. By comparison, literature (especially “serious” literature) seems almost a priestly calling: novelists and poets, at least since Romanticism, have (for better or worse) been largely able to write whatever pleased them, without regard for audience or expense. 

  The motivating concepts that guide disaster management ― the reduction of harm to life, property, and the environment ― are largely the same throughout the world.      (A)      , the capacity to carry out this mission is by no means uniform. Whether due to political, cultural, economic, or other reasons, the unfortunate reality is that some countries and some regions are more capable than others at addressing the problem. But no nation, regardless of its wealth or influence, is advanced enough to be fully immune from disasters’ negative effects.      (B)      , the emergence of a global economy makes it more and more difficult to contain the consequences of any disaster within one country’s borders.

  The bright butterflies and moths number 140,000 species, exceeded only by the beetles. “Lepidoptera,” the order’s scientific name, means “scaly-winged,” and tiny scales cover the wings and bodies of most adult forms. In size, butterflies and moths vary more than any other insect group. An owlet moth of South America is a foot across; the Eriocranid moth has a quarter-inch wingspan. Some species are even smaller. There are no hard and fast rules for telling a butterfly from a moth. But in general, moths spin cocoons, butterflies do not. When at rest, the moth tends to fold its wings like a tent while the butterfly presses them together overhead. 

  Spencer Stanhope came from a middle-class family and was educated at Rugby and Christchurch, Oxford. He began to study art with G. F. Watts in 1850, visiting Italy with him in 1853. He became one of the circle of young artists around the Pre-Raphaelites in the mid-1850s and was particularly friendly with Burne-Jones, who influenced his painting and became a lifelong friend. He first exhibited at the Royal Academy in 1859 and later at the Grosvenor Gallery. Like his artist friends, he had a sympathy for ordinary people and often chose subjects showing them at work, though often in an idealized manner. Washing Day in which the women wash the clothes while the men get on with the business of fishing, is typical of Stanhope’s work. 

  Archaeological finds come in many forms ― as artifacts, food remains, houses, human skeletons, and so on. These finds are usually cleaned, identified, and cataloged in the field before being packed for transport to the laboratory. Once back from the field, these data ― including not only finds but also the detailed notes, drawings, and other recorded data acquired in the field ― are subjected to analysis. At this stage some specific materials, such as radiocarbon samples and pollen grains, are sent to specialists for analysis. Most laboratory analysis involves detailed artifact classification and study of animal bones and other food remains ― the basis for the later interpretation of data. 

  The metaphors or analogies that we chose to think about ourselves can have different effects on our understandings and our actions.

(A) For example, Michael White and David Epston explain that if we think that people and relationships are like complex machines, we will probably see their problems as malfunctions in the machinery and the solution would be to repair them, as a mechanic would.
(B) Someone who is guided by this metaphor would probably encourage the person to “vent” and express that anger to release the growing pressure.
(C) An example of this is when we say that anger was building up inside us like steam in a pressure cooker and that the steam has to be let out or the cooker will explode. 

  The closer the individual film came to being described by the first term in each pair, the more its difference from Hollywood films was regarded as “innovative” and hence positive.

  Something in the German films was obviously viewed as “aesthetic,” but what was it? ( ① ) In America, the term “German cinema” came to mark out an aesthetic space, if you will, somewhere outside the normative boundaries of conventional Hollywood style. ( ② ) At issue was how far outside, and whether this aesthetic distance from the Hollywood cinema constituted a positive or negative aesthetic difference. ( ③ ) Discussions of individual films tended to be framed by three aesthetic criteria, each having both a positive and a negative dimension: spectacular / excessive, complex / elitist, and artistic / self-indulgent. ( ④ ) A film defined by the latter terms, however, was seen as too different and hence too “strange.” 

  Leadership is centered on the communication between leaders and followers rather than on the unique qualities of the leader. ① Thought of as a relationship, leadership becomes a process of collaboration that occurs between leaders and followers. ② A leader affects and is affected by followers, and both leader and followers are affected in turn by the situation that surrounds them. ③ For example, a leader in the fund-raising campaign knows every step and procedure in the fund-raising process and is able to use this knowledge to run an effective campaign. ④ This approach emphasizes that leadership is not a linear one-way event, but rather an interactive event. 

  When the state spends money which it has raised by taxation, it is taking money out of the pockets of the taxpayers to put it into the pockets of those upon whom it is spending. The expenditure may be really an investment: education, for instance, is an investment in the young, and is universally recognised as part of the duty of the state. In such a case, provided the investment is sound, public expenditure is obviously justified: the community would not be ultimately enriched by ceasing to educate its children, nor yet by neglecting harbours, roads, and public works generally.